A profile of the glorious collective voice of The Metropolitan Opera Chorus and a look at the Sonnet Project, a program of the New York Shakespeare Exchange, which offers innovative ways to keep the work of the Bard of Avon fresh and relevant today.

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> COMING UP ON 'NYC ARTS,' PROFILE OF THE COLLECTED VOICE OF THE METROPOLITAN OPERA CHORUS.

WE TRY TO PRESENT OURSELVES AS ONE CHARACTER IN ANY GIVEN OPERA, BUT COMPOSED OF 80 INDIVIDUALS.

FIGURED OUT HOW TO CREATE CHARACTER AS CHORUS BY MUSICAL EXPRESSION OF THE SCORE.

> AND A LOOK AT THE SONNET PROJECT, A PROGRAM OF THE NEW YORK SHAKESPEARE EXCHANGE WHICH OFFERS INNOVATIVE WAYS TO KEEP THE WORDS OF THE BARD OF AVON FRESH TODAY.

CREATED DIRECTED BY DIFFERENT DIRECTOR AND STAR A DIFFERENT ACTOR.

'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER.

LOUIS SONNY TURNER FUND FOR DANCE.

JUDY AND JOHN ARNHOLD, ELISE AND JEFFREY DOWN.

ELROY AND TERRY CRUM HOELTS FOUNDATION, GENE DUBINSKI ESTATE.

ARTS FOUNDATION AND ELLEN AND JAMES S. MARCUS, ADDITIONAL FUNDING BY MEMBERS OF 13.

'NYC ARTS' MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK, FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE IN BANKING.

FROM VERY FIRST DAY, STILL VERY FIRST THING ON OUR MINDS.

AND MY SWAN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE, INFORMATION AT SWANGALLERIES.COM.

♪♪

> GOOD EVENING, WELCOME TO 'NYC ARTS,' I'M ON LOCATION AT MUSEUM OF MODERN ART ON WEST 53rd STREET.

AFTER MAJOR RENOVATION, MOMA WILL REOPEN.

BE SURE TO TUNE IN OCTOBER 31st WHEN WE FEATURE MY CONVERSATION WITH MOMA's DIRECTOR ABOUT THE DRAMATIC CHANGES TO THE MUSEUM AND PLANS FOR THE FUTURE.

FOUNDED IN 1929 IN TEMPORARY QUARTERS ON 5th AVENUE, TODAY MOMA TAKES UP MOST OF THE BLOCK.

ARCHITECTS INCREASED THE SPACE BY A THIRD, 175,000 SQUARE FEET.

ICONIC PAINTINGS AND SCULPTURES DEFINING MODERN IN CONTEMPORARY WORLD ARE STILL HERE.

BUT REINSTALLATION ALSO PROVIDES A COMPLETELY NEW PRESENTATION OF THE MUSEUM'S RENOWNED COLLECTION.

SHOWING MORE ART IN NEW AND INTERDISCIPLINARY WAYS.

ITS ENTRYWAY ALSO TRANSFORMED WITH INCREASED PUBLIC SPACES, PROVIDING FREE ACCESS TO STREET LEVEL GALLERIES AND WELCOMING THE CITY INTO THE MUSEUM.

NOW A LOOK AT ANOTHER ICONIC INSTITUTION, THIS ONE AT LINCOLN CENTER.

LAST MONTH THE CURTAIN ROSE ON A NEW SEASON AT NEW YORK CITY'S WORLD RENOWNED METROPOLITAN OPERA.

FROM NOW THROUGH SPRING OF 2020 DOZENS OF OPERA'S MOST TALENTED SINGERS WILL GRACE THE MAIN STAGE, UNPARALLELED ARTISTRY.

EACH HAS UNIQUE AND CAPTIVATING STAR POWER.

ONE VOICE LESS HERALDED HEARD IN EVERY PRODUCTION, COLLECTIVE VOICE OF THE CHORUS, COMPRISED OF 80 FULL-TIME SINGERS.

♪♪ THEIR LEADER IS CELEBRATED CHORUS MASTER DONALD COLUMBO.

REHEARSES IN ALTOGETHER, DEVOTING TIME WITH HIS CHORUS, PERFECTING THEIR MUSICAL EXPRESSION OF THE SCORES.

VA, VA, VA, VA.

THIS SEASON MAESTRO COLUMBO LEADS THE CHORUS IN 25 PRODUCTIONS, OVER 200 PERFORMANCES.

THAT'S A BIG CHALLENGE.

HERE'S A LOOK BACK AT RIGOROUS PREPARATIONS TO READY FOR THE MAIN STAGE.

♪♪

CHORUS AT THE MET IS AN INTERESTING COMPONENT OF EVERY OPERA.

WE HAVE TO BE SO FLEXIBLE.

WE TRY TO PRESENT AS ONE CHARACTER IN ANY GIVEN OPERA BUT WE'RE COMPOSED OF 80 DIFFERENT INDIVIDUALS.

MY JOB IS TO CONTROL MUSICAL ASPECT OF THE PRESENTATION.

TRY TO GET THE SOUND TO BE UNIFIED AND COME ACROSS AS A CERTAIN CHARACTER.

HERE WE WORK ON SOUND, DICTION, PHRASING.

WE FIGURE OUT HOW TO CREATE A CHARACTER AS A CHORUS BY OUR MUSICAL EXPRESSION OF THE SCORE.

AND ONCE EVERYONE IN THE CHORUS KNOWS THIS, IT SORTS FREES US.

A NEW CHORUS AT THE MET IS USUALLY FACED WITH A CHALLENGE OF DECIDING, WHOA, I CAN'T MEMORIZE 24 OPERAS IN THE NEXT TWO OR THREE WEEKS.

FIRST YEAR I WAS QUITE SURPRISED TO SEE MY 23 OPERAS I WAS IN FOR THE SEASON ROLLED IN ON A DOLLY TO MY DESK, EVERYONE WISHING ME LUCK.

IT WAS QUITE -- IT GETS EASIER AS YEARS GO ON, YOU DEVELOP A REPERTOIRE.

BUT THREE TO FIVE YEARS TO SETTLE IN.

TRAVIATA, NEED TO REHEARSE IN LONG GESTURES, ENTIRE PHRASE, ENTIRE PIECE, TO GET A SENSE OF THE STRUCTURE AND MUSICAL VALUE OF THE PARTICULAR SEGMENT.

♪♪

BASS.

LEAN.

♪♪

IN THE CONTRA TAPA AT END OF THE SCENE, ALL ABOUT SINGING SOFTLY BUT TELLING HER TO TAKE HEART, WE'RE HEAR FOR YOU.

CAN'T DO IT SINGING LOUDLY BUT SINGING INTENSELY, WITH PURPOSE AND DIRECTION TO THE TONE.

♪♪ ♪♪

REMEMBER WITH THIS, YOU'RE INTRODUCING TRAVIATA TO PEOPLE.

WE DON'T HAVE INDIVIDUAL LINES, WE HAVE ONE COMMUNAL EXPRESSION.

♪♪ YOU REALLY HAVE TO GO BAR BY BAR, ALMOST NOTE BY NOTE TO MAKE SURE THE ACCURACY IS THERE BEFORE YOU CAN EVEN BEGIN TO RUN THE SEGMENT.

THERE'S ONE SECTION WE WERE REHEARSING, AND IT BASICALLY LASTS ABOUT 30 SECONDS.

IT TAKES I WOULD SAY AT LEAST AN HOUR ON SINGING THAT LITTLE SEGMENT TO GET COMFORTABLE AND SECURE.

VOTZAK, GOING TO PUT LAST PIECE TOGETHER, LAST LITTLE SEGMENT.

ONE, TWO, OFF.

♪♪

ALTOS, ALTOS, ALTOS!

BASSES, CAN YOU COME IN STRONGER ON D NATURAL?

ONCE MORE PLEASE.

IT'S GOING TO BE A BIT OF A CHALLENGE.

IT'S REALLY ANGULAR MUSIC.

NOT ALWAYS PRETTY.

LOT OF GERMAN TEXT THAT'S HARD TO CHEW ON SOMETIMES.

BUT IT'S GOING TO BE A NEAT PRODUCTION, I KNOW ALREADY.

IT'S BEEN AN INTERESTING JOURNEY COMING FROM THE BACKGROUND AS A SOLOIST, LEARNING TO INCORPORATE MY VOICE MORE AND BLEND MORE AND JUST FIND MY WAY AS A CHORESTER.

PUTTING IN AN EXTRA.

THERE IT IS.

I FEEL SO -- DRIVING ME CRAZY.

NO.

NOT GOING TO DO THIS IF -- NOT THE SPEED.

THANK YOU SO MUCH.

♪♪

IT MAY SEEM LIKE WE'RE GATHERED TOGETHER IN GROUP HUDDLE IN THIS HALL, BUT THEN WE PLAY THE GAME.

IF HUDDLE IS INTENSE, USUALLY THE RESULTS IN THE GAME ARE POWERFUL.

♪♪

I CAN'T THINK OF A BETTER SCENE TO START THE OPERA SEASON WITH THAN DOING THE WITCHES OF MACBETH WITH YOU.

SOMETIMES DIRECTORS COME IN, GOT 80 PEOPLE, NEED TO MOVE THEM AS BLOCK, KEEP THE SOPRANOS AND TENORS TOGETHER, THAT'S NOT IT AT ALL.

CAN FUNCTION AS A GROUP.

GREAT TO WORK WITH PEOPLE LIKE GEENA WHO KNOWS US AS INDIVIDUALS.

THREE WITCHES IN 'MACBETH,' REALLY IMPORTANT TO KEEP YOUR GROUP SEPARATE HERE.

A DEFINED GROUP.

YOUR GROUP WILL BE ABLE TO COME MORE FROM AN ANGLE AND YOUR GROUP COME MORE FROM AN ANGLE.

'MACBETH,' THE PLAY, THREE INDIVIDUALS, BUT INDIVIDUALS WE HAVE ARE MADE OF 14 OR 15 WOMEN.

TO GET 15 WOMEN TO ARTICULATE AN EARTHSHATTERING PROPHECY TO MACBETH IN UNIFIED FASHION TAKES A LOT OF WORK.

AND IT'S FIRST SCENE OF THE OPERA, GETTING GOING VOCALLY FOR THE EVENING.

WITCHES AT BEGINNING HAVE TO BE TURNED ON IMMEDIATELY WHEN THEY MAKE THAT FIRST DESCENT FROM THE TOP OF THE FOREST, RUNNING DOWN TO THE FRONT OF THE STAGE.

♪♪

WE'RE AN ENSEMBLE.

IT'S GETTING OUR SOUND REFINED.

SOMETIMES YOU HAVE TO STEP BACK FROM TRYING TO BE A SOLOIST, BE WITH THE GROUP.

MET'S CHORUS IS ONE OF THE GREATEST IN THE WORLD, THE CHORUS I KIND OF GREW UP WITH.

ONE OF THE BIGGEST ROLES I'VE EVER SUNG, SUPPORTIVE EMOTIONALLY, AND LITERALLY SUPPORTING ME, HELP ME UP ON TABLES, GET DOWN, HOLD MY HAND, COMFORTABLE WITH THEM AND GRATEFUL THEY'RE HERE WITH ME.

♪♪

WE WILL PROBABLY RUN THE ENTIRE SCENE ONCE JUST SO EVERYBODY GETS A SENSE OF THE FLOW OF THE SCENE.

THEN PROBABLY STOP, GO BACK AND DO AS MUCH NIT-PICKING AS WE HAVE TIME FOR.

JUST RELEASE LONG NOTES.

I LOVE THE NIT-PICKING PART.

SHOULD BE A LOT OF FUN, SHOULD BE NOISY, SHOULD BE CHAOTIC, STILL STRUCTURED MUSICALLY.

THAT'S ALWAYS THE DIFFICULTY WITH THESE PARTY SCENES.

THEY HAVE TO SOUND LIKE EVERYBODY IS HAVING A GRAND OLD TIME AND EVERYTHING IS VERY SPONTANEOUS, BUT IT REALLY ISN'T, IT'S ALL VERY CONTROLLED AND VERY STRUCTURED MUSICALLY.

I THINK IF YOU WERE COMING TO THE MET AND WANTED TO SEE WHAT CHORUS IS ABOUT, COME TO BUTTERFLY, 'MADAME BUTTERFLY' AND WATCH THE ENTRANCE WHERE ENTIRE GROUP OF GEISHAS APPEAR MAGICALLY FROM BOTTOM OF THE STAGE AND ALL APPEAR AT TOP OF THE HILL AS BUTTERFLY IS MAKING HER ENTRANCE.

SIMPLE MOMENT WHERE EVERYTHING JUST SEEMS TO BE IN PLACE.

JUST HAPPENS.

AND YOU SEE SIMPLICITY.

IT'S SO BEAUTIFUL HERE AT THE MET.

♪♪

> THE BARD OF AVON IS WITHOUT DOUBT ONE OF THE GREATEST WRITERS IN THE ENGLISH LANGUAGE.

HIS WORKS PERFORMED AND STUDIED OVER 400 YEARS.

MOST PEOPLE CAN RECITE A PHRASE OR TWO FROM SAY SHAKESPEARE PLAY.

TO BE OR NOT TO BE, THAT IS THE QUESTION, OR THE WINTER OF OUR DISCONTENT.

HIS SONNETS LESS WELL KNOWN.

GOAL IS PREVENT FRESH POINTS OF ENTRY TO SHAKESPEARE'S WORKS IN NEW INNOVATIVE WAYS.

ONE IS THE SONNET PROJECT.

IN ADDITION TO PLAYS, SHAKESPEARE WROTE 154 SONNETS, EACH A 14-LINE POEM WRITTEN IN IAMBIC PENTAMETER, THE RHYTHM IN WHICH THE WORDS ARE SPOKEN.

COMMISSIONING A SHORT INDEPENDENT FILM TO REPRESENT EACH OF THE SONNETS.

SPOKE WITH ROSS WILLIAMS, CREATOR OF THE NEW YORK SHAKESPEARE EXCHANGE.

LOOK IN THY GLASS AND TELL THE FACE THOU VIEWEST, NOW IS THE TIME THAT FACE SHOULD FORM ANOTHER.

FACT THAT PEOPLE SAY I DON'T LIKE SHAKESPEARE OR SHAKESPEARE IS OVER MY HEAD IS THE IMPETUS FOR CREATING THIS EXCHANGE.

MY THOUGHT IS SHAKESPEARE WAS WRITING FOR ALL EDUCATION LEVELS AT HIS TIME.

I KNOW IF PERFORMED CORRECTLY IN OUR MODERN CULTURE, SHAKESPEARE CAN TAP THE EAR, GET INTO THE BRAIN, THE SOUL, FIND A WAY TO BUBBLE UP IN A BEAUTIFUL WAY.

THOU ART THY MOTHER'S GLASS AND SHE IN THEE CALLS BACK THE LOVELY APRIL OF HER PRIME.

SO THOU, THROUGH WINDOWS OF THINE AGE SHALL SEE DESPITE OF WRINKLES THIS THY GOLDEN TIME.

I STARTED THINKING ABOUT THE SONNETS.

BITE-SIZED, NOT THAT FAMILIAR TO MOST OF OUR AUDIENCES, AND THEY ARE FILLED WITH SUCH SHAKESPEAREAN BEAUTY.

WE'RE CREATING 154 FILMS, EACH ONE REPRESENTATIVE OF ONE OF SHAKESPEARE'S SONNETS.

WAY WE HAVE THIS SET UP, EACH IS DIRECTED BY A DIFFERENT DIRECTOR AND STAR A DIFFERENT ACTOR.

EACH ONE WILL ALSO TAKE PLACE IN A DIFFERENT LOCATION THROUGHOUT FIVE BOROUGHS OF NEW YORK.

THAT FILM HAS A CINEMATIC APPROACH BUT IN STORYTELLING MOST STRAIGHTFORWARD READS OF THE SONNET.

WONDERFUL ACTRESS STANDING THERE SPEAKING THE TEXT.

IF I COULD WRITE THE BEAUTY OF YOUR EYES.

AGE TO COME WOULD SAY THIS POET LIES.

SHE HAS CREATED HER OWN WORLD IN WHICH THE SONNET LIVES BUT THERE'S NOT A TON OF EXTRA CHARACTERS OR NARRATIVE ADDED.

ONE OF THE THINGS I LOVE ABOUT IT.

SIMPLE APPROACH WITH A BACKDROP THAT'S INTRIGUING.

THAT SONNET SPECIFICALLY IS ABOUT THE PASSAGE OF TIME.

AND THE DIRECTOR ENDED UP USING A HIGH SPEED BACKDROP, WHERE WE SEE PEOPLE GOING IN AND OUT BEHIND HER.

THE SONNET FILMED AT BETHESDA ARCADE IS INCREDIBLY CINEMATIC.

WAY THE DIRECTOR WEAVES IN THE DIFFERENT FILM TREATMENTS AND TONES THAT ARE THERE.

IT'S ABOUT MEMORY AND ABOUT A PERSON WHO HAS LOST THE THINGS THAT HE LOVES.

WHEN MOST I WAKE, THEN TO MINE EYES BEST SEE FOR ALL THE DAY THEY VIEW THINGS UNRESPECTED, BUT WHEN I SLEEP, IN DREAMS THEY LOOK ON THEE.

WE TRY TO GET PEOPLE WHO ARE SKILLED WITH THE LANGUAGE, BUT IT'S NOT ALWAYS PEOPLE WHO HAVE BEEN PLAYING PROSPERO OR JULIET IN MAJOR PRODUCTIONS ACROSS THE COUNTRY, THOUGH WE HAVE THOSE AS WELL.

FIRST FOUND OUT JOANNA GLEASON WAS INTERESTED IN DOING A SONNET.

THREE DAYS BEFORE, CHRIS IS COMING WITH ME IF YOU WANT HIM IN THE FILM.

CHRIS SARANDON IS HER HUSBAND.

LADY MONTAGUE, NOT A COMPLETE CHOICE WHY SHE'S THERE, MATTER OF SHE HAS TO SOCIALLY?

WHATEVER THE CHOICE, IT'S GOING TO BE RIGHT BECAUSE YOU'RE BRILLIANT AS ALWAYS.

OKAY?

GOOD.

AS AN UNPERFECT ACTOR ON THE STAGE WHO WITH HIS FEAR IS PUT BESIDE HIS PART OR SOME FIERCE THING REPLETE WITH TOO MUCH RAGE WHOSE STRENGTH ABUNDANCE WEAKENS HIS OWN HEART, SO I FOR FEAR OF TRUST FORGET TO SAY THE PERFECT CEREMONY OF LOVE'S RIGHT.

AND IN MY OWN LOVE'S STRENGTH SEEM TO DECAY OR CHARGE WITH BURDEN OF MY OWN HEART'S MIGHT.

OH, THAT MY LOOKS BE THEN THE ELOQUENCE AND DUMB PRESAGERS OF MY SPEAKING BREAST.

WHO PLEAD FOR LOVE AND LOOK FOR RECOMPENSE MORE THAN THAT TONGUE WHICH MORE AND MORE EXPRESSED.

OR LEARN TO READ WHAT SILENT LOVE HAS WRIT, TO HERE WITH EYES LONGS FOR LOVE'S FINE WIT.

I THINK THAT'S IT GUYS.

BREAK NOW, COME BACK AFTER LUNCH, TALK SOME MORE.

THANKS EVERYBODY.

SHAKESPEARE, NYC's ORIGINAL PUB CRAWL, DOING IT ABOUT FIVE YEARS IN NEW YORK CITY, ON A SATURDAY AFTERNOON WE GATHER A GROUP OF PEOPLE, 75 TO 100 PEOPLE.

AND IN ONE NEIGHBORHOOD WILL TAKE THEM FROM BAR TO BAR.

IN MIDDLE OF THE VISIT, SHAKESPEAREAN SCENE ERUPTS IN MIDDLE OF THE CROWD.

PERSON SITTING NEXT TO YOU MIGHT CLIMB ON THE BAR TOP AND IS JULIET, AND ROMEO POPS UP ON THE OTHER SIDE AND THEY PERFORM THE BALCONY SCENE.

IT'S SURPRISING TO ME HOW EXCITED THE CROWD GETS WATCHING THIS.

FOR YOUR OWN HONOR TO CONTAIN THE RING, YOU WOULD NOT THEN HAVE PARTED WITH THE RING.

AMAZING EVERY TIME WE DO IT IT TOUCHES PEOPLE WAY IT DOES.

ALSO EDUCATIONAL COMPONENT COMING UP.

WORKING ON TWO-WEEK CURRICULUM THAT INTRODUCES STUDENTS TO BUILDING BLOCKS OF SHAKESPEARE THROUGH THE SONNET PROJECT.

IN THAT PROJECT THE STUDENTS CREATE THEIR OWN SONNET PROJECT FILMS USING MOBILE TECHNOLOGY.

WITH ALL OF OUR WORK, SHAKESPEARE EXCHANGE, WE'RE FOCUSED ON INTRODUCING SHAKESPEARE TO PEOPLE IN WAYS THEY MAY NOT EXPECT.

FROM THE SONNET PROJECT TO THE SHAKESPEARE PUB CRAWLS AND MAIN STAGE PRODUCTIONS ARE OPENING THESE TEXTS UP AND PEOPLE WALKING AWAY SAYING I DIDN'T KNOW SHAKESPEARE COULD DO THAT OR THAT I LIKED SHAKESPEARE.

IT'S BEEN REALLY GRATIFYING.

BUT IF THE WORLD FROM ME DEAR FRIEND, ALL LOSSES ARE RESTORED AND SORROWS END.

♪♪

THANKS FOR JOINING US THIS EVENING.

I'M ON LOCATION AT MUSEUM OF MODERN ART.

GOOD NIGHT AND SEE YOU NEXT TIME.

> NEXT WEEK ON 'NYC ARTS,' PROFILE OF RENOWNED PHOTOGRAPHER, A VIBRANT PRESENCE IN THE ART WORLD.

I REMEMBER WALKING THROUGH PARIS AND SUDDENLY SMELL BAKING CROISSANT ON THE AIR, BUTTER AND SUGAR AND OH, YOU IMMEDIATELY WANT A CROISSANT OR COOKIE OR SOMETHING.

THEN TAKE TWO STEPS AND IT'S GONE.

TO ME THAT'S WHAT PHOTOGRAPHY IS.

YOU WALK ALONG THE STREET AND SOMETHING HAPPENS.

AND YOU GET IT, IT'S A VISUAL THAT IS AS PRECISE AS THAT FRAGRANCE THAT'S ONLY IN THE AIR OF A DOORWAY.

AND A TRIP UP TOWN FOR LOOK AT AUD OBON MURAL PROJECT TO CREATE MURALS THAT PAY TRIBUTE TO BEAUTIFUL BIRDS AT RISK DUE TO CLIMATE CHANGE.

♪♪ ♪♪

Announcer: FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P. WALTER.

FOUNDATION.

LOUIS SONNY TURNER FUND FOR DANCE.

JUDY AND JOHN ARNHOLD.

ELISE JAFFE AND JEFFREY BROWN.

CHARLES AND VALERIE DIKER.

ELROY AND TERRY KRUMBHOLZ FOUNDATION.

GENE DUBINSKI APPLETON ESTATE.

ARTS FOUNDATION AND ELLEN AND JAMES S. MARCUS, ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK THROUGH OUR DOORS.

FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

PUBLIC COMMISSION FROM VERY FIRST DAY AND STILL FIRST THING ON OUR MINDS.

AND BY SWAN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY, FIRST-TIME BUYER OR LOOKING TO