Category Archives: Acquisitions

new acquisitions

27 tableaux vivants

The Graphic Arts Collection has two new book projects with covers designed by Sonia Delaunay (1885-1979), along with her original painted designs. Our expert rare book conservator, Mick LeTourneaux, solved the problem of how to store each painting with the published book by constructing custom clamshell boxes with two compartments.

The first book is Delaunay’s 27 tableaux vivants published in Milan by Edizioni del Naviglio in 1969. Pochoir designs on leporello or accordion pages stretch out to form a small exhibition of 27 costume designs created over the 84 year old artist’s lifetime. Princeton’s book is no. 457 of 500 copies on velin Aussedat, from a total edition of 650.

Sonia attracted wealthy clients: a woollen embroidered coat was made in 1925 for the movie star Gloria Swanson, in geometric shades of rich spicy reds, browns and creams. In these fashion creations, straight lines predominate as diamonds and stripes and straight-edged lines turn at right angles. It’s as if the excitement of the whirling ballroom has been supplanted by the glamour of the road. But not for long: in the 1930s the curves and wheels and arcs were very much back.

For four more decades Sonia designed fabrics for the Amsterdam luxury store Metz and Co, and latterly for Liberty. She didn’t abandon the poets, it must be said. A “poem-curtain” of the time has verses by the surrealist Philippe Soupault embroidered in wool. She made “poem-dresses” – words that walked – and lectured at the Sorbonne on “the influence of painting on clothing design”.

The book is accompanied by two trial designs for the cover along with the painted binding. Inside the covers, Delaunay’s work is illustrated with an introductory text from publisher Jacques Damase (1930-2014, who was also the former owner of this volume), extracts from Guillaume Apollinaire (1880-1918), and a poem from Blaise Cendrars (1887-1961), with whom Delaunay had earlier worked on Prose du Transsibérien (1913).


The second book, also from the estate of Jacques Damase and with a painted cover design by Delaunay is André Salmon’s Propos d’atelier, published in France 1938–1967. It is also accompanied by a serigraph poster for a 1967 exhibition in Arras, in which the same design from Delaunay re-appears in inverted fashion.

Pindar (about 522-438 B.C.E.)

Angelo Campanella (ca. 1748–ca. 1815), after Luigi Agricola (1759-1821), after Raphael (1483-1520), Pindaro poeta greco, ca. 1793-1860. Engraving (framed). Detail from the Parnassus in the stanza della Segnatura, after Raphael [below]. Engraved text: “Uno dei più celebri per la gravità… l’Era volgare.”
1. Apollo 2. Calliope 3. Polymnia 4. Clio 5. Erato 6. Terpsichore 7. Euterpe 8. Thalia 9. Urania 10. Melpomene 11. Unknown 12. Virgil 13. Homer 14. Dante 15. Scribe 16. Berni 17. Petrarch 18. Corinna 19. Alcæus 20. Sappho 21. Plautus 22. Terence 23. Ovid 24. Sannazzaro 25. Cornelius Gallus 26. Anacreon 27. Horace 28. Pindar [bottom right]

Here is a sneak preview from a collection focused on the Greek poet Pindar. Just a few pieces to enjoy while the ink is drying on the paperwork.

The Perseus Project posted an English translation of Olympian Ode 1 here:

Olympian 1, For Hieron of Syracuse Single Horse Race 476 B.C.E.
Water is best, and gold, like a blazing fire in the night, stands out supreme of all lordly wealth. But if, my heart, you wish to sing of contests, look no further for any star warmer than the sun, shining by day through the lonely sky, and let us not proclaim any contest greater than Olympia.

From there glorious song enfolds the wisdom of poets, so that they loudly sing the son of Cronus, when they arrive at the rich and blessed hearth of Hieron, who wields the scepter of law in Sicily of many flocks, reaping every excellence at its peak, and is glorified by the choicest music, which we men often play around his hospitable table. . .

Michael Burghers (ca. 1640-ca. 1723), Frontispiece showing Pindar from Pindarou Olympia, Nemea, Pythia, Isthmia (1697) edited by Richard West and Richard Welsted, 1697. Engraving (framed).

Here is a brief biographic note from the Poetry Foundation:

Born to an aristocratic family near Thebes in or about 522 BCE, Pindar is considered by some scholars to be the greatest of the classical Greek poets. He is one of the few ancient poets represented by a substantial body of work, although only 45 of his odes of victory survive in their complete and original form, and other poems survive only in quotations from other authors or on fragmented scraps of papyrus discovered in the 19th and 20th centuries.

The victory odes—intended to be sung by choirs in celebration of athletes of the Olympian, Pythian, Isthmian, and Nemean games—were written on commissions from the victors’ family, friends, or benefactors. These poems place the athletes within the contexts of family history, festivals, and stories of the gods, to whom the pious Pindar attributed their victories.

In his duties as a poet, he traveled extensively around the Greek world; though he was subject to the complicated political tensions of the period, he did not avoid expressing his political and moral views. After a long and prosperous career, he died at Argos in 443 BCE at the age of 79. It is reported that when Alexander the Great sacked Thebes more than a hundred years after Pindar’s death, the poet’s house was the only one that was spared.

Giovanni Pietro Bellori (1613-1696), Veterum illustrium philosophorum, poetarum, rhetorum, et oratorum imagines: ex vetustis nummis, gemmis, hermis, marmoribus, alijsque antiquis monumentis desumptae / a Io. Petro Bellorio, Christinae Reginae Augustae bibliothecario & antiquario, expositionibus illustratae (Romae: Apud Io. Iacobum de Rubeis … , 1685). Plate 59 (part 2?), possibly engraved by Jacques Blondeau after Giacinto Calandrucci. Engraving (framed).


Currently, the earliest of our Pindar holdings is a manuscript: Pindari Quaedam et Sopho[…] written in ancient Greek (to 1453) [Constantinople ?], ca. 1420-1425]. 135 folios : paper ; 201 x 142 (150 x 55-75) mm. bound to 207 x 151 mm. Special Collections – South East (MSS) Princeton MS. 218


Poster: Picasso. Gravures originales pour illustrer la VIII pythique de Pindare… Paris Juin-Juillet 1961. Poster (framed).

Collection of Decorated and Watermarked Papers Assembled by Ingeborg M. Hartmann

The Graphic Arts Collection recently acquired the collection of decorated and watermarked papers assembled by Ingeborg M. Hartmann (later owned by Jelle Samshuijzen). A description prepared by Sidney Berger is sampled here.

For over 40 years the German bookbinder Ingeborg M. Hartmann saved the endsheets and, in some cases, cover papers of the books she worked on, along with unprinted leaves (almost certainly flyleaves) containing watermarks. Today, her collection is housed in three custom boxes as follows: Box 1 contains 104 samples of decorated papers, mounted on 23 stiff archival board substrates; Box 2 contains 148 samples of mostly marbled papers, mounted on 42 stiff archival board substrates; Box 3 contains 142 unprinted leaves, each with a watermark.

This post highlights the watermark collection, which also includes two bound volumes that show the actual watermarks using beta radiography and drawings of these marks by Hartmann. No provenance information on the watermarked papers are given and the dates only generally listed 16th century to 19th century. The collection is not inclusive or definitive of any one place or time, but instead a gathering of fascinating, often beautiful examples. As with the printed and marbled papers, Hartmann has gathered hundreds of items to study and enjoy.

Here is a digital copy of one volume: hartmanncollectionofwatermarks

read more:

Ingeborg M. Hartmann and Eva-Maria Hanebutt-Benz, Das Gesicht der Bücher : Ingeborg M. Hartmann, Buchbinderin : Museum für Kunsthandwerk Frankfurt am Main, Ausstellung vom 26. Februar 1987 bis 8. Juni 1987 (Frankfurt am Main (Germany): Dezernat Kultur und Freizeit. ; Museum für Kunsthandwerk Frankfurt am Main, 1987). Graphic Arts Collection » Z269.2 .H37 1987

Ingeborg M. Hartmann, Buchbindermeisterin: [Ausstellung] Museum für Kunst und Gewerbe Hamburg, 28. August bis 10. Oktober 1985 ([Hamburg] : [Museum für Kunst und Gewerbe], 1985).

Here are a few more samples:



Who attended the trial of Queen Caroline?

George Hayter (1792-1871), The Great Historical Picture of the Queen’s Trial, 1823. Oil on canvas. National Portrait Gallery, London

A Descriptive catalogue of the Great Historical Picture, A Descriptive Catalogue of the Great Historical Picture, painted by George Hayter, member of The Academy of St. Luke, &c. &c. &c., representing the trial of Her Late Majesty Queen Caroline of England: with a faithful interior view of the House of Lords, and one hundred and eight-nine portraits ; amongst which are included those princes of the royal family, with most of the peers and distinguished personages who were in the House on that memorable occasion, and who did the artist the honor to sit : containing in the whole upwards of three hundred figures : now exhibiting at Mr. Cauty’s great rooms, No. 80½, Pall Mall. London: Printed by W. Hersee, White Lion Court, Cornhill. 1823. Graphic Arts Collection 2020- in process.

[Together with:] The Great Historical Picture of the Queen’s Trial by Mr. George Hayter… [London]: Hersee, Printer, 1, White Lion Court, Cornhill. [1823]. Broadside. Graphic Arts Collection GAX 2020- in process.

On August 17, 1820, 260 prominent citizens of London gathered in the House of Lords to hear the introduction of the bill of pains and penalties aimed to “deprive Her Majesty Caroline Amelia Elizabeth of the Title, Prerogatives, Rights, Privileges and Pretensions of Queen Consort of this Realm, and to dissolve the Marriage between his Majesty and the said Queen.” — J. B. Priestley, The Prince of Pleasure and his Regency (1971). The Pains and Penalties Bill passed by a narrow margin.

London artist George Hayter received the prestigious commission to paint the scene, asking dozens to sit for him in his studio so their portraits would be accurate. Three years later, he capitalized on the excitement still surrounding the trial by staging an exhibition of his painting in Pall Mall with a catalogue [seen here] identifying each person attending the trial. This guaranteed the sale of his catalogue to at least the 189 people in the scene.

The Graphic Arts Collection recently acquired both the illustrated catalogue for Hayter’s exhibition and a handbill handed out to potential patrons passing in the street.

Affixed to the end of the catalogue is a note: “* The Asterisks are placed to the names of those gentlemen who, though present at the Trial, are so situated in the Picture, that the Artist did not find it necessary to trouble them to sit [pose for their portrait].”

The 8 stanza poem on the handbill is fittingly dramatic, equal to the excitement felt throughout London: “There sat the anxious Caroline / within the lofty Hall / Before the searching eyes of men / Who waited for her fall.”


Sergeĭ Sigeĭ

Designed and printed by the visual poet Sergeĭ Sigeĭ (1947-2014), this text was originally written in 1943-44 by the futurist poet Aleksei Kruchenykh (1886–1968). His poetry in turn is a tribute to Nikolai Gogol (1809–1852) the father of the absurd in nineteenth-century Russian literature.

In the introduction Sigeĭ explains:

“The late Kruchenykh did not write trans-sense poetry, instead, with a mysterious smile, he was re-writing classical literature. This work is easily understood in the context of contemporary debates about ‘postmodernism’; the great futurist turned out to be ahead of ‘the first Russian postmodernists’…”

This and other similar volumes were published by the Yeysk State Museum of History and Local Lore in Southern Russia, notable for holding the first international exhibition of concrete poetry in the Soviet Union, as well as first exhibit of mail art in 1989–1990.



Alekseĭ Kruchenykh (1886-1968), Arabeski iz Gogoli︠a︡; [predislovie, podgotovka teksta i shriftovai︠a︡ aranzhirovka Sergeĭ Sigeĭ] ([Eĭsk]: Otdel zhivopisi i grafiki Eĭskogo istoriko-kraevedcheskogo muzei︠a︡, 1992). Firestone PG3476.K76 A822 1992. [Originally written 1943-1944–p. 4].

The poet Aleksei Yeliseyevich Kruchyonykh belonged to the Futurism movement in Russia along with Vladimir Mayakovsky, David Burliuk and others. He wrote the libretto for the Futurist opera Victory Over the Sun (1913), with sets provided by Kazimir Malevich. He married Olga Rozanova, an avant-garde artist, in 1912; four years later, in 1916, he created his most famous book, Universal War. He is also known for his Declaration of the Word as Such (1913)

21,552 portraits in a treen

Changeable Portraits of Ladies (London: R. Ackermann, Jan. 1, 1819). Graphic Arts Collection GAX 2020- in process

Followed rapidly by ‘Chageable Ladies’ (1819), the Changeable Gentleman’ novelty was introduced by Rudolph Ackermann in London in 1818. It consisted of a set of caricature-profile cards … in which each picture is horizontally cut into three divisions corresponding, roughly, to hair, forehead, and eyes in the top portion; nose and ear in the narrower middle part; and mouth, chin, and neck in the lower part. The divisions allow productions of an infinite variety of faces. The cards are presented in wooden slide-top boxes … each having wooden dividers to separate upper, middle, and lower sections.–Michael Twyman, Encyclopedia of Ephemera

This clever variation on a transformation or metamorphosis game involves a series of 28 hand colored aquatint portraits, each cut into three sections arranged in a treen or a small wooden box with three compartments and a sliding lid. According to the instructions (under the lid) this toy permits the possibility of twenty-one thousand nine hundred and fifty-two different permutations.

“Each Head being separated into three moveable parts, the changing of any one of these parts will produce a new face including many celebrated characters, such as Queen Elizabeth, Queen Mary, Catherine II, &c. &c.; in short, almost every imaginable diversity of countenance and character. the grand, the grotesque, the beautiful, the whimsical, may be instantly produced in the most pleasing, surprising, and even laughable varieties.”

The instructions further note “it is hoped that the physiognomical apparatus here presented to the public will afford a very curious and almost inexhaustible fund for Lavaterian experiment.”

See also: John Ford, Rudolf Ackermann and the Regency World, 2018, p. 21.
See also:

Bourne’s Views of New York 1831

Thanks to the generous gift of Stuart P. Feld, Class of 1957, and Mrs. Feld, the Graphic Arts Collection now holds 14 engravings on 7 sheets, framed, after Charles Burton from the series Bourne’s Views of New York, first printing. The drawings were made for George Melksham Bourne, who issued the series of New York views in 1831, engraved by J. Smillie, Archer, Gimber, H. Fossette, and others, then printed by John Neale. This first issue of the Bourne plates can be distinguished by Bourne’s imprint and copyright notice, which are removed from later issues of plates published by Disturnell. The views now at Princeton are as follows:

Plate 9: Council Chamber, City Hall [with] Public Room, Merchant’s Exchange

Plate 11: Phenix Bank, Wall St. [with] United States’ Branch Bank

Plate 12: Brooklyn Ferry, Fulton St. [with] Steam Boat Wharf, Whitehall Street

Plate 14: St. George’s Church, Beekman St. [with] Clinton Hall, Beekman St.

Plate 15: Church of the Ascension, Canal St. [with] Exchange Place Looking to Hanover St.

Plate 17: St. Luke’s Church, Hudson Street, New York [with] The Reservoir, Bowery, New York.

Plate 18: St. Patrick’s Cathedral, Mott St. [with] St. Peter’s Church, Barclay St.

According to Gloria Deak, in her Picturing America 1497-1899 “The set of engravings the George Melksham Bourne issued from his shop on Broadway near Franklin Street in 1831 is generally considered the most beautifully executed sequence of small New York views.” [Graphic Arts 2014-0771Q, p. 262]


How to color a hyacinth

The Florist. Containing Sixty Plates of the Most Beautiful Flowers Regularly Dispos’d in Their Succession of Blowing to Which Is Added an Accurate Description of Their Colours, with Instructions for Drawing & Painting Them According to Nature: Being a New Work Intended for the Use & Amusement of Gentlemen and Ladies Delighting in That Art (London: Robert Sayer and Thomas Bowles, ca. 1760). Graphic Arts Collection GAX 2019- in process.

Provenance: Thomas Baskerfeild (1752-1816), a wealthy artist from Bedforshire who lived on the profits his father made as a drysalter (“a dealer in chemical products, dyes, etc. or, formerly, in dried or salted foods”) in partnership with Sir Richard Glyn in Hatton Garden. His library was sold by Sotheby’s in a sale that lasted seven days beginning November 13, 1817, and raised a total of £1426.


The Graphic Arts Collection has a spectacular new botanical drawing book, one of the first painting manuals designed for adult use. Published by Robert Sayer (1725-1794) in collaboration with Thomas, Robert,  and Carington Bowles, the work includes a suite of 60 plates depicting specific flowers, together with detailed instructions on how to color each one. The principal colors are listed in the introductory text [above], all of which could be obtained from the publisher: “Ladies and Gentlemen may be supply’d with the aforemention’d Colours, and all other, carefully prepar’d: Also, all Materials for Drawing and Painting, at the most reasonable Rates, by the Publisher of this Work” (p. 3). Specific instructions for coloring each flower are then given, with information on the particular recommended colors.


This edition is dated to ca. 1760 because of the “John Bowles and Son” in the imprint, since the family worked under this name from 1753 until 1764. In Blanche Henrey’s British botanical and horticultural literature before 1800 (Reference Collection Z5352 .H45), he notes three editions using the same plates and title-page, with the major difference between the first two being the numbering of the text section as pp. 61-76 rather than pp. [1]-16, as here. Henrey’s third edition includes the name of Jonathan Bennett in the imprint. Both text and plates were later copied and published under the title Bowles’ Florist. Henrey notes only seeing one copy of each of the editions mentioned, two copies black and white and the copy noted for the present edition being the only colored one (at CKC). “The compiler has, so far, seen only one copy of this edition [no. 709, the Bennett edition] of The Florist. It is in the Lindley Library, R.H.S. and the plates are uncoloured. According to a statement on the title-page coloured copies were also obtainable.” As shown here, Princeton’s book is uncolored.



Another edition not mentioned in Henrey has the imprint “Sold by I. Smith, at Hogarth’s Head, Cheapside, London” (OCLC lists Wellcome only). As well as the entries in OCLC and ESTC, Yale Center for British Art has two copies, one of which is colored, and Virginia’s Oak Spring Garden Library also has a copy.


“Painting having already had so many eloquent and powerful advocates, it would now seem impertinent to tire the Reader in endeavouring to prove that Art noble and delightful. That it is so, the ingenious have always in the strongest manner confessed by their constant attention and encouragement: therefore, the only use here made of an introduction will be to inform the purchasers of this work, of the plan on which it is executed.”

Mélodies illustrées 1892-1893

Henri Gabriel Ibels (1867-1936); Théophile Alexandre Steinlen (1859-1923); Georges De Feure (1868-1928); Adolphe Willette (1857-1926); and Georges Auriol (1863-ca.1938), Mélodies Illustrées. 1892-1893. Lithographic and gillotage illustrated sheet music. Graphic Arts Collection GAX 2019- in process.

A spectacular collection of French illustrated sheet music is now available in the Graphic Arts Collection: 46 with covers designed by H. G Ibels (43 in color and 3 in black and white); 33 by T. A. Steinlen (25 in color and 8 black and white); 4 in black and white by or after Adolphe Willette; 2 in color by G. De Feure, and 1 with a color cover after G. Auriol. Some covers are reproduced by lithography and some by gillotage (a relief process made by transferring a lithographic image to a metal plate).


In addition, this group includes the play L’amour S’amuse by Etienne Decrept (sayings in verse performed at La Scala by Mévisto & Camille Stéfani) illustrated by Ibels with five color lithographs and published by Georges Ondet in 1892 [above].

Parisian theater programs, posters, and sheet music designed by leading French artists were preserved by a limited audience of collectors and aficionados, making these fragile sheets rare in libraries and archives today. While Graphic Arts collects them for the cover, listing them by artist, they also preserve the popular music and lyrics of the period so important to the café-concert culture. A good example is [below] the sheet music for Mère moderne by V. Damiens, Saint-Gilles, and Emile Spencer, performed by Irène Henry and Blanche Fréda (with a cover by Ibels).

Particularly interesting is a series of French songs performed by Julies Mévisto (Mevisto the Elder, 1857-1918), many written by Montojay and Gaston Maquis, designed by Ibels with a Pierrot character on the cover.

Ibels’ first public success came from his 1892 poster of the popular singer Jules Mévisto, for whom he also lithographed his first sheet-music covers, published by Ondet in the early 1895. Mévisto was one of a growing number of singers who interpreted the repertoire of the Montmartre chansonnier-poètes in both the cabarets and in the more lucrative café-concerts. Mévisto had a distinctive stage personality; he dramatized the lyrics he sang with the exaggerated gestures of pantomime and affected different “voices” for the various characters in his songs. Hence, many of Ibels’ cover illustrations for Mévisto focus on the image of the singer himself rather than on the lyrics.–Gale B. Murray, “Music illustration in the circle of Bonnard,” Prints Abound, Paris in the 1890s (National Gallery of Art, 2000). Marquand Library Oversize NE649.P3 C37 2000q

Confession of a Mistake sung by Anna Thibaud (1861-1948) , words by Hector Sombre (died 1894), music by Gustave Goublier (pseudonym for Gustave Conin 1856-1926).

Titles by cover artist:
Georges Auriol, Quand Les Lilas Refleuriront.

Georges De Feure, Ménage D’artiste; and Lorsque Les Femmes Sont Jolies.

H.G. Ibels, L’amour Est Un Rêve; Ceux D’la Côte; Jean-Pierre; Retour Au Nid; La Valse Des Bas Noirs; Si Vous Le Vouliez, O Mademoiselle; Amoureuse!; Serment Trahi; Amoureux!; Aubade À La Lune; Comment On S’aime…; Cœur Meurtri; Elle, Cantique D’amour Dit Par J. Mévisto À L’horloge; Femme Honnête; La Chanson Du Macchabée; La Fin D’une Bordée; La Morgue; La Mort Du Propre À Rien; La Petite Correspondance Du Gil-Blas; La Valse Des Cotillons; L’aveu De La Faute; La Rose Et Pierrot; Restons Chez Nous; Pierrot Médecin; Pauvres Hommes, Si L’on Voulait!; Mimi, Chanson Créée Par J. Mévisto; Mes Moutons; Mère Moderne; Mensonges, Romance Répertoire Mercadier; Lettre D’amour; Lettre D’un Mari Trompé, Chanson Créée Par J. Mévisto; Les Veuves Du Luxembourg, Créée Par J. Mévisto; Les Pousse-Caillou; Les Petites Mères; Les Mal Tournés, Chanson Créée Par Mévisto; Les Malchanceux, Créée Par Mévisto; Les Culs-Terreux, Poésie De René Esse; Les Camarades; Les Bibis; Le Pitre; Le Pardon; Le 27, Poésie De René Esse; La Mort Des Gueux; La Danse Des Ventres; and La Chanson Du Rouet.

T.A. Steinlen: Chanson Des Conscrits, Créée Par Caudieux; Boul’vard Des Capucines; Au Quartier Bréda; Du Mouron Pour Les P’tits Oiseaux; A L’atelier; J’te Vas Coller Un Paing!; Et Voilà Pourquoi Madeleine…; En R’filant La Comète; Député!; L’heureux Dragon; L’aiguilleur; La Chanson De La Vie; La Toussaint Héroïque; La Râfle; La Pécheresse; Mon Homme!; Mon Tra Déri Tra; Maman, Conte Pour Noël; Lettre D’un Gréviste; Les Suiveurs; Les P’tits Martyrs!; Les Omnibus; Le Rêve De Trottin; Le Bataillon De Cythère; Le Bouton De Chemise; Les Rouleux; Quand Tu Feras Un Gosse; Regrets À Ninon; Sur L’eau; Vierge À Vendre, Monologue De Ch. Aubert; L’aveu De La Faute; La Marche De La Garde; and La Joueuse D’orgue.

A. Willette: Le Baiser; Tout Simplement…; Ohé ! Les Mœurs.. ; and Les Enfants & Les Mères.


Remedies for the vices of speech

Antoine de Bourgogne (ca. 1594-1657). Linguae vitia & remedia Emblematicè expressa (Antwerp: Widow Cnobbaert, 1652). Graphic Arts Collection GAX 2019- in process.

Small oblong 16mo (74 x 97 mm). [12] leaves, 191, [1 bl.] pages ; etched title, 93 full-page etchings. Nineteenth-century red morocco with triple gilt fillet borders, spine and turn-ins gold-tooled, edges gilt over marbling, by Trautz-Bauzonnet. Provenance: James Toovey (1814-1893), London bookseller, armorial gilt bookplate with motto inter folia fructus.


This copy includes the cancelled leaf A8, blank except for pagination and headline on the verso. Interesting that it come at the description of an echo.

Rare book historian Nina Musinsky regards this as one of the most delightful of the Netherlandish emblem books, with 94 miniature etchings. This second Latin edition reprints the same plates and text as that of 1631, which was published at the same time as a Flemish-language edition.

Musinsky notes, “The purpose of the book was to list and propose remedies for the “vices” of speech: garrulousness, equivocation, insults, foul language, detraction, blasphemy, lying, perjury and calumny. The theme can be traced back to antiquity, having been treated by Plutarch in the Moralia; but the author, a member of the secular clergy at the Cathedral of Bruges, was more immediately influenced by Erasmus’s De linguae usu ac abusu” (1525. Princeton Rare Books 2949.32.46).


Part 1 provides examples of improper or sinful speech; two introductory emblems (the first a grisly vision of hell) are followed by 45 examples of such speech, each with an etched emblem on the verso and a motto and four-line poem on the facing recto, with an occasional note in smaller italic type at the foot of the page.


Part 2, with 45 more etchings, turns to the remedies for each kind of evil language (each number responds to the same number in the first part). The delicate unsigned etchings are attributed, apparently without question, to Jacobus Neeffs (1610-1660) and Andries Pauli (or Pauwels) the elder (1600-1639), after designs by Abraham van Diepenbeeck (1596-1675), who dominated Antwerp book illustration at the time.

See more designs by Abraham van Diepenbeeck in three other books at Princeton: The Holy Bible: containing the bookes of the Old & New. Cambridge [England] : Printed by John Field …, 1659-1660. William H. Scheide Library 63.9

The temple of the Muses, or, The principal histories of fabulous antiquity : represented in sixty sculptures / designed and ingraved by Bernard Picart le Romain and other celebrated masters ; with explications and remarks, which discover the true meaning of the fables, and their foundation in history. Amsterdam : Printed for Zachariah Chatelain, 1733. Rare Books Oversize NE1715 .P6f

William Cavendish, Duke of Newcastle 1592-1676. A general system of horsemanship in all it’s branches: containing a faithful translation of that most noble and useful work of His Grace, William Cavendish, Duke of Newcastle, entitled, The manner of feeding, dressing and training of horses for the great saddle … with all the original copper-plates in number forty-three …    London: J. Brindley, 1743. Rare Books Oversize 4235.673f



References: Landwehr (3rd ed.) 96; Funck, Livre belge à gravures, p. 284; Forum, The Children’s World of Learning, part 7, no. 3815; cf. Praz, p. 292 (1631 Latin edition); de Vries, De Nederlandsche Emblemata132 (1631 Flemish edition).