This weekend The Huntington hosts the annual Southland Orchid Show in the Botanical Center's Banta Hall. Billed this year as "Orchid Masquerade," the show promises to present exotic blooms
You may recall a curious story about lost-and-found art that ran in The New York Times last year—a news piece that explained how a long overlooked monumental sculpture of celebrated artist Sargent Claude Johnson (1888–1967) emerged from decades
Irish poet Seamus Heaney wrote and spoke often about the craft of writing—the physical act of putting pen to paper. In his Nobel Lecture in 1995, Heaney paid homage to the great writers who preceded him.
Don't forget to look up next month when you visit the new permanent exhibition "Remarkable Works, Remarkable Times: Highlights from the Huntington Library." Beginning Nov. 9, you'll be able to re-enter the Library Main Exhibition Hall for the first time
"Face to Face: Flanders, Florence, and Renaissance Painting" opens on Saturday in the Boone Gallery at The Huntington and features more than two dozen paintings by Renaissance luminaries such as Domenico Ghirlandaio
What do Prince Charles, Terry Jones of Monty Python fame, and author Hilary Mantel have in common? Apart from their British roots, all three have been assisted by Mary Robertson, The Huntington's William A. Moffett Curator of British Historical Manuscripts.
A few months back a volunteer in our manuscripts department came across a rather unusual item in the uncataloged papers of Edwin Carpenter, Ph.D., who was a bibliographer, librarian, and editor at UCLA
Author Helen Hunt Jackson set her 1884 novel Ramona on the fictional Moreno Rancho, a site allegedly inspired by Rancho Camulos, the Santa Clara River Valley home of Ygnacio del Valle and his family.
On the 300th anniversary of the birth of Junípero Serra comes a new biography certain to shift the discourse about Serra's role in the shaping of California history and the contested legacies of his work as a Franciscan missionary.
When most American girls in the 18th century were young (only 9 or 10 in some cases), they learned "plain" needlework skills for practical reasons: to make, label, and repair clothing. If girls were well-off, they might also have studied "fancy" needlework that spoke of their gentility