Rt. 1 to Princeton
Thirty books dating from 1914 to 1951 printed and published by Raymond Duncan (1874-1966) are now held in the Graphic Arts Collection at Princeton. It appears to be the most complete collection outside the Bibliothèque nationale de France.
The older brother of the celebrated dancer Isadora Duncan, Raymond was also a dancer, as well as a philosopher, spinner, weaver, and printer of both letterpress books and decorated fabrics. Born in San Francisco, where he came to know Leo and Gertrude Stein, Raymond lived in Paris, Berlin, Athens, and New York City at various times throughout his bohemian life. He pioneered a holistic life-style inspired by ancient Greece and founded in Paris in 1911 the Akademia, a school where weekly concerts were held, international conferences organized, and useful arts taught free.
From 1911 on, Duncan established a private letter press in Paris and created a typeface “nearest to his ideal” following the principles of upper-case Greek letters: “I chose the nearest makeshift toward my letters at the foundry of Allain Guillaume Paris, type that was made for imitation engraving” (L’Alphabet, 1948). The collection includes Gestes (1921), the book by Duncan, but entirely engraved and illustrated, and self-published by his friend Marcel Roux. More about individual titles to come. Here is the list:
1 – Pamphlets and books by Raymond Duncan:
Raymond Duncan (1874-1966). Les Moyens de grève. Conférence par Raymond Duncan à la Bourse du Travail, Paris, le 5 mai 1912, sous la présidence du camarade Georges Yvetot. Paris: Akademia Raymond Duncan, 1914. 8vo, stitched. Conference held during the strike of 1912 about a new way of social struggle.
Raymond Duncan (1874-1966). Echos de mon atelier. Paris: Imprimé à la main par Raymond Duncan 21 rue Bonaparte, 1919. 8vo, stitched. Duncan’s philosophical manifesto, beautifully printed, on one side of each leaf. Illustrated with 3 woodcut vignettes.
Raymond Duncan (1874-1966). La Danse et la Gymnastique. Conférence faite le 4 mai 1914 à l’Université hellénique. Paris: Akademia Raymond Duncan, 1914. 8vo, purple wrappers. From June 1913 to the end of the Great War Raymond Duncan established a community in Greece and in Albania during the Balkan Wars. Very few titles have been issued on his press during this period. Duncan developed his theory of movement at the age of 17 based on the economy of work and awareness of the body during labor. Gymnastics were intended to prepare bodies for dance and considered as a salvation tool for humanity.
Raymond Duncan (1874-1966). La Musique et l’Harmonie. Conférence faite le 6 mai 1914, à l’université hellénique par Raymond Duncan ; conférence faite le 6 mai 1914, à l’Université hellénique, Salle de géographie. Sténographie d’Aristide Pratelle. Paris: Akademia Raymond Duncan, 1914. 8vo, blue wrappers.
Raymond Duncan (1874-1966). Les Travaux d’Héraklès, Conférence par Raymond Duncan, à l’Université philosophique, Paris, 9 mars 1919. [Bois de Menalkas Duncan.]. Paris: Editions Raymond Duncan, 1919. Pamphlet 8vo, stitched. Illustrated with 5 woodcuts, engraved by the author’s son Menalkas, at the age of 15: 2 full-page, 1 repeated on wrappers, hand-colored. After the war Duncan’s press was installed 21 rue Bonaparte.
Raymond Duncan (1874-1966). Prometheus (les grands crucifiés). Conférence par Raymond Duncan à l’université philosophique Paris le 16 mars 1919. Paris: Raymond Duncan, 1919. 8vo, stitched. Illustrated with six woodcuts: 4 full-page, 2 vignettes.
Raymond Duncan (1874-1966). Les Muses. Les neuf filles de Mnimosyni. Leur éloge par Raymond Duncan à l’université philosophique Paris le 30 mars 1919. Paris: Raymond Duncan, 1919. 3 full-page woodcuts, one repeated, one woodcut vignette to wrappers. Duncan states his future goals: “he visited the large cities of the world in search of the Nine muses. Arriving in Paris and not finding them, he realized that he must create them himself or at least provide an atmosphere in which nine muses might survive” (Roatcap, Raymond Duncan, p. 22).
Raymond Duncan (1874-1966). Theokritos. Conférence pastorale par Raymond Duncan à l’université philosophique. Paris: imprimé à l’oeuvre Raymond Duncan, 1919. 8vo, stitched. Illustrated with five woodcuts: one half-page to title page and wrappers, 2 full page, 2 vignettes.
Raymond Duncan (1874-1966). Theokritos. Same publication re-issued after 1929 at the address 31 rue de Seine, with new wrappers.
Raymond Duncan (1874-1966). Orpheus. Les Mystères d’Eleusis. Une conférence et quelques hymnes par Raymond Duncan, 16 février 1919. Paris: Imprimé d’après la stéonographie à l’Akademia Raymond Duncan, 1919. Illustrated with one full-page woodcut repeated on wrappers and two vignettes. Wrappers printed in red and black. 8vo, stitched.
Raymond Duncan (1874-1966). La Parole dans le désert. Genesis chantée par Raymond Duncan à la Salle des Agriculteurs le 22 avril 1920. [Paris: [ca. 1920]. 8vo, stitched.
Raymond Duncan (1874-1966). Gestes. Bois dessinés, graves, enluminés et tirés par Marc Roux. No place [Paris, Marcel Roux], 10 April 1921. 4to, unbound, illustrated wrappers. A remarkable and rare book, woodcut throughout, illustrated with 15 full-page hand-colored plates, plus 2 woodcuts on the wrappers. Gouache highlight throughout the engraved text printed in light brown ink. First edition self-published in 125 copies: one of 100 copies (not numbered). The book was entirely woodcut, text and illustration, by the author’s friend Marcel Roux (1878-1922), named here Marc.
Raymond Duncan (1874-1966). Oidipous. Tragédie en cinq actes. Présenté la première fois à au théâtre Femina à Paris le 6 avril 1927. Paris: Editions de l’Akademia, 1927. 8vo. With an abstract of the theatrical works by Raymond Duncan at the end. Autograph inscription to title page, reproduction of a photograph of the author mounted to preliminary leaf.
Raymond Duncan (1874-1966). Poèmes de parole torrentielle. [Paris]: Raymond Duncan, 1927. 8vo. One of 200 large paper copies, signed and inscribed by the author.
Raymond Duncan (1874-1966). De la caverne au temple ou de l’architecture. Paris: Editions Raymond Duncan, no date [ca. 1928]. 8vo, illustrated with two woodcut vignettes to wrappers. A conference on architecture followed by a debate with the audience.
Raymond Duncan (1874-1966). Initiation aux arts. De la parole à l’idéal ou de la poésie. Conférence faite rue de la Sorbonne à Paris le 11 février 1928. Paris: Editions Raymond Duncan, 1928. Large 8vo, stitched. Printed in 500 copies.
Raymond Duncan (1874-1966). L’Amour à Paris. L’Angoisse de la solitude et la passion de la foule en douleurs d’enfantement de l’amour du nouveau siècle. Conférence donnée le 22 janvier 1932. Paris: Editions Raymond Duncan, 1932. 12mo. This conference was published rue de Seine, where the Akademia moved in 1929. One year later Duncan purchased a “Le Roy founding machine rebuilt especially for me to found type from the smallest up to 36 points and since I have been printing nearly exclusively from my own type” (l’Alphabet).
Raymond Duncan (1874-1966). Etincelles de mon enclume. Paris: Akademia Raymond Duncan, no date [1937]. Narrow 8vo, stitched. Wrappers printed in sepia. Collection of quotes from conferences and articles by Raymond Duncan, dated between 1912 and 1937. Bibliography of books printed by Raymond Duncan. Autograph inscription to Jessie Hara, August 18, 1946, to title.
Raymond Duncan (1874-1966). Etincelles de mon enclume. Second edition, enlarged. Paris: Akademia Raymond Duncan, 1939 [1955]. Wrappers printed in black. Portraits of Raymond Duncan mounted in. Edited by Raymond Duncan’s second wife Aia Bertrand, a Latvian expatriate. Autograph inscription to half title.
Raymond Duncan (1874-1966). Poèmes parlés. Essais extemporanés. Paris: Akademia Raymond Duncan, no date [ca. 1949]. 8vo. Edition limited to 500 copies. Collection of texts presented by Raymond Duncan at the Akademia principally during WW2.
Raymond Duncan (1874-1966). Winter Exhibition of Parisian Art. Raymond Duncan presented by the Norfolk Society of Arts. Paris: Editions Raymond Duncan, no date [ca. 1950]. 8vo, stitched. Exhibition catalogue illustrated with reproductions of woodcuts, paintings and portraits. Wrappers illustrated with to woodcut vignettes printed in two colors. Copy printed on simili-japon.
2 – Books published and printed by Raymond Duncan:
René Patris d’Uckermann. La Rose assassinée. Dialogue de fous. Paris: Imprimé par Raymond Duncan, avril 1922. Large 8vo. The booklet bears the achevé d’imprimer: “Ce livre a été imprimé par Raymond Duncan typographe fidèle aux muses”. Patris’ Dialogue de fous was presented by Raymond Duncan on April 26 1921 at the Comédie Montaigne and issued one year later at his quarters 34 rue de Colisée, on the right bank where he was temporarily established.
Marc-Auran. Le Jardin d’amour. Paris: Editions Raymond Duncan, 1937. 8vo, stitched. Limited in 500 copies.
Marc La Roche. Le Pré blanc. Paris: Editions de l’Akademia, 1940. 12mo, stapled. Limited to 25 copies. Illustrated with a portrait by the author.
René Le Scieller. Mon frère ressuscité. Scènes et récits. Paris: Akademia Raymond Duncan, 1947. 12mo. The number of copies issued is higher than usual (1,000). This may explain the use of conventional typefaces for the text. The author met Raymond Duncan in New York, where he worked at the United Nations. Long autograph inscription: “Au Président Edouard Herriot, que j’ai – témoin muet et jamais déçu – approché pendant des années…”.
Jacques de Marquette. Introduction à la mystique comparée. Hindouisme, bouddhismes, Grèce-Israël, Christianisme, Islam. Paris: Akademia Raymond Duncan, 1948. 8vo. Printed in 1,000 copies. Conference held at Lowell Institute in Boston. Complete with the erratum.
Louise Peabody Sargent (1856-1949). Collected Poems. Paris: Akademia Raymond Duncan, 1949. Large 8vo. Limited to 150 numbered copies. Peabody Sargent of Boston origin befriended Raymond Duncan. The collection of her poems is accompanied by 2 obituaries, the author having passed away when the book was under press.
Lillian Everts. While the Past Burns And Lost Edition. With translations in French. Paris: Editions Akademia Raymond Duncan, 1950. Large 8vo. A new printing type appears in this bilingual “de luxe” edition published as the Akademia Raymond Duncan prize for poetry. The poems received the Lantern Publication Award in 1945 and 1949. The translation is by Abel Doysié.
Blanche Blanc. Mes poèmes. Paris: Akademia Raymond Duncan, 1951. 8vo. Poems printed in a different type than Duncan’s usual upper-case type.
Jehanne Louise Berenger. L’Alphabet de l’amour. Paris: Akademia Raymond Duncan, 1951. 8vo. Poems printed in a different type than Duncan’s usual upper-case type.
Ephemera
Invitation card to 3 piano concerts by André Asselin at the Akademia 31 rue de Seine, printed by Raymond Duncan.
Orson Welles / Around The World 1955 / Paris
Front covers
Back covers
While clearing out a storage room, a dozen or so copies of this advertisement were found. Eben Norton Horsford’s obituary in Harvard Crimson ran on January 3, 1893:
Professor Horsford died very suddenly of heart disease at his home in Cambridge Sunday afternoon. He was apparently in the best of health on Saturday, and to the many who knew him the announcement of his death will seem almost increditable [sic]. Eben Norton Horsford was born at Moscow, New York, July 27, 1818. He attended the district and other schools of that place until he was thirteen, when he entered the Livingston County High School.
In 1834 he was employed for a short time in railroad surveys, and then entered the Renssaller Institute where he was graduated a civil engineer in 1837. For the next two years he was engaged under Professor Hall in the geological survey of New York. From 1839 to 1843 he was the professor of mathematics and natural science at the Albany Female Academy, and during this time he lectured on Chemistry at Newark College, Delaware. In 1843 he went to Germany where for two years he studied chemistry under Liebig.
On his return to America he was appointed Rumford Professor of applied sciences at Harvard. He resigned this office in 1861 and since that time he has devoted much of his time to the study of chemistry and to chemical manufactures. In all he has taken out about thirty patents, most of them in a chemical line. In 1847 he married. His wife died in 1855 and in 1857 he married again. He had five daughters.
Outside of his professional career, Professor Horsford engaged in many works of general utility. One of his first works on returning from Germany was to investigate and select the proper material for the service pipes of the Boston Water Works. He was a member of the committee for the defense of Boston Harbor in the Civil War. He also devised a marching ration for the army which was very widely adopted. In 1873 he was one of the United States’ commissioners to the World’s Fair in Vienna, and in 1876 he was commissioner at the Centennial Exhibition in Philadelphia.
Of late years Professor Horsford has taken a great interest in archaeology. At the end of Commonwealth Avenue, he erected a statue of Lief Ericson at the spot where he believed that he landed. Another of his researches resulted in the discovery of the site of the ancient city of Norumbega, at the mouth of Stony Brook in Weston, where he erected a stone tower in 1889. Among his literary work has been the publication of numerous chemical researches in the scientific publications of Europe and this country. Prof. Horsford established the Rumford Chemical works in Providence, and was President of the company for many years.
Below: Rumford Chemical Works and Mill House Historic District
Classes cancelled? Travel postponed? Events delayed? Need a project?
This lovely print (below) has been sitting in a box marked “unknown Dutch” for ? 50 years. It would be nice to identify it. Looking at the back, it appears to have been removed (cut) from a book or broadside. Can anyone figure out the text and then, the book, and then, the print? We would be most grateful.
Do not continue reading if you want to solve this one by yourself.
Here is the book, found by Sérgio Costa Araújo in sunny Porto.
Cats, Jacob, 1577-1660, Proteus ofte Minne-beelden verandert in Sinne-beelden door [Tot Rotterdam : Bij Pieter van Waesberge boecvercooper, an. 1627] http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID&ID=V151926
In Dutch, Latin, and French verse.
The illustrations are engraved by Jan Gerrits Swelinck from designs by Andriaen Pietersz. van de Venne.
The title page is engraved; at foot of title: Met privilegie voor 15. Iaren.
Half-title reads: Proteus ofte Minne-beelden verandert in Sinnebeelden door J. Catz.
Contents, quoted from divisional title unless otherwise noted, each with separate pagination: “Sinne ende Minnebeelden· Van I. Catz.” (A-2Q⁴ 2R² ), an expanded version of “Silenus Alcibiadis”; “Emblemata D· Iacobi Catsii, in linguam Anglicam transfusa” (² A⁴ b-c⁴ d² ), an English verse translation of the foregoing sometimes attributed to Josuah Sylvester; “Emblemata moralia et æconomica” (3A-3L⁴ 3M² ), with illustrations copied from “Maechden plicht”; the Latin text, with French translation, of the dialogue between Anna and Phyllis from “Maechden plicht” ((a)-(f)⁴, no divisional or caption title); “Galathee ofte Harder Minne-klachte” (a-g⁴ [pointing hand]f[pointing hand]⁴).
This is emblem 28. Peasant couple with onions. Peeling onions, which causes weeping, as symbol of keenness in love, friendship in hard times and tribulation.” Additional information here: https://www.dbnl.org/tekst/_low001199301_01/_low001199301_01_0030.php
Classes cancelled? Travel postponed? Events delayed? Need a project?
This lovely print (below) has been sitting in a box marked “unknown Dutch” for ? 50 years. It would be nice to identify it. Looking at the back, it appears to have been removed (cut) from a book or broadside. Can anyone figure out the text and then, the book, and then, the print? We would be most grateful.
Ed Colker (born 1927), angles & naked vision: Twenty-two Poets & Translators, Twenty-three Poems. Bradley Hutchinson, printer. (Millwood, New York: Haybarn Press Editions, 2016). 23 unnumbered leaves. Copy 91/110. Graphic Arts Collection GAX 2020- in process. Gift of Ed Colker in memory of Professor Marvin Bressler and Professor C.K. Williams
The Graphic Arts Collection is honored to have received a gift of two portfolios by the wonderful artist/printer Ed Colker of Editions du Grenier and Haybarn Editions. The first includes 23 leaves housed in a printed wrapper with title and colophon; all enclosed in a tan cloth portfolio with printed paper label. Poets and translators include Michael Anania, Lee Briccetti, Paul Celan/John Felstiner, René Char/Mary Ann Caws, Lea Graham, Robert Hawks, Edmund Jabès/Rosmarie Waldrop, Catherine Kasper, Pablo Neruda/Audrey Kouvel, Kathleen Norris, Deborah Pease, Ronnie Scharfman, Abraham Sutzkever/Melvin Konner/Barnett Zumoff, Brian Swann, David Ray Vance, Rosmarie Waldrop, Jeanne Murray Walker.
“This portfolio is dedicated to the memory of Deborah Pease and Elizabeth Kray ever devoted to poets and poetry. The texts in this portfolio were printed as letterpress by Bradley Hutchinson on Stonehenge acid free paper; the frontispiece print on Rives Heavyweight was hand-colored by the artist. Binding in Italian Canapetta cloth is by Portfoliobox. In an edition of one hundred and ten this is copy number 91.”–Colophon.
Ed Colker (born 1927), Daughters of Emily: Eleven Women Poets, Fifteen Poems. Bradley Hutchinson, printer (Millwood, NY: Haybarn Press/Editions, 2018). 12 unnumbered leaves. Copy 100/125. Graphic Arts Collection GAX 2020- in process. Gift of Ed Colker in memory of Professor Marvin Bressler and Professor C.K. Williams.
The second portfolio contains the work of 15 female poets, including Something useful / Lee Briccetti — Bridge jumping/W4M/Poughkepsie (The walkway) / Lea Graham — Among the hundred gates — May / Kathryn Hellerstein — Number 5: thwarted expressionisms / Catherine Kasper — The wind has grown old / Kadya Molodowsky ; translation: Kathryn Hellerstein — New Year’s Eve in Bismarck, North Dakota — I. She said Yeah / Kathleen Norris — The living tree — Prima materia / Nina Pick — Lot’s wife — The cranes are flying / Ronnie Scharfman — Enhanced density / Rosmarie Waldrop — Van Gogh / Jeanne Murray Walker — The diarist / Suzanne Wise.
https://www.yiddishbookcenter.org/collections/oral-histories/excerpts/woh-ex-0006051/side-life-not-death-importance-poetry-world
René Primevère Lesson (1794-1849), Histoire naturelle des oiseaux-mouches (with:) Histoire naturelle des colibris, suivie d’ un supplément a l’histoire naturelle des oiseaux mouches (with:) Les trochilidées ou les colibris et les oiseaux-mouches (with:) Histoire naturelle des oiseaux de paradis et des épimaques (Paris: Arthus Bertrand, 1829-1835). GAX 2020- in process.
The French surgeon René Primevère Lesson (1794–1849) served as “pharmacist and botanist on Duperrey’s round-the-world voyage of La Coquille between 1822 and1825. On the voyage he was responsible for collecting natural history specimens with his fellow surgeon Prosper Garnot and officer Dumont d’Urville. … On returning to Paris, Lesson spent seven years preparing the vertebrate zoological section of the official account of the expedition, Voyage autour du monde sur La Coquille (1826–39). …He also compiled several monographs on hummingbirds and one book on birds of paradise.” https://www.portrait.gov.au/people/ren-primevre-lesson-1794
Lesson’s three volumes on the hummingbirds and final book on birds of paradise from tropical Central & South America, the Moluccas and New Guinea are filled with 261 hand-colored plates by Jean-Gabriel Prêtre (1768-1849), Paul-Louis Oudart (1796–1850) and Louis Victor Bévalet.
To see the influence with Robert Havell Jr.’s birds of paradise: https://www.princeton.edu/~graphicarts/2012/06/havells_birds_of_paradise.html
The Graphic Arts Collection acquired a handsome set of Lesson’s treatise, not in pristine condition but perfect for research and class use. Although there is foxing throughout, the colors are strong and the birds lively.
And they sound as beautiful as they look.
Recently Princeton University researchers discovered how “Hummingbirds dive to dazzle females in a highly synchronized display”: https://www.princeton.edu/news/2018/12/18/hummingbirds-dive-dazzle-females-highly-synchronized-display
According to the Cather archive: https://cather.unl.edu/life/longbio
In September 1890, Cather moved to Lincoln to continue her education at the University of Nebraska, initially planning to study science and medicine. She had had a childhood dream of becoming a physician and had become something of an apprentice to the local Red Cloud doctor. During an initial year of preparatory studies, Cather wrote an English essay on Thomas Carlyle that her professor submitted to the Lincoln newspaper for publication. Later Cather recalled that seeing her name in print had a “hypnotic effect” on her—her aspirations changed; she would become a writer. Her college activities point to this goal: the young writer became managing editor of the school newspaper, the author of short stories, and a theater critic and columnist for the Nebraska State Journal as well as for the Lincoln Courier. Her reviews earned her the reputation of a “meat-ax critic,” who, with a sharp eye and even sharper pen, intimidated the national road companies. While she was producing four columns per week, she was still a full-time student.
While at university, Cather joined the editorial staff of the school’s newspaper The Lasso, and the Graphic Arts Collection has acquired the issues published under her involvement as associate editor.
Cather had a complicated relationship with Ferris Greenslet, her editor at Houghton Mifflin. One of the major complaints involved the strength and enthusiasm of their promotion of her books. It is significant that the Graphic Arts Collection has also acquired the salesman’s dummy for the 1937 “library edition” of her Novels and Stories, which includes the prospectus with revisions to that of the “Autograph edition” along with portraits, facsimiles, and samples of the text and binding. Here are a few pages:
See also: https://graphicarts.princeton.edu/2020/02/15/willa-cathers-april-twilights/
The Graphic Arts Collection added several marbled paper sample books, with swatches of various techniques from the 19th century. These can be used in conjunction with the modern reference texts and the wonderful database from the University of Washington “Decorated and Decorative Paper Collection” at https://content.lib.washington.edu/dpweb/index.html, posted by Sandra Kroupa, Katie Blake and Johanna Burgess in 2006-2007. Not only are there digital examples that can be compared to these paper samples but a glossary of terms that explains the difference between what Wolfe calls Peacock and Miura calls Bouquet marble. They note:
When examining classification of marbling patterns, it is important to know that although many texts have been written on the subject, none is universally accepted as the ultimate authority. Historically patterns have been given idiosyncratic names, based on various criteria: the techniques used in their making, cultural practices or artist’s whim. The result is that patterns have multiple names.
See also: Wolfe, R. Marbled paper: Its history, techniques, and patterns. Philadelphia: University of Pennsylvania Press, 1990 and Miura, Einen. The art of marbled paper. London: Zaehnsdorf Ltd., 1989.
Posted here are images from the Belgian packaging firm A. van Genechten. [Paper sample catalogue]. Turnhout, A. van Genechten, 1858, with 421 original paper samples pasted onto 78 unnumbered leaves, including:
62 samples of papier marbré turc ou shell (Turkish or shell marbled paper)
53 samples of papier marbré anglais ou spanish (English or Spanish marbled paper)
20 samples of papier marbré dannonay (Annonay marbled paper)
27 samples of papier marbré écaille (tortoiseshell marbled paper)
14 samples of papier graîné (grained marbled paper)
14 samples of papier pointillé fin (fine dotted marbled paper)
7 samples of papier piqué (quilted paper)
6 samples of papier jaspé (paper resembling a jasper stone)
36 samples of papier uni glacé no. 1 (plain glossy paper)
10 samples of papier uni glacé taffend (taffend? glossy plain paper)
4 samples of papier tarrotage sur fond blanc (tarrotage? paper on white background)
65 samples of papier fleuragé no 1 (flower paper)
26 samples of papier fleuragé sur fond blanc (floral paper on a white background)
8 samples of papier uni balance (plain balanced paper)
2 large samples of papier marbré splashed, satiné ou non satiné (splashed marbled paper, satin or non-satin)
10 large samples of papier marbré à plumes ou non pareil no 1(feathered or non-similar marbled paper)
17 large samples of papier marbré à plumes ou non pareil no 2 (feathered or non-similar marbled paper)
6 large samples of papiers fins divers (various fine papers)
7 large samples of papiers emaillés (enameled papers)
7 large samples of papiers marbrés agathe (Agathe marbled papers)
3 large samples of papiers racinés (rooted papers)
Founded in 1855, the firm of Antoon van Genechten specialized in playing cards, decorated papers, ephemera, and packaging material, flourishing over 100 years. The firm supplied products worldwide including England, Spain, France, Denmark, South-East Asia (Thailand, Java, the Celebes), India, China and Japan. In 1868 Van Genechten had been granted an official licence to print playing cards with Chinese and Japanese paintings. The company finally merged, along with Brepols and Biermans, into the newly formed company Carta Mundi in 1970. See more: https://www.wopc.co.uk/belgium/van-genechten/
Octavio Paz (1914-1998), Instantáneas. Serigrafías de Juan Soriano. (México, D. F.: Papeles Privados; Varia Gráfica y Comunicación; Amigos del Museo de Arte Moderno, 1993). Raúl Herrera Munguía designed the binding and Juan Soriano’s serigraphs were printed in the studio of Jan Hendrix. Graphic Arts Collection GAX 2020- in process
“Esta edición, numerada y firmada por los autores, está contenida en un carpeta elaborada en cuero … diseño Raúl Herrera Munguía …” Editores: Fernando Zertuche, Mario del Valle.
Mario del Valle founded Ediciones Papeles Privados (Private Paper Editions) in 1981 and this volume represents the third time they worked with the poet Octavio Paz. Their website notes, in a rough translation:
“In 1981, Ediciones Papeles Privados emerged in Mexico City, an editorial specialized in poetry and art books. One of its fundamental objectives is to continue the tradition of the artisan book producing books to enjoy its content and its invoice. The art of making a book, today, involves using old techniques and combining them with the advantages and qualities of contemporary technology. Hence, Private Papers are interested, on a way, the excellence of the amalgamated content to the visual concept of each edition. …Octavio Paz referred to its creator with the following words: “Mario del Valle is an editor poet who continues the tradition of the publishing poets. This tradition is very old. In Mexico and Latin America in general he gave, among others, Salvador Novo , Xavier Villaurrutia, Miguel N. Lira, Pablo Neruda, Manuel Altolaguirre, Rafael Alberti, Juan José Arreola … The list is big … Their editions are bold, beautiful.” —https://papelesprivados.weebly.com/ediciones-papeles-privados.html
Only now have I understood that there was a secret relationship between what I have called my expulsion from the present and the writing of poetry. Poetry is in love with the instant and seeks to relive it in the poem, thus separating it from sequential time and turning it into a fixed present. But at that time I wrote without wondering why I was doing it. I was searching for the gateway to the present: I wanted to belong to my time and to my century. A little later this obsession became a fixed idea: I wanted to be a modern poet. My search for modernity had begun.–Paz Nobel Prize lecture.