Abstract
Oregon was put prominently on the calligraphy map last autumn with the premier showing at the Portland Art Museum of an ambitious exhibition: ‘Calligraphy: The Golden Age and its Modern Revival’. It reopened, with a number of additions and subtractions, at the Grolier Club of New York City in mid-December to a large and appreciative audience. Never before, in this country anyway, has the art of the writing master been seen in so many fine examples written viva mano. It was done to the taste of a Montefeltro duke—not a page of paper or vellum in the whole show had passed through printing press or camera.The Portland Art Association confessed to an ulterior motive.
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