27 tableaux vivants

The Graphic Arts Collection has two new book projects with covers designed by Sonia Delaunay (1885-1979), along with her original painted designs. Our expert rare book conservator, Mick LeTourneaux, solved the problem of how to store each painting with the published book by constructing custom clamshell boxes with two compartments.

The first book is Delaunay’s 27 tableaux vivants published in Milan by Edizioni del Naviglio in 1969. Pochoir designs on leporello or accordion pages stretch out to form a small exhibition of 27 costume designs created over the 84 year old artist’s lifetime. Princeton’s book is no. 457 of 500 copies on velin Aussedat, from a total edition of 650.

Sonia attracted wealthy clients: a woollen embroidered coat was made in 1925 for the movie star Gloria Swanson, in geometric shades of rich spicy reds, browns and creams. In these fashion creations, straight lines predominate as diamonds and stripes and straight-edged lines turn at right angles. It’s as if the excitement of the whirling ballroom has been supplanted by the glamour of the road. But not for long: in the 1930s the curves and wheels and arcs were very much back.

For four more decades Sonia designed fabrics for the Amsterdam luxury store Metz and Co, and latterly for Liberty. She didn’t abandon the poets, it must be said. A “poem-curtain” of the time has verses by the surrealist Philippe Soupault embroidered in wool. She made “poem-dresses” – words that walked – and lectured at the Sorbonne on “the influence of painting on clothing design”.


The book is accompanied by two trial designs for the cover along with the painted binding. Inside the covers, Delaunay’s work is illustrated with an introductory text from publisher Jacques Damase (1930-2014, who was also the former owner of this volume), extracts from Guillaume Apollinaire (1880-1918), and a poem from Blaise Cendrars (1887-1961), with whom Delaunay had earlier worked on Prose du Transsibérien (1913).


The second book, also from the estate of Jacques Damase and with a painted cover design by Delaunay is André Salmon’s Propos d’atelier, published in France 1938–1967. It is also accompanied by a serigraph poster for a 1967 exhibition in Arras, in which the same design from Delaunay re-appears in inverted fashion.

The Moroccan Acrobats

A talented gymnast and acrobat, the Puerto Rican artist Lorenzo Homar (1913-2004) often designed prints and posters inspired by his love of sports. He moved to New York City as a teenager, studying at the Art Students League (1930) and at the Pratt Institute (1939), while also practicing gymnastics at the local YMCA.

On his return to Puerto Rico in 1950, Homar co-founded the Centro de Arte Puertorriqueño (Center for Puerto Rican Art) and from 1951 to 1956 he worked as a graphic artist and director of the Graphics Section of Division de Educación a la Comunidad (DivEdCo). This period culminated with Homar winning a Guggenheim Fellowship in 1956.

On October 15, 1956, the New York Times reported “Guggenheim fund makes 28 grants, scholars and artists from the Philippines and Latin America get $113,000.” The article continues “The awards announced yesterday are being made to persons who ‘already have proven themselves to be of the highest ability,’ they are made ‘to scholars carrying on research in any field of knowledge and to artists in any branch of the arts’.” The only award given in “Creative arts” was to Lorenzo Homar. This led the following year to his organizing a Taller de Gráfica (Graphic Arts Workshop) at the Instituto de Cultura Puertorriqueña, which he directed until 1973.


In 1958, Homar went to Mexico City with the delegation of Puerto Rican artists who took part in the I Bienal Interamericana de Pintura y Grabado [1st Inter-American Biennial of Painting and Prints]. In Mexico City they were feted by the Taller de Gráfica Popular [People’s Print Workshop] (TGP). This was where Homar met Leopoldo Méndez, Mariana Yampolsky, Arturo García Bustos, and Beltrán, among others. [read more:
https://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/861827/language/en-US/Default.aspx] It may also have been where he saw Moroccan acrobats.


His linocut, Acróbata Marroquí (Moroccan Acrobats), from that year is often seen as a whirling abstraction but in fact, it is a depiction of three professional acrobats in action. One biographical article mentions Homar’s participation in the 1930s in a group called the Columbia Trio, which presented displays of acrobatics and balance. Perhaps his training and personal experience helped in the design of this scene, which places the hands and legs in perfect position for these movements.

Lorenzo Homar (1913-2004), Acróbata Marroquí (Moroccan Acrobats), 1958. Linocut. Graphic Arts Collection GA 2007.04003.

Pindar (about 522-438 B.C.E.)

Angelo Campanella (ca. 1748–ca. 1815), after Luigi Agricola (1759-1821), after Raphael (1483-1520), Pindaro poeta greco, ca. 1793-1860. Engraving (framed). Detail from the Parnassus in the stanza della Segnatura, after Raphael [below]. Engraved text: “Uno dei più celebri per la gravità… l’Era volgare.”
1. Apollo 2. Calliope 3. Polymnia 4. Clio 5. Erato 6. Terpsichore 7. Euterpe 8. Thalia 9. Urania 10. Melpomene 11. Unknown 12. Virgil 13. Homer 14. Dante 15. Scribe 16. Berni 17. Petrarch 18. Corinna 19. Alcæus 20. Sappho 21. Plautus 22. Terence 23. Ovid 24. Sannazzaro 25. Cornelius Gallus 26. Anacreon 27. Horace 28. Pindar [bottom right]

Here is a sneak preview from a collection focused on the Greek poet Pindar. Just a few pieces to enjoy while the ink is drying on the paperwork.

The Perseus Project posted an English translation of Olympian Ode 1 here: http://www.perseus.tufts.edu/hopper/text.jsp?doc=Perseus:text:1999.01.0162:book=O.

Olympian 1, For Hieron of Syracuse Single Horse Race 476 B.C.E.
Water is best, and gold, like a blazing fire in the night, stands out supreme of all lordly wealth. But if, my heart, you wish to sing of contests, look no further for any star warmer than the sun, shining by day through the lonely sky, and let us not proclaim any contest greater than Olympia.

From there glorious song enfolds the wisdom of poets, so that they loudly sing the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified by the choicest music, which we men often play around his hospitable table. . .

Michael Burghers (ca. 1640-ca. 1723), Frontispiece showing Pindar from Pindarou Olympia, Nemea, Pythia, Isthmia (1697) edited by Richard West and Richard Welsted, 1697. Engraving (framed).

Here is a brief biographic note from the Poetry Foundation:

Born to an aristocratic family near Thebes in or about 522 BCE, Pindar is considered by some scholars to be the greatest of the classical Greek poets. He is one of the few ancient poets represented by a substantial body of work, although only 45 of his odes of victory survive in their complete and original form, and other poems survive only in quotations from other authors or on fragmented scraps of papyrus discovered in the 19th and 20th centuries.

The victory odes—intended to be sung by choirs in celebration of athletes of the Olympian, Pythian, Isthmian, and Nemean games—were written on commissions from the victors’ family, friends, or benefactors. These poems place the athletes within the contexts of family history, festivals, and stories of the gods, to whom the pious Pindar attributed their victories.

In his duties as a poet, he traveled extensively around the Greek world; though he was subject to the complicated political tensions of the period, he did not avoid expressing his political and moral views. After a long and prosperous career, he died at Argos in 443 BCE at the age of 79. It is reported that when Alexander the Great sacked Thebes more than a hundred years after Pindar’s death, the poet’s house was the only one that was spared.

Giovanni Pietro Bellori (1613-1696), Veterum illustrium philosophorum, poetarum, rhetorum, et oratorum imagines: ex vetustis nummis, gemmis, hermis, marmoribus, alijsque antiquis monumentis desumptae / a Io. Petro Bellorio, Christinae Reginae Augustae bibliothecario & antiquario, expositionibus illustratae (Romae: Apud Io. Iacobum de Rubeis … , 1685). Plate 59 (part 2?), possibly engraved by Jacques Blondeau after Giacinto Calandrucci. Engraving (framed).


Currently, the earliest of our Pindar holdings is a manuscript: Pindari Quaedam et Sopho[…] written in ancient Greek (to 1453) [Constantinople ?], ca. 1420-1425]. 135 folios : paper ; 201 x 142 (150 x 55-75) mm. bound to 207 x 151 mm. Special Collections – South East (MSS) Princeton MS. 218


Poster: Picasso. Gravures originales pour illustrer la VIII pythique de Pindare… Paris Juin-Juillet 1961. Poster (framed).

…practical examples of mensuration: of singular use for work-men, artificers, and other ingenious persons delighting therein

Besides information on carpentry and logarithms, this book contains a frontispiece by the wonderful, under appreciated printmaker Thomas Cross, the elder (1632?–1682), who is credited with over 200 portraits.

The National Portrait Gallery, London, lists 165 prints, http://www.npg.org.uk/collections/search/person/mp10604/thomas-cross?role=art and Johnson’s A Catalogue of Engraved and etched English title-pages lists only 26. When someone recognizes his worth, a complete study will list more.

Samuel Foster (died 1652), The art of measuring: containing the description and explanation of the carpenters new rule. Furnished with a variety of scales, fitted for the more speedy mensuration of superficies and solids. Written by Sam. Foster, sometime Professor of Astronomy in Gresham Colledge. Also, certain geometrical problems, a table of logarithms to 10000, and some uses of the same exemplified in arithmetick and geometry ; but more particularly applied to the mensuration of superficies and solids, as board, glass, pavement, wainscot, plaistering, tyling, timber, stone, brick-work and gauging of cask. The second edition with additions by W. Leybourn. To which is added, A supplement, being the description of the line of numbers, with its use in divers practical examples of mensuration: of singular use for work-men, artificers, and other ingenious persons delighting therein By John Wiblin, carpenter. (London: Williamson, 1677). Rare Books 2007-3537N

Here are a few other Cross title pages and frontispieces:




The Dictionary of National Biography notes rudely:

CROSS, THOMAS (fl. 1632-1682), engraver, was employed in engraving numerous portraits of authors and other celebrities as frontispieces to books published in the middle of the seventeenth century. His style shows no attempt at artistic refinement, but merely an endeavour to render faithfully the lineaments of the persons or objects portrayed; this he executed in a dry and stiff manner. His portraits are, however, a valuable contribution to the history of the period, and some of them are the only likenesses we possess—e.g. that of Philip Massinger, prefixed to an edition of his plays in 1655. Among the persons of note whose portraits were engraved by him were Thomas Bastwick, Richard Brownlowe, Jeremiah Burroughes, …, and many others, including a portrait of Richard III in Sir G. Buck’s ‘ Life and Reign’ of that monarch (1646).

Foster’s book ends with an advertisement!

Definition of artificer
1 a skilled or artistic worker or craftsman
2 one that makes or contrives

Collection of Decorated and Watermarked Papers Assembled by Ingeborg M. Hartmann

The Graphic Arts Collection recently acquired the collection of decorated and watermarked papers assembled by Ingeborg M. Hartmann (later owned by Jelle Samshuijzen). A description prepared by Sidney Berger is sampled here.

For over 40 years the German bookbinder Ingeborg M. Hartmann saved the endsheets and, in some cases, cover papers of the books she worked on, along with unprinted leaves (almost certainly flyleaves) containing watermarks. Today, her collection is housed in three custom boxes as follows: Box 1 contains 104 samples of decorated papers, mounted on 23 stiff archival board substrates; Box 2 contains 148 samples of mostly marbled papers, mounted on 42 stiff archival board substrates; Box 3 contains 142 unprinted leaves, each with a watermark.

This post highlights the watermark collection, which also includes two bound volumes that show the actual watermarks using beta radiography and drawings of these marks by Hartmann. No provenance information on the watermarked papers are given and the dates only generally listed 16th century to 19th century. The collection is not inclusive or definitive of any one place or time, but instead a gathering of fascinating, often beautiful examples. As with the printed and marbled papers, Hartmann has gathered hundreds of items to study and enjoy.

Here is a digital copy of one volume: hartmanncollectionofwatermarks

read more:

Ingeborg M. Hartmann and Eva-Maria Hanebutt-Benz, Das Gesicht der Bücher : Ingeborg M. Hartmann, Buchbinderin : Museum für Kunsthandwerk Frankfurt am Main, Ausstellung vom 26. Februar 1987 bis 8. Juni 1987 (Frankfurt am Main (Germany): Dezernat Kultur und Freizeit. ; Museum für Kunsthandwerk Frankfurt am Main, 1987). Graphic Arts Collection » Z269.2 .H37 1987

Ingeborg M. Hartmann, Buchbindermeisterin: [Ausstellung] Museum für Kunst und Gewerbe Hamburg, 28. August bis 10. Oktober 1985 ([Hamburg] : [Museum für Kunst und Gewerbe], 1985).

Here are a few more samples:



Who attended the trial of Queen Caroline?

George Hayter (1792-1871), The Great Historical Picture of the Queen’s Trial, 1823. Oil on canvas. National Portrait Gallery, London

A Descriptive catalogue of the Great Historical Picture, A Descriptive Catalogue of the Great Historical Picture, painted by George Hayter, member of The Academy of St. Luke, &c. &c. &c., representing the trial of Her Late Majesty Queen Caroline of England: with a faithful interior view of the House of Lords, and one hundred and eight-nine portraits ; amongst which are included those princes of the royal family, with most of the peers and distinguished personages who were in the House on that memorable occasion, and who did the artist the honor to sit : containing in the whole upwards of three hundred figures : now exhibiting at Mr. Cauty’s great rooms, No. 80½, Pall Mall. London: Printed by W. Hersee, White Lion Court, Cornhill. 1823. Graphic Arts Collection 2020- in process.

[Together with:] The Great Historical Picture of the Queen’s Trial by Mr. George Hayter… [London]: Hersee, Printer, 1, White Lion Court, Cornhill. [1823]. Broadside. Graphic Arts Collection GAX 2020- in process.

On August 17, 1820, 260 prominent citizens of London gathered in the House of Lords to hear the introduction of the bill of pains and penalties aimed to “deprive Her Majesty Caroline Amelia Elizabeth of the Title, Prerogatives, Rights, Privileges and Pretensions of Queen Consort of this Realm, and to dissolve the Marriage between his Majesty and the said Queen.” — J. B. Priestley, The Prince of Pleasure and his Regency (1971). The Pains and Penalties Bill passed by a narrow margin.

London artist George Hayter received the prestigious commission to paint the scene, asking dozens to sit for him in his studio so their portraits would be accurate. Three years later, he capitalized on the excitement still surrounding the trial by staging an exhibition of his painting in Pall Mall with a catalogue [seen here] identifying each person attending the trial. This guaranteed the sale of his catalogue to at least the 189 people in the scene.

The Graphic Arts Collection recently acquired both the illustrated catalogue for Hayter’s exhibition and a handbill handed out to potential patrons passing in the street.

Affixed to the end of the catalogue is a note: “* The Asterisks are placed to the names of those gentlemen who, though present at the Trial, are so situated in the Picture, that the Artist did not find it necessary to trouble them to sit [pose for their portrait].”

The 8 stanza poem on the handbill is fittingly dramatic, equal to the excitement felt throughout London: “There sat the anxious Caroline / within the lofty Hall / Before the searching eyes of men / Who waited for her fall.”


Sergeĭ Sigeĭ

Designed and printed by the visual poet Sergeĭ Sigeĭ (1947-2014), this text was originally written in 1943-44 by the futurist poet Aleksei Kruchenykh (1886–1968). His poetry in turn is a tribute to Nikolai Gogol (1809–1852) the father of the absurd in nineteenth-century Russian literature.

In the introduction Sigeĭ explains:

“The late Kruchenykh did not write trans-sense poetry, instead, with a mysterious smile, he was re-writing classical literature. This work is easily understood in the context of contemporary debates about ‘postmodernism’; the great futurist turned out to be ahead of ‘the first Russian postmodernists’…”

This and other similar volumes were published by the Yeysk State Museum of History and Local Lore in Southern Russia, notable for holding the first international exhibition of concrete poetry in the Soviet Union, as well as first exhibit of mail art in 1989–1990.



Alekseĭ Kruchenykh (1886-1968), Arabeski iz Gogoli︠a︡; [predislovie, podgotovka teksta i shriftovai︠a︡ aranzhirovka Sergeĭ Sigeĭ] ([Eĭsk]: Otdel zhivopisi i grafiki Eĭskogo istoriko-kraevedcheskogo muzei︠a︡, 1992). Firestone PG3476.K76 A822 1992. [Originally written 1943-1944–p. 4].

The poet Aleksei Yeliseyevich Kruchyonykh belonged to the Futurism movement in Russia along with Vladimir Mayakovsky, David Burliuk and others. He wrote the libretto for the Futurist opera Victory Over the Sun (1913), with sets provided by Kazimir Malevich. He married Olga Rozanova, an avant-garde artist, in 1912; four years later, in 1916, he created his most famous book, Universal War. He is also known for his Declaration of the Word as Such (1913)

Macbeth lantern slides

A recent photo-reproduction request for the Macbeth slides within The Wheeler collection of lantern slides (formerly held by the Brander Matthews Dramatic Museum, 412 Low Library, Columbia University), led to the discovery that many had turned pink.

Regardless, there are some wonderful photographs and prints of Shakespeare productions in the 19th century. The collection includes 19 boxes of slides, together with 3 boxes of ring-bound 3×5 card sets, plus six other related items (stored in box 19).

Access is provided by a box list [see below] and a list in numeric order giving a brief description of each numbered slide. There is also the ring-bound card sets, grouped by presentation such as ‘Belgian Children’s Theatre’.

Contents of boxes http://libweb.princeton.edu/libraries/firestone/rbsc/aids/tc123.columbia.pdf

Listing by Wheeler number http://libweb.princeton.edu/libraries/firestone/rbsc/aids/tc123.wheeler.pdf

Many Wheeler slide sets are productions of William Shakespeare, Macbeth highlighted here. For details on the Brander Matthews Dramatic Museum, http://www.columbia.edu/cu/lweb/archival/collections/ldpd_6661090/ see the records of the Museum (1910-1971) held by the Archives of Columbia University. We call it the ‘Wheeler Slide Collection,’ probably because these slides were made by the New York firm DeWitt C. Wheeler.



From Columbia’s website: “Brander Matthews (1852-1929). Appointed to the Columbia College faculty in 1892, Matthews began collecting theater-related memorabilia in 1911, convinced that the only way to learn about drama was through first-hand acquaintance with artifacts, images, and texts of the theatrical past.

Matthews then donated his own collection of theatrical memorabilia to the University to support the burgeoning study of world-wide theater history. He commissioned stage models representing historical periods, collected the scripts and theatrical designs of his contemporaries, gathered more than 30,000 images of actors and entertainers, and purchased masks and puppets from dealers and performers all over the world.

Thanks to a generous endowment, additions to the collection were made for decades after Matthews died in 1929. The Dramatic Museum was housed in Low Library at Columbia until it was closed in 1971; since then the collection has been split between various archival repositories at Columbia University.”

Aubrey Beardsley’s “Die Götterdämmerung”

Ten drawings from Princeton University Library’s Aubrey Beardsley Collection, C0056, will be traveling to the exhibition Aubrey Beardsley on view at Tate Britain, London, from 4 March-25 May 2020. Among these are [above]: Aubrey Beardsley (1872-1898), Volpone Adoring His Treasure, pen and ink drawing, 1898. Published posthumously in Ben Jonson His Volpone, 1898. [Oversize » NE642.B363 J63, and four others]

Volpone was first brought out at the Globe Theatre in 1605, printed in quarto in 1607,  and was republished by Jonson in 1616 without alterations or additions.

“Beardsley appears to have been truly taken with Jonson’s play, writing F.H. Evans on 11 december: I am making pictures for Ben Jonson’s adorable and astonishing Volpone.” On the same day he informed Pollitt: “I carry Volpone about with me from dawn to dawn, and dream of nothing else.”The artist’s enthusiasm for the comedy is equally evident in his notes for the Volpone prospectus. “Daring and forcible in conception, brilliant and faultless in execution.” He writes, “It is undoubtedly the finest comedy in the English language outside the works of Shakespeare.” James G. Nelson, Publisher to the Decadents: Leonard Smithers in the Careers of Beardsley, Wilde, and Dowson (2010).

Also traveling to London will be [above] Aubrey Beardsley (1872-1898), Salomé with the Head of St. John the Baptist, ca. 1894. Pen and ink drawing. Although this was drawn to illustrate Oscar Wilde’s Salomé, it was not used. Aubrey Beardsley Collection, C0056, Department of Special Collections, Princeton University Library.

And most exciting: [below] Aubrey Beardsley (1872-1898), Die Götterdämmerung, 1892. Pen and ink, wash, and Chinese white. 12 1/8 x 20 1/4. Reproduced in A Second Book of Fifty Drawings by Aubrey Beardsley, London, 1899, p. [53]. From the collection of Robert Ross. [Gallatin 223] No. 17.

Götterdämmerung (Twilight of the Gods), is the last in Richard Wagner’s cycle of four music dramas titled Der Ring des Nibelungen (The Ring of the Nibelung, or The Ring for short). It received its premiere at the Bayreuth Festspielhaus on 17 August 1876, as part of the first complete performance of the Ring.

Die Götterdämmerung,” notes Emma Sutton in Aubrey Beardsley and British Wagnerism in the 1890s (2002), “Beardsley’s only drawing of the concluding part of the Ring cycle, was probably prompted by the first performance for a decade of the Ring in London in June and July 1892. It is extremely likely that he attended a performance of the drama; he certainly attended Siegfried, and produced drawings on Siegfried and Götterdämmerung, and of the principle singers, in this year.

No interpretation of the drawing has, to my knowledge, ever been offered, perhaps because its stylistics might suggest that it is an incomplete or experimental, Impressionistic work. The drawing is, however, an intricate and highly knowledgeable representation of Wagner’s work, demonstrating Beardsley’s comprehensive knowledge of Die Götterdämmerung (and, indeed, of the whole cycle) from the very start of the decade. Beardsley presents the gods shrouded in long drapes in a bleak forest setting; with their elongated limbs and enveloping robes they appear androgynous figures, listless and melancholy, entrapped by the sharp bare stems that rise from the border and ground around them.

Despite the undulating lines of the landscape, Die Gotterdammerung is a scene of desolate stasis, bleakly portraying Wagner’s Twilight of the Gods. A compression of several scenes from Wagner’s drama, the drawing is, I would suggest, an extraordinarily innovative and ambitious attempt to evoke concisely the narrative events and cumulative tone of the entire drama.”
–Emma Sutton, Aubrey Beardsley and British Wagnerism in the 1890s (2002)

Tate Britain calls this the largest exhibition of Beardsley drawings for 50 years. “Aubrey Beardsley shocked and delighted late-Victorian London with his sinuous black and white drawings. He explored the erotic and the elegant, the humorous and grotesque, winning admirers around the world with his distinctive style. Spanning seven years, this exhibition will cover Beardsley’s intense and prolific career as a draughtsman and illustrator, cut short by his untimely death from tuberculosis, aged 25. Beardsley’s charismatic, enigmatic persona played a part in the phenomenon that he and his art generated, so much so that Max Beerbohm dubbed the 1890s the ‘Beardsley Period’.” https://www.tate.org.uk/whats-on/tate-britain/exhibition/aubrey-beardsley

Ned Buntline: shot and revived, hung and survived, abstained and died

Edward Zane Carroll Judson served with the U.S. Navy from 1839 to 1842 during the Second Seminole War in Florida. While still in service, he began publishing short fiction under the pen name Ned Buntline (a buntline is one of the ropes attached to the foot of a square sail).

Although he is best-known for stories about the American West, many of Buntline’s early pieces relied on his personal experiences in Florida, including Matanzas, or, A Brother’s Revenge: a Tale of Florida (1848); The Red Revenger, or, The Pirate King of the Floridas. A Tale of the Gulf and its Islands (1848); and most notably, The White Wizard. Or, The Great Prophet of the Seminoles. A Tale of Strange Mystery in the South and North (Graphic Arts Collection. Oversize Hamilton 657q).

White Wizard originally appeared in the New York Mercury in 1858, later published as Beadle’s Sixpenny Tales in 1862 and American Talks in 1869.

Not only did Judson have a spectacular life but he was the best paid of all 19th-century American authors, reportedly earning ~$20,000/year in the 1860s. His stories number at least 400, but only 7 are held in the Sinclair Hamilton Collection of American Illustrated Books.

Of the many anecdotes told about Judson, perhaps the most sensational is the factual account of his hanging, from which he survived. As reported in the Washington Post, July 25, 1886, here is a section:

“Acting Mayor S.V.D. Stout and John D. Gass, who were Jail Commissioners, went to consult Louis Horn, jailer. When the mob rushed into the jail, they knocked Horn out of a rocking chair and secured the keys, when he said, “For God’s sake, don’t let all the prisoners out.” Three of the mob entered Buntline’s cell. While one caught him by a leg, another seized him by the collar. A third, placing his foot on Buntline’s neck, was about to fire, when the jailer pleaded with them not to kill him there.

Buntline was then dragged pell-mell into the street. He was then permitted to say his prayers and on finishing pulled a ring from his finger, handed it to a minister to be sent to his father at Pittsburgh, Pa. The crowd then hallooed, “Take him on,” and they did so.

They first attempted to hang him to a sign, but the rope having been too short, he was dragged to a lamp-post. When they began to pull him up, acting Mayor Stout cut the rope and the form of Buntline dropped to the earth. The utmost silence prevailed at this critical moment, when a man named Ashbrook cried out: “It’s a d—n shame to treat a human being in such a brutal manner and if John Porterfield is a gentleman, he will have the wretch turned loose!” At this Porterfield came out and said: “Take him back to jail” and Buntline was returned to his cell.

Dr. Stout said he had received severe internal injuries and that while attending him Buntline boasted that if he saw that a man was going to shoot him he could dodge the bullet. When Buntline had recovered and was about to be sent down the river, still another mob gathered at the upper wharf to lynch him; but the crowd was left standing when the boat started with no Buntline on board. The sheriff alluded the angry assemblage by taking Buntline to the lower wharf where he was put on a steamer and that was the last seen of Buntline in Nashville. “

In one obituary, possibly written by Judson himself before his actual death in 1886, it is noted that “Ned Buntline probably carried more wounds on this body than any other living American.”

Ned Buntline (pseudonym for E.Z.C. Judson, 1822 or 1823-1886), The White Wizard. Or, The great prophet of the Seminoles. A tale of strange mystery in the South and North; illustrations by Darley. Original, chromoxylographed paper wrappers (New York: F.A. Brady [1862]). Graphic Arts Collection. Oversize Hamilton 657q

Buntline’s heroes were not always the white men.

“…Coocoochee, a Mohawk prophetess. Though she was not a member of any of the tribes—Shawnee, Miami, and Delaware—that predominated numerically at the Glaize, Coocoochee nevertheless was treated as a revered member of the intertribal village community. Her respected position was based on her reputation as a medicine woman who conversed with numerous spirits and accurately forecast the results of raids.”

Also see Helen Hombeck Tanner, “Coocoochee: Mohawk Medicine Woman,” American Indian Culture and Research Journal 3(3) (1979): 24-25, 28. The Ohio Iroquois, known as Mmgoes, began migrating into Ohio in the 1740s and 1750s; Coocoochee’s family relocated to Ohio sometime after 1768, the year in which the first Treaty of Fort Stanwix supposedly made the Ohio River a permanent boundary and acknowledged that the country north of the River belonged solely to the Indians.

Another good read:

Read more: https://www.sun-sentinel.com/news/fl-xpm-1992-01-12-9201030022-story.html