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Rich Breiman Exhibits

Rich Breiman

Rich Breiman Exhibits

Frontispieces: An Exhibit of Atlas Title Pages

An exhibit of title pages from the collection of Rich Breiman.keyword: 17thC

17th Century Vignette Maps

These 17th century maps, while beautiful and informative, are enhanced by vignettes that depict inhabitants in their native costumes from areas included on the maps as well as city maps or biblical scenes. From the collection of Rich Breiman. keyword: richbreiman

Colossi Maps

These colossi are cartographic curiosities as they were included along with two other images of colossal figures in Matthaus Seutter’s Atlas Novus published in 1728 and 1730. Four additional maps from this atlas are included in the exhibit because of their elaborate and artistic cartouches.Matthaus Seutter the elder (1678-1757) was an engraver, globe maker and map publisher based in Augsburg, Germany. He apprenticed with Johann Baptist Homann in Nuremberg and was awarded the title of Imperial Geographer by Karl VI in 1731. By 1732, Seutter was one of the most prolific publishers of his time and was honored by the German Emperor Charles VI with the title of “Imperial Geographer”. He continued to publish until his death in 1757.From the collection of Rich Breiman.keyword: richbreiman

Captain Cook Engravings and Maps

Various maps and engravings that were among the illustrations included in the publications of Captain Cook's journals that served as a first hand account of the experiences of Cook and the crew on each of his three 18th century voyages. These voyages resulted in monumental discoveries of previous unknown lands, people, animals and plants. They were responsible for changing conceptions off the world, particularly the Pacific Ocean from Australia to North America. The official British Admiralty authorized journal publications in total include 8 volumes of text, maps and engravings (3 volumes for the 1st and 3rd voyages and 2 volumes for the 2nd voyage and an atlas of engravings that accompanied the journal of the 3rd voyage).From the collection of Rich Breiman.keyword: richbreiman

Etching, Engraving and Printing

Richard S. Breiman, MD, retired in October 2011 after 10 years of service to the Department of Radiology and Biomedical Imaging. Breiman received his medical degree from UCSF in 1973. He completed a Diagnostic Radiology residency at Stanford University in 1979, followed by CT and Ultrasound fellowships, also at Stanford University, in 1976 and 1978. From 1979-1981, Breiman was an assistant professor of radiology at Duke University, Durham, North Carolina, and a Clinical Instructor of Radiology at UC Berkeley from 1982-1994. Concurrently he served as volunteer clinical faculty at UCSF from 1984-1987. He worked in private practice as a radiologist and partner at Pacific Imaging Consultants from 1989-2001. He was appointed assistant clinical professor in the Department of Radiology and Biomedical Imaging in July 2001, became an associate clinical professor in 2003, and was promoted to a clinical professor in 2007. He served as director of the Henry I. Goldberg Center for Advanced Imaging Education, and more recently on the faculty at San Francisco General Hospital. “Dr. Breiman joined the Radiology faculty here at SFGH at a time of need for our department. His willingness to cover several niches helped us navigate through a rocky period and to emerge as strong as ever,” said Mark Wilson, MD, chief of Radiology at SFGH. ”His warm demeanor, consummate professionalism, and dedication to radiology education will be greatly missed at SFGH.” Breiman will return to the department part-time on a recall appointment to provide clinical coverage at the UCSF Ambulatory Care Center.UCSFkeyword: richbreiman

Audubon Birds - Rich Breiman Collection - Curated by Katharine Griswold

April 2024 - From the collection of Rich Breiman. (shot 2023-07-29)John James "JJ" Audubon was a French-American artist and naturalist, most known for his work in ornithology, published in various editions of “Birds of America.” Born in Haiti, raised in France, Audubon spent his childhood fascinated with birds, and once he headed to the states at 18, his interests only grew. His father had given him an estate in Pennsylvania, where he began a series of drawings of American birds: he would observe the birds’ habitat and behavior, then would shoot and hang it and draw it as close to life as possible. He was never too concerned with making money, remarking in his diary: “birds were birds then as now, and my thoughts were ever and anon thinking toward them as the objects of my greatest delight. I shot, I drew, I looked on nature only; my days were happy beyond human conception, and beyond this I really cared not.” He abandoned or failed at most business ventures; he and his wife spent their young adulthood in poverty, and Audubon even spent some time in debtor prison. He began to spend months at a time in the woods, hunting, drawing, and writing biographies. With a large collection, but just a fraction of what he would come to produce, Audubon sailed to England in search of a friendlier market for his work. His American bird series sold well, and he was able to find a printer for his work in London, as well as a collaborator in William MacGillivray, an ornithologist who assisted him in the descriptions of each bird. Audubon’s work was becoming pretty popular, but the huge folios he was producing were not accessible to everyone. The octavo edition, which is a smaller edition that was meant to be more accessible, was produced in Philadelphia beginning in 1840. Most of the prints in this collection are from the first two editions of the octavo “Birds of America.” In his work, Audubon made use of his extensive research, and of his from-life models. The majority of his images are exactly true to life, with every feather and limb being placed meticulously. To recount his process, he would use wire to pose the birds in positions that would have been the most natural in the wild, while also considering what parts of the bird should be visible to the viewer. There is an obvious compositional effort in the pieces, as well: no bird is alone on the canvas, and while some are more intricate than others, Audubon does his best to place each bird within a fitting habitat. Whether these scenes are real or imagined is indeterminate―it’s probably a bit of both.Audubon’s legacy is fairly complicated for a number of reasons. While he was not the first to do what he did, not even in America, he was the most influential by far. Often praised in his life for his artistic ability, Audubon’s works were beautiful and lifelike. He was respected enough as an ornithologist and natural historian that the Audubon Society, a non-profit that works towards the conservation and habitat preservation of endangered birds, was named after him. But there are also rumors of fraud and theft, for example, that he drew imaginary birds. It's true that there are some birds that he drew that are unidentified, some think that he drew hybrids or was forced to draw in some cases from memory, and some think this was more intentional. There is a controversy regarding his plate of the Bird of Washington, for example, which Audubon claimed to be a new species closely related to the bald eagle, but seems to be just a youngling of that species. This is a fascinating read, and it is linked below. He also in his field notes describes the taste of many of the species he records. In his hunting, it seems, he also killed many more birds than were necessary just for survival and for drawing. Most important to mention was his lifetime of opposition to the abolition movement. He produced writings against emancipation, and he himself bought enslaved people for his estate when he still owned it, and for his expeditions before setting off to England. Despite the importance of his art, and the good that has come from his legacy, it is important to recognize that the man behind them was imperfect, to say the least. For more information:The Myth of John James AudubonJohn James Audubon(Audubon Society)John James Audubon(Britannica)Five Mystery Birds Among Audubon's PaintingsAudubon's Bird of Washington: unravelling the fraud that launched the Birds of AmericaAudubon and his JournalsAll About BirdsBirds of AmericaAudubon Society: Guide to North American BirdsAuthored by Katharine GriswoldKeyword: richbreiman

Larmessin Whimsical Costumes of Professions - Rich Breiman Collection - Curated by Gabrielle Ly

April 2024 - To view voice note transcript, scroll to the bottom. Gabrielle's text:Nicolas de Larmessin I (1632-1694) was a printmaker, known for his portraiture. Apprenticed to Jean Mathieu in 1647, de Larmessin later married the daughter of publisher Pierre Bertrand in 1654 and took over his stock in 1678. Bertrand published many of Larmessin’s works.His collection “Grotesque Costumes,” also known as Habits des meters et professions or Les costumes grotesques et les metiers, features tradesmen and tradeswomen with the wardrobe and tools of their craft. Portraying each tradesperson in the standard costume stance of the time, Larmessin’s portrait combines the influence of ballet costumes, portraying them in a fanciful documentary style. Though the costumes were first created by de Larmessin, his brother or son Nicholas de Larmessin II expanded on this idea of portraying the trades and added thirty-two plates to the collection. To have the full collection of roughly one hundred designs in one place is quite rare.These prints are “productively positioned between the fantastic and lived experience” (Pullins). Created by a tradesman like Larmessin, the portraits ought to be seen in reference to his time (representing trades, fashions, and culture of the time) and referring to the art world. The portraits walk a fine line, in tension between two opposing worlds. To the viewer, this collection deals with familiar materials of French life, though framed like an ethnography print. It lends a fantastical lens to the domestic, changing one’s preexisting perspective.Sources: https://www.britishmuseum.org/collection/term/BIOG34865https://www.martayanlan.com/pages/books/5488/nicolas-de-larmessin/les-costumes-grotesques-et-les-metiers-habits-des-metiers-et-professions?soldItem=truePrint of Louis XIV from https://blog.nationalmuseum.ch/en/2023/01/the-dancing-sun-king/ David Pullins, Techniques of the Body: Viewing the Arts and Métiers of France from the Workshop of Nicolas I and Nicolas II de Larmessin, Oxford Art Journal, Volume 37, Issue 2, June 2014, Pages 135–155, https://doi-org.stmarys-ca.idm.oclc.org/10.1093/oxartj/kcu005_____________________________________________________Katharine's TextNicolas I de Larmissin was a French engraver. Born in 1632, he produced a vast portfolio of work in his lifetime. Most of his work was portraiture, and was often in series: this exhibit features his costumes of professions. Absurdly impractical and opulent, these costumes draw attention to features of various professions in a playful and mocking way. Intricate details give insights into the professions depicted, yet there is an obviously exaggerated aspect of the pieces. Sources: British Museum, Fashion History_____________________________________________________Nicolas de Larmessin was a French engraver born in Paris in 1632. He came from a family of famous generational engravers and printers who worked in the 17th and 18th centuries. Nicolas de Larmessin is known for creating etched pictures of various artisans and skilled laborers. His work, characterized by attention to detail, is part of a series of satires and grotesques of the professions from the 1700s. Little is known about his life, but he is recognized for engraving a number of portraits. He was the elder brother of Nicolas de Larmessin II, who was also a French artist. The goal of Nicolas de Larmessin's artwork depicting artisans and skilled laborers is not fully documented.Source: Perplexity.aiVOICE NOTE TRANSCRIPT:Nicolas de Larmessin I (1632-1694) was a printmaker, known for his portraiture and his works on the different trades. He began learning the trade while apprenticing to the engraver Jean Mathieu in 1647. In 1654, de Larmessin later married the daughter of print-publisher and print-seller Pierre Bertrand, and worked for his father-in-law, taking over his stock in 1678 at Bertrand’s death. His collection “Grotesque Costumes,” also known as Habits des meters et professions or Les costumes grotesques et les metiers, features tradesmen and tradeswomen with the wardrobe and tools of their craft. Though the costumes were first created by de Larmessin, his brother or son Nicholas de Larmessin II expanded on this idea of portraying the trades and added thirty-two plates to the collection. To have a complete collection of roughly one hundred designs in one place is quite rare. Keyword: richbreiman

Old Masters / General - Rich Breiman Collection

various images, formerly in E405, shot on 2023-08-12keyword: richbreiman

Celestials & Globes - Rich Breiman collection

various images, formerly in E405, shot on 2023-08-12keyword: richbreiman

Kathe Kollowitz - Rich Breiman Collection

keyword: richbreiman

The Images of William Hogarth

William Hogarth images from the collection of Rich and Leslie Breiman.keyword: richbreiman