Catalog accompanying an exhibition of Jake Berthot paintings held at the Rose Art Museum, Brandeis University, from May 15-June 26, 1988. 4to (8.75 × 11.5 inches), printed wrappers, 56 pages, illustrated in color. With an essay by Carl Belz. Inscribed at length by Berthot on the verso of the front free endpaper to art critic Dore Ashton (“Dorie”): “for times like these, when spirit, like nature, has been put in a kind of museum, not a state to live in, you a non visitor, are most welcome and I thank you for your part, that is with love. Jake and respect.” Ashton wrote on Berthot repeatedly beginning in the early 1970s, and their extensive correspondence survives in their respective archives. Laid in are two contemporary photocopied reviews of the 1988 retrospective and an invitation to Berthot’s 1996 Nielsen Gallery exhibition, with Ashton’s manuscript notation assigning the material to her “file Berthot.” A particularly substantive artist-to-critic association copy, preserving part of Ashton’s working documentation on the artist. From the library of Dore Ashton. Binding shaken; cracked near the center with one near-loose page. Light bumping and rubbing to extremities, with two closed tears to spine head.
Catalog accompanying an exhibition of Jake Berthot paintings held at the Rose Art Museum, Brandeis University, from May 15-June 26, 1988. 4to (8.75 × 11.5 inches), printed wrappers, 56 pages, illustrated in color. With an essay by Carl Belz. Inscribed at length by Berthot on the verso of the front free endpaper to art critic Dore Ashton (“Dorie”): “for times like these, when spirit, like nature, has been put in a kind of museum, not a state to live in, you a non visitor, are most welcome and I thank you for your part, that is with love. Jake and respect.” Ashton wrote on Berthot repeatedly beginning in the early 1970s, and their extensive correspondence survives in their respective archives. Laid in are two contemporary photocopied reviews of the 1988 retrospective and an invitation to Berthot’s 1996 Nielsen Gallery exhibition, with Ashton’s manuscript notation assigning the material to her “file Berthot.” A particularly substantive artist-to-critic association copy, preserving part of Ashton’s working documentation on the artist. From the library of Dore Ashton. Binding shaken; cracked near the center with one near-loose page. Light bumping and rubbing to extremities, with two closed tears to spine head.
