NY Art Book Fair 2019

2019 Art Book Fair https://nyabf2019.printedmatterartbookfairs.org/

Ariane Mayer, Poèmes à brûler [Poems to Burn] (Paris: Lairie un regard modern, no date).

The cigarette package is handmade with images from 1950s magazines. The individual cigarettes are rolled poems.  https://www.leslivresdariane.com/

Till the Last Gasp, A Graphzine History 1975-2005. Three hundred zines, books, and posters from a largely undocumented movement of independent artists’ books and fanzine publications called Graphzines, which emerged in France beginning in 1975.

Sable Elyse Smith and Cal Siegel, In that Empire (New York: Pacific City, 2019)

… In that Empire is a conversation, an experimental cartography bound by each initial decision. Jorge Luis Borges’ story “On Exactitude in Science” frames the encounter: each “L” and “R” within the text creates a list of sixty-one positions. Using these directionals, the artists took sixty-one photos in West Newbury, Massachusetts and Harlem, New York, respectively. The reader is invited to access the book through multiple entry points, from front to back, in any order. No matter the beginning, a turn of the page becomes an act of continuing the conversation of experimental cartography established in the making of this book.

Pug the Painter, satire of Hogarth

Pug the Painter Following the Example of Messrs Scumble Asphaltum & Varnish. … [at foot]: To the Despisers of all pretended Connoisseurs & all Imitators (but those of Nature) this plate is most humbly dedicated … [London], [ca. 1754-1757]. Etching and dry point (289 x 214 mm). Graphic Arts Collection GAX 2019- in process.

The Graphic Arts Collection recently acquired this rare print, designed after William Hogarth’s self-portrait, ca. 1757 [left] and originally sold in a portfolio under the title “The Caricatures on Hogarth by Paul Sandby,” further labelled “Retrospective Art, from the Collection of the late Paul Sandby, Esq. R.A.,” priced M. 6s (note, on this sheet the 1s/price partly erased). While no longer attributed to Sandby, the print makes a fascinating and complex satirical attack on Hogarth. Frederic Stephens’s 1877 Catalogue of Prints and Drawings in the British Museum explains:

“3277. “Pug the Painter following the example of Mess” Scumble Asphaltum & Warnish.” “O imitatores servum pecus * [By Paul Sandby.] Publish’d according to Act of Parliament … [1754]. An etching; on a pedestal which is decorated with a wigged and spectacled head of “Ignorance & self conceit”, and inscribed “THE IDEA Box of A coxoissevil”, is seated an ape, painting “Moses striking the Rock”, a picture in the manner of Rembrandt. He is exclaiming, “A marrellous effect by G—d”.

Behind him is a book inscribed, “A Journal of my trarels from Rome to Rotterdam I had the supreme happiness of touching Raphael scu LL that dirine scroll”.

… On a table are the “100 Gilder print” rolled up, and an open book, named “Shakespear alter’d by T. Tasteless FRS thou Nature art NoT my Goddess”.

Stephens makes the suggestion that Philip Dawe or Dawes (died 1832) was responsible for this print. Dawe was a British printmaker who lived at the same time as Hogarth, known for his mezzotints and political caricature but the suggestion has not been accepted by others.

The text refers to quotations from Horace: “O imitators, servum pecus” (Imitators, a servile herd) and the opening words of the aphorism “Naturam expellas furca, tamen usque revenit” (Though you may drive out nature with a pitchfork, she will nonetheless return).

Hogarth’s attacks on amateur gentleman connoisseurs and his frustration at the privileging of Old Masters are alluded to by placing the central figure on a plinth with the motto “The Idea Box of a Connoisseur.” Beneath the design is engraved: “To the Despisers of all pretended Connoisseurs & all Imitators (but those of Nature) this plate is most humbly dedicated.”

This animosity towards amateurs is mocked by representing Hogarth as an amateur himself, referring to his rejection of the ‘Raphaelite’ style and implying that this results from Hogarth’s own lack of taste.

An owl, labelled A Compleat Connoisseur, sits on a volume titled Odes to Dullness and  speaks to the painter, “I think Mr Pug, you may keep down your Sky a little more.” One claw holds a note that reads “A Catalogue of some Capital pictures lately consigned from abroad.” Bags of money sit below.

 

 

The print comes with with a statement by the dealer, “Pug the Painter attempts to construct an artistic identity for Hogarth based upon notions of incompetence, hypocrisy and artifice. It takes the painter’s objections to academic painting, and inverts this to cast Hogarth as a bad painter, incapable of achieving the visual perfection of nature.”

At the same time, Graphic Arts acquired this early broadside catalogue of Hogarth prints.


Jane Hogarth (1711-1789), A Catalogue of Hogarth’s Original Works. To be had of Mrs. Hogarth, at her house, at the Golden Head, Leicester Fields. London, 1784. Handbill (335 x 207 mm). Graphic Arts Collection GAX 2019- in process

In 1767 William Hogarth’s widow Jane Hogarth, who owned his copper plates, was granted a further twenty years of copyright by Parliament. In January 1783 Jane Hogarth announced in the Daily Advertiser that the plates she was reprinting had not been retouched since her husband’s death (Paulson, Hogarth Graphic Works, pp. 19-20).

This broadside catalogue of prints available from Jane not only lists the prints and the series, sizes, and prices, but several measurements are corrected by a contemporary hand. A folio of all prints is also offered, “By Purchasing the Whole together they will be delivered for Thirteen Guineas,” as is the book, Analysis of Beauty. Only the British Library and Yale University hold other copies of the sheet.

“The following extract is from John Rocque’s map of 1746, three years before Hogarth purchased the house. The map shows the house to the northwest of the village of Chiswick, the last in the lane approaching Chiswick Common Field. I have circled the house in red.”–https://alondoninheritance.com/london-characters/hogarths-house/

A Single Drop of Ink for a Mirror

George Eliot (the pen name of Mary Ann Evans), Adam Bede (Chapter 2, page 1 of 7):

With a single drop of ink for a mirror, the Egyptian sorcerer undertakes to reveal to any chance comer far-reaching visions of the past. This is what I undertake to do for you, reader. With this drop of ink at the end of my pen, I will show you the roomy workshop of Mr. Jonathan Burge, carpenter and builder, in the village of Hayslope, as it appeared on the eighteenth of June, in the year of our Lord 1799.

This interdisciplinary conference will focus on intersections between literary and visual art in the 19th century. A group of 21 literary scholars and art historians will present new work on the often neglected links between text and image in the long nineteenth century, from Blake to early- twentieth century photography. A small exhibition in the Princeton Art Museum will accompany the conference.

Friday, 4 October 2019
https://princetonartlit2019.princeton.edu/
9:00 Welcome: Deborah Nord and Rebecca Rainof
9:15 Plenary Panel 1
Tim Barringer (Yale University), “Livingstone and the Lion: Image and Text in Victorian African Exploration Literature”
Ruth Yeazell (Yale University), “Words for Vermeer”
Chair: Anna Arabindan-Kesson (Princeton University)
10:30 Break
11:00 Illustrations, Prints, and Prophecies
Rosalind Parry (Princeton University), “Clare Leighton’s British Pastoral”
Joseph Viscomi (University of North Carolina), “Authenticating Blake: Life-time Impressions, Posthumous Prints, and Forgeries; or, Printing Blake: William, Catherine, and all the others”
Robyn Warhol (Ohio State University), “Reading Victorian Novel Illustrations in the Serial Moment”
Chair: Meredith Martin (Princeton University)
12:30 Lunch Break
1:45 Visit to Exhibition, Princeton Art Museum
Rosalind Parry and Ariel Kline, Curators
3:00 Childhood and Self
Aileen Farrar (Nova Southeastern University), “F.D. Bedford’s Childhood in a Drawer: The Illustrated ‘Lost’ Realities of Peter Pan”
Alexandra Neel (Loyola Marymount University) , “Jane Eyre’s Selfie”
Linda Shires (Yeshiva University), “Image><Text: Kipling’s Just So Stories”
Chair: Jeff Nunokawa (Princeton University)
4:30 Break
4:45 Keynote Address
Caroline Arscott (The Courtauld Institute of Art), “Picture Posies: Illustration and the Idyllic Mode, 1860-1875”
Introduction: Bridget Alsdorf (Princeton University)
6:30-8:30 Reception (Chancellor Green Rotunda)

Saturday, October 5
9:00 The PRB: A Family Portrait
Jeremy Melius (Tufts University), “Ruskin Undone”
Natalie Prizel (Princeton University), “Pre-Raphaelite in Black”
Jason Rosenfeld (Marymount Manhattan College): “Family Man: John Everett Millais’s Illustrations of Paternal Affection in the 1860s”
Chair: Anne McCauley (Princeton University)
10:30 Break
10:45 The Condition of England at Home and Abroad
Emily Madsen (University of Alaska, Anchorage), “Ghost in the Palimpsest: Missionary Revision”
David Pike (American University): “Nineteenth-Century Slum Imaginaries Then and Now”
Rebecca Rainof (Princeton University), “Van Gogh and the Victorians”
Chair: Natalie Prizel (Princeton University)
12:15 Lunch Break
1:30 Kate Flint (University of Southern California), “Snails, Slugs, and Scale”
Introduction: Deborah Nord
2:30 Picturing Modernism
Sophia Andres (University of Texas), “Virginia Woolf’s Pre-Raphaelite Incongruities in Orlando”
Maria DiBattista (Princeton University), “Taken from Life: The Modernist Portraits of E. O. Hoppé”
Ariel Kline (Princeton University), “The Minotaur”
Chair: Rebecca Rainof
3:45 Break
4:00 Plenary Panel 2
Elizabeth Helsinger (University of Chicago), “Ekphrastic Questions: Keats, Rossetti, and Field”
Rachel Teukolsky (Vanderbilt University), “Ruskin’s Media: The Cathedral and the Machine”
Chair: Rachael DeLue (Princeton University)
5:15 Summing Up: Jonah Siegel (Rutgers University)

Image credit: William Blake, “Eternally I labour on.” William Blake Collection (GC115); Graphic Arts Collection, Special Collections, Princeton University Library.
https://library.princeton.edu/find/all/william%20blake

Is it Blanche of Castile or Christina of Sweden, or just a representation of courage?

Charles de, baron d’Auteuil Combault. Blanche Infante De Castille (Paris: A. de Sommaville 1644). Four parts in one volume. Graphic Arts Collection GAX 2019- in process.

In the year 1200, the twelve-year-old Prince Louis of France was married to Blanca de Castilla, then aged eleven. Her grandmother, Eleanor of Aquitaine, traveled to Castile in order to accompany her granddaughter to the wedding. Twice regent of France, Blanche reigned for some eight years between 1226 and 1234, when her son, Louis IX, came of age and again from 1248 to 1252 when her son went away on Crusade.

Dealer’s note:
Only edition of this feminist life of the virago Queen Blanche of Castile (1188-1252). She raised three armies to defend France, assembled two fleets to invade England, suppressed internal revolts, negotiated with hostile powers, exchanged territory to political advantage, secured the throne for her son Louis IX through diplomacy and force, governed France while he led the Seventh Crusade, patronized the arts, collected books, and protected the Jews. In his opening essay, Combault (1588-1670) advocates women as heads of state.

Proverbs 31:26 phe os suum aperuit sapientiae et lex clementiae in lingua eius = She speaks with wisdom, and faithful instruction is on her tongue

This marvelous frontispiece was designed by the French artist Grégoire Huret.

Kirsti Andersen, The Geometry of an Art (2008) writes “The draughtsman and engraver Grégoire Huret (1610-1670)-—an academician who was also close to the king—-took over Bosse’s lectures at the Royal Academy of Painting and Sculpture… . In 1670, Huret published Optique de portraiture et peinture (Optics of Portraying and Painting) in which he expressed great concern about the state of the art, particularly criticizing Bosse’s book from 1665 and previous publications on Desargues’s method.”

Note, the same allegorical print is used again in 1658 [below] for this book dedicated to Christina of Sweden (1625-1689), published in Jean-Louis Guez de Balzac (1597-1654), Aristippe ou de la cour (A Paris: chez Augustin Courbé, au Palais, en la Galerie des Merciers, à la Palme, 1658). The bottom text has been burnished out and the new book title engraved.

 

 

Ungherini, Manuel de bibliographie … des femmes célèbres I: 77
Chevalier, Répertoire des sources…du Moyen âge. Bio-bibliographie I: 610
Cioranescu 8987 (“4 vols.”).

“Animos curasque induta viriles”  ? She represents masculine courage

Leonora Carrington

In honor of Princeton University’s new course: Along the Edge: Leonora Carrington, the Graphic Arts Collection acquired the limited edition portfolio, Leonora Carrington, Cinco Grabados, copy 3 of 30, purchased in part with funds provided by the Program in Latin American Studies (PLAS).

The five engravings, with etching and aquatint, were printed at Tiempo Extra Editores, an artists workshop founded in 1989 by Emilio Pavan Stoupignan. Also included is a single poetry broadside signed by Carrington (1917-2011), with text beginning, “Dog, come here into this dark house.” Each paragraph or verse addresses the swan, the coyote, the Shaman & cat, and three cats.

The interdisciplinary class, taught by Jhumpa Lahiri, will focus entirely on Leonora Carrington, the British-born Mexican printmaker, surrealist painter, and novelist.

“Students will be asked to respond to Carrington’s oeuvre both critically and creatively, writing essays, responses, and imaginative texts inspired by a close reading of Carrington’s idiosyncratic fiction and by studying her prints, drawings and paintings, which are part of the Princeton Art Museum’s permanent collection. Knowledge of French and/or Spanish is recommended but not required, as we will also look at some of Carrington’s writing in the original languages of composition, and consider questions linguistic migration and experimentation.”

Note, a search on Carrington in the online catalog https://library.princeton.edu/find/all/carrington%2C%20leonora now includes the entire holdings of the Princeton University Art Museum, along with the Graphic Arts Collection and other library holdings.

Tingatinga School of Art

Nguta (active 2000s). [Hippopotamus, Tropical Birds ] and [Three Gazelles, Tropical Birds ]. [ca. 2006]. Enamel paint on muslin cloth. Graphic Arts Collection GA 2006.02320, Gift of John Delaney

 

The Graphic Arts Collection holds two examples from the Tingatinga (also spelt Tinga-tinga or Tinga Tinga) School of Painting, originally found in the Oyster Bay area in Dar es Salaam (Tanzania) but later spread to most of East Africa. These are signed by the artist Nguta.

Sometimes relegated to the category of “tourist art” sold in markets and airports in Tanzania, Kenya and neighboring countries, the style was derived from Tanzanian painter Edward Said Tingatinga (active 1970s) who often used Masonite and commercial enamel paints for his work.

Today the Tingatinga Arts Cooperative Society (TACS) is a recognized collective but only represents a small number of the artists working in this style, see: www.tingatingaArt.com

The Confession and Dying Words of Samuel Frost

Samuel Frost (1765-1793), The Confession and Dying Words of Samuel Frost, Who is to be Executed This Day, October 31, 1793, for the Horrid Crime of Murder (Worcester, Mass.: Printed by Isaiah Thomas, 1793). Signed in plate, lower right: “Printed and sold at Mr. Thomas’s Printing office, in Worcester.” Graphic Arts Collection GA 2012.02795

“Executions were pubic events in Worcester’s early days, attracting huge crowds and creating a carnival-like atmosphere. The hanging of Samuel Frost on November 5, 1793, was said to have drawn two thousand spectators. Frost had been tried for murdering his father in April 1784 but was acquitted on the grounds of insanity. Records don’t show whether he spent any time in confinement, but on July 16, 1793, he murdered his employer, Captain Elisha Allen of Princeton [Massachusetts], during an argument in a field on Allen’s farm. Frost struck him more than fifteen times with the blade of a hoe and left his body lying on the ground. This time there was no acquittal. At the trial, he was found sane and sentenced to death.” —Rachel Faugno, Murder & Mayhem in Central Massachusetts (2016).

sheet 52.5 x 43.7 cm.

 

“The first cemetery in Princeton [above] was the old burying ground on Meeting-House Hill across the road from the first church building, near 58 Mountain Road. In those early days the burying-ground (God’s Acre) was invariably an adjunct to God’s house. …Here is the grave Capt. Elisha Allen “foully murdered by Samuel Frost” in July, 1793, ten years after Frost had killed his own father. Formerly acquitted on the plea of insanity, the murderer this time paid the penalty for his crime, being hanged in Worcester on October 31, 1793.” —http://www.princetonmahistory.org/did-you-know-2/first-cemetery/

 

Hunting Brown Bear in Alaska 1910

 

 

 


In honor of Ben Primer, and thanks to the Friends of the Princeton University Library, the Graphic Arts Collection has acquired a photography album owned by George Frederick Norton (1876-1917) documenting a hunting expedition in the American West and Alaska, ca. 1910. The album contains 117 mounted gelatin silver prints (slightly photoshopped here) and a few letters. Born in Kentucky, Norton attended the Lawrenceville School and served as a partner at the brokerage Ex Norton & Co. Our dealer continues:

However, his life’s passion was travel, adventure and big game. Norton made numerous trips to the west and Alaska on private hunting expeditions, including the one depicted in the present album, and collected and donated specimens (with a particular emphasis on bear skulls) to the American Museum of Natural History the Smithsonian and other institutions. Indeed in 1910, the Department of Agriculture granted him a permit to capture and ship Alaskan brown bears in excess of the bag limit.

In 1901, he journeyed around the world and in 1908 he helped finance the final Peary expedition to the North Pole, accompanying him aboard the ship Eric as far north as Etah, Greenland. During World War I, Norton would serve in the American Field Service, and would be killed in action in France.

Given the terrain and the fauna (moose, mountain lion, pronghorn antelope, elk), the expedition(s) seen in the album were likely to Montana, Idaho or Wyoming. However, given Norton’s many expeditions farther north, some of the images may also be from Alaska.

Sympathetic Inks



Carl Friedrich August Hochheimer (born 1749), Chemische Belustigungen. Oder Sammlung auserlesener Kunststücke, die zur Bewunderung und zum Vergnügen gereichen [Chemical amusements. Or a collection of exquisite tricks that make for admiration and pleasure] (Leipzig:  Friedrich August Leo, 1794). 8vo. Graphic Arts Collection GAX 2019- in process.

C.F.A. Hochheimer, who also wrote under the pseudonym Johann Daniel Hock (CERL Thesaurus https://data.cerl.org/thesaurus/cnp01229497 ), studied in Göttingen with Lichtenberg, then in Leipzig and Erlangen before accepting a lectureship in philosophy and chemistry. He was a prolific author whose books include an instruction manual on color; a handbook on chemistry for farmers, artists, and homemakers; secrets for artists, manufacturers, professionals, and craftsmen: Greek history; mineralogy; fossils; and now in the Graphic Arts Collection: a collection of chemical amusements, magic tricks, and illusions that can be performed by use of chemistry.

This is not a treatise on chemistry but a collection startling effects produced by chemical action, arranged in eight chapters:
1.Tricks with colors
2.Sympathetic inks (a fluid for producing writing that is invisible until brought out by heat, chemicals, etc.: invisible ink)
3.Tree of Diana, et al.
4.Phosphorus
5.Combustion experiments
6.Explosions
7.Gases
8.Miscellaneous experiments including Ingenhousz electrical pistol (originally published in Jan Ingenhousz (1730-1799), Nouvelles expériences et observations sur divers objets de physique (Paris: T. Barrois le jeune, 1785-1789).

“Electricity and chemistry were close partners in those days. Ingenhousz described the making and handling of electrical pistols fired by igniting inflammable gas, ways of obtaining that gas from swamps, ways of making lamps burning in inflammable gas, …”– Geerdt Magiels, From Sunlight to Insight: Jan IngenHousz, the Discovery of Photosynthesis & Science in the Light of Ecology (2010), p. 179.

Chemische Belustigungen should not be confused with the 1817 volume with the same title by Friedrich Christian Accum (1769–1838), which may have based on Hochheimer’s book. The 1802 treatise Dintenbuch; oder: Anweisung, alle schwarze, bunte und sympathetische Dinten zu verfertigen (Instructions on making black, colored, and sympathetic inks; only available at the New York Public Library), is an expanded study based on chapter 2, Invisible inks.

See also:
Giambattista della Porta (approximately 1535-1615), Natural magick in twenty books … wherein are set forth all the riches and delights of the natural sciences (London: Printed for Thomas Young and Samuel Speed …, 1658).

John White (died 1671), A Rich Cabinet, with Variety of Inventions: Unlock’d and Open’d, for the Recreation of Ingenious Spirits at their Vacant Hours. Being Receits and Conceits of Severall Natures, and Fit for Those Who Are Lovers of Natural and Artificial Conclusions . . . [Frontispiece by Thomas Cross, active 1632-1685]. Fourth edition, with many additions (London: printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX N-000210

The Eagle of Vienna



On May 23, 1846, a crowd gathered in the Prater, a large public park in Vienna’s 2nd district. They watched as an enormous hot air balloon, known as The Eagle of Vienna, was launched carrying the director of Lehmann’s Aviation, Christian Lehmann, his daughter Carolina, and the Austrian explorer/naturalist Johann Natterer (1787-1843).

Variant prints are held in the collection of the Air and Space Museum, Smithsonian Institution, Washington D.C. [see below]

Andreas Geiger (1765-1856), Lehmann’s Luftfahrt mit seinem Riesen Ballon ‘der Adler von Wien’ in Gesellschaft seiner Tochter Carolina und des Herrn Dr. Natterer im Prater am 23. Mai 1846,” [Lehmann’s aviation with its giant balloon ‘the eagle of Vienna’ in the company of his daughter Carolina and Dr. Natterer in the Prater on May 23, 1846]. Etching. A special pictures supplement to the Theaterzeitung (Vienna Theater Newspaper). Harold Fowler McCormick Collection of Aeronautica, Princeton University Library