Author Archives: Julie Mellby

See the Work of 184 Students in Hurley Gallery Exhibit

Just off the main lobby in the new Lewis Center for the Arts, where an orchestra might be rehearsing a few feet away from a dance recital, is the Hurley Gallery. There you will find an exhibition featuring the work of 184 current and former students of David Reinfurt’s Graphic Design classes.

The show is organized around three large-scale projections on the walls of the gallery. Each is tied to a specific graphic design class: VIS 215 offers students an introduction to typography, VIS 216 moves onto discrete problems of graphic form, and VIS 415 is an advanced class where students pursue one common and substantial design project for the semester.

“These courses allow Princeton students to explore the graphic design mechanics of how the messages reach them in their immediate environments, whether physical or online,” said Reinfurt. “Information is always designed — it is intentionally planned and given a specific form. Through hands-on assignments, students learn about design by doing it and also talking about it. The range of classes we initiated seven years ago equip students with the communication and production skills to operate within design, as well as apply these to their major area of interest at Princeton and after. Graphic design, without an explicit subject matter of its own, just may be the most liberal of arts.”


According to the program website, many students have gone on to pursue careers in design. Lily Healey, Class of 2013, is currently working in the design department at The New Yorker. Neeta Patel, Class of 2016, has spent the last year as the graphic design fellow at the Frank Lloyd Wright Foundation in Phoenix. When graduating, Patel wrote a class-day speech about her time in the Visual Arts Program and was recently featured in Fortune Magazine. Ben Denzer, Class of 2015, is a junior designer at Penguin Books. Nazli Ercan, Class of 2017, is currently a designer for Pin-Up architecture magazine in New York. Bo-Won Kim, Class of 2011, just completed an M.F.A. in graphic design at Rhode Island School of Design.




 

The gallery is open daily 10:00 a.m. to 8:30 p.m. through December 15; open daily 9:00 a.m. to 5:00 p.m. from December 16-28 (closed December 22 and 25).

Jerusalem through the Stereoscope

Wretched Lepers Outside of Jerusalem.

 

The Jews’ Wailing place, Wall of Solomon’s Temple, Jerusalem.

Jerusalem through the Stereoscope (New York: Underwood & Underwood, 1896-1908). 81 albumen silver prints with descriptions in six languages on the verso.

The Graphic Arts Collection has added this group of stereos to our already substantial stereo holdings. These photographs show locations in Jerusalem including the Jaffa Gate, the Valley of Kedron and village of Siloam, the pool of Siloam, the Tombs of the Prophets, the Garden of Gethsemane, the Church of the Holy Sepulchre, the Russian Church of the Magdalene, the Armenian Cathedral of St. James, the Garden Tomb (Golgatha), the interior of the Dome of the Rock, and the minbar in the Al-Aqsa Mosque (Masjid al-Aqṣá), among others.

 

A Greek Priest Blessing the Village Children in Ramah, Palestine [below]

The Beautiful Church of the Armenian Christians, Jerusalem [above]

 

Jerusalem Through the Stereoscope is one part of the series Traveling in the Holy Land sold by Underwood and Underwood. Instructions to canvassers selling the sets insist that workers read the book by Dr. Hurlbut that accompanied the series:

“And this year every agent should possess and study carefully our new book, Traveling in the Holy Land, Through the Stereoscope, by Jesse L. Hurlbut, D.D., which accompanies our new tour of 100 stereographs of Palestine. The attitude which Dr. Hurlbut takes to stereoscopic photographs in this book is of great importance to the work of education in general, and especially of immediate importance to ail our men in their work.

In a word, Dr. Hurlbut holds that the representations of places and objects furnished in the stereoscope are not only life-size–as large as the places or objects would appear on the spot–but that these representations serve, when used aright, as the very places and objects themselves, in their power to teach and affect us. In this book, therefore, Dr. Hurlbut treats the stereographs as actual places.

This is the attitude which every agent should come to have toward stereoscopic photographs, not an attitude assumed just for the purpose of selling more, but an attitude conscientiously arrived at after seeing good reasons for it. Dr. Hurlbut gives some of the reasons for his position in the Introduction to his book. This Introduction should be carried by every agent, read and pondered over a great deal. Its conclusions apply to our stereographs of all countries, not Palestine alone.

. . . Let us consider some of the mistakes men are liable to make: Stereoscopic photographs are especially striking and attractive at the first glance, and can be, to a degree, quickly and easily appreciated by any one. Consequently, agents have found that, because of these qualities alone, stereoscopic views can be sold more easily and extensively than any other article. Therefore, many agents have never found it necessary to make any effort to see whether there are higher considerations which can be made use of in selling stereoscopic views. This has been a great mistake.

These men have depended upon the weaker, less important considerations. the striking, amusing, entertaining qualities, etc., to lead people to buy. The most important considerations have in general, not been made use of. The result is that, although the sales have been enormous, still the possibilities of the sale of stereoscopic views have never yet begun to be realized. This must continue to be the case while most agents and people do not appreciate their higher value, nor even know how to use them to get the most from them.”

Die Graphischen Künste der Gegenwart

Theodor Goebel (1829-1916), Die Graphischen Künste der Gegenwart; ein führer durch das Buchgewerbe, (Contemporary Graphic Art, a Leader in the Booktrade). (Stuttgart: Felix Krais, 1895). Graphic Arts Collection GAX 2017- in process


The Graphic Arts Collection recently acquired a rare volume edited by Theodore Goebel (1829-1929) presenting 100 specimens of contemporary European printing. It is the first of three volumes Goebel prepared to document the commercial printing industry of the day, featuring Edward Albert’s héliogravure; photogravures by Joseph Albert, F.A. Brockhaus, and O. Felsing,; the Meisenbachtypes of Meissenbach, Riffarth and Company; and so on. This volume has been digitized but the online images in no way compare to the color, texture, or dimension of the original: https://babel.hathitrust.org/cgi/pt?id=nyp.33433056717493;view=1up;seq=9

A profile of Goebel was published in the May/June 1893 issue of The British Printer to celebrate “the jubilee of his labours in the service of our art.” They note that he trained in numerous cities with various companies, working as “compositeur secondant,” and afterwards as “metteur en pages” in Plon’s celebrated printing office in Paris, followed by Glasgow and London, where Goebel trained with Bradbury & Evans and Edward Taylor.

From 1859 to 1871, Goebel worked as foreman of Ulrich Müller’s printing office in Riga, Latvia, before leaving to become editor of the Journal für Buchdruckerkunst (later absorbed by Deutscher Buch- und Steindrucker (GAX Oversize 2006-0369Q)). The article continues,

“By his thorough knowledge in all the departments of the typographical art—knowledge gained, not by a dry study of books, but by practical experience—by his untiring zeal in collecting everything that was new and was worth knowing, by his keen insight, and not least, by the brilliancy and clearness of his composition, he not only raised the Journal to that height which its founder had always had in view, but enlarged its scope and interests principally by means of his extensive foreign relations.”

It was Goebel who introduced the English Specimen Exchange to German printers and induced so many of them to contribute. This led to his own Graphischen Künste der Gegenwart Ein Fuhrer Durch Das Buchgewerbe. A later volume is already in the collection, described here: https://graphicarts.princeton.edu/2013/10/17/elucidations-on-a-collection-of-sample-prints-on-strasbourg-special-papers/

 

[Below] E. Ernst (E. Ehrenzweig). Kunstanstalt fur Photogravure, Wien, VIII., Hasplugergasse 3.

[Below] Meisenbach, Riffarth & Co., Graphische Kunstanstalten, Berlin und Munches; Drei Blatter 1) Titelblatt der Firma, Photogravure nach einem Aquarell von A. zick; 2) Portrat; Photogravure nach einem Oelgemalde von E. Rau; 3) Matterhorn vom Gornergrat, Landshaft nach einer photographisches Aufnahme.

[Below] J.B. Obernetter, Kunst-Anstalt fur Light- und Kupferdruck Munchen.

 

Rubáiyát


Over 100 editions of the Rubáiyát of Omar Khayyám (1048–1131) are listed in the Princeton University Library catalogue. Many have special bindings and illustrations. One of the most unusual was published in September 1905 by Dodge Publishing Company with illustrations by the California photographer Adelaide Hanscom (later Leeson, 1876-1932).

In 1903, Hanscom gathered writers and artists to her San Francisco studio and like Julia Margaret Cameron, dressed and posed them in exotic scenes for her book’s illustrations. Joaquin Miller (the pen name of Cincinnatus Heine Miller, 1837-1913), George Sterling (1869-1926) and George Wharton James (1858-1923) are thanked individually. Charles Augustus Keeler (1871-1937) was not, nor were any of the female models.

Hanscom not only took the photographs but also drew the borders. This edition was first announced in the column “Books and Authors” in the New-York Tribune on August 26, 1905:

Omar Khayyam. The Rubáiyát of Omar Khayyám, translated into English verse by Edward FitzGerald; with illustrations by Adelaide Hanscom (New York: Dodge Publishing Company, 1905). “… my gratitude to Joaquin Miller, George Sterling, George W. James, and others who have rendered valuable assistance in posing for these illustrations …” Graphic Arts Collection (GAX) 2003-1063N

 

 
Joaquin Miller

 

 

 

 

George Wharton James

 

 

 

George Sterling

 

 

 
See also
Elizabeth Barrett Browning (1806-1861), Sonnets from the Portuguese with photographic illustrations by Adelaide Hanscom Leeson (New York: Dodge Pub. Co., [1916?]). Marquand Library (SAPH): PR4189 .A1 1916

Adelaide Hanscom Leeson (1876-1932), Adelaide Hanscom Leeson, Pictorialist Photographer, 1876-1932 (Carbondale, Ill.: University Museum, Southern Illinois University at Carbondale, 1981).Marquand Library (SAPH) TR647 .L415 1981

Laughter for the Languid


With the morning mail came a question about volume 3 of a reissue (c. 1830) by S. W. Fores of Pigmy Revels (originally published in 1800-1801) under a new title: The Lilliputian Museum, or, Panoramic Representation of Pigmy Revels: Calculated to Create Joy for the Juvenile, Laughter for the Languid, Fun for the Feeble, Sauce for the Serious, and Mirth for the Melancholy: Containing Wit without Indecency, Humour without Vulgarity, Mirth without Malice, and Satire without Personality.

Does our copy (Rowlandson 1800.4) have extraneous material included? At approximately 20 feet in length, with many sections separated and/or re-taped together, it is difficult to tell but this section of two plates (below) does seem to stand along. What do you think?

Glyptogravure of the Naver Ceremony

Above: Shapoor N Bhedwar, The Naver Ceremony. The First Ablution. Glyptogravure by Waterlow & Sons Limited. Frontispiece to The Photogram, 1, no.4 (April 1894).

 

Catharine Weed Barnes Ward (1851-1913) and her husband Henry Snowden Ward (1865-1911) founded the monthly magazine, The Photogram in 1894 with the ambitious plan to include a photograph or photomechanical print tipped into each issue. The variety and quality of prints mailed to subscribers that first year is surprising.

The April supplement in particular offers a glyptogravure (meaning engraved on stone, elsewhere called woodbury-gravure) from the postage stamp and certificate engravers Waterlow & Sons.

More on the photographer Shapoor Bhedwar can be found here: http://www.photo-web.com.au/gael/docs/Shapoor-Bhedwar.htm and more on the Naver Ceremony related to the consecration of a priest into the Parsi (Parsee, i.e. Zoroastrian) priesthood can be found here: https://www.zoroastrian.org/articles/The%20Iranian%20and%20Parsi%20Priests.htm

An obituary for Catherine Weed Ward was published in American Photography, 7 (1913), which reads in part:

The brief announcement in our September number of the death of Mrs. H. Snowden Ward, formerly Catherine Weed Barnes, on July 31 at her English home, Golden Green, Hadlow, Kent, England, will, we are sure, be received with regret and sorrow by her numerous American friends, occurring as it did about eighteen months after her husband’s death here in December, 1911.

It was between 1887 and 1888 that Mrs. Ward began the practice of photography. With the aid and advice of a professional photographer at her Albany, N. Y., home, she fitted up there a studio and darkroom facilities for photographic work. She was interested in the Historical Society at Albany, and made many photographs of historical places, buildings, and articles in and about the city. She soon acquired the technique of negative making and became a proficient photographer. Shortly after this she became one of the first women members of the Society of Amateur Photographers of New York, and contributed prints and slides to its exhibitions.

About 1890 for two or three years she was an associate editor with our Mr. Beach, and also at one time with Mr. Alfred Stieglitz, of this magazine, then known as the American Amateur Photographer. In the summer of 1893 she was married to Mr. H. Snowden Ward in Rochester, N. Y., at which time he was editor of an English monthly magazine called the Practical Photographer, published in London. Mrs. Ward then made her home in England, and continued her photographic work there with the same zeal and interest as here. The publication of a new monthly photographic magazine was begun in 1894, called The Photogram, which Mr. Ward edited, assisted by Mrs. Ward in a literary and pictorial way, supplemented by the publication of an annual book entitled “Photograms,” containing superior halftone illustrations of the best work that had been exhibited during the previous year.

With apologies for my camera, here are some of the other prints included in The Photograms of 1894.
Harold Baker (negative), printed by J. Martin & Company on Paget Matt Surface Print Out Paper, An Artist. The Photogram 1, no. 9 (September 1894).

 

The Eastman Company (positive) after W.J. Byrne (negative), A Portrait. Nikko Bromide paper print. The Photogram 1, no.3 (March 1894).

 

Thomas Fall, My Friends. Woodburytype. The Photogram 1, no.2 (February 1984).

 

Erwin Raupp, [Portrait of a Lady], printed on Three Star Brilliant Albumen paper. Albumen silver print. The Photogram 1, no. 6 (June 1894).

 

The London Stereoscopic & Photographic Company, Specimen print on Scholzig’s “Otto” paper. Otto silver print. The Photogram 1, no. 7 (July 1894).

 

Thank you to David Magier, Associate University Librarian for Collection Development, for explaining the Parsi consecration ceremony.

The Photogram (London, 1894-1903). RECAP 4597.7171

 

Deadline for the Adler Collecting Prize Coming Soon!

Deadline: Tuesday, November 28, 2017

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

Endowed from the estate of Elmer Adler, who for many years encouraged the collecting of books by Princeton undergraduates, this prize is awarded annually to undergraduate students who, in the opinion of a committee of judges, have shown the most thought and ingenuity in assembling a thematically coherent collection of books, manuscripts, or other material normally collected by libraries.

Please note that the rarity or monetary value of the student’s collection is not as important as the creativity and persistence shown in collecting and the fidelity of the collection to the goals described in a personal essay.

The personal essay is about a collection owned by the student that he or she actively collects or curates as opposed to an essay that focuses on whatever is found in one’s library. The essay should describe the thematic or artifactual nature of the collection and discuss with some specificity the unifying characteristics that have prompted the student to think of certain items as a collection. It should also convey a strong sense of the student’s motivations for collecting and what their particular collection means to them personally.

The history of the collection, including collecting goals, acquisition methods, and milestones are of particular interest, as is a critical look at how the goals may have evolved over time and an outlook on the future development of the collection. Essays are judged in equal measures on the strength of the collection and the strength of the writing.

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

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

The deadline for submission is Tuesday, November 28, 2017. Essays should be submitted via e-mail, in a Microsoft Word attachment, to Julie Mellby, jmellby@princeton.edu. They should be between 9-10 pages long, 12pt, double-spaced, and include a separate cover sheet with your name, class year, residential address, email address, and phone number. In addition to the essay, each entry should include a selected bibliography of no more than 3 pages detailing the items in the collection.

Please note that essays submitted in file formats other than Microsoft Word and/or without cover sheet or a bibliography will not be forwarded to the judges.

For inquiries, please contact Julie Mellby, jmellby@princeton.edu.

Recent Adler Prize Winning Essays:

Matthew Kritz, ’18. “Books Unforgotten: Finding the Lost Volumes of My Tradition.”

Nandita Rao, ’17. “Of Relationships: Recording Ties through My LP Collection.”

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

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

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

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

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

In case you missed the opening of the Graphikportal

In case you didn’t see the dozens of announcements this weekend about the unveiling of the Graphikportal, https://www.graphikportal.org/, here’s the YouTube introduction in English. The site is currently only in German but we are told there will eventually be an English language option.

The working group for the Graphic Arts Networks joined forces in March 2011 at the conference “Kupferstichkabinett online” in Wolfenbüttel. Its members include around 70 print collections from Germany, Austria, Switzerland, Italy, France and the Netherlands (museums, libraries, archives, etc.). The aim is to agree on common digitization standards and to develop strategies for the further digital networking of graphic collections.

“250,000 works of art are now available online, including works from major museums, libraries and research institutions, such as the Kupferstichkabinette of the Staatliche Museen zu Berlin – Prussian Cultural Heritage, the Staatliche Kunstsammlungen Dresden or the Hamburger Kunsthalle. Also included are the Albertina and the MAK-Bibliothek and Kunstblättersammlung in Vienna, the prints collections of the ETH Zurich and the Zentralbibliothek Zürich or the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Last but not least, the holdings of the Virtual Print Room, a cooperation of the Herzog Anton Ulrich Museum Braunschweig and the Herzog August Bibliothek Wolfenbüttel, will be integrated.”

All institutions are members of the international working group “Graphik vernetzt.” You can follow their progress on twitter:
https://twitter.com/hashtag/Graphikportal?src=hash

Wood Pulp Paper

Matthias Koops (active 1789-1805) applied for and received three patents. The first dated April 28, 1800 outlined a process for extracting printing and writing ink from paper “making thereof paper fit for writing, printing, and other purposes.” Recycled paper.

The second two were for manufacturing paper from straw, hay, thistles, waste and refuse of hemp and flax, and different kinds of wood and bark. Wood pulp paper. “The manufactory was first established at the Neckinger Mill, at Bermondsey; and afterwards removed to the Thames Bank, Chelsea, where it terminated unsuccessfully.” –The Franklin Journal and American Mechanics’ Magazine 1, no. 4 (April 1826): 251. Previous debts forced the closure and sale of his Straw Paper Manufactury in 1804.

Thanks to Elmer Adler, the Graphic Arts Collection holds the first book printed on paper made not from linen or cotton but from straw, with an appendix printed from paper made from wood pulp. Koops dedicated his book to George III and wrote:

“I therefore most submissively, entreat permission to lay at Your Majesty’s feet the first useful Paper which has ever been made from Straw, without any rags or addition, and on which these lines are printed; but at the same time most humbly beg leave to observe to Your Majesty, that this Paper is not yet in such a state of perfection as it will hereafter be, when the necessary, implements are completed, and the Manufactory regularly established and farther advanced; but as there now can be no doubt that good and useful Paper may be manufactured solely from Straw.”

View of Millbank in Wallis’s Plan of The Cities of London And Westminster 1804

 

Matthias Koops, Historical account of the substances which have been used to describe events, and to convey ideas, from the earliest date to the invention of paper (London: Printed by T. Burton …, 1800). Laid in: sample blank folded sheet of straw paper, 35 x 43 cm. folded to 18 x 12 cm. Watermark: “Neckinger Mill.” Graphic Arts Collection (GAX) Oversize TS1090 .K66q

 

 

 

Full text:

April 28, 1800. No. 2392. Matthias Koops. Extracting printing & writing ink from printed & written paper, & converting the paper from which the ink is extracted into pulp, and making thereof paper fit for writing, printing, & other purposes. The printed and written papers, after certain selection, are to be divested of their size by means of hot water, and afterwards boiled in solutions of American potashes and lime water mixed, and of a different strength, accordingly as the paper has been printed with German or English ink, or ordinary writing ink.

After washing with water, the material resulting from such treatment is to be thoroughly cleansed from the alkali by washing in the engine; and to brighten the colour, so much of the pulp is to be treated with a solution prepared by distilling a certain amount of marine salt with a certain amount of black wad and vitriolic acid into soft water. This pulp is then to be ground in order to be made into paper.

Written paper assorted is cleansed from size by boiling water, the water pressed out; it is put into a wooden case lined with a thick mixture of white lead & water, the neck of a retort containing the before-mentioned ingredients is attached and heat applied, when the article is impregnated so that it becomes whitened; it is conveyed into the engine to grind into a substance for making paper.– [See Repertory of Arts, vol. 14, p. 225; Davies on Patents, p. 244; Bolls Chapel Reports (sixth), p. 197.]

August 2, 1800. No..2433. Matthias Koops. Manufacturing paper from straw, hay, thistles, waste & refuse of hemp & flax, & different kinds of wood & bark. [No Specification enrolled.]

February 17, 1801. No. 2481. Matthias Koops. Manufacturing paper from straw, hay, thistles, waste & refuse of hemp & flax, & different kinds of wood & bark, fit for printing & other useful purposes, by steeping for a given time in lime water, to which, in some cases, christal of soda or potash may be added, afterwards boiling in clean water, in which, in some cases, a certain quantity of chrystal of soda or potash may be dissolved, then washing and again boiling, after which pressing, when proceed to manufacture the material into paper by the usual & well-known processes of making paper.

In the case of straw or hay, they are cut into portions of about two inches in length by a chaff-cutting machine; with thistles, they are cut when the bloom begins to fall therefrom, dried and cut into lengths of two inches; and with wood, it is first reduced into shavings, then cut with the chaff-cutting engine into lengths of about two inches; but wood which contains much turpentine or resinous matter cannot usefully & beneficially be made into paper.

Some of the substances, previous to steeping in the lime water, may be boiled for a given time in ordinary water. And again, in some cases it has been found to be advantageous to suffer the pressed material to ferment & heat for several days before reducing it to pulp, in order to its being made or manufactured into paper.– [See Repertory of Arts, vol. 1 (second series), p. 241; Webster’s Reports, vol. 1, p. 418; Webster’s Patent Law, pp. 16, 71, 83, 100 (also p. 127, cases 35 and 4i); Carpmael’s Reports on Patent Cases, vol. 1, pp. 175 and 186; Davies on Patents, pp. 11 and 244; Parliamentary Reports, 1829, p. 192; Vosey’s Chancery Reports, vol. 6, p. 599; Bosanquet and Puller’s Reports, vol. 3, p. 505; Rolls Chapel. Reports (sixth), p. 200.]

Airborne Propaganda Leaflets

The Graphic Arts Collection recently acquired a small group of propaganda leaflets in English, French, German, Italian, Polish, Russian, Spanish, Burmese, and Japanese, prepared to be dropped from airplanes and hydrogen balloons during World War II. They date from approximately 1940 to 1945, some printed in color and some with illustrations. The variety of languages and messages demonstrate the use of airborne leaflet propaganda by all sides of the conflict.

 

Of three English language items, two question Britain’s alliance with Russia, asking “Why die for Stalin?” Another depicts a growing number of skeletons within the British army, writing “Which of you will be the last?”

There are six leaflets in French and fifteen in German, most denouncing Hitler. Several guarantee the good treatment of prisoners by the allies and list the statistics on Germans captured. An Italian leaflet claims that Italian workers working in Germany are keeping their families from misery and a Spanish leaflet warns fishermen to keep out of the restricted waters, where they are in danger of attack by the British navy. A Russian flyer promises good treatment to those that surrender and so on.

 

 

[Collection of air drop propaganda leaflets in English, French, German, Italian, Polish, Russian, Spanish, Burmese, and Japanese] ([Various places, 1940-1945]). Graphic Arts Collection (GAX) Q-000311

See also
Bernard Wilkin, Aerial propaganda and the wartime occupation of France, 1914-1918 (London; New York : Routledge, Taylor & Francis Group, 2017). Firestone Library (F) D544 .W37 2017

James Morris Erdmann (born 1918), Leaflet operations in the Second World War … ([Colorado? : s.n.], c1969). “The story of the how and why of the 6,500,000,000 propaganda leaflets dropped on Axis forces and homelands in the Mediterranean and European theaters of operations.” Firestone Library (F) D810.P6 E736 1969