Monthly Archives: October 2013

Island Hay

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Thomas Hart Benton (1889-1975), Island Hay, 1945. Lithograph. Signed edition of 250, published by Associated American Artists, New York, Gift of Henry Martin, Class of 1948. Graphic Arts collection 2013- in process

benton island hay2The Graphic Arts Collection is the fortunate recipient of a lithograph entitled Island Hay by the Missouri-born artist Thomas Hart Benton (1889-1975), given by Henry Martin, Class of 1948. It is one of the last of over 80 lithographs the artist drew between 1929 and 1945, working summers at the family house on Martha’s Vineyard.

In a 1964 oral history with Milton Perry for the Harry S. Truman Library, Independence, Missouri, Benton commented, “Yes. I did want them to get the sense that America was made, built up into the powerful country it has become, very largely by the actions of the common people spreading out over the frontiers–on their own and without any kind of official prompting. … But as I said just now about the values of a work of art being finally determined by its spectators so also will its meanings be finally determined. And that is all right. It’s not what’s in the artist’s mind that is important, but what his art raises in the spectator’s mind–that’s what counts in the long run.”

Martin remembered paying the high price of $25 for this not long after he left Princeton. For that amount he not only received the Benton but four other prints issued by the Associated American artists in the 1940s.
 

Shizhuzhai shuhua pu

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Hu Zhengyan, Shizhuzhai shuhua pu (‘A Manual of Calligraphy and Painting from the Ten Bamboo Studio’). uncatalogued books, Graphic Arts Collection 2013 in process

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ten bamboo 1“During the first third of the seventeenth century the Chinese publisher Hu Zhengyan (1584–1674) produced one the very first examples of color woodblock printing.  His publication was perhaps the most beautiful set of prints ever made, the Shuzhuzhai  shuhuapu (Ten Bamboo Studio Collection of Calligraphy and Painting).”

This is how Thomas Ebrey begins his wonderful article “The Editions, Superstates, and States of the Ten Bamboo Studio Collection of Calligraphy and Painting”  in Princeton University’s The East Asian Library Journal 14, no. 1 (2010): 1-119, available full-text online at : http://gest.princeton.edu/EALJ/ebrey_thomas.ealj.v14.n01.p001.pdf

Ebrey continues, “The Ten Bamboo Studio Collection consists of a pair of fascicles (ce) for each of eight subjects, with ten pictures in most fascicles; for seven of the eight subjects each picture is accompanied by a matching poem written out by a master calligrapher. The collection also includes additional leaves illustrating painting motifs, a general introduction to the whole work, as well as a preface to each subject.”

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“Altogether there are 186 pictures, 140 poems and 30 text pages for a total of 356 folio pages (i.e. double pages), usually bound into either eight double or sixteen single fascicles.  Although one of the poems was dated 1619 and others 1622, 1624, 1625, and 1627, the publication date usually given for the first edition of this book is 1633, the date of its general introduction.”
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ten bamboo 7The Graphic Arts Collection also holds an interesting catalogue of facsimile prints by a German author: Jan Tschichold (1902-1974), Der Frühe chinesische Farbendruck [ Exhibition of pictures of the Ten bamboo studio] (Basel: Holbein-verlag, 1940). “Die Faksimiles dieses Buches … sind mit zwei Ausnahmen einem sechzehnbändigen Exemplar der Bildersammlung der Zehnbambushalle [Hu Chêng-yens] entnommen, das aus dem Jahre 1643 zu stammen Scheint. Blatt 9 gehört einem anderen Exemplar derselben Ausgabe an; blatt 6 ist sehr wahrscheinlich ein wirklicher Erstdruck aus der Zeit zwischen 1619 und 1627”–Leaf 6. Graphic Arts Off-Site Storage Oversize RCPXG-7172600
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See also the British Museum’s page highlighting their copy: http://www.britishmuseum.org/explore/highlights/highlight_objects/asia/h/hu_zhengyan,_shizhuzhai_shuhua.aspx

 

 

The Attorney-General’s Charges Against the Late Queen are now online

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Graphic Arts is fortunate to own one of the few complete volumes of The Attorney-General’s Charges Against the Late Queen: Brought Forward in the House of Peers, on Saturday, August 19th, 1820, commissioned by George IV and published by George Humphrey. The transcript of the trial and all 50 hand colored plates attributed to Theodore Lane (1800-1828); George Cruikshank (1792-1878), and Robert Cruikshank (1789-1856), have now been digitized and are available at http://pudl.princeton.edu/objects/dj52w599c

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Attributed to Theodore Lane (1800-1828), The Attorney-General’s Charges Against the Late Queen, Brought Forward in the House of Peers, on Saturday, August 19th, 1820 (London: George Humphrey [1821]). Gift of Richard Waln Meirs, Class of 1888. Graphic Arts Collection (GA) Oversize Cruik 1820.29E

The volume begins with a view of Humphrey’s shop-window where 42 of these prints are on view. The focus of these caricatures is Caroline of Brunswick (1768-1821) and her alleged affair with Bartolommeo Bergami (active 1820). She renamed him Pergami (as being more aristocratic), and appointed him Grand Master of the Order of St Caroline.

In 1820, her estranged husband George became King of the United Kingdom and Hanover, and Caroline assumed she would become Queen. Instead, George attempted to divorce her by introducing the Pains and Penalties Bill to Parliament. A campaign was launched through George Humphrey, funded by George IV, to discredit her. The following year, in July 1821, Caroline was barred from the coronation, fell ill, and died three weeks later.
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New York from Brooklyn Heights in 1836

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The British-born artist John William Hill (1812-1879) was only twenty-four years old when he sketched lower Manhattan from a Brooklyn Heights rooftop but the details he captured are amazing.  William Bennett (ca. 1784-1844) engraved the scene after Hill’s painting and was able to include a legend at the bottom identifying each of the buildings (difficult to see in the thumbnail here). Ever since, historians have used the print as a document of New York at that time.

new york from brooklyn heights5Included in this view are the Merchants’ Exchange, Trinity Church, Holt’s Hotel, St. Paul’s, and City Hall. In sharp contrast to the busy commerce on the Manhattan side is the bucolic setting of Brooklyn, showing the pleasures of family life in a pastoral setting.

new york from brooklyn heights4John W. Hill should not to be confused with his father, the British engraver John Hill (1770-1850). By 1822, both Hill’s were living in New York City and working together on a number of projects. Hill senior is best known for his aquatints and engraving, while his son is best remembered for his watercolors.

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William James Bennett (ca. 1784-1844), after a painting by John William Hill (1812-1879), New York, from Brooklyn Heights, 1837 (painting 1836?). Colored aquatint with engraving and etching. Gift of Leonard L. Milberg, class of 1953. Graphic Arts collection GA , GA 2009.00418

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Rediscovering Color in German Graphic Art, 1487–1600

2013-logoThe American Printing History Association’s 38th Annual Conference concludes today. One of the highlights of the presentations yesterday at the Grolier Club in New York City was the paper by Dr. Elizabeth Upper, Munby Fellow in Bibliography at Cambridge University Library 2012-13.

The day began with her presentation entitled “Rediscovering Color in German Graphic Art, 1487–1600,” and left many quickly rewriting their papers as the day moved on. Her work will certainly change the way we think of color in early printed books from now on. Dr. Upper has posted some of her work here: http://www.english.cam.ac.uk/cmt/?p=2730

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‘Detail of Hans Baldung Grien (attr.), Title Border with Wrestling Putti, colour woodcut from two blocks (red and black). Title page of Juan López, De libertate ecclesiastica (Strasbourg: Johann Schott, 1511). – See more at: http://www.cam.ac.uk/research/features/black-white-and-red-all-over#sthash.u4f9v0VG.dpuf

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The Annunciation, colour woodcut from two impressions (black and red), in The Primer in Latin and Englishe [1555]. CUL, Young 263, fol. A1r. (c) Cambridge University Library.

Dr. Upper has several new books coming, including Vivid Prints: Colour Printmaking and the Transformation of Visual Information in Early Modern Germany, 1476-ca. 1600 and Printing Colour: Histories, Techniques, Functions and Reception, Vol. I: 1400-1700.

Those attending the College Art Association conference next February in Chicago will have another chance to hear Dr. Upper speak in the United States, with a paper entitled: “Early Modern Decals: Printing Intarsia in the German-Speaking Lands, c.1550-c.1650,” for the session Objectifying Prints: Hybrid Media 1450-1800.

 

 

Elucidations on a Collection of Sample Prints on Strasbourg Special Papers

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Theodore Goebel (1829-1916), Musterdrucke auf Strassburger Special-Papieren. Sammlung hervorragender Kunstblätter hergestellt unter Anwendung der wichtigsten graphischen Verfahren [Sample Prints on Strasbourg Special Papers. An Excellent Collection of Works on Paper Prepared Using the Most Important Printing Techniques] (Strassburg-Ruprechtsau: Neue Papier-Manufactur, 1900). Graphic Arts Collection GA 2013- in process.

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In celebrating the bibliophile and historian Theodor Goebel’s 70th year as a printer, The Inland Printer referred to him as the Nestor of typography in Germany. Bigmore and Wyman, vol. 1, describes Goebel as “one of the most earnest and accomplished among German students of the history and antiquities of printing. In addition to this, he is a sound practical printer”

The author of several distinguished volumes, Goebel angered traditionalists when he brought printing history up-to-date with Die graphischen Künste der Gegenwart [The Graphic Arts of the Present Time] in 1895. Five years later, Goebel lent his essay Erlauterungen zur Sammlung von Musterdrucken auf Strassburger Specialpapieren [Elucidation on a Collection of Sample Prints on Strasbourg Special Papers] to a wonderful specimen book prepared by the Strasbourg Neue Papier Manufactur.

For the first time, a copy of this extraordinary volume has reach the United States and can be found in the Graphic Arts Collection at Firestone Library.
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The book is a “state of the art” survey of printing techniques to the turn of the last century, including etching, engraving, photogravure, heliogravure, phototypies, lichtdruck or collotype, autotype, lithography, chromolithography, and much more. There are examples of paper for playing cards in color (spielkarten), maps in color (landkartendruck) and other special papers.

Near the end is an astonishing progressive series of lithographic proofs showing a bird’s eye view of the actual Neue Papier factory.

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Lorenzo Homar 1913-2004

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2013 is the centenary of the Puerto Rican artist Lorenzo Homar’s birth. In his honor, Arcadio Díaz-Quiñones will bring his Latin American Studies Seminar: Islands, Literature and History in Latin America and the Caribbean to graphic arts and we will view some of Homar’s wonderful prints, posters, and books. Here’s one we already pulled.

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Lorenzo Homar (1913-2004) and Rafael Tufiño (1922-2008), Plenas: 12 grabados de Lorenzo Homar y Rafael Tufiño. Introducción por Tomás Blanco; Diseño de Irene Delano; Dedicado a Manuel Jiménez (Canario), quien tanto hizo por dar a conocer la plena puertorriqueña y a todos los otros compositores y músicos que han cultivado este género- entre ellos Rafael Hernández, “Bum Bum”, “Jarea”, Augusto Cohén, Julio Alvarado, “Malango”, “Tripope” y muchos otros (San Juan, P.R., Editorial Caribe, 1955). Copy 540 of 850. Graphic Arts Collection GAX Oversize NE585.H66 A4 1955q

Each signed print illustrates a Puerto Rican folk song, including the melody with Spanish words.

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Society Felix Meritis

gehour9In 1801, a demonstration of electricity was held at the Felix Meritis Society in Amsterdam. The Society was established for the promotion of music, drawing, physics, commerce and literature and its building, designed by Jacob Otten Husly, opened to the public on October 31, 1788. These engravings depict some of the many concerts, debates, lectures, and  demonstrations held there.

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Reinier Vinkeles (1741-1816) after a drawing by Jacques Kuyper (1761-1808), Zaal der Natuurkunde in het gebouw der Maatschappyë Felix Meritis binnen Amsterdam = Salle de Phijsique dans l’Edifiçe de la société Felix Meritis a Amsterdam [Hall of Physics in the Building of the Felix Meritis Society in Amsterdam], 1801. Graphic Arts Collection Dutch prints

 

gehour7gehour6Reinier Vinkeles (1741-1816) after a drawing by Peter Barbier (1717-1780) and Jacques Kuyper (1761-1808), Teken Zaal in het gebouw der Maatschappyë Felix Meritis binnen Amsterdam = salle de Dessin dans l’edifiçe de la Société Felix Meritis a Amsterdam [Drawing Room in the Building of the Felix Meritis Society in Amsterdam], 1801. Engraving. Graphic Arts Collection Dutch prints

 

gehour4 gehour3Reinier Vinkeles (1741-1816) after a drawing by Noach van der Meer Jr. (1741-1822), Muzyk zaal in het gebouw der Maatschappyë Felix Meritis binnen Amsterdam = Salle de Conçert dans l’Edifiçe de la Société Felix Meritis a Amsterdam [Concert Hall in the Building of Felix Meritis Society in Amsterdam], 1791. Engraving. Graphic Arts Collection Dutch prints

 

gehour2gehour1Reinier Vinkeles (1741-1816), Gehoor zaal in het gebouw der Maatschappyë Felix Meritis binnen Amsterdam. = Auditoire dans l’Edifiçe de la Société Felix Meritis a Amsterdam [Audience in the Building of the Felix Meritis Society in Amsterdam], 1794. Engraving. Graphic Arts Collection Dutch prints

 

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Frasconi

frasconi 7  frasconi 8  frasconi9Antonio Frasconi (1919-2013), Santa Barbara [triptych], 1951. Color woodcut.
Graphic Arts Collection GA2008.00937

This triptych was created in 1951 not long after Frasconi married Leona Pierce and moved to her hometown of Santa Barbara, California. He found a day job with the Santa Barbara Museum of Art, where he also had his first one man show.

Born in Argentina and raised in Uruguay, Frasconi died ten months ago in Norwalk Connecticut at the age of 94. It was a scholarship to the Art Students League that provided the young artist with access to New York City where he learned printmaking. Within a year he was showing his work at the Brooklyn Museum.

Frasconi went on to specialize in woodcuts, using them to illustrate hundreds of books (OCLC lists 261), many of which are here at the Princeton University Library. In 1996, the Grolier Club gave him their gallery for an exhibition of his books, one of the few living artists celebrated by the Club (GAX Oversize NE539.F86 G72q).

“Sometimes the wood gives you a break and matches your conception of the way it is grained,” Antonio Frasconi told a New York Times reporter in 1963, “But often you must surrender to the grain, find the movement of the scene, the mood of the work, in the way the grain runs.”

Special thanks to the Program in Latin American Studies for this acquisition.

Remembering Dale Roylance

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Friends and colleagues gathered in the Princeton University chapel on Saturday, 12 October 2013, to celebration the life and work of Dale R. Roylance, former curator of graphic art at Firestone Library. John H. Burkhalter III gave a warm welcomed and the service began with an invocation by Rev. Msgr. Thomas J. Mullelly. Judith McCartin Scheide read the poem The Pulley by George Herbert (1593-1633) and a John Burkhalter read verse from scripture selected by Rosemary Blair.

Musical selections included the Prelude Scafe konnen sicher weiden (Sheep May Safely Graze) by Johann Sebastian Bach (1685-1750); Voluntary No. I by Dr. William Boyce (1711-1779); Pinkie House from Caledonian Airs set for Harpsichord by James Oswald (1710-1769); Verdi prati (Green Pastures) from Alcina by George Frideric Handel (1685-1759); Allemande from Pieces de Clavecin Book II by Jean-Philippe Rameau (1683-1764); Voluntary No. VI “Trumpet Tune” by Dr. William Boyce. The organist was Dr. Michael J. Diorio and harpsichord was played by Dr. Minju Lee.
dale 4Remembrances were presented by Gillett G. Griffin; Nancy Finlay; Leonard L. Milberg, Class of 1953; Julie Mellby; Russell E. Marks; Catharine ‘Cass’ Macdonald whose remarks were read by Patricia H. Marks; and Jae Jennifer Rossman whose remarks were read by John Burkhalter.

William and Judith Scheide welcomed everyone to their beautiful home for a reception following the service.

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