Author Archives: Julie Mellby

Homer’s “Odyssey” and Owen’s “Sing to Me”

We hosted a visit this week from Professor Reeves’s class “The Classical Roots of Western Literature,” which focuses on the classics of the Western literary tradition from Antiquity through the medieval period, including Apollonius of Rhodes’s Jason and the Argonauts, Apuleius’s The Golden Ass, Dante’s Inferno and others.  This week they read The Odyssey and so, we focused on the calligraphic work of Jan Owen’s “Sing to Me” with text by Homer.

The group had so many questions about the work, donated to the Graphic Arts Collection by Lynne Fagles, that an email was sent directly to the artist. The wonderful Ms. Owen replied immediately with an explanation of how the work came about and the inspiration for her interest in calligraphy. Here are a few of her words.

In 1997, I was invited to participate in Perspectives, the Art of the Book at the Portland Museum of Art in Portland, ME. That fall, I got a call from Lynne Fagles who said her husband had seen and liked my work and would I do a piece with words from his new translation as a Christmas present. I had read excerpts of The Odyssey in high school so began to read. I asked her to help me select text and she sent some of his favorite passages, which I marked and posted in my copy of the book. She had also asked that Greek text be included and this was before everything could be found on the web. Fortunately a local theological school had a copy of The Odyssey in Greek.

Several years before the Portland show, I’d wanted to work large on paper but not have to frame under glass. I experimented with hanging accordion fold books and liked the relief of the form. After doing several, they seemed to look ‘old’ and I began weaving in strips of gold painted paper, now Tyvek, to give texture to the surface and to be like a new communication code. The little basketmaker’s twist gives the strips dimension but can still fold flat. The weaving was also a fitting reference for The Odyssey. The ink changes color to give more variety—and to try to keep doing something a computer can’t do. Robert Fagles gave me permission to use the translation and I’ve included passages in several pieces [in addition to Sing to Me].

http://www.janowenart.com/

Puckle’s Club in Satin

“In Wine [there is] Truth”
James Puckle (1667?-1724), The Club; in a Dialogue between Father and Son. Edited by Edward Walmsley ([London, Imprinted by J. Johnson, St. James Street, Clerkenwell] 1817). One of seven copies. Imperial paper watermarked “J Whatman 1817.” Graphic Arts Collection GAX 2019- in process

This edition includes a frontispiece portrait of Puckle engraved by T. Bragg (active early 19th century) after an engraving by George Vertue (1684–1756) after a painting by John Baptist Closterman (ca. 1656–ca. 1713).

To pair with Princeton’s 1817 paper edition of The Club, the Graphic Arts Collection has acquired one of seven copies printed on satin and mounted within gold borders on rectos of Imperial paper watermarked “J Whatman 1817. The satin is pasted on the inside of the regular border, the joint being hidden by a broad gold line. It is bound in 19th century full red morocco, elaborately gilt, by Wilson, 19 Foley Place [Mary-le-bone, London], gilt spine in 6 compartments, wide inner gilt dentelles (probably John Wilson. See Charles Ramsden, London book binders 1780-1840 (London 1956), p. 151).

The illustrations by John Thurston (1774–1822) are wood engraved by Robert Branston (1778–1827), John Thompson (1785–1866), Henry White (ca. 1790–1861), William Hughes (1793–1825), Charlton Nesbit (1775–1838), Mary Byfield (baptized 1795–1871), G. Thurston, Jun. (active early 19th century), and William Harvey (1796–1866).

Inventory, lawyer, and author James Puckle (1667?–1724), wrote these dialogues between a father and son in 1711 (Gentleman’s Magazine, 1822, pt. i. p. 204). The son tells his dad about two dozen or so club members he met, each one described as a character type: antiquarian, buffoon, critic, rake, etc.  The father gives his son advice about each, adding a moral to every chapter.

It is, perhaps, surprising to see such a luxury edition of this work but the Puckle morals were extremely popular and the various editions widely distributed, this one printed by John Johnson and sold by Longman, Hurst, Rees, Orme and Brown; J. Major; John and Arthur Arch; and Robert Triphook (active 1814–23).

 

What will the world look like in 2000?

Unidentified artist after Charles Jameson Grant (active 1830-1852), The Century of Invention. Anno Domini 2000. Or the March of Aerostation, Steam and Perpetual Motion, [1832-1838?]. Paper on linen. Ex 9253.145f

Charles Jameson Grant (active 1830-1852), The Century of Invention Anno Domini 2000 or the march of aerostation, steam, rail roads, moveable houses & perpetual motion, [1832-1838?] Lithograph. Ex 9253.145F

A scrapbook in Princeton’s McCormick Collection of Aeronautica holds two versions of a rare design by Charles Grant imagining what the world will be like in the year 2000. One is a small lithograph and the other a larger reproduction laterally reversed and pasted on linen. The scene is clearly inspired by William Heath’s March of Intellect series of prints [below] published around 1828, making fun of the Society for the Dissemination of Useful Knowledge, established in 1826.

 

“To-morrow evening, 3rd Inst. A cast iron parson will preach by steam at fudge chapel”

 

Steam, cast-iron, wind and solar power are all celebrated amidst a general cacophony of speeding travelers. Science and industry have triumphed in all modes of transport, as well as daily life. The coal mines in the North are nearly exhausted, we are told, and a new Blackheath mine will be opened to satisfy demand.

 

Balloons are becoming passé, now that people are flying with their own wings. Cars, trains, and buses are driven by children as well as adults. Inventions are everywhere and there is still one live horse!

According to wikipedia, “In 1807, French engineers Nicéphore Niépce (who went on to invent photography) and Claude Niépce ran a prototype internal combustion engine, using controlled dust explosions, the Pyréolophore. This engine powered a boat on the Saône river, France. The same year, the Swiss engineer François Isaac de Rivaz built an internal combustion engine ignited by an electric spark. In 1823, Samuel Brown patented the first internal combustion engine to be applied industrially.”

Good Morning to you. Lovely weather for a Fly.

The print was also published in Caricature Magazine no. 3, February 1, 1834, so we assume these prints come from the same time.

Establishment for cast-iron glass. Warranted not to crack – established 1934

 

Good morning Sir, taking an airing before Breakfast. Aye, merely a trip to Dublin & back-again for an Appetite.

Pulled for a writing seminar investigating the rise of self-driving cars and their implications in fields as varied as philosophy, law, engineering, and computer science.

 

“When did people start coloring their nails and making other body transformations?” Answered in 1650

1650

1653

J.B. (John Bulwer, 1606-1656), Anthropometamorphosis: Man Transform’d; or, the artificial changeling : Historically presented, in the mad and cruel gallantry, foolish bravery, ridiculous beauty, filthy finenesse, and loathsome lovelinesse of the most nations, fashioning & altering their bodies from the mould intended by nature. With a vindication of the regular beauty and honesty of nature. And an appendix of the pedigree of the English gallant (London: J. Hardesty, 1650). Rare Books 2011-0065N [right]

J.B. (John Bulwer, 1606-1656), Anthropometamorphosis: Man Transform’d, or, The artificiall changling historically presented, in the mad and cruell gallantry, foolish bravery, ridiculous beauty, filthy finenesse, and loathsome loveliness of most nations, fashioning and altering their bodies from the mold intended by nature : with figures of those transfigurations. To which artificiall and affected deformations are added, all the native and nationall monstrosities that have appeared to disfigure the humane fabrick. With a vindication of the regular beauty and honesty of nature. And an appendix of the pedigree of the English gallant (London: Printed by William Hunt, 2653 (i.e. 1653)). Graphic Arts Collection GAX 2019- in process. [left]

 

 

The Graphic Arts Collection recently acquired the second edition of Man Transform’d, greatly enlarged and illustrated with numerous woodcuts along with an elaborate allegorical engraved half-title by Thomas Cross (active 1632-1682) and engraved frontispiece portrait of the author by William Faithorne (1616-1691). This complements the first edition in Rare Books with an elaborate title page designed by Cross but no other illustrations.


“Where it is the fashion to make the Nailes of their hands red, and to paint them of several colours, or to gild them, this being the beauty of the country.”

 

“God makes, and the Tailor Shapes”

 

 

“The frontispiece of this book, which faces a portrait, engraved by Faithorne, of the author (Bulwer), comprises a representation of Nature, with many breasts, like the Diana of Ephesus, seated upon a throne, which is formed of the back of two sejant monsters, crowned, holding an orb of sovereignty (without the cross) in her left hand and a sceptre in her right hand: her feet rest on celestial and terrestrial globes. Behind Nature rise, over the back of her seat, emblems of the sun and moon; on her right and left sit Adam and Eve, naked. These are under a pavilion, on the front of which is the title of the book “Anthropometamorphosis.”

Above, two hands appear, of which the right holds a sceptre with a crown upon it; near these is “Per Leges Natura.” The left hand holds a paper sealed with the sun, and inscribed, “Magna Charta Natura.” The hands issue from a cloud, from which a ray likewise proceeds, and is inscribed, “Non noui illos nec sunt opera manuum mearum.” On our left an angel approaches, saying, “Deus fecit hominem rectum”; on our right a devil goes away, saying, “Ha ha, he ad imaginem.”

Below the angel are an ape, leopard, dog and ass, the last saying, “Ecce homo quasi unus er nohis;” below the devil are, “Testes jurati,” several men in foreign costumes adapted to their climates. Below the animals, an open book bears “De usu partium”; below the men, “De Abusu partium.” Before the last, as if approaching the throne of Nature, appears a man in a lawyer’s costume (? the author), bearing a paper inscribed “Defatio abusu partium.” Behind him a bearded personage says, “Quid de abusu partium.” To the opposite side of the throne approach “Juratores,” whose foreman presents “Billa rera.”

Before a bar which is placed in front of the pavilion appear many persons who have more or less deformed their shapes by artificial means: one wears a mask, another a crown of feathers, the skull of a third has been pressed backwards; a woman wears patches cut like the moon and stars, and a farthingale; one man has painted his skin with flowers and birds, the next shows a striped skin; after this stands a woman in the then correct costume and a “salvage man,” an Indian with suns and moons painted on his skin, others who have deformed their ears, mouths and noses.”–Catalogue of Prints and Drawings in the British Museum, Volume 1 (1870)

 

 

Alan James Robinson

Mark Twain, The Jumping Frog. Wood engravings by Alan James Robinson (Easthampton, MA: Cheloniidae Press, 1985). Copy 10 of 15 state proof copies, with one extra signed suite of the 15 wood engravings plus the triple page fold out of the jumping front, plus working proofs of the wood engravings, plus state proofs of etching, signed and numbered by the artist. Graphic Arts Collection GAX 2019- in process

 

 

This Cheloniidae edition of the Jumping Frog from Mark Twain’s Sketches, New and Old (1875) contains three versions of this notorious and celebrated tale: the original, the version translated into French (inadequately so, according to Twain), and the version “restored to the English after martyrdom in the French” by Twain. The afterword, “The Private Printing of the ‘Jumping Frog’ Story” by Samuel Clemens, first appeared in the North American Review (1894).

The regular edition was limited to 250 copies and is bound in green paper wrappers, while all editions are printed on Saunders paper in Centaur and Arrighi types at Wild Carrot Letterpress with the assistance of Harold Patrick McGrath and Arthur Larson.

The 15 wood engravings are printed by Harold Patrick McGrath and bound by Daniel Kelm (the design of Alan Robinson) full undyed Oasis with onlays of the frog in repose — before the jump on the front panel and after the jump on the back panel, with doublures showing the frog in mid-jump. Onlays in green oasis of the frog jumping are on the front and back pastedowns.

NY Art Book Fair 2019

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

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

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

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

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

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

Pug the Painter, satire of Hogarth

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

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

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

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

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

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

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

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

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

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

 

 

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

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


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

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

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

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

A Single Drop of Ink for a Mirror

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

“Animos curasque induta viriles”  ? She represents masculine courage

Leonora Carrington

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

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

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

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

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