Individual donors to the Fine Arts Museums make our exhibitions, education programs, and the conservation of our collections possible. There are many ways that you can support the Museums:
The Fine Arts Museums of San Francisco rely on our vital partnerships with corporations, foundations, and governmental institutions for support of our exhibitions and programs. Whether start-ups, large international corporations, or family or community foundations, organizations have a range of options to support the Museums, inspire creativity among their workforces and museum visitors, and build community through art.
We are extraordinarily grateful to our growing list of corporate, foundation, and government supporters in these categories:
With their numerous exhibitions and community programs, both the de Young and the Legion of Honor rely greatly on the Fine Arts Museums' Volunteer Council, a vital, 300-member organization that provides visitor services and staff support six days a week.
It was not until the emergence of the artist book in the 20th century that book bindings—a book’s front and back covers and spine—came to be appreciated as more than merely protective or decorative. In the early 1900s, any deluxe artist book—with original print illustrations by a well-known artist, printed on fine papers, and issued unbound in limited quantity—fairly cried out for a creative binding.
Paul Bonet, binding design for the book Nuits de Paris, by Francis Carco (Paris: Au Sans Pareil, 1927), 1927. Onlays of leather with gold tooling. FAMSF, gift of Earl M. Collier Jr. in honor of Ann and Bill Anderson
Since the dawn of time, human beings have been fascinated with the animal world. Depictions of animals are some of the earliest known artistic efforts, dating back to the Paleolithic Era. And this interest has never abated. From sustenance to companionship, animals play a variety of roles in our lives and inspire a range of emotions—fear, love, awe—as well as a host of symbolic associations.
Anonymous Indian artist. Composite Camel, 19th century. Miniature. Achenbach Foundation for Graphic Arts. 1963.24.694
The Fine Arts Museums of San Francisco present an unparalleled collection of decorative arts from the Musée du Louvre, Paris, including some of the most exquisite treasures of the French monarchy from the time of Louis XIV until the Revolution of 1789.
Exhibition organized by the Fine Arts Museums of San Francisco with the exceptional collaboration of the Musée du Louvre.
Cynthia Fry Gunn and John A. Gunn
San Francisco Auxiliary of the Fine Arts Museums
Mr. and Mrs. Adolphus Andrews, Jr.
Richard B. Gump Trust
Mr. and Mrs. William Hamilton
Mr. and Mrs. Kevin C. Lynch
The catalogue is published with the assistance of the Andrew W. Mellon Foundation Endowment for Publications.
L: Portrait of Louis XIV, 17th century. Goldsmith-jeweler: Laurent Tessier Montarsy (?–1684). Miniature painting, silver, and diamond. Inv.: OA12280. Photo: Jean-Gilles Berizzi. C: Agate ewer. Paris, c. 1650. Enamelled gold mount. Entered the collection of Louis XIV before 1673. Inv.: MR231. Photo: Jean-Gilles Berizzi. R: Bust of Marie-Antoinette. Commissioned by Prince Alexandre Kourakine. 1782. Hard-paste porcelain. Inv.: OA10898. Photo: Peter Harholdt.
In 1940, art director and fashion illustrator René Bouché (1905-1963) left war-torn Paris for New York and became a regular contributor to Vogue magazine. In 1945, Vogue commissioned Bouché, who was an art director and fashion illustrator in Paris before World War II, to cover the first post-war couture shows in Paris. The trip to Europe was traumatic for the artist, who discovered a people struggling to regain normalcy after the war.
L: René Robert Bouché, “La Parisienne,” from The Morning After, Paris, 1945. Pen, ink, and color wash. Gift of Denise B. Fitch in memory of my late husband, René Robert Bouché (1905–1963). 2010.61.2.13. R: René Robert Bouché, "5 o'clock beer—cherchez la femme, never mind where and how" from The Morning After, Paris, 1945. Pen, ink and color wash on paper Gift of Denise B. Fitch in memory of my late husband, René Robert Bouché (1905–1963). 2010.61.2.15
The rarely seen Boîte en Valise (1941) and Sur Marcel Duchamp (1959) take center stage in this small-focus exhibition featuring seven artworks by Marcel Duchamp (1877–1968) that refuse to conform to traditional bibliographic structure, hovering between book, objet d’art, and sculpture. The Boîte for example is a leather suitcase that contains miniature replicas, photographs, and color reproductions of Duchamp’s other works.
Marcel Duchamp, Self-Portrait in Profile, from Sur Marcel Duchamp/Eau et gaz à tous les étages by Robert Lebel (Paris: Editions Trianon, 1959). Torn-paper collage. Museum Purchase, Reva and David Logan Collection of Illustrated books, Reva and David Logan Fund. 2001.19.3