Dutch designer Maarten Baas’s giant Real Time Schiphol timepiece replaces traditional clock hands with a 12-hour-long video performance (+ movie). The three-metre-high clock has been installed in Amsterdam’s Schiphol airport and features a film showing Baas drawing and redrawing the clock’s hands with a roller and paint. Intended to portray a “hyper-realistic representation of time”, the video took exactly 12 hours to film and will take as long to watch in its entirety.
The 360°BOOK is a new revolutionary format that enables the artist to create a panoramic three-dimensional world. The book opens and expands into a dynamic circle of pages. Each page is finely crafted works of art, drawing the viewer from a scene of two dimensions to a three-dimensional world/diorama.
Yusuke Oono was born in Germany in 1983 and graduated from The University of Tokyo where he obtained both his Bachelor’s and Master’s degrees in Architecture. He is the recipient of the Art Directors Club of New York and has received many other awards. He works primarily as an architect but is also active in other related fields including interior product design and art installation.
John Bell (1745-1831) commissioned a number of designs for his series Bell’s British Theatre to be engraved as frontispieces. The final print for Love in a Village has the title of the play, quotation and reference: ‘Will you accept of them for youself them / Act 1. Scene [obscured]; above the roundel, partly obscured ‘British Theatre’; below the image ‘Wheatly delin. / Grignion scu. / London Printed for I. Bell British Library Strand Jany. 6th. 1791.’.
“Concurrently with work for Boydell, [Francis] Wheatley was also engaged by John Bell, the publisher, to execute a number of vignettes for the charming little series of “Bell’s Theatre,” and five of these vignettes are by him . . . and the dates extend from 1791-1792. . . . sold for £20, and two small portraits of actresses for 33 guineas.”—William Roberts, F. Wheatley, R.A. His Life and Works (1910)
Love in a Village was a comic opera in three acts composed and arranged by Thomas Arne (1710-1778) with a libretto by Isaac Bickerstaffe (1733-1812), based on Charles Johnson’s 1729 play The Village Opera. It premiered at the Royal Opera, Covent Garden in London on December 8, 1762. The opera was revived numerous times, both during Arne’s lifetime and after, with multiple published versions and visualizations.
“In 1792 Bell’s English Theatre, an amalgam of parts of the Shakespeare and the British Theatre, was published in 14 volumes. After his first bankrupcy in 1793 much of his stock was acquired by James Barker who published the “acting” Shakespeare and sixty plays from the British Theatre in the following year. In 1795-96 Bell was involved in a law suit with George Cawthorn who was eventually awarded all future profits of the British Theatre and was allowed to use “The British Library” on his title pages; c. 1804, Cawthorn was succeeded by John Cawthorn (qq.v.). Bell was bankrupt again in 1797, but his fortunes revived and by his death at the age of 86 he owned a house in Fulham, carriages and horses, as well as a collection of works of art.”
Johann Zoffany (1733–1810), A Scene from “Love in a Village” by Isaac Bickerstaffe. Act 1, Scene 2, with Edward Shuter as Justice Woodcock, John Beard as Hawthorn, and John Dunstall as Hodge, 1767. Oil on canvas, Yale Center for British Art
Carrado Govoni’s “Diver” (La Palombaro) first appeared in the February 11, 1915 issue of Filippo Tommaso Marinetti’s Parole consonanti vocali numeri in libertà. Then on March 27, 1915, the Futurist journal Lacerba published Govoni’s self-portrait, drawn with visual poetry.
Not long after this, Govoni’s book Rarefazioni e parole in libertà was published by the Marinetti’s Milan imprint Edizioni futuriste di “Poesia.” (SAX PQ4817.O8 Z4852 1915q), which included both Govoni’s Driver and his Self-portrait but this time, with slight variations in each. Why are they different? Did he decide not to have teeth for a reason? Which versions are the final, definitive work?
Filippo Tommaso Marinetti (1876-1944) began the entrepreneurship [Parole] as “a disinterested love of art which was combined with his wish to address the need for an alternative space that could sustain the talents he wished to launch into the marketplace of art and literature: the painters Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini, Ardengo Soffici, Fortunato Depero, Enrico Prampolini, as well as the writers Aldo Palazzeschi, Corrado Govoni, Paolo Buzzi, Luciano Folgore, Francesco Cangiullo, and many others.
The “Futurist Editions of Poesia” were perhaps the most important embodiment of Marinetti’s desire to create an alternative cultural space, becoming an experimental laboratory in the true sense of the term, where the canons of a new writing, the “words-in-freedom,” were successively elaborated and consecrated for the first time …’We reserve the ‘Futurist Editions of Poesia’ for those works that are absolutely Futurist in their violence and intellectual extremism and that cannot be published by others because of their typographical difficulties.—Claudia Salaris, “Marketing Modernism: Marinetti as Publisher,”.Modernism/Modernity 1.3 (1994): 109-27.
“The first presented a series of experiments in visual poetry, while the second featured applications of the poetical techniques suggested by F.M. Marinetti in the “Manifesto della letteratura futurista” (Manifesto of Futurist Literature, 1912). In both instances, however, the Futurist method provided Govoni a pretext for his eclectic analogical imagery. These works were often illustrated by the poet’s own sketches or drawings, which constituted in integral part of his verse.” —Encyclopedia of Italian Literary Studies (2006)
As we previously posted, the Graphic Arts Collection holds a unique volume of nearly 400 specimens of European papers with different watermarks (1377-1840), acquired at the suggestion of Elmer Adler with a fund turned over to the Library by the Friends of the Princeton University Library. Adler must have been a good negotiator, talking rare book dealer Philip Duschnes down from $350 to $300.
Recently, the album was not only digitized: (Permanent Link) http://arks.princeton.edu/ark:/88435/k930bz393, but we have also created an excel sheet so the watermarks can be searched with words:
Originally in the collection of Dawson Turner (1775–1858), the auction catalogue description reads: ’Watermarks on Paper. A very curious collection of upwards of three hundred and seventy specimens of paper with various Watermarks, for A.D. 1377 to A. D. 1842, collected with a view to assist in ascertaining the age of undated manuscripts, and of verifying that of dated ones, by Dawson Turner, Esq. and bound in 1 vol. half calf.’
See also: Catalogue of the Remaining Portion of the Library of Dawson Turner, Esq., M.A., F.R.S., F.S.A., F.L.S., etc., etc. formerly of Yarmouth: which will be sold by auction by Messrs. Puttick and Simpson … Leicester Square … on Monday, May 16th, 1859, and seven following days (Sunday excepted). [London, 1859], item 1523.
Specimens of Paper with Different Water Marks, 1377-1840. 1 v. (unpaged); 40 cm. 371 specimens of watermarked paper, together with brief descriptions of each in a mid-nineteenth century ms. hand. The specimens are mainly blank leaves, though some leaves feature writing and letterpress. Specimen 334 is stamped sheet addressed to Dawson Turner (1775-1858), Yarmouth. Purchased with funds from the Friends of the Princeton University Library. Graphic Arts: Reference Collection (GARF) Oversize Z237 .S632f
In 1922, bibliophile Elmer Adler (1884–1962) founded the private press Pynson Printers and in 1930, began publishing a quarterly journal for book collectors called The Colophon, which featured articles on publishing, printing, and collecting. The physical volumes were also meant to offer examples of contemporary fine press publishing, with articles designed and printed by various presses within the same issue. The driving forces behind The Colophon were Adler, Burton Emmett, and John T. Winterich along with an extended list of contributing editors named in each issue.
While the vast majority of writers, editors, designers, and printers were men, the publication was not exclusively male and a look at the women who contributed to The Colophon provides insight into the history of the book in America during the early twentieth century. Adler closed Pynson Printers and The Colophon in 1940 when he moved to Princeton University. Although there was an attempt to continue under new editorial leadership, it was never equal to the earlier publication and did not last.
Here are the women included in The Colophon. The attached pdf provides an index to each woman’s individual contributions.The Women of The Colophon
Myrta Lockett Avary (1857-1946), author and journalist. Her books include Dixie After the War, The Recollections of Alexander H. Stephens and Uncle Remus and the Wren’s Nest.
Esther Averill (1902–1992) editor, publisher, writer and illustrator best known for the Cat Club picture books.
Althea Leah (Bierbower) Bass (1892–1988), Western Americana historian. Publications include Young Inquirer, The Arapaho Way, Cherokee Messenger, and The Story of a Young Seneca Indian Girl and Her Family, among others.
Babette Ann Boleman (1900s), author and rare book researcher.
Pearl S. Buck (1892–1973), writer and novelist. As the daughter of missionaries, Buck spent most of her life before 1934 in Zhenjiang, China. Her novel The Good Earth was the best-selling fiction book in the United States in 1931 and 1932 and won the Pulitzer Prize in 1932.
Willa Cather (1873–1947), writer and novelist. Notable books on American frontier life include O Pioneers!, The Song of the Lark, and My Ántonia. Elmer Adler and Pynson Printers published her early poetry.
Bertha Coolidge (1880–1953) American portrait miniaturist and bibliographer. Notable compilations include Morris L. Parrish’s A List of the Writings of Lewis Carroll [Charles L. Dodgson]in the Library at Dormy House, Pine Valley, New Jersey (1928) and A Catalogue of the Altschul Collection of George Meredith in the Yale University Library (1931).
Bertha Jean Cunningham (1900s), author, married to a book collector living in Chicago.
Anne Goldthwaite (1869–1944), painter. Trained in Paris, Goldthwaite returned to New York in time to be included in the 1913 Armory Show. She was close friends of Kathrine Dreier, Edith Halpert, and Joseph Brummer, who each exhibited and sold her work at various stages of her career. She was also an active member of the New York Society of Women Artists and enthusiastic advocate for women’s rights.
Belle da Costa Greene (1883–1950), librarian to J. P. Morgan. After his death in 1913, Greene continued as librarian under his son, Jack Morgan. In 1924 the private collection was incorporated by the State of New York as a library for public uses and the Board of Trustees appointed Greene first director of the Pierpont Morgan Library.
Ruth Shepard Granniss (1872–1954), librarian to The Grolier Club, New York. Author of The Book in America, in collaboration with Lawrence C. Wroth, John Carter Brown Library (1939).
Jeanette Griffith (active 1920s–1930s), photographer.
Anne Lyon Haight (1895-1977), writer and bibliophile. Her books include Banned books, Notes on Some Books Banned for Various Reasons at Various Times and in Various Places; Morals, Manners, Etiquette and the Three R’s; and Portrait of Latin America as Seen by her Print Makers. Most notably, she was President of the Hroswitha Club, a women’s bibliophilic organization.
Helen O’Connor Harter (1905–1990), artist and illustrator. Married Thomas Harter, chief of the Los Angeles Examiner’s art department, and moved to New York City where they both worked as commercial illustrators. Eventually, they settled in Helen’s hometown of Tempe, Arizona, where she continued to teach and paint.
Victoria Hutson Huntley (1900–1971), artist and printmaker. Hutson studied under John Sloan and Max Weber, specializing in lithography and awarded prizes from the Chicago Art Institute and the Philadelphia Print Club. She painted murals for the post office in Greenwich, Connecticut, and in Springville, New York, under the Treasury Relief Art Project, part of the New Deal arts program.
Helen M. Knubel (1901-1992), historian. According to the New York Times, she was considered the foremost archivist of the history of the Lutheran Church in North America. She helped to organize the library and archives of the National Lutheran Council, of which she was the secretary of research and statistics from 1954 to 1966. She then became associate director of the Office of Research, Statistics and Archives of the Lutheran Council in the U.S.A., the successor of the NLC.
Marie Abrams Lawson (1894–1956), author and illustrator. The only woman asked to design a cover of The Colophon, Lawson primarily wrote and illustrated children’s books. She was married to Robert Lawson, also a children’s book author and illustrator.
Vera Liebert (1900s), actress and theater historian.
Flora Virginia Milner Livingston (1862–1962), librarian and bibliographer. She was named curator of Harry Elkins Widener collection at Harvard College Library, following the death of her husband Luther S. Livingston, the first librarian of the Widener collection. She completed bibliographies for Rudyard Kipling, Henry James, John Gay and others.
(Emma) Miriam Lone (born ca. 1873), bibliographer and chief cataloguer for New York dealer Lathrop Harper. Author of A Selection of Incunabula Describing One Thousand Books Printed in the XVth Century.
Dorothy McEntee (1902-1990) artist and printmaker.
Dorothy McKay (1902–1972), artist and cartoonist. McKay drew for various magazines including The New Yorker, Esquire, and Life, among others.
Edith Whittlesley Newton (1878–1964), painter and printmaker. Newton lived in New Milford, Connecticut, where she specialized in landscape painting and lithographs.
Lucy Eugenia Osborne (1879–1955), librarian, bibliographer, and historian of rare books at the Chapin Library, Williams College from 1922 to 1947.
Elizabeth Robins Pennell (1855–1936), American writer. She wrote art criticism, travelogues, memoirs, and biographies of Mary Wollstonecraft, Charles Godfrey Leland, and James Abbott McNeill Whistler. She was also a collector of cookbooks, which was given to the Library of Congress along with her husband, Joseph Pennell’s library.
Carlotta Petrina (1901–1997), artist and printer. Best known for her 1933 illustrations to John Milton’s Paradise Lost and the John Dryden translation of Virgil’s Aeneid (1944). The Carlotta Petrina Museum and Cultural Center in Brownsville, Texas, exhibits her art and memorabilia.
Fanny (Fannie Elizabeth) Ratchford (1887–1974), librarian and historian. Ratchford served as librarian of rare books at the University of Texas, Austin. She wrote numerous books and articles, beginning with Some Reminiscences of Persons and Incidents of the Civil War (1909). She received Guggenheim fellowships for 1929–1930, 1939–1940, and 1957–1958 and, late in life, assisted in editing the Oxford edition of the complete works of the Brontës.
Elizabeth Ridgway (1900s), book collector.
Ethel Dane Roberts (1900s), librarian and curator of the Frances Pearsons Plimpton Library of Italian Literature, Wellesley College, Wellesley, Massachusetts.
Dorothy Leigh Sayers (1893–1957), English crime writer, poet, playwright, and humanist. Best known for her mysteries, especially the character of amateur sleuth Lord Peter Wimsey.
Lillian Gary Taylor (1865–1961), collector. Taylor’s library of best-selling American fiction included over 1900 volumes published between 1787 and 1945 and was donated to the University of Virginia in 1945.
Eleanor M. Tilton (1913-1991?), professor and authority on Ralph W. Emerson.
Olivia H. D. Torrence (1900s), author and wife of the poet Ridgely Torrence.
Janet Camp Buck Troxell (1897–1987), collector. Between 1930 and 1965 she amassed over 800 printed items and more than 3,000 manuscripts relating to the Rossettis and their friends (now at Princeton University Library). Names relate to three marriages: Wilder Hobson, New York publisher; Dr. Albert W. Buck, superintendent of New Haven Hospital; and Gilbert McCoy Troxell, curator of American literature, Yale University Library.
Eunice Wead (1881–1969), librarian and curator. A graduate of Smith College, Wead became Smith’s reference librarian in 1906. She moved to Ann Arbor, Michigan, serving as a curator of rare books in the general library, in the William L. Clements Library, and as one of the first teachers in the Department of Library Science. On her retirement from Michigan, she returned to Smith to give a course in book history and book arts.
Carolyn Wells (1862–1942), writer and collector. Wells was a prolific author, including mystery novels, poetry, humor, and children’s books. Her collection of Walt Whitman poetry was donated to the Library of Congress.
Blanche Colton Williams (1879–1944) author and professor of English literature. Williams earned a master’s degree from Columbia University in 1908 and a doctorate in 1913. She went on to teach in the English Department at Hunter College and eventually head of the department. The first editor of the O. Henry Prize Stories, she also collected George Eliot first editions, donated to the Mississippi University for Women library.
Edith Wharton (1862–1937), novelist and playwright. Wharton was the first woman to win the Pulitzer Prize for Literature in 1921. She is best remembered for her books The Age of Innocence, The House of Mirth, Ethan Frome, and her manual The Writing of Fiction.
Tag der druck kunst, the first national Day of Printing Arts held last March in Germany was a tremendous success and a call has gone out for a European Day of Printing Arts, to be held March 15, 2020. Initiated by the Berlin-based “Bundesverband Bildender Künstler” (the German Artists Association) all graphic artists, along with as museums, galleries and art institutes are being called to participate. The date was selected to celebrate the anniversary of the recognition of printing techniques as intangible heritage by the German Council of Unesco.
Wouldn’t it be wonderful if members of the printing community in the United States were to join our colleagues and hold an international day of printing arts? APHA? Grolier? STA? Ladies of Letterpress? CBAA? Guild of Bookworkers? APA?
They are part of a series of portraits of American revolutionary officers, published in Paris during the 1770s by partners Jacques Esnault (1739-1812, also written Esnauts) and Michel Rapilly (1740-1797?), whose shop was located at no. 259 rue Saint Jacques. Each portrait uses the same cartouche with a shield, cannon, and banner, some laterally reversed. Most of the prints held in the Graphic Arts Collection are before the complete caption, signature, or number at the top.
The portraits in the Graphic Arts Collection (both catalogued and recently found) include:
Israel Putnam (1718-1790), an American army general officer, popularly known as Old Put, who fought with distinction at the Battle of Bunker Hill during the American Revolutionary War.
Charles Lee (1732-1782), a general of the Continental Army during the American War of Independence. He also served earlier in the British Army during the Seven Years War.
Horatio Lloyd Gates (1727-1806), a retired British soldier who served as an American general during the Revolutionary War.
George Washington (1732-1799), an American general and the first president of the United States from 1789 to 1797.
John Hancock (1737-1793) an American merchant and president of the Second Continental Congress.
John Sullivan (1740-1795), an Irish-American General in the Revolutionary War, a delegate in the Continental Congress, Governor of New Hampshire and a United States federal judge.
George Brydges Rodney (1718-1792), 1st Baron Rodney, KB, a British naval officer. He is best known for his commands in the American War of Independence
Robert Rogers (1731-1795), an American colonial frontiersman. Rogers served in the British army during both the French and Indian War and the American Revolution.
Esek Hopkins (1718-1802), the only Commander in Chief of the Continental Navy during the American Revolutionary War.
Benedict Arnold (1741-1801), an American military officer who served as a general during the American Revolutionary War, fighting for the American Continental Army before defecting to the British in 1780.
Several prints are complete with the signature of the printmaker “Dupin,” although it is not certain whether this refers to Jean Victor Dupin (born 1718) or Nicolas Dupin (died after 1789) also referred to as Dupin II.
It would not be Pierre Dupin “the Elder” (ca.1690-ca.1751), father of Jean-Victor, as several online sources list. Nicolas is the better attribution but cannot be confirmed.
The Graphic Arts Collection has a series of portraits all done in the same unidentified hand. Was this a class assignment to copy 19th-century black and white sources, and then add color? Or were these actually connected to the source?
Each portrait has an ink transcription on the back taken from the Illustrated London News obituary for these men: Justice Field; Sir Thomas Henry; M. Thiers, Fitzroy Kelley, Sergeant Parry, Alexander J.E. Cockburn, G.H. Lewes-Litera, and F.P.G. Guizot. Neither the portrait nor the text are exact copies.
When you go back to the original portrait and put the two faces side-by-side, the amateur style of the watercolor becomes apparent but the numbering on many and elaborate caption seem to indicate a serious project.
Source Citation: “Death of the Lord Chief Justice.” Illustrated London News [London, England] 27 Nov. 1880: 522+. Illustrated London News. Web. 25 June 2019. URL:http://find.galegroup.com/iln/infomark.do?&source=gale&prodId=ILN&userGroupName=prin77918&tabID=T003&docPage=article&docId=HN3100108866&type=multipage&contentSet=LTO&version=1.0
William Biscombe Gardner (1847–1919) was a British painter and wood-engraver. Working in both watercolour and oils, he exhibited widely in London in the late 19th century at venues such as the Royal Academy and the Grosvenor Gallery. From 1896 he lived at Thirlestane Court. He illustrated a number of books featuring the British landscape (see below), notably Kent, Canterbury, and The Peak Country. He also drew scenes from the Welsh Elan Valley in the 1890s, before it was flooded to form the Elan Valley Reservoirs, which appeared in two books by Grant Allen (see “illustrated Books” below). However, it was as a fine wood-engraver that he was mainly known, providing illustrations (sometimes large) for British magazines of the day such as The Pall Mall Gazette, The Illustrated London News, The English Illustrated Magazine and The Magazine of Art. He was a firm advocate of traditional wood-engraving considering it to be the most versatile in comparison to the more conventional methods of engraving and etching, or more recent methods including “process illustration”–DNB
Source Citation: “This Eminent French Statesman and Historian Died on Saturday Night, at His Rural Mansion of Val Richer, Ner Lisieux, in Normandy.” Illustrated London News [London, England] 19 Sept. 1874: 277+. Illustrated London News. Web. 25 June 2019. URL: http://find.galegroup.com/iln/infomark.do?&source=gale&prodId=ILN&userGroupName=prin77918&tabID=T003&docPage=article&docId=HN3100093116&type=multipage&contentSet=LTO&version=1.0
In the end, it is most likely a copy assignment or personal exercise. Why the watercolors stayed together and came to Princeton is still a mystery.
The Graphic Arts Collection holds two copies of a rare broadside prepared for the 1814 gubernatorial campaign of Samuel Dexter (1761-1816): The Ship Union — 98, will meet the Enemy on the First Monday in April, with an American Crew, …not one fainting lubber among them. Peace, obtained by the thunder of our Cannon … not by base submission! ([Boston: Yankee-office, 1814]).
The two stanzas of verse beneath the woodcut were written to encourage people to vote against Governor Strong and for Dexter.
Arise! Ye Sons of Washington, your boarded bark to save,
Don’t give up your gallant Ship, to float on faction’s wave;
The Union, ninety-eight, will soon pour upon the foe
Quincy’s famous cannon balls, and lay the Rebels low;
Brave Dexter will command her and like the noble Perry,
In April next, will rout the foe, and then we’ll all be merry.
Then rally round the Polls, and drive out Caleb Strong,
Let Dexter once but rule us—our Union will be long;
No longer will our gallant ship avoid to meet the foe,
Our Union will range quickly up, and give the deadly blow,
Hoist up the Union Flag, my boys, upon the lofty mast.
And down the Rebel Rag will come, and all their hopes we blast.
When the United States Congress voted to join the War of 1812 on June 18, there were still many who opposed it, in particular Caleb Strong (1745-1819), Governor of Massachusetts. Eight days later, the Massachusetts House of Representatives condemned the war and voted against it 406 to 240. When the war continued into 1814, Strong’s position gained in popularity and instead of retiring, the 69-year-old Federalist ran for a second term.
“…Such was the political atmosphere in Massachusetts, for instance, that the Republicans put forth moderate Federalist Samuel Dexter as their gubernatorial candidate in 1814. Dexter was careful to say that although he shared mainstream Federalists’ sense of grievance, he differed with them as to “their indiscriminate opposition to the war, especially their convention project.” The 1814 election therefore represented a referendum on the proposed Hartford convention above and beyond the war itself, and Caleb Strong beat Dexter handily, drawing 55 percent of the vote.”–Matthew Mason, “Slavery and Politics in the Early American Republic” (Univ of North Carolina Press, 2009).
At the time of the election, Dexter was practicing law in Boston, having served in the Senate, as Secretary of War, and Secretary of the Treasury. His 1814 campaign centered on his support for the war–“Vigorous war till we have an honorable peace”–and accusations that Strong was a coward. This broadside promises his administration would have “not one fainting lubber among them.” The strategy was not successful.