About painter


Edgar Degas in collaboration with Walter Barnes,
The Apotheosis of Degas, 1885

Edgar Degas (Hilaire Germain Edgar DE GAS) (1834-1917) is one of the 19th century’s greatest painters, draftsmen and printmakers and an innovative sculptor and photographer. Degas created readily-saleable small-scale works in pastel, gouache and distemper, media that allowed him to work more rapidly. His subject matter included dancers, theater scenes, café-concerts, brothel scenes and nudes, along with portraits of friends.

From an aristocratic family, he belied his pedigree when he was backstage at the Paris Opera, sketching the young, ballet dancers in the chorus line. Degas is also known for scenes of Paris racetracks and horses, restaurant interiors, cabarets and cafés, brothels and prostitutes and, above all, his portraiture, with its searing delineation of social class.


Ludovic Halévy (1834 - 1908)

Ludovic Halévy (1834 – 1908) was a French librettist and novelist who, in collaboration with Henri Meilhac, wrote the librettos for most of the operettas of Jacques Offenbach and who also wrote satiric comedies about contemporary Parisian life.

These works’ scripts are characterized by buffoonery, farce, and the light and ironic mockery of society. Halévy and Meilhac also wrote the libretto for Georges Bizet’s opera Carmen (1875). Among the best of their entertaining drawing-room comedies are Fanny (1868) and Froufrou (1869).

Halévy himself was also a skilled writer of novels and short stories. The best of his fiction includes La Famille Cardinal (1883), a study of lower-class Parisian life during the early years of the Third Republic. The pompous, pedantic, venomous Monsieur Cardinal will long survive as the true image of sententious and self-glorifying immorality.

About book

Degas made the monotypes to illustrate his close friend, writer and librettist of Carmen, Ludovic Halévy's book, La Famille Cardinal, a satire of social-climbing ballet dancers, controlling stage mothers and the backstage sex-trade. Hoping to illustrate a new edition of the book, originally published in 1872, Degas created a collection of monotypes inspired by the story in the early 1880s. Since Halévy narrated the book in the first person, Degas included him in nine of the illustrations. Halévy, however, failed to recognize the greatness of these monotypes.


Edgar Degas

Degas first used the monotype medium in 1874/5 having been introduced to it by Vicomte Ludovic Napoléon Lepic, an engraver and member of the Société des Aquafortistes. His initial pencil studies for the Cardinal series were done two years later, but it was not until the 1880s that he began systematic work on the monotype illustrations.

By the 1880s Degas’s style was tending towards an increasing assimilation of impressionist techniques. However, the blurred contour and the painterly application of ink are effects inherent to the monotype medium, as much as they may be characteristics of impressionist painting. Nevertheless, the use of this medium does locate a change of emphasis for Degas especially since it parallels his growing tendency for pastel. With the use of pastel Degas grew increasingly to understand colour; with monotypes, which he himself described as ‘dessins faits avec l’encre grasse et imprimés’, he learned to compose in tonal areas – shapes rather than lines.

Although his eyesight and general health deteriorated during the 20th century, he continued to work until 1912.

It would be surprising to see how realistic art, or even naturalistic, to which Degas while recourse, has departed from the tradition of sugary elegance of the Second Empire, by which were made miniatures of Edmond Morin for the first edition of Monsieur et Madame Cardinal, and by which followed the genre of Grevin presented in illustrations of Henry Maigrot for publication Petites Cardinal; by comparing the illustrations of these two books with those that did Degas, it will be understood as a great artist ahead of his time!

Degas' art influenced a generations of artists.


Exhibits


Edgar Degas
"PORTRAIT OF LUDOVIC HALEVY (1834-1908)"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY TALKING WITH A DANCER"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY MEET MADAME CARDINAL ON BACKSTAGE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"LUDOVIC HALÉVY & MADAME CARDINAL TALKING ON THE SIDELINES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"LUDOVIC HALÉVY & MADAME CARDINAL TALKING ON THE SIDELINES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"LUDOVIC HALÉVY & MADAME CARDINAL TALKING ON THE SIDELINES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY & MADAME CARDINAL TALKING ON THE SIDELINES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY & MADAME CARDINAL TALKING ON THE SIDELINES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"PORTRAIT OF VIRGINIE CARDINAL'S FAVORITE, THE ACTOR CROCHARD"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THE CARDINAL SISTERS TALKING TO ADMIRERS"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MARQUIS CAME TO TO AGREE ON VIRGINIE CARDINAL"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"CARDINALS CUSSING AT THE TABLE WITH THE MARQUIS. MR. CARDINAL GETTING UP GOING TO THROW A PITCHER IN THE HEAD OF THE MARQUIS, PAULINE RUNS AWAY CRYING, VIRGINIE IS SEMI-FAINT AND CRIES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"CARDINALS CUSSING AT THE TABLE WITH THE MARQUIS. MR. CARDINAL GETTING UP GOING TO THROW A PITCHER IN THE HEAD OF THE MARQUIS, PAULINE RUNS AWAY CRYING, VIRGINIE IS SEMI-FAINT AND CRIES"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY WATCHING DANCERS DESCEND FROM THE DRESSING ROOM TO THE STAGE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"BALLET DANCERS COMES DOWN FROM THE DRESSING ROOM GOING ON STAGE AND PASS NEAR LUDOVIC HALEVY ..."
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"BALLET DANCERS COMES DOWN FROM THE DRESSING ROOM GOING ON STAGE AND PASS NEAR LUDOVIC HALEVY ..."
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY CLIMBING UP STAIRS GOING TO THE DRESSING ROOM"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"LUDOVIC HALÉVY IN THE DRESSING ROOM APPROACHED TO MADAME CARDINAL, WHO IS READING A NEWSPAPER"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY IN THE DRESSING ROOM APPROACHED TO MADAME CARDINAL, WHO IS READING A NEWSPAPER"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"IN THE DRESSING ROOM LUDOVIC HALEVY SAT DOWN WITH MADAME CARDINAL AND SHE TELLS HIM ABOUT THE ARREST OF HER HUSBAND"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"IN THE DRESSING ROOM LUDOVIC HALEVY SAT DOWN WITH MADAME CARDINAL AND SHE TELLS HIM ABOUT THE ARREST OF HER HUSBAND"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"IN THE DRESSING ROOM LUDOVIC HALEVY SAT DOWN WITH MADAME CARDINAL AND SHE TELLS HIM ABOUT THE ARREST OF HER HUSBAND"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MADAME CARDINAL SEES OFF MONSIEUR CARDINAL, WHO IS LEAVING IN A CABRIOLET"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MADAME CARDINAL SEES OFF MONSIEUR CARDINAL, WHO IS LEAVING IN A CABRIOLET"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THE FOYER"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THE FOYER"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"INTERMISSION IN BACKSTAGE IN THE OPERA"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"INTERMISSION IN BACKSTAGE IN THE OPERA"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"THEY HASN'T LISTENED ME CAREFULLY. IT WAS ALSO THE FIRST FITTING DRESSES FROM GREVIN AND DEMOISELLES WAS SPINNING NEAR LARGE FOYER MIRROR ..."
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THEY HASN'T LISTENED ME CAREFULLY. IT WAS ALSO THE FIRST FITTING DRESSES FROM GREVIN AND DEMOISELLES WAS SPINNING NEAR LARGE FOYER MIRROR ..."
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY INQUIRING ABOUT SISTERS CARDINAL, BUT NOBODY KNOWS ABOUT THEM"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THEN THE BELL RANG AND DANCERS RUSHED TO THE SCENE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"THEN THE BELL RANG AND DANCERS RUSHED TO THE SCENE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MADEMOISELLE CANIVET HAS RAN OVER TO LUDOVIC HALÉVY"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"MADEMOISELLE CANIVET HAS RAN OVER TO LUDOVIC HALÉVY. THE DIRECTOR OF THE PERFORMANCE, MR. PLUQUE, ORDERED TO MADEMOISELLE CANIVET TAKE ITS PLACE TO START SPECTACLE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"MADEMOISELLE CANIVET HAS RAN OVER TO LUDOVIC HALÉVY. THE DIRECTOR OF THE PERFORMANCE, MR. PLUQUE, ORDERED TO MADEMOISELLE CANIVET TAKE ITS PLACE TO START SPECTACLE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
Decompositions of

"MADEMOISELLE CANIVET HAS RAN OVER TO LUDOVIC HALÉVY. THE DIRECTOR OF THE PERFORMANCE, MR. PLUQUE, ORDERED TO MADEMOISELLE CANIVET TAKE ITS PLACE TO START SPECTACLE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MADEMOISELLE CANIVET HAS RAN OVER TO LUDOVIC HALÉVY. THE DIRECTOR OF THE PERFORMANCE, MR. PLUQUE, ORDERED TO MADEMOISELLE CANIVET TAKE ITS PLACE TO START SPECTACLE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY MEMORIES OF HOW IN THE CORRIDOR OF THE BUILDING OF THE FORMER OPERA, HE WITH THREE FRIENDS PERSUADES SISTERS CARDINAL TO HAVE DINNER WITH THEM THE NEXT DAY AT THE CAFE ANGLAIS"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY MEMORIES OF HOW IN THE CORRIDOR OF THE BUILDING OF THE FORMER OPERA, HE WITH THREE FRIENDS PERSUADES SISTERS CARDINAL TO HAVE DINNER WITH THEM THE NEXT DAY AT THE CAFE ANGLAIS"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY, TAKING COAT, RECOGNIZES IN PORTIER MADAME CANIVET"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"MONSIEUR CARDINAL'S WIFE IGNITES HIM A LAMP. IN HIS SLEEPLESS NIGHTS, HE IS PREPARING CONFERENCE "VOLTAIRE - GOD" FOR THE CENTENARY OF VOLTAIRE"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"I DON’T UNDERSTAND, SAYS MONSIEUR CARDINAL"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"GROUP OF DANCERS SEEN FROM BEHIND"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Edgar Degas
"LUDOVIC HALÉVY STANDING"
Heliogravure from the series "La Famille Cardinal", 1877–78
1938
43cm x 53cm

Great artist ahead of his time

It would be surprising to see how realistic art, or even naturalistic, to which Degas while recourse, has departed from the tradition of sugary elegance of the Second Empire, by which were made miniatures of Edmond Morin for the first edition of Monsieur et Madame Cardinal, and by which followed the genre of Grevin presented in illustrations of Henry Maigrot for publication Petites Cardinal; by comparing the illustrations of these two books with those that did Degas, it will be understood as a great artist ahead of his time!

Two prints to demonstrate the difference between the works by Degas and of work of his contemporary painters:


12 Illustrations Of Edmond Morin
1879

12 Illustrations Of Henry Maigrot
1882


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Zobacz arcydzieła sztuki światowej w waszej szkole

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  • Nauczyciele szkół nauczanie guide jest dostępny dla 3 grup wiekowych uczniów w języku angielskim

Arcydzieło – dzieło kultury, które zostało uznane przez odbiorców lub publiczność w pewnym dłuższym okresie za wyróżniające się na tle innych dzieł lub za doskonałe w swoim gatunku. Arcydzieło może realizować pewne obowiązujące w danym czasie standardy artyzmu, często jednak jest na tyle oryginalne, że je przekracza.

Jedną z cech arcydzieła jest jego duża pojemność znaczeniowa – semantyka dzieła jest wciąż reinterpretowana w zmieniających się okolicznościach historycznych i społecznych. Znajomość kanonu dzieł, uznawanych w określonym czasie za arcydzieła, należy do elementów edukacji.


Certificate of Authenticity for "La Famille Cardinal" by Edgar Degas: issued by publisher, number 50/350


Paper: BFK Rives with watermark

Illustrations for "La Famille Cardinal"

  • First Edition, Auguste Blaizot, Paris, France, 1938
  • Paper: BFK Rives with watermark
  • The original Certificate of Authenticity: issued by a publisher, showing the number 50 out of 350
  • The complete set of 33 heliogravures by Maurice Potin after original monotypes by Edgar Degas, in- and hors-texte, title page, text in French, justification and colophon.
  • Reference: Monod 5797; Adhemar 274-276; Skira 58; Stern 25; Manet to Hocking 3
  • 33.5 X 27 cm

General Presentation :

Propozycja zorganizowania wystawy w związku z naszym projektem "Arcydzieła sztuki światowej - dla każdego ucznia". Celem wystawy jest, aby oryginalne dzieła sztuki światowej dostępne były dla wszystkich uczniów województwa wielkopolskiego, bez wyjątku.

Głównym celem tego projektu, dzięki swoim unikalnym formom finansowania, będzie umożliwienie wszystkim szkołom z 226 gmin województwa wielkopolskiego (które zamieszkuje 3,47 mln osób) podjęcie w murach szkolnych oryginalnych dzieł sztuki światowych mistrzów - Dali, Chagall, De Chirico, Magritte, Hans Holbein (młodszy), Degas oraz prac gwiazd filmowych. Mamy wieloletnie doświadczenie w organizacji wystaw w Unii Europejskiej, mających zasłużoną, dobrą reputację u specjalistów w tej dziedzinie.

Projekt jest innowacyjny i będzie dążył do osiągnięcia dwóch głównych celów:

- edukacyjny - jest to unikalna forma edukacji skutecznie wspomagająca pedagogiczną rolę szkół.

- promocja województwa wielkopolskiego (i całej Polski), jako miejsca, gdzie istnieją korzystne warunki do realizacji unikalnych i innowacyjnych projektów edukacyjnych i kulturalnych.

Projekt będzie w pełni realizowany siłami firmy ArtExpo International Sp. Z.O.O. i w tym momencie nie wymaga wdrożenia jakiegokolwiek finansowania przez stronę trzecią. Oczekujemy jedynie pozytywnej reakcji władz województwa wielkopolskiego oraz chęci podjęcia współpracy i pomocy w kontaktach ze szkołami województwa.

Exhibition Theme :

Degas created the series of monotypes made 1877–78 to illustrate Degas' close friend, writer and librettist of Ludovic Halévy’s book, La Famille Cardinal, a satire of social-climbing ballet dancers, controlling stage mothers and the backstage sex-trade. Since Halévy narrated the book in the first person, Degas included him in nine of the illustrations. Theodore Reff suggests that Halévy did not publish his friends monotypes because, "On the whole, Degas' illustrations are more a recreation of the spirit and ambience than authentic illustrations". The suite La Famille Cardinal offer a look at French society and Paris street and night life through the work of an Impressionist master.

Etchings from suite La Famille Cardinal are particularly important because many of the original monotypes from Edgar Degas have vanished. These etchings from this suite remain the only documentation of their existence!

When the portfolio of monotypes and drawings related to the project appeared as one lot in the 1918 sale of prints from the artist’s estate, it was said to consist of 37 monotypes, according to the catalogue, including eight retouched with pastel, thirty countertypes (actually, second impressions), and eleven drawings. However, the portfolio was withdrawn from sale and most of its contents were deposited in 1925 with Durand-Ruel. On March 17th 1928, the portfolio was sold, again as one lot, for extraordinary sum of 408 500 Fr, at the sale organized by Marcel Guerin at which the principal buyers were Guerin himself, the publisher Auguste Blaizot, who also acquired the reproduction rights, and the collector David-Weill. Seven monotypes and drawings accidentally are removed from the portfolio before it had been left with Durand-Ruel were sold at auction separately on 25 June 1935.

In 1938, the monotypes were finally published by Blaizot as etching illustrations. These etchings, hand-pulled by Maurice Potin, have been documented by leading Degas scholars Adhemar and Cachin, E. P. Janis and Jean Boggs. The edition is limited to only 350 copies.

Degas devoted several monotypes to one episode, working his way trough varying compositions and refining visual effects. Viewed together, the sequences of illustrations showing the same scene from different angles, from a distance, and close up achieve a curious cinematic quality that would have been lost in a book.

Security and insurance :

Our side assumes all responsibility related to insurance of exhibits of the exhibition as on the period of transportation, as well on the period of exhibition.