Nuovi arrivi. Chimei Hamada. Oltre a un lungo testo (in italiano, giapponese e inglese) di Takuma Ito su Chimei Hamada, la cartella contiene le riproduzioni a quattro colori (formato A4) di 19 acqueforti e acquetinte degli anni Cinquanta e Sessanta recentemente donate dall’artista giapponese, tra i più noti incisori del suo paese, al Gabinetto Disegni e Stampe degli Uffizi: Santo cavallo (1950, mm 385x285)Elegia per un nuovo coscritto: La sentinella (1951, mm 445x334)Elegia per un nuovo coscritto (1952, mm 381x285)Elegia per un nuovo coscritto: Si leva un sole flaccido (1952, mm 251x331)Elegia per un nuovo coscritto (1953, mm 345x445)Elegia per un nuovo coscritto: Artiglieria che marcia in montagna (1953, mm 410x330)Elegia per un nuovo coscritto: Paesaggio (Un angolo)(1954, mm 370x446)Campo di esecuzione (A) (1954, mm 430x338)Vice-Preside Sig. D (1956, mm 383x287)Una canzone d’amore (1957, mm 443x343)Volo (1958, mm 505x665)Un gruppo di ciechi (1960, mm 496x474)Muro (1961, mm 495x406)Chiacchiere (1961, mm 495x378)Torso di cavallo (1961, mm 415x505)Poeta (1963, mm 471x378)Catacomba (1966, mm 532x503)Il castello del Conte di Fiandra (1970, mm 445x345)Bottone (B) (1988, mm 510x670).

Oxford, Ashmolean Museum 2010, cm.24,5x29, pp.160, paperback. Weimin He's 324 ink drawings, pen sketches and woodblock prints comprise an intimate record of the progress of construction in the newly designed Ashmolean Museum that opened late last year. An unusual approach to documentation in the age of digital photography, the catalogue provides a delightful art experience for readers who will never set foot in the Ashmolean, which is the museum for the University of Oxford. Weimin has drawn workers lifting roof beams, welding metal rods and pouring cement into the mixer. He gives us behind-the-scenes portraits of museum personnel, making each individual come alive, for example, an objects conservator at her work and a researcher in the prints room at his. An artist-in-residence at the museum and an art scholar, Weimin employed Chinese drawing and woodblock printmaking methods. His portraits were drawn on pi, xuan papers or album leaves, with Chinese brushes and inks that have been used for over a millennium. Seven of the prints and the catalogue were presented to Queen Elizabeth for the museum's opening.