Caramels and Actors

actor-trade-cards5American Caramel Company. Trade cards featuring actors and actresses of the silent film era (Lancaster and York, PA: American Caramel Company, [1921]). 120 photolithographic cards. Graphic Arts Collection 2016- in process

The Graphic Arts Collection holds a collection of printed candy wrappers, begun as a joke by Princeton University students: Since then, we continue to add to the collection, such as cookie trading cards from the LU company:

We recently acquired actor trading cards distributed with caramels.
actor-trade-cardsAccording to the Hershey Community Archives, “Milton Hershey started the Lancaster Caramel Company in 1886 after he returned to Lancaster, Pennsylvania following the failure of his New York City candy business. The Lancaster business would be his third confectionery venture. . . . When Milton Hershey sold the Lancaster Caramel Company on August 10, 1900 to the American Caramel Company for $1 million, he retained the rights to the Hershey Chocolate Company.”




In the 1920s, the American Caramel Company manufactured sets of photolithographic trade cards with collectable portraits of actors and actresses. Information about the current projects and studio are also included. Anyone who bought a caramel, also received a trade card. The more caramels you bought, the closer you got to acquiring a whole set.


The set was issued twice, one in a set of 80 cards and another in a set of 120. The set of 120 cards includes the same portraits as the set of 80 with 40 additional images. Unfortunately, we do not have the 15 cent album to hold our set.


Here’s a list of the actors and actresses:

1. William S. Hart; 2. Anita Stewart; 3. Wesley Barry; 4. Geraldine Farrar; 5. Buster Keaton; 6. May Allison; 7. Will Rogers; 8. Pearl White; 9. Jackie Coogan; 10. Dorothy Dalton; 11. Tom Moore; 12. Shirley Mason; 13. Theodore Roberts; 14. Eva Novak; 15. Thomas Meighan; 16. Bessie Barriscale; 17. George Beban; 18. Kathlyn Williams; 19. Mabel Normand; 20. Sessue Hayakawa; 21. Colleen Moore; 22. Jack W. Kerrigan; 23. Mary Alden; 24. Rudolph Valentino; 25. Priscilla Dean; 26. Wallace Reid; 27. Gladys Walton; 28. Pauline Frederick; 29. Irene Castle; 30. Bert Lytell; 31. Rubye De Remer; 32. Lois Weber; 33. Marshall Neilan; 34. Irene Rich; 35. Eileen Sedgwick; 36. Herbert Rawlinson; 37. Max Graf; 38. Erich Von Stroheim; 39. Texas Guinan; 40. William Russell; 41. Jack Holt; 42. Marie Prevost; 43. Eddie Polo; 44. Conrad Nagel; 45. Viola Dana; 46. Renee Adoree; 47. Hoot Gibson; 48. Agnes Ayres; 49. William Farnum; 50. Edna Murphy; 51. David Powell; 52. Clara Kimball Young; 53. Art Acord; 54. Ethel Clayton; 55. Harry Carey; 56. Betty Compson; 57. Buck Jones; 58. Helene Chadwick; 59. Elliott Dexter; 60. Ann Forrest; 61. Monte Blue; 62. Eileen Percy; 63. Dustin Farnum; 64. Miss Du Pont; 65. Lila Lee; 66. Jack Gilbert; 67. Hazel Daly; 68. Doris Kenyon; 69. James Kirkwood; 70. Lois Wilson; 71. Nell Shipman; 72. Naomi Childers; 73. Richard Dix; 74. Johnnie Walker; 75. Hope Hampton; 76. Tom Mix; 77. John Bowers; 78. Gloria Swanson; 79. Cullen Landis; 80. Frank Mayo; 81. Mae Busch; 82. Maude George; 83. June Caprice; 84. Tom Santschi; 85. Charlie Chaplin; 86. William De Mille; 87. Harold Lloyd; 88. Robert McKim; 89. Harry “Snub” Pollard; 90. Claire Adams; 91. Katherine Spencer; 92. Baby Peggy; 93. Mildred Davis; 94. Josephine Hill; 95. Alice Lake; 96. Virginia Brown Faire; 97. Nazimova; 98. Louise Lorraine; 99. Kathleen Meyers; 100. Gertrude Olmsted; 101. Elmo Lincoln; 102. Charles Ogle; 103. Pat O’Malley; 104. Jack Perrin; 105. Lee Moran; 106. Milton Sills; 107. Ben Turpin; 108. Cecil B De Mille; 109. Marcella Pershing; 110. Mabel Ballin; 111. Betty Ross Clarke; 112. Anna Q Nilsson; 113. Ina Claire; 114. Marie Mosquini; 115. Pola Negri; 116. Alice Terry; 117. Ruth Roland; 118. Virginia Warwick; 119. Mary Astor; 120. Mary Philbin; 121. Billie Dove; 122. Jack Mulhall; 123. Martha Mansfield; 124. Gareth Hughes; 125. Myrtle Lind; 126. Conrad Nagel; 127. Jane Novak; 128. Clarence Burton; 129. Mary Jane Sanderson; 130. George Larkin; 131. Dorothy Phillips; 132. Eugene O’Brien; 133. Mabel Juliene Scott; 134. Walter Hiers; 135. Mary Glynn; 136. Carl Gantvoort; 137. Constance Binney; 138. William Boyd; 139. Marguerite Courtot; 140. May McAvoy


Walt Whitman and Aaron Siskind

“You objects that call from diffusion my meanings and give them shape! . . . you are dear to me.”—Walt Whitman


Sidney Shiff (1924-2010) acquired the Limited Editions Club (LEC) from Cardavon Press in 1978. He soon became known for the prominent artists he convinced to work on his books, including Jacob Lawrence, Henri Cartier-Bresson, Elizabeth Catlett, Francesco Clemente, Ellsworth Kelly, Sean Scully, and in 1990, Aaron Siskind.

Siskind was 86 years old when he agreed to collaborate on a LEC volume with Shiff. Having once aspired to be a poet himself, Siskind chose Whitman from Shiff’s list suggested authors, just as Edward Weston did for his LEC volume in 1942.

To complete the commission, Siskind walked outside his Providence, Rhode Island home and photographed the tar recently poured into the cracks of the local concrete road. Six of his detailed negatives were transferred to copper plates by Paul Taylor and printed as intaglio prints by Clary Nelson to Renaissance Press.

Walt Whitman (1819-1892) and Aaron Siskind (1903-1991), Song of the Open Road (New York: Limited Editions Club; printed by Paul Taylor, 1990). Letterpress with six photogravures. Designed by Kevin Begos Jr. and Dan Carr. Setin English Monotype Scotch at Golgonooza Letter Foundry by Julia Ferrari and Dan Carr. The text was printed by Heritage Printers on a paper made at Carterie Enrico Magnani. Edition: 89/550. Graphic Arts Collection 2016- in process

Song of the Open Road
By Walt Whitman

3. You air that serves me with breath to speak!
You objects that call from diffusion my meanings and give them shape!
You light that wraps me and all things in delicate equable showers!
You paths worn in the irregular hollows by the roadsides!
I believe you are latent with unseen existences, you are so dear to me.

You flagg’d walks of the cities! you strong curbs at the edges!
You ferries! you planks and posts of wharves! you timber-lined sides! you distant ships!

You rows of houses! you window-pierc’d façades! you roofs!
You porches and entrances! you copings and iron guards!
You windows whose transparent shells might expose so much!
You doors and ascending steps! you arches!
You gray stones of interminable pavements! you trodden crossings!
From all that has touch’d you I believe you have imparted to yourselves, and now would impart the same secretly to me,
From the living and the dead you have peopled your impassive surfaces, and the spirits thereof would be evident and amicable with me.

Face powder envelopes, Kyoto 1815


The Graphic Arts Collection recently acquired a sample album holding nearly 200 colorful cosmetic packages of Oshiroi or white face powder. The ephemeral decorative envelopes are pasted onto 45 unnumbered leaves with various printed and manuscript labels. The final leaf holds a hand-written note indicating the album was produced in Kyoto in 1815.





“In Japan, beauty has long been associated with a light skin tone. During the Nara Period (710–94), women painted their face with a white powder called oshiroi, and in the Heian Period (794–1185), a white facial color continued to stand as a symbol of beauty. References to the beauty of light skin tone are found in the Diary of Lady Murasaki and Tale of Genji. More than a thousand years ago, cosmetics for whitening the skin had already become a status symbol among the aristocracy.”–Originally written in Japanese by Ushijima Bifue.


This marvelous sample book was assembled in 1815 for the Fujiwara Harima Ishizuka Face Powder Company and the Chikamaro Face Powder Company of Kyoto by a cosmetics distributor named Omi-ya.

The early pages hold thirty sets of three labels each: the first label tells in rapturous detail of the special qualities of the contents, the second gives the brand name, and the third the manufacturer’s name.

Following this are 107 color-printed labels for the envelopes (each including a brand name), then another 52 color-printed labels, and finally the actual face powder envelopes. The decorative designs are either color woodblock prints or made from special paper with metallic flakes including gold.



This album was once owned by Dr. Kokichi Kano (1865-1942), a Japanese literature scholar, who came from Oodate City, Akita Prefecture. Kano began his career as the principal of First Higher School (1898-1906) and was then named President of a liberal arts college, Kyoto Imperial University (1906-1908).






Mr. Crindle and The Man in the Moon


The British artist Henry George Hine (1811-1895) left Punch in 1844 to freelance for a variety of other satirical newspapers and magazines, including Great Gun, Puck, and, beginning in 1847, The Man in the Moon. Although it had a smaller format, Man in the Moon boasted a large, fold-out cartoon narrative at the front of every monthly issue.


The first fold-out told the Life and Death of Don Guzzles of Carrara (artist unknown), followed the next month with The Foreign Gentleman in London; or the English Adventures of M. Vanille, drawn by Cham (1819-1879).

Man in the Moon’s third issue offered the first of nine installments chronicling Mr. Crindle’s Rapid Career upon Town. Hine collaborated on the story and designs with Albert Smith (1816-1869), who had also left Punch for this new journal.

The Crindle series became so popular with the British public that the nine parts were combined and published as a continuous narrative in four pages, titled The Surprising Adventures and Rapid Career Upon Town of Mr. Crindle (recently acquired by the Graphic Arts Collection).crincle4

Not to be outdone, the Paris publisher Charles Philipon (1800-1861) had Gustave Doré (1832-1883) create a revised version called L’Homme aux Cent Mille Écus (The Man with a Hundred Thousand Crowns) which ran in Journal pour Rire between January 12 and June 15, 1850.journal-pour-rire-1850-01-12-800-2

The Man in the Moon: A Monthly Review and Bulletin of New Measures, New Men, New Books, New Plays, New Jokes, and New Nonsense; Being an Act for the Amalgamation of the Broad Gauge of Fancy with the Narrow Gauge of Fact into the Grand General Amusement Junction (London: Clarke, 1847-1849). Edited by Albert Smith (1816-1869) and Angus B. Reach (1821-1856). Artists include Smith; George Augustus Sala (1828-1895); Phiz (Hablot Knight Browne, 1815-1882); Joseph Kenny Meadows (1790-1874); Lionel Percy Smythe (1839-1918); Cham (1819-1879); Robert B. Brough (1828-1860); Henry George Hine (1811-1895); Isaac Nicholson; and Thomas A. Mayhew. Graphic Arts Collection (GA) 2005-0423N

Le Journal pour rire (Paris: Aubert, 1848-1855). Graphic Arts Collection (GAX) 2011-0030E

Here are some details:


Wild Lives

Our sincere thanks to everyone who turned out for our program “Wild Lives: Catesby, Audubon, Lear, and Ford” on Sunday afternoon. We were treated to a fascinating series of talks by Robert M. Peck, Class of 1974; Aaron M. Bauer; Neal Woodman, and Walton Ford. Each one, captivating on its own but surprisingly interconnected.

We recommend you look further into the work of each of these remarkable speakers, their books and catalogues, as well as Walton Ford’s upcoming exhibitions. Here are a few images from the day.

wild-lives4Thanks also to our colleagues in Guyot Hall, the perfect spot for these talks and for a break together with the dinosaurs.

Illustrated Police News


police-newsThe Illustrated Police News, Law Courts and Weekly Record was founded in 1864. “Published in London by John Ransom and George Purkess and printed by Purkess and Richard Beard, the Illustrated Police News claimed to give attention to subjects of more than ordinary interest ranging from gory murders to courtroom dramas. The sensational weekly priced at 1d . . . Its circulation grew over its first 20 years of publication from 100,000 to 300,000.” –Laurel Brake and Marysa Demoor, Dictionary of Nineteenth-century Journalism in Great Britain and Ireland (2009)

A pictorial front page of the January 14, 1882, issue was recently acquired by the Graphic Arts Collection, without the three text pages that followed. The top-most cells depict George Lamson, who was found guilty of murder, a sensational case covered by the paper almost daily from December 1881 through his hanging the following April.

George Henry Lamson (1850-1882) had become a morphine addict and needed money. On December 3, 1881, he poisoned his crippled brother-in-law using aconite or wolf’s bane, in the hope of receiving his inheritance. The transcript of Lamson’s trial is recorded in the Old Bailey Online database at:

Lamson insisted on his innocence and turned himself in to officials. “However, with the consciousness that I am an innocent and unjustly accused man, I am returning at once to London to face the matter out. If they wish to arrest me they will have ample opportunity of doing so. I shall attempt no concealment. I shall arrive at Waterloo Station about 9.15 tomorrow (Thursday) morning. Do try and meet me there. If I do not see you there I shall go straight to your house, trusting to the possibility of finding Kitty there.—In great haste, yours truly, GEO. H. LAMSON.—W. G. Chapman, Esq.”

Other events are also highlighted in this issue.police-news4


See also Giles St. Aubyn, Infamous Victorians: Palmer and Lamson, two notorious poisoners (London: Constable, 1971). RECAP HV6555.G7S35

Lot and His Daughters

bacchus4Lot and His Daughters. Engraved by Jan Harmensz Muller (1571–1628), published by Harmen Jansz. Muller (ca. 1540-1617), ca. 1600. Engraving. II/IV. Inscribed below image: Dùm flammâ patriam cernunt cecidisse voraci, / Extinctumque putant omne virile genus: / Largius en solito siffundunt pocla parenti / Lothiades, fallant quo simul arte senem. / Ô laudanda magis quàm condemnada voluptas, / Quae petit amplexus, prolis amore, pios! Graphic Arts Collection.

For this engraving, Muller took as his subject Genesis 19:30-38, which reads in one translation:

Lot and his two daughters left Zoar and settled in the mountains, for he was afraid to stay in Zoar. He and his two daughters lived in a cave. One day the older daughter said to the younger, “Our father is old, and there is no man around here to give us children—as is the custom all over the earth. Let’s get our father to drink wine and then sleep with him and preserve our family line through our father.” That night they got their father to drink wine, and the older daughter went in and slept with him. He was not aware of it when she lay down or when she got up. The next day the older daughter said to the younger, “Last night I slept with my father. Let’s get him to drink wine again tonight, and you go in and sleep with him so we can preserve our family line through our father.” So they got their father to drink wine that night also, and the younger daughter went in and slept with him. Again he was not aware of it when she lay down or when she got up. So both of Lot’s daughters became pregnant by their father. The older daughter had a son, and she named him Moab[a]; he is the father of the Moabites of today. The younger daughter also had a son, and she named him Ben-Ammi[b]; he is the father of the Ammonites[c] of today.

bacchus3The Graphic Arts Collection has the second of four states, printed and published with his father Harmen Jansz. Muller (ca. 1540-1617). We know this because of the description of Muller’s four states at catalogue number 64 in J. P. Filedt Kok, The Muller Dynasty, compiled by Jan Piet Filedt Kok; edited by Ger Luijten, Christiaan Schuckman; introduction by Harriet Stroomberg; [appendix by Erik Hinterding] (Rotterdam: Sound & Vision Interactive in co-operation with the Rijksprentenkabinet, Rijksmuseum Amsterdam, 1999- ). Marquand Library (SA) NE667 .F544 1999


800px-lot_daughters_jan_mullerA painted version of this scene also exists in a private collection. There is no indication which came first, the engraving or the oil.


Japan Paper Company, New York City, Philadelphia, and Boston



paper-samples2John Bidwell wrote, “Hand-papermaking is now more of an art than a trade, more of a creative opportunity than a commercial proposition.”

In the early 20th century, paper manufacturers in the United States started making sample booklets to promote hand-made and specialty papers. Each of the small volumes included a variety of materials: bound swatches, sizes, weights, colors, and prices of the papers for sale. Unlike written descriptions, this promotional material demonstrated the tactile qualities and aesthetic beauty of the merchandise to the finite market of luxury, limited-edition publishers.

The Japan Paper Company was one of the leading importers of hand-made papers for fine press editions. When Harrison G. Elliott (1879-1954) became the company’s manager, he greatly expanded the firm’s scope, distributing papers from fifteen European and Asian countries.

Elliott was a good friend and associate of Elmer Adler, while Adler was the director of the Pynson Printers. When he gave up that business and came to Princeton, Adler brought with him his collection of paper sample books. Today, the Graphic Arts Collection has identified and catalogued over six dozen booklets, including a large group from the Japan Paper Company.

Recently, a small collection of full-size sheets were also uncovered, which had been sent to Adler by Elliott in 1938.


1. Oriental Papers. New York City: Japan Paper Company, [19–]. (GAX) 2014-0431N
2. Japanese Tissue Papers Carried in Stock by Japan Paper Company. New York: Japan Paper Company, 1916. (GAX) 2013-0263N
3. Hand Made Papers. New York: The Company, [1917?]. (GAX) Oversize 2010-0002F
4. Privately Printed Books and Their Personal Value as Christmas Gifts. New York: Japan Paper Company, 1921. (GAX) 2004-3723N
5. [A collection of paper sample books from the Japan Paper Company]. [New York: Japan Paper Company, 1924-1939] (GAX) TS1220 .J361
6. Dutch Charcoal Papers. New York City: Japan Paper Company, 1929. RCPXG-7207242
7. Renka Announcements: deckle edge sheets and envelopes imported and carried in stock by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 193-?] (GAX) Oversize 2010-0008Q
8. Handmade Paper: its Method of Manufacture. New York: Japan Paper Company, 1932. RCPXG-5893687
9. Aurelius Hand Made: Handmade Deckle Edge Announcements from Italy … by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 1935?] (GAX) Oversize 2010-0141Q
10. Arnold Hand-Made Deckle Edge Cards & Envelopes: from England … by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 1938?] (GAX) Oversize 2010-0019Q
11. Samples of Letterhead Papers with Envelopes to Match from Japan Paper Company. New York, N.Y.: Japan Paper Company, [1938?] (GAX) Oversize 2010-0017Q
12. Oriental Papers. New York City: Japan Paper Company, [1939?] RECAP-91156800
13. Samples: Bethany, Virgil, Ragston. New York, N.Y.: Japan Paper Company, 1939. (GAX) Oversize 2010-0020Q


For examples of English hand-made papers see: John Bidwell, Fine papers at the Oxford University Press (Risbury, Herefordshire: Whittington Press, 1999). “This edition of 300 copies is set in 14-point Centaur (from matrices belonging originally to Oxford University Press) printed at Whittington on Zerkall mould-made paper, & half-bound with Fabriano Roma paper.”  GAX copy is no. LI. Graphic Arts Collection (GA) HD8039.P33 B5 1999f

Attention Students: Submit Your Essay to Win the 2016-2017 Elmer Adler Undergraduate Book Collecting Prize

Are you an avid collector of books, manuscripts, or other materials found in libraries? If so, consider submitting an essay about your collection for a chance to win the Elmer Adler Undergraduate Book Collecting Prize!

Image: (c) Jane and Louise Wilson, Oddments Room II (Voyages of the Adventure and Beagle), 2008. C-print, Edition of 4. Courtesy 303 Gallery, New York

Endowed from the estate of Elmer Adler, who for many years encouraged the collecting of books by Princeton undergraduates, this prize is awarded annually to an undergraduate student, or students, who, in the opinion of a committee of judges, have shown the most thought and ingenuity in assembling a thematically coherent collection of books, manuscripts, or other material normally collected by libraries. Please note that the rarity or monetary value of the student’s collection is not as important as the creativity and persistence shown in collecting and the fidelity of the collection to the goals described in a personal essay.

The personal essay is about a collection owned by the student. It should describe the thematic or artifactual nature of the collection and discuss with some specificity the unifying characteristics that have prompted the student to think of certain items as a collection. It should also convey a strong sense of the student’s motivations for collecting and what their particular collection means to them personally. The history of the collection, including collecting goals, acquisition methods, and milestones are of particular interest, as is a critical look at how the goals may have evolved over time and an outlook on the future development of the collection. Essays are judged in equal measures on the strength of the collection and the strength of the writing.

Winners will receive their prizes at the annual winter dinner of the Friends of the Princeton University Library, which they are expected to attend. The first-prize essay has the honor of representing Princeton University in the National Collegiate Book Collecting Contest organized by the Antiquarian Booksellers’ Association of America. Please note that per the ABAA’s contest rules, the winning essay will be entered exactly as submitted to the Adler Prize contest, without possibility of revision. In addition, the first-prize winner will have the opportunity to have his or her essay featured in a Library-affiliated publication.

Prize amounts:
First prize: $2000
Second prize: $1500
Third prize: $1000

The deadline for submission is Tuesday, November 29, 2016. Essays should be submitted via e-mail, in a Microsoft Word attachment, to Faith Charlton: They should be between 9-10 pages long, 12pt, double-spaced, with a 1-inch margin, and include a separate cover sheet with your name, class year, residential address, email address, and phone number. In addition to the essay, each entry should include a selected bibliography of no more than 3 pages detailing the items in the collection. Please note that essays submitted in file formats other than Microsoft Word, submitted without cover sheet, or submitted without a bibliography will not be forwarded to the judges. For inquiries, please contact Faith Charlton,

Recent Adler Prize Winning Essays:

Samantha Flitter, ’16. “The Sand and the Sea: An Age of Sail in Rural New Mexico.”
Recipient of the 2016 National Collegiate Book Collection Contest Essay Award.

Anna Leader ’18. “‘Like a Thunderstorm’; A Shelved Story of Love and Literature” Princeton University Library Chronicle 76:3 (spring)

Rory Fitzpatrick ‘16. “The Search for the Shape of the Universe, One Book at a Time.” PULC 75:3 (spring)

Natasha Japanwala ’14. “Conversation Among the Ruins: Collecting Books By and About Sylvia Plath.” PULC 74:2 (winter)

Mary Thierry ’12. “Mirror, Mirror: American Daguerrean Portraits.” PULC 73:3 (spring)

“Les minutes de sable mémorial”

jarry4Alfred Jarry (1873-1907), Les minutes de sable mémorial ([Paris]: Editio[n] du Mercure de Fra[n]ce, C. Renaudie, 1894). One of 216 copies printed. Seven woodcuts carved and printed by Jarry, two printed from earlier woodblocks. Graphic Arts Collection GAX 2016- in process.


Alfred Jarry published his first book of prints and poems, Les minutes de sable mémorial in September 1894 at the age of twenty-one. He paid the cost himself working with the printers at Mercure de France where many Symbolists were publishing.

The design of the volume, repeated the following year in his second book César antichrist, includes astonishingly modern typography, which predates that of Un Coup de Dés Jamais N’Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) by Stéphane Mallarmé in 1897. Jarry’s book should be considered an early artists’ book although it never appears in such studies

According to Keith Beaumont, “…the prestigious and highly influential Echo de Paris had held a monthly literary competition which offered to aspiring young writers the prospect of four valuable and much coveted prizes of 100 francs each … and a guarantee of publication in the paper’s weekly illustrated literary supplement. Between February and August 1893, Jarry was to win outright or to share five such prizes, with poems or prose texts, which would be republished the following year in his first book, Les Minutes de sable mémorial.” (Keith Beaumont, Alfred Jarry. St. Martin’s Press, 1984)


Jarry liked multiple meanings for a single text, exemplified in his title: Les minutes de sable mémorial. Beaumont notes, “Sable refers both to the sand of the sablier or hourglass, which marks the passage of time, and which recurs in the title of the last poem in the volume, and to the term for the colour black in heraldry; and memorial has the meaning of both ‘in memory of’ and ‘of the memory’. The title as a whole therefore refers simultaneously to the passage of time whose ‘minutes’ are here recorded; to the movement of memory; and to the committal to paper of a series of moments of creative activity (‘sable’ referring to the ink-blackened pages) which memory has inspired or, alternatively and simultaneously, which are reproduced here as a ‘memorial’.”




In November 1894, Jarry cut his long hair and enlisted in the 101st Infantry Regiment in Laval.


See also Alfred Jarry (1873-1907), Cesar antechrjst ([Paris]: Mercure de France, 1895). One of 7 large-paper copies on vergé Ingres de carnation. Rare Books (Ex) 3260.33.323 1895 [below]jarry