A window into the past for both the curious and the collector — find rare, unusual and historic paper items, priced from £2 to over £2000. A huge range of ephemera will be on display. The fairs will be on for one day only so make a note in your diary now, we look forward to seeing you there!
Holiday Inn London Bloomsbury
London WC1N 1HT
Entry £3 · 11am - 4pm · All welcome
Members from 10am with membership cards
Interested in booking a table for the fair? Reserve your space - download the booking form
For more details call 01923 829079 or email
Join us! The Ephemera Society is always pleased to welcome new members. Payment can now be made online via PayPal.
Bloomsbury Ephemera, Postcard & Book Fair
30 June 2019 · 9.30am - 3pm
The fair will include all of the following: books, ephemera, maps, prints, posters, postcards, photographs and many unusual printed items across the whole of the Galleon Suite.
This exhibition is an adventure through the history of conjuring and magic as entertainment, a centuries-long fascination that still excites and inspires today.
It features over 60 stories which focus on magic in the form of
sleight-of-hand (legerdemain) and stage illusions, from 16th century court
jugglers to the great masters of the golden age of magic in the 19th and
early 20th centuries.
These stories are told through the books, manuscripts
and ephemera of the Harry Price Library of Magical Literature.
Cut and Paste: 400 Years of Collage is the first survey exhibition of collage ever to take place anywhere in the world. Collage is often described as a twentieth-century invention, but this show spans a period of more than 400 years and includes more than 250 works.
A huge range of approaches is on show, from sixteenth-century anatomical ‘flap prints’, to computer-based images; work by amateur, professional and unknown artists; collages by children and revolutionary cubist masterpieces by Pablo Picasso and Juan Gris; from nineteenth century do-it-yourself collage kits to collage films of the 1960s.
Highlights include a three-metre-long folding collage screen, purportedly made in part by Charles Dickens; a major group of Dada and Surrealist collages, by artists such as Kurt Schwitters, Joan Miró, Hannah Höch and Max Ernst; and major postwar works by Henri Matisse, Robert Rauschenberg, and Peter Blake, including the only surviving original source photographs for Blake’s and Jann Haworth's iconic, collaged cover for the Beatles’ album Sergeant Pepper’s Lonely Hearts Club Band.
Owing to the fragility of much of the work, the exhibition will not tour: it can only be seen at the Scottish National Gallery of Modern Art in Edinburgh.
Scottish National Gallery Of Modern Art (Modern Two)
Image: Baby, c.1890, Collage on paper, England and Co, London. Anonymous.
Until 24 November 2019
This major exhibition explores the life and legacy of the iconic designer Abram Games, focusing on his time as 'Official War Poster Artist' during the Second World War.
Always direct, and occasionally controversial, Games's wartime posters have left a legacy that continues to influence the art of persuasion employed by visual designers today.
Inspired by his Jewish heritage, his experiences as a soldier, and the turbulent politics of the time, Games used his talent for visual communication to recruit, educate and influence soldiers and civilians alike.
In helping to transform new conscripts into trained soldiers, encouraging support for the war effort and presenting an idealistic vision of post-war Britain, Games's work offers a fascinating picture of a nation at war.
The art of persuasion examines the techniques Games used to communicate his messages effectively. From stark imagery and visual puns to innovative use of the airbrush, his unique artistic approach changed the face of British graphic design.
The exhibition includes posters from the National Army Museum’s collection alongside objects on loan from the family of Abram Games.
Women’s work. The phrase usually conjures up domestic duties or occupations traditionally associated with women—such as teaching, nursing, or housekeeping.
The Lisa Unger Baskin Collection upends those assumptions and makes the true breadth of women’s contributions visible. By bringing together materials from across the centuries, Baskin reveals what has been hidden—that women have long pursued a startling range of careers and vocations and that through their work they have supported themselves, their families, and the causes they believed in.
Over the course of forty-five years, Baskin acquired more than 11,000 printed books, thousands of manuscripts and photographs, and artifacts ranging from an anti-slavery token to Virginia Woolf’s writing desk.
In 2015, Baskin placed her collection at the Sallie Bingham Center for Women’s History & Culture in the David M. Rubenstein Rare Book & Manuscript Library at Duke University so that it might be used by scholars, students, and members of the public. This exhibition and accompanying catalogue provide a first glimpse of the diversity and depth of the collection, revealing the lives of women both famous and forgotten and paying tribute to their accomplishments.