Author Archives: Julie Mellby

Holiday Feasting

One hundred and ninety-three years ago, Charles Williams (active 1797-1850) etched a set of four caricatures called Feasting or Feasting Scraps ridiculing December holiday dinner parties. The set was published by S.W. Fores on December 15, 1824 but still seems timely.

In the print titled “A Pic Nic,” a family gnaws bare bones at a table covered with a ragged cloth.  Note the stand-off between the starving cat and dog. The poem reads:
On meagre fare the humble Curate’s fed;
Severe his labour—dearly earned his bread.
Tho all the duty on his shoulders fall
A paltry Thirty Pounds a Year his all.

 

“A Tuck Out” features a well-fed family attended by three liveried footmen, feasting on a sucking-pig, possibly a pheasant, and other dishes. Dorothy George was able to identify the picture on the wall as “Balthezar’s [sic] Feast”. This poem reads:
But see the bloated Vicars gaudy state,
Profusion surfiets, pamper ‘d menials wait;
Preaches Humility, his practice pride
Lived like an Infidel, and so he died.

 

At the dinner for “A Burster”, we can spot a large tureen of soup, pheasant, hare, pig, sausages, wine, and a painting of a frog looking at an ox. The poem reads:
A greasy chin the Aldermans delight
Their stomachs quite prepaid since yesternight
Anticipating, Turtle, Venison, Jellies,
To Cram, to Gorge nay e’en to burst their Bellies.

 


The final scene, “A Gorge” shows seven fox hunters (their caps are hung on the antler coatrack) drunk and partying. The two servants can barely keep up and their hounds are already falling asleep. Their poems reads:
See l’Esquire seated, at the festive board,
His Tenants squeez’d to satiate their lord,
Who squanders all in riot and excess,
His Family leaves in Want and deep distress.

**Williams also drew under the pseudonyms Argus; C. Lamb; Ansell; Tom Truelove; Timothy Squib and others. He should not to be confused with the American caricaturist William Charles.

Who edits E. B. White?

E.B. White (1899-1985) began submitting copy to The New Yorker in 1925 and joined the staff the following year. Each issue began with his “Comments” and for the April 21, 1945 issue [seen above], he wrote about the death of Franklin Delano Roosevelt.

“Today, tomorrow, or a day not far off, the great wish, the long dream, will come true—the end of the war in Europe. There may be no surrender, no last laying down of arms, but the victory will be there just the same, the bloody miracle which once seemed hardly possible will have come to pass.” While this section was printed as he wrote it with no editing, there were multiple corrections to the rest of the piece.

Above: Proof number one. Below Foundry proof with an OK to print.


The Graphic Arts Collection recently acquired The New Yorker magazine’s foundry book for the April 21, 1945 issue, which includes the copy edits and proofs for the entire magazine. It is a unique and informative resource in the history of this magazine and for mid-twentieth-century publishing in general.

Each page has several printed versions, as the proofs are marked up and the type is reset. It is not clear whether White is reading and proofing his own copy or whether a staff editor is suggesting these changes. The hand is the same throughout the issue, even making corrections to the cartoons.

This issue also includes a story by John Cheever, pieces by Edmund Wilson, a James Thurber cartoon, and much more. Few pages escaped changes and many are heavily edited.


Near the end of his life, E.B. White was interviewed by George Plimpton and Frank H. Crowther for the Paris Review where he commented,

“I do feel a responsibility to society because of going into print: a writer has the duty to be good, not lousy; true, not false; lively, not dull; accurate, not full of error. He should tend to lift people up, not lower them down. Writers do not merely reflect and interpret life, they inform and shape life.” — “Art of the Essay,”  Paris Review 12 (Fall 1969): 65-88.

 

The advertising must have been proofed before it arrived at the magazine, most pages have only the foundry proof.

View of the World from Nassau Street


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In his “Rally ‘Round the Cannon” column published January 19, 2010, Gregg Lange ’70 recounts how two students produced one of Princeton Alumni Weekly’s most memorable covers. Now thanks to Colleen Finnegan at the PAW, the Graphic Arts Collection acquired a copy of this homage to Saul Steinberg (1914-1999) and his iconic March 29, 1976 design for The New Yorker, known as “View of the World from 9th Avenue.” Only five years later, Rob Smiley ’80 and Jim Ryan ’82 re-imagined a “View of the World from Nassau Street,” for the pre-reunion May 4, 1981 issue of the Princeton Alumni Weekly.

 

Reproduced as a 23 x 30 inch full color poster, Smiley’s design highlights various Princeton clubs across the country along with Mount Princeton in the Sawatch Range of the Rocky Mountains southwest of the Town of Buena Vista in Chaffee County, Colorado. The Garden Theater, Princeton Historical Society, and local pancake house are a few of the landmarks seen on Nassau Street.

 

In 2005, Steinberg’s cover design was voted no. 4 by the American Society of Magazine Editors’ list of the 40 greatest magazine covers of the last 40 years. See all 40 at: http://www.magazine.org/asme/magazine-cover-contests/asmes-top-40-magazine-covers-last-40-years

 

Flight: Tales of the Urge to Fly from Daedalus to Lilienthal

Charles Hobson, Flight: Tales of the Urge to Fly from Daedalus to Lilienthal (San Francisco: Pacific Editions, 2017). Contents: Daedalus’s Golden Eagle — Leonardo’s Bat — Cayley’s Red Kite — Le Bris’s Albatross — Lilienthal’s Stork. Copy 21 of 30. Graphic Arts collection GAX 2017- in process.

“FLIGHT has been made as a limited edition of 30 copies, completed in the fall of 2017. Charles Hobson wrote the text and created pastel monotypes for the edition which have been reproduced as high-resolution digital prints. The typeface is Adobe Garamond and the text has been printed on stained paper created with an acrylic wash. Each book contains five folded paper airplanes fitted into pop-up tabs. The tabs have been reinforced with Tyvek and the planes are printed on Hammermill 20 lb Great White 30 acid free paper. The facing pages of the accordion are printed on Coronado SST 80 lb Stipple paper and the backing pages are Greystone Classic Linen. Charles Hobson designed the edition and John Dermerritt editioned the binding. The accordion has been assembled by Charles Hobson with the assistance of Alice Shaw and the 150 paper airplanes have been folded with the assistance of Anna Raugh.”–Colophon.

Five fictional messages are found inside the paper airplanes, including one each from Daedalus, Leonardo da Vinci (1452-1519), George Cayley (1773-1857), Jean-Marie Le Bris (1817-1872), and Otto Lilienthal (1848-1896).

 

“What bird did they watch? As would be expected each aspiring aviator was transfixed by the flight of a bird. The bird in each case, was different. In the following pages the bird that captivated the man is pictured and the details about its species have been described.”–Page [1] of the facing pages of the accordion.

 

 

Conservation and care of arms and armaments

For many years, the care and housing of Princeton University Library’s collection of swords, rifles, spears, knives, and other armaments has been at the bottom of the “to do” list. Today it rose to the top and a survey of all the weapons was done.

 

Pieces and parts were returned to their original positions. Notes were made on sizes, shapes, and weights so the proper housing could be purchased or constructed. Care and handling was discussed. Special thanks to Lindsey Hobbs, Collections Conservator; Michael Siravo, Special Collections Assistant III; and Ashley Baker, Conservation Technician I for their ongoing work with our collections.

One of the longest carved staffs has been identified as a preist’s staff from the Toba Batak people of northern Sumatra. The local name would be Tunggal panaluan. Many similar staffs were carved to be sold to travelers. Unfortunately, it has not been dated.

 

 

More information on individual items can be found at these links:

https://graphicarts.princeton.edu/2014/02/26/audubons-rifle/

https://graphicarts.princeton.edu/2016/12/09/do-you-have-general-mercers-sword/

https://graphicarts.princeton.edu/2013/09/13/the-sword-of-william-of-orange-prince-of-nassau/

https://www.princeton.edu/~graphicarts/2012/08/post_36.html

“La Sainte Bible” wants to have it all

James Tissot (1836-1902), La Sainte Bible (Ancien Testament) (Paris: M. de Brunoff, 1904). 2 v.: 400 illus.  “… deux états de tous les sujets horstexte, dont l’un en héliogravure … l’autre en couleur.” Rare Books: William H. Scheide Library (WHS) 199.2. Copy 374 of 560.

Late in 1882, James Tissot had a vision while praying in the church of St-Sulpice. “This prompted him to renounce formally all things secular and to devote his time to illustrating episodes drawn from Holy Scripture. In order to gather material he travelled to Palestine in 1886 and again in 1889.” (Benezit, Dictionary of Artists).

The resultant volume, The Life of Our Lord Jesus Christ (commonly known as Tissot’s Bible) includes reproductions of 250 watercolors and was so successful, Tissot joined Samuel Sidney McClure to form a publishing house to market the bible exclusively.

 

James Tissot (1836-1902), The Life of Our Saviour Jesus Christ; three hundred and sixty-five compositions from the four Gospels (New York: McClure-Tissot Co., 1899). Firestone Oversize ND553.T52 A3 1899q

Tissot worked from 1896 to 1902 on a companion volume of Old Testament stories. Hundreds of watercolors were planned but only a few were completed before Tissot died. His assistants painted and printed most of the scenes under the direction of his French publisher Maurice de Brunhoff (1861-1937).

Two years after Tissot’s death, La Sainte Bible was published with 400 reproductions in two ostentatious volumes. The images are heavy-handed and dull, 360 of them crowded into elaborate text pages and the other 40 printed as separate full-page plates. What’s more, each plate was printed twice: once in photogravure and once in color halftone.

Twenty copies of the “Imperial Memorial Edition” sold for $5,000 and 560 others sold for much less. Discount offers began appearing, with one 1907 sale offering both volumes for $16. Jacob Schiff (1847-1920) purchased the watercolors and donated them to the New York Public Library.


 


Actor Mezzotints

The Princeton theater collection holds many 18th-century British mezzotints of actors and actresses in some of their most popular roles. Below is a portrait of Frances Kemble (1759-1822), the younger sister of Sarah Siddons, who married Shakespearean scholar Francis Twiss. It is an early proof before the engraved lettering was added.

 

John Jones (ca. 1745-1797) after Joshua Reynolds (1723-1792), Miss Kemble, 1784. Mezzotint. Graphic Arts Collection GA 2013.00395

 

 

Edward Fisher (1722-1785) after John Berridge (1740-active 1804), Miss Rose in the Character of Tom Thumb. Act II. Scene II, August 30, 1770. Mezzotint. Graphic Arts Collection GA 2013.00396.  Inscribed “Ha! Dogs, Arrest my Friend before my Face!… Tom Thumb shall shew his Anger by his Sword / Kills the Bailliff and his Followers…”.

Andrew Miller (active 1739-1763) after Thomas Blisse (active 1740), Mr. Turbutt in the Character of Sosia in Amphitryon, ca. 1740. Mezzotint. Graphic Arts Collection GA 2013.00401.

Portrait of Robert Turbutt (died 1746) as Sosia.

 

 

William Lawrenson (active 1765-1780), Mr. Smith in the Character of Iachimo, in Cymbaline. Act II. Scene III, November 10, 1772. Mezzotint. 1st state. Graphic Arts Collection GA 2013.00400.

Portrait of William Smith (1730-1819) playing the role of Iachimo in Cymbaline by William Shakespeare (1564-1616).

 

 

Giuseppe Marchi (ca.1735-1808) after Johan Joseph Zoffany (1733-1810), Mr. Moody in the Character of Foiguard, ca. 1769-1771. Mezzotint. Graphic Arts Collection GA 2013.00399.

This is a portrait of John Moody (born John Cochran, 1727-1812) as the Irish priest Foigard in George Farquhar’s The Beaux Stratagem.

Princeton Party at Twin Lakes, 1877

Detail: Francis Speir Jr., and William Berryman Scott second row left

 

William Berryman Scott (1858-1947) was 15 years old when he passed the oral entrance examination to enter Princeton as a member of the Class of 1877. “It was at Princeton that Scott began a life-long friendship with Henry Fairfield Osborn and Francis Speir; the 3 were inseparable and were given the nickname “The Triumvirate” by their classmates. In their junior year, they were inspired by a Harper’s Magazine article describing O.C. Marsh’s Yale College Scientific Expeditions and decided to undertake their own expedition to the West in search of fossil vertebrates. Planning continued throughout their senior year, and in the summer of 1877 the first Princeton Scientific Expedition set out for Colorado and Wyoming.” — Peabody Museum of Natural History


“In 1876 the Nassau Scientific Association was formed. It was organized by members of the class of ’77, and was An Association to undertake the work of Western Exploration. Under the leadership of Professors Brackett and Karge the first party started in the early part of the summer of 1877. The party was divided into two sections, the geologists, botanists and mineralogists working in Colorado, while the palaeontologists and typographers worked in Utah and Wyoming.” —Alumni Princetonian 1, No. 32 (20 March 1895)

“The University Library has recently received from Miss E. Leßaron Schanck, of Princeton, daughter of the late Professor Schanck, a full set of fifty large photographs of the Princeton Scientific Expedition to Colorado, in 1877. The expedition was composed of twenty members and was led by Professor C. F. Brackett and the late Professor Karge, whose military experience in the west was of great service.”–Daily Princetonian 26, No. 120 (11 November 1901)

The Players

In May 1888, Edwin Booth (1833-1893) paid $75,000 to purchase a townhouse at 16 Gramercy Park South to give The Players Club a permanent home in New York City. According to Club history, the name, The Players, was suggested by author and friend Thomas Bailey Aldrich, after one of the lines from Jacques’ speech in Shakespeare’s As You Like It. Booth with fifteen colleagues and friends were the incorporators of The Players.

On January 28, 1903, Richard Hoe Lawrence (1858-1936) arranged a dinner at the Club for the ten members of the Society of Iconophiles and commissioned an engraving by Joseph Winfred Spenceley (1865-1908) to mark the occasion. Spenceley’s work goes unrecorded within the sets of Society’s member prints and may not have been editioned in time. Lawrence’s copy, with correspondence between the two men, is held in the Graphic Arts Collection.



Society of Iconophiles. History of the Society of Iconophiles of the City of New York: MDCCCXCV: MCMXXX, and catalogue of its publications, with historical and biographical notes, etc. Compiled under the direction of Richard Hoe Lawrence, president, assisted by Harris D. Colt and I.N. Phelps Stokes (New York, 1930). Graphic Arts Collection (GAX) Oversize 2010-0138Q

Society of Iconophiles. Catalogue of the engravings issued by the Society of Iconophiles of the city of New York, MDCCCXCIV – MCMVIII / Compiled by Richard Hoe Lawrence with an introduction by William Loring Andrews (New York: The Society, 1908). Graphic Arts Collection (GAX) Oversize 2009-0518Q

Thank you books

GBW Tacoma 2017. Book #1
Reposted from Laura Russell, 23 Sandy
“No 1 in a new series of ‘Thank You Books’, celebrating the first 10 years of 23 Sandy. A goal of a book a month, all free, open-edition books, perhaps one-sheet wonders, perhaps not. But, all aimed at thanking the oh so many artists, librarians, visitors and supporters of the gallery.

The first book: GBW Tacoma 2017. Book #1 in this series of thank you books was made as a keepsake for the Guild of Bookworkers Standards Conference held in late October in Tacoma, Washington. I have been a member of the Guild of Bookworkers for nearly 20 years and it was great fun to hand out the books to my many guild friends and say thank you for the inspiration, education and support.

The photos in the book are vintage “Roadside Americana” in Tacoma. The book is a four-sided, one-sheet carousel book adapted from Ed Hutchins’ Book Dynamics. You can download a free PDF of the Tacoma book here: http://23sandy.com/works/blog-postings/thank-you-book-1-to-celebrate-the-first-10-years-of-23-sandy Print out, then follow the step-by-stop instructions to cut and fold into the miniature carousel book. http://23sandy.com