The 360°BOOK is a new revolutionary format that enables the artist to create a panoramic three-dimensional world. The book opens and expands into a dynamic circle of pages. Each page is finely crafted works of art, drawing the viewer from a scene of two dimensions to a three-dimensional world/diorama.
Yusuke Oono was born in Germany in 1983 and graduated from The University of Tokyo where he obtained both his Bachelor’s and Master’s degrees in Architecture. He is the recipient of the Art Directors Club of New York and has received many other awards. He works primarily as an architect but is also active in other related fields including interior product design and art installation.
John Bell (1745-1831) commissioned a number of designs for his series Bell’s British Theatre to be engraved as frontispieces. The final print for Love in a Village has the title of the play, quotation and reference: ‘Will you accept of them for youself them / Act 1. Scene [obscured]; above the roundel, partly obscured ‘British Theatre’; below the image ‘Wheatly delin. / Grignion scu. / London Printed for I. Bell British Library Strand Jany. 6th. 1791.’.
“Concurrently with work for Boydell, [Francis] Wheatley was also engaged by John Bell, the publisher, to execute a number of vignettes for the charming little series of “Bell’s Theatre,” and five of these vignettes are by him . . . and the dates extend from 1791-1792. . . . sold for £20, and two small portraits of actresses for 33 guineas.”—William Roberts, F. Wheatley, R.A. His Life and Works (1910)
Love in a Village was a comic opera in three acts composed and arranged by Thomas Arne (1710-1778) with a libretto by Isaac Bickerstaffe (1733-1812), based on Charles Johnson’s 1729 play The Village Opera. It premiered at the Royal Opera, Covent Garden in London on December 8, 1762. The opera was revived numerous times, both during Arne’s lifetime and after, with multiple published versions and visualizations.
“In 1792 Bell’s English Theatre, an amalgam of parts of the Shakespeare and the British Theatre, was published in 14 volumes. After his first bankrupcy in 1793 much of his stock was acquired by James Barker who published the “acting” Shakespeare and sixty plays from the British Theatre in the following year. In 1795-96 Bell was involved in a law suit with George Cawthorn who was eventually awarded all future profits of the British Theatre and was allowed to use “The British Library” on his title pages; c. 1804, Cawthorn was succeeded by John Cawthorn (qq.v.). Bell was bankrupt again in 1797, but his fortunes revived and by his death at the age of 86 he owned a house in Fulham, carriages and horses, as well as a collection of works of art.”
Johann Zoffany (1733–1810), A Scene from “Love in a Village” by Isaac Bickerstaffe. Act 1, Scene 2, with Edward Shuter as Justice Woodcock, John Beard as Hawthorn, and John Dunstall as Hodge, 1767. Oil on canvas, Yale Center for British Art
They are part of a series of portraits of American revolutionary officers, published in Paris during the 1770s by partners Jacques Esnault (1739-1812, also written Esnauts) and Michel Rapilly (1740-1797?), whose shop was located at no. 259 rue Saint Jacques. Each portrait uses the same cartouche with a shield, cannon, and banner, some laterally reversed. Most of the prints held in the Graphic Arts Collection are before the complete caption, signature, or number at the top.
The portraits in the Graphic Arts Collection (both catalogued and recently found) include:
Israel Putnam (1718-1790), an American army general officer, popularly known as Old Put, who fought with distinction at the Battle of Bunker Hill during the American Revolutionary War.
Charles Lee (1732-1782), a general of the Continental Army during the American War of Independence. He also served earlier in the British Army during the Seven Years War.
Horatio Lloyd Gates (1727-1806), a retired British soldier who served as an American general during the Revolutionary War.
George Washington (1732-1799), an American general and the first president of the United States from 1789 to 1797.
John Hancock (1737-1793) an American merchant and president of the Second Continental Congress.
John Sullivan (1740-1795), an Irish-American General in the Revolutionary War, a delegate in the Continental Congress, Governor of New Hampshire and a United States federal judge.
George Brydges Rodney (1718-1792), 1st Baron Rodney, KB, a British naval officer. He is best known for his commands in the American War of Independence
Robert Rogers (1731-1795), an American colonial frontiersman. Rogers served in the British army during both the French and Indian War and the American Revolution.
Esek Hopkins (1718-1802), the only Commander in Chief of the Continental Navy during the American Revolutionary War.
Benedict Arnold (1741-1801), an American military officer who served as a general during the American Revolutionary War, fighting for the American Continental Army before defecting to the British in 1780.
Several prints are complete with the signature of the printmaker “Dupin,” although it is not certain whether this refers to Jean Victor Dupin (born 1718) or Nicolas Dupin (died after 1789) also referred to as Dupin II.
It would not be Pierre Dupin “the Elder” (ca.1690-ca.1751), father of Jean-Victor, as several online sources list. Nicolas is the better attribution but cannot be confirmed.
The Program in Latin American Studies (PLAS) is once again hosting members of the academic and artistic communities of Puerto Rico as visitors at Princeton University in summer 2019. The program continues to provide relief to scholars, students, and artists affected by the catastrophic aftermath of hurricanes Irma and Maria in 2017 by allowing them to continue their work at Princeton on a temporary basis.
The VISAPUR program provides a range of support including a stipend to cover living expenses, office space, access to libraries and other scholarly material, and an opportunity to engage with colleagues at Princeton.
Endorsed by the Princeton Task Force on Puerto Rico, PLAS manages the program with co-sponsorship from the Office of the Provost. Additional support has been provided by, the Firestone Library, Department of Spanish and Portuguese, Office of the Dean of the Faculty, Office of the Dean of the College, Graduate School, Office of the Registrar, and Housing and Real Estate Services. Special thanks to professor emeritus Arcadio Díaz Quiñones, former PLAS director and professor of Spanish and Portuguese, for his leadership and commitment to the project.
See pictures from last year’s program also: https://graphicarts.princeton.edu/2018/08/16/welcome-visiting-scholars-and-artists-from-puerto-rico/
Among the many treasures pulled to show our visitors was this new acquisition: Luis Lloréns Torres (1876-1944), Valle de Collores; grabados por Consuelo Gotay (Puerto Rico: Gotay, 1991). “Trabajaron en la tipografía, la impresión y la encuadernación, Consuelo Gotay, Rafael Orejuela, and Víctor Rodríguez Gotay.” Copy 44 of 100. Inscribed to Arcadio Díaz Quiñones from the artist. Graphic Arts Collection GAX 2019- in process
“Some of the first exotic animals to enter France and England in the early 1700s,” writes Geri Walton, “were the chimpanzee and the rhino. They would later be upstaged by the zebra, with one of the striped beasts arriving in England in 1762. It was a wedding gift from Sir Thomas Adams and given to Charlotte of Mecklenburg-Strelitz, who had married George III a few months earlier in 1761.”
The zebra became a shorthand for royal greed and stupidity, appearing in multiple satirical prints of the time.
Thanks to the generous donation of Bruce Willsie, ‘86, the Graphic Arts Collection now holds on deposit this 1768 broadside The Times, which was a sequel to the broadside The Times, or 1768. It does not appear to have any connection to William Hogarth’s The Times, from September 7, 1762, although the comparison would make an interesting article.
Here is a copy of plate one from the British Museum.
They note “Lettered with the title, captions, twenty-four lines of verse in four columns giving the explanation to a numerical key ‘Behold corruption openly profest … Sweet Liberty return, and lasting Peace.’ and ‘To the Memory of William Allen Barbarously Murderd in St. Georges Fields/ Publish’d June 8, 1768 as the act directs, price 6d’.”
Our new broadside features William Allen rising from the dead in the center of the print, while Lord Bute rides a zebra with the head of George III on the right. The verses below are written in the form of a rebus, substituting controversial words for pictures. Dorothy George writes for the British Museum:
“A broadside satirising Lord Bute, blaming him for the murder of William Allen; with an etching showing a landscape with two columns inscribed with the names of politicians, between the columns at the top centre a medallion of Oliver Cromwell, the left side of the image shows good influences, including a seated figure of Britannia and the Earl Temple accompanied by the British Lion, above them Fama blowing a trumpet and holding a laurel wreath, on the right side, dedicated to the bad influences, Lord Bute riding a zebra which has the head of King George III, near the zebra various animals, in the centre of the image the ghost of Allen rising from a grave; with engraved title, inscriptions, speech-bubbles, and verses in form of a rebus. (n.p.: )”
William Allen was an innocent spectator killed by soldiers of the Scots Guard during the riots in St George’s Fields on 10 May 1768. The anonymous artist of the two quickly produced etchings are taking Lord Temple’s side, blaming Lord Bute, and his close connection with King George III, for the murder.
Thanks to the generous gift of William and Sally Rhoads, the Graphic Arts Collection is the new owner of Ten Etchings. First series (London (17 Grove End Road, St John’s Wood): J.J. Tissot, 1876). This rare portfolio of drypoints, 1876-1877, each with the artist’s red monogram stamp (L. 1545) on various laid papers, was published by James Tissot (1836-1902) in a total edition of 50 (of which 25 were for subscribers and 25 for sale).
Mr. Rhoads notes “The portfolio was purchased in the 1920s or 30s by my grandfather, Wm. S. Bertolet, M.D., and then owned for 50 years by my mother, Mary B. Rhoads, who was a long-time member of the Friends of the Princeton University Library. She would be delighted that they will reside in Firestone.”
In the early 1870s, James Tissot left Paris and settled in St. John’s Wood, outside London, at 17 Grove End Road (around the corner from Abbey Road and later, Abbey Road Studio). One day, he happened to meet Kathleen “Kate” Newton (née Kelly; 1854–1882), an unwed mother of two, who had also moved to St. John’s Wood where her married sister had a home. Tissot and Newton met, fell in love, and for the next six years, lived together, unmarried, in what the artist called “domestic bliss,” until Newton died of tuberculosis in 1882.
During this period, most of Tissot’s paintings and prints feature Newton, her children, and their quiet family life. Some scenes included Kate’s sister but the views of two young women unsupervised with an adult man scandalizing the London public.
Between 1876 and 1877, Tissot assembled and published a selection of prints in a portfolio titled simply Ten Etchings. Six of these prints, including The Thames at the top of this post, were reproductions of his paintings and two are based on drawings he made while part of the Paris Commune in 1871. The other two are unidentified portraits.
These figures are thought to represent Tissot and Newton.
Attributed to Arthur James Hervey Wyatt (1861-1938), Tuppenny Rhymes. Illustrated manuscript dedicated to Raymond Benedict Hervey Wyatt “on his [16th] birthday 15th Decr. 1906.” 38 illustrated pages. Graphic Arts Collection GAX 2019- in process
The Graphic Arts Collection recently acquired this wonderful illustrated manuscript written for the teenager Raymond Benedict Hervey Wyatt (1890-1977) by one of his parents, likely his father, the engineer Arthur James Hervey Wyatt.
Educated at Bedford Grammar School, Wyatt Sr. went on to become an expert in sighting devices for heavy guns working for over twenty years for Morris Aiming Tube and Ammunition Company, Ltd. During the War, he joined the Ministry of Munitions and became assistant inspector for the East Midlands Area, with headquarters at Bedford.
This comic and affectionate gift to his son interposes humorous verse with nine full page and four half page illustrated comic advertisements for faux companies.
These include “Bovrox. The strongest thing on earth. Prepared only in our Chicago factory from the oldest and most delicate cows. In fragile bottles 2/6”; “Petrach’s Cheese Chocolate. Delicious! Scrumptious! Made from pure chocolate and ripe old Stilton cheese”; “Boko for the nose. Ensures a luxurious nasal organ.”
Of the nine manuscript poems, the second, Raymond’s Life. After W. S. Gilbert, follows the path of Raymond’s life from his ambitions to be an engine driver, his education as a Bedford Scholar, his love of cricket, and his ambition for various careers.
It ends: “With engineering, law and Greek / And many another rum thing, / With half the world’s pursuit’s to seek/ Let’s hope he sticks to something./ Mid agriculture, bank or school- / The crowded court – museum cook, / The bar – the bench / Or chemic stench/ Let’s hope he sticks to something.”
In real life, Raymond went on to be a successful pathologist and coroner, working at Bedford County Hospital in 1926 and the Coroner for the South-Western Division in London. In 1941, Wyatt carried out the inquests into the deaths of Karl Drucke and Werner Walti who were executed as spies by Alfred Pierrepoint at Wandsworth Prison on August 6,1906.
“…In addition to the editors, François Bonneville (Nicolas’ cousin) was hired to engrave portraits of revolutionaries for the “Chronique du mois.” Each issue featured on its frontispiece one of Bonneville’s portraits, usually depicting a leading Girondin. The first seven issues included portraits of Condorcet (January), Fauchet (February), Mercier (March), Auger (April), Garran-Coulon (May), Paine (June), and Brissot (July).
François Bonneville became one of the best known portrait engravers of his day, and his works were sold individually at the Imrprimerie du Cercle Social. At the same time, his engravings helped to spread the fame of the Griondin leaders, whom he often portrayed in a neoclassical style that emphasized their likeness to the ancient heroes of Greek democracy.” –Gary Kates, The Cercle Social, the Girondins, and the French Revolution (Princeton University Press, 1985, jstor: 2014)
La Chronique du mois: ou, les cahiers patriotiques, [The Chronicle of the Month] was founded by Jean-Antoine-Nicolas de Caritat Condorcet (marquis de), Étienne Clavière, Jean-Antoine-Nicolas de Caritat marquis de Condorcet, Louis-Sébastien Mercier, Nicolas de Bonneville, abbé Athanase Auger, and John Oswald. They called their imprint the Printing Press of the Social Circle. Working together with these men from his studio on Rue Saint-Jacques, François Bonneville designed, engraved, and published the portraits with each man wearing his official uniform, including a hat with enormous plumes and a velvet coat.
The Graphic Arts Collection has only two of the portraits, seen here. To appreciate the entire grand costume, see Bonneville’s full figure image from the Musée Carnavalet: http://parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/sieyes-membre-du-directoire-executif-en-grand-costume
François Bonneville (active 1793-1802), Merlin, membre du Directoire exécutif, 1797. Etching, pointillé, Graphic Arts Collection 2019- in process
François Bonneville (active 1793-1802), Em[m]anuel Joseph Sieyes, membre du Directoire Exécutif. Né à Fréjus le 3 may 1748, 1797. Etching, pointillé, Graphic Arts Collection 2019- in process
Read more M.E.T. Hamy, “Note sur diverses gravures de Bonneville, répresentant des Nègres (1794-1803) in Anthropologie (1900): 42-46.
A number of people helped today to match a set of unmarked prints to a published book. The prints are some of the many sheets that have been sitting in the department for many years unidentified and uncatalogued. Stop here if you want to try it yourself before reading the answer below.
Success came first to Nicola Shilliam, Marquand Library’s Western Bibliographer, who was able to match the recognizable scenes of Jerusalem with the correct edition and illustrator.
Torquato Tasso (1544-1595), La Gerusalemme liberata di Torquato Tasso; con le annotationi di Scipion Gentili e di Giulio Guastauini: et li argomenti di Oratio Ariosti [=The Liberated Jerusalem of Torquato Tasso; with annotations by Scipion Gentili and Giulio Guastauini: and the topics of Oratio Ariosti] (Genoa: Giuseppe Pavoni ad instanza di Bernardo Castello, 1617). Full page engraved plates facing the opening of each of the 20 cantos, engraved by Camillo Cungi (ca. 1597–1649) after designs by Bernardo Castello (1557–1629). EXOV 3137.34.197
We all felt foolish. Gerusalemme Liberata of Torquato Tasso, published in 1581, is considered one of Italy’s great contribution to epic poetry and should be easily recognized. Three illustrated editions were prepared by the Italian painter Bernardo Castello, the largest and most successful this 3rd edition in 1617.
The sheets discovered in the Graphic Arts Collection, while in poor condition, may have been early proofs as the engraver Camillo Cungi worked to reproduce Castello’s drawings. On the other hand, they may have been prepared for a pirated edition. Below is one example of the proof and the published engraving.
Here is an open library edition, if you want to see or read the whole book: https://openlibrary.org/books/OL25624814M/La_Gerusalemme_di_Torquato_Tasso
Here is a lecture on the various illustrated edition of Gerusalemme Liberata.
Finally, here are several more of the proofs in the Graphic Arts Collection, so you can compare them to the published book.
In 1797, Pierre Didot (1761-1753), the most esteemed printer of his day, commissioned a series of illustrations for Jonathan Swift’s Gulliver’s Travels, from the French artist Louis-Joseph Lefèvre (1756-1830). Abbé Pierre François Guyot Desfontaines’ French translation was used and the designs engraved by Louis-Joseph Masquelier (1741-1811).
Didot’s brother, Firmin Didot cut the type and the book was bound by René Simier, Relieur du Roi, in four small volumes, each representing one of Gulliver’s trips. The book was printed in two issues, one for Didot himself and the one acquired by Princeton for Pierre-François Bleuet jeune, in an edition of 100.
Although there is no English language edition recorded from Didot’s press with the Lefèvre illustrations, one might have been planned since several sheets of proofs with the captions in English have been found in the Graphic Arts Collection. Note special trouble was taken to add the date, 1797, at the center of each caption.
These should not be confused with the 1797 English language edition published by Charles Cooke, which has very different plates by W. Hawkins (active 1797-1803) after Richard Corbould (1757-1831) [seen at the far bottom].
Jonathan Swift (1667-1745), Voyage de Gulliver [translated by Pierre-François Guyot Desfontaines] (Paris: De la I’mprimerie de P. Didot L’Ainé, 1797). Graphic Arts Collection GAX 2019- in process. English language proof on the right.