Category Archives: Acquisitions

new acquisitions

Illustrated with 72 original watercolors by Blanche Odin

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Jules Lemaître (1853-1914), Contes blancs, illus. à l’aquarelle de Mlle. Blanche Odin (Paris: A. Durel, 1900). With an extra suite of uncolored illustrations. Copy no. 45 of 210 copies, for Leon Rattier, with his name printed below the limitation statement and his leather bookplate. Graphic Arts collection GAX in process

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Lemaître’s short stories are illustrated with 72 original watercolors by Blanche Odin (1865-1957). In his prospectus for the book, Octave Uzanne writes:

“Ces Contes Blancs de Jules Lemaître au nombre de trois sont intitulés : La Cloche, la Chapelle blanche et Mariage blanc. Ce sont trois exquises et tendres petites nouvelles qui valent par leur grâce ingénue, par la douce pitié qui s’en dégage et par la saveur de style délicieusement simplifié qu’y employa le maître écrivain. Pour illustrer ces trois contes pleins de candeur, il fallait un talent naturel, instinctif éclos dans le recueillement, mûri par l’observation directe, un talent délicat et fleuri de jeune femme n’exprimant rien du chiqué des écoles, mais tirant tout son charme de l’étude consciencieuse de la nature. – Mlle Blanche Odin, une jeune artiste qui développa ses qualités innées de dessin dans les solitudes de la campagne, semblait désignée mieux que personne pour décorer page à page ces jolis contes de Jules Lemaître, pour interpréter et même paraphraser ces textes d’essentielle poésie.”

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[Jules Lemaitre’s Whites Tales are three in number, entitled: The Bell, the White Chapel and White Wedding. These are three exquisite and tender short stories that speak with ingenuous grace, through gentle pity that emerges with the master writer’s delightfully simplified style. To illustrate these three tales full of candor, he had a natural talent, instinctive hatched in recollection, matured by direct observation, a delicate flowery talented young woman expressing no false academics but drawing its charm from the conscientious study of nature. — Miss Blanche Odin, a young artist who developed here innate qualities of drawing in the solitude of the countryside, seemed better than anyone designated to decorate page to page these pretty tales of Jules Lemaitre, to interpret and even paraphrase these essential poetic texts.]

lemaitre1The volume is bound in a contemporary binding by Marius Michel (1821-1890), signed in gilt on front doublure, of gray goatskin, the covers with a border of onlaid strips of purple goatskin. The spine divided into six panels, lettered in gilt in the second and third, the others with onlaid strips of purple goatskin, light brown goatskin doublures tooled with a repeated impression of a gilt flower with gray goatskin onlaid petals, textured light blue silk endleaves, marbled paper flyleaves, original covers bound in.

 

Boubouroche Madelon Margot

courteline4Georges Courteline (pseudonym for Georges Moinaux), Boubouroche Madelon Margot.  Pochoir and hand colored illustrations by Joseph Hémard (Paris: Georges Briffaut, [1927]). Copy no. 10 of 50. Graphic Arts Collection GAX in process

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During the 1920s, the French artist Joseph Hémard (1880-1961) was in demand for his humorous book and magazine illustrations with bright pochoir color. He became so well-known that he published an autobiography in 1928, including a self-portrait as a frontispiece [see below. Joseph Hémard (1880-1961), Joseph Hémard (Paris: H. Babou, 1928). Graphic Arts Collection (GAX) NC248 .H44]
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In addition to Hémard’s plates, the Graphic Arts Collection’s new copy of Boubouroche Madelon Margot has a contemporary binding by René Kieffer (1875-1963). It is signed in gilt on the front turn-in and with his label in tan goatskin.

The covers have a black goatskin onlay in each corner and a larger octagonal onlay in the center blocked in gilt to a floral design and outlined in gilt with six gilt roundels around the sides.

A smooth spine is lettered in gilt on a black label at the center and a black onlay blocked in gilt at the head and foot and two gilt roundels. The turn-ins and matching inside joints are tooled with two gilt fillets and a quatrelobe, silver and black woven textile doublures and endleaves.
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Tsukurimono shukō no tane

tsukurimono4Title: Tsukurimono shukō no tane
Authors: Kanenari Akatsuki, 1793 or 1794-1861 and Rikimaru Kirotei, active 1830s
Artist: Matsukawa Hanzan, 1818-1882
Period: Edo period (1615–1868) Osaka. 1837.
Set of two woodblock printed books in four parts
Graphic Arts Collection GAX in process

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OCLC connects the Japanese illustrator Matsukawa Hanzan with 161 books, demonstrating the magnitude of this artist’s contribution to Ukiyo-e book publishing. This particular volume, however, is extremely rare and unusual among the artist’s work.

“Tsukurimono” is a type of folklore art of Japan which are made by ceramic, metal, vegetables or flowers. Matsukawa has created a variety of objects for theatrical props or other displays, but he does so by assembling mundane, everyday objects. Fish are built out of dried foods and an insect is made out of a broom and other cleaning tools. See if you can decipher not only the subject of the plate but also the materials that went into the making of each one.

For those who can read the Japanese you will understand that for each prop, there is an explanation of the materials employed along with a kyoka poem critiquing the object, each signed by various poets.
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Down the Islands

down the islands2William Agnew Paton (1848-1918), Down the Islands, a Voyage to the Caribbees, with illustrations from drawings by M. J. Burns (New York: C. Scribner’s Sons, 1887). Graphic Arts Collection (GAX) 2003-0365N
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William Agnew Paton (1848-1918) worked as publisher of the New York World from 1877 to 1881; served as trustee of the National Republican from 1881 to 1885; and finally, the first business manager of Scribner’s Magazine from 1885 to 1887.

When he left work for health reasons Paton made an extended trip to the Caribbean and on his return, published Down the Islands, a narrative of his travels. Paton commissioned Milton J. Burns (1853-1933) to illustrate the book, an artist who not only worked for St. Nicholas Magazine, Scribner’s, and Harpers but had also served on fishing vessels and was known for his seascapes.

In 1911, Paton gave Princeton University Library his ‘Paton Spanish War Collection’ of newspapers and magazines. After his death, his brother David Paton, Class of 1874 (1854-1925), donated the entire Paton Library to Princeton in honor of William Agnew Paton.

We also received the entire collection of Milton Burns’s paintings, drawings, and photographs for Down the Islands. It is particularly interesting to see the variety of mediums Burns used, from pen and ink to watercolor to charcoal, in order to accomplish the right artwork for each section of the book. Here are a few examples.

down the islands13Milton J. Burns collection of drawings, [1880s]. 5 linear ft. (1 solander box). Consists of approximately 75 drawings and sketches, as well as several small oil paintings by Burns that were used as illustrations in William Agnew Paton’s Down the Islands (New York, 1887). Graphic Arts Collection GC093
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1861 Broadside

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Special thanks to Special Collections Assistants Allison Hughes and Miriam Jankiewicz for adding a little perspective to this post.

From 2008 to 2014, we cleared material out of a storage space known locally as the “iconography vault.” Over 100 posters were crumbled up on top of the cabinetry, which have slowly been flattened and conserved by our staff. Yesterday, we discovered we had this treasure from 1861.

The broadside is for a special performance at the Howard Athenæum, also known as Old Howard Theatre, in Boston, Massachusetts. For over 100 years, from 1845 to 1953, the Howard was one of the most famous theaters in Boston history. This single performance featured and benefited the American stage actress Charlotte Saunders Cushman (1816-1876) who was known for playing both male and female parts (including a celebrated Hamlet).
shakespeare poster8Note the separate seating required for Black and White audience members. This is just days after the beginning of the American Civil War.

Read : Emma Stebbins (1815-1882), Charlotte Cushman: her letters and memoires of her life (Boston: Houghton, Osgood and Company, 1878). Firestone Library PN2287.C8 S7 1878
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cushman2George B. Black (active 1844-1880) after a painting by William Henry Watkins (active 1847), Charlotte Cushman as Mrs. Haller. “I cannot understand this!” 1845. Lithograph. Graphic Arts Collection GA 2013.00361

cushman1Frederick Gutekunst (1831-1917), Charlotte Cushman, 1874. Albumen silver print. Theater Collection photographs TA 2013.00547.

Princeton Club of New York City

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James Sanford Hulme (1900-1974), The Princeton Club, Park Ave, N.Y.C., May 28, 1957. Color serigraph. Graphic Arts Collection. Gift of Sandra T. Brushart and Arthur H. Thornhill, III, in memory of their father Arthur H. Thornhill, Jr., Class of 1946.

princeton club nyc5In 1961, The Daily Princetonian announced that the Princeton Club had broken ground for a new home at 15-21 West 43rd Street [where it remains today]. “Ever since a small group from the Class of 1895 leased the third floor of a building on West 24th Street, shortly after graduation, the dream of a Princeton Club, fully equipped and housed in its own building, has been in the minds of alumni,” wrote Robert Lanza.

“Since that date, the club has been a floating institution. Expiration of the lease in 1897 caused the club to be abandoned in fact, but not in thought.

After two years of planning, on December 7, 1899, the Princeton Club of New York was incorporated. And less than four months later, in March 1900, the members entered their new Club House in the old Vanderbilt home on the corner of 34th Street and Park Avenue, where the Vanderbilt Hotel stands today. By 1908, the lease had run out, and the 1400 residents and nonresidents, requiring more room, decided not to renew.

Instead, they moved to larger quarters at Gramercy Park North and Lexington Avenue, into the former residence ‘of the noted architect, Stanford White. There the club stayed for 10 years. Pressures caused by the war years resulted, in 1918, in a decision to accept an invitation by the Yale Club to share its quarters at 44th Street and Vanderbilt Avenue. The decision proved an advantage to both.

In 1922 the Princeton Club was able to purchase the residence on the corner of 39th Street and Park Avenue, where the club has remained for 39 years. In 1929 the adjoining residence of the late Austin G. Fox was added to the club property. Financial difficulties brought on by the depression made it mutually practical for the Brown Club to share the Princeton Club facilities, starting in March 1933. Later, similar arrangements were made with the Dartmouth College Club, which moved into the former Fox residence on April 1, 1942. Thus, the present facilities at 39th Street and Park Avenue accommodate 3200 members of the Princeton Club, over half of whom are non-resident, 1200 members of the Dartmouth College Club and 800 members of the Brown Club.”
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Friedrich Wilhelm Kloss’s Sketchbook

kloss sketchbook6The Graphic Arts Collection is pleased to have acquired a rare sketchbook belonging to the architectural draughtsman Friedrich Wilhelm Kloss (1805-1875). The small volume’s 40 foliated leaves hold 78 drawings, mostly city and landscape views but also a few genre scenes, plant studies, costume sketches, and other fascinating details Kloss recorded around 1828.
kloss sketchbook4Kloss spent most of his life in Berlin in the circle of the architect Friedrich August Stüler (1800-1865) who, with royal patronage, transformed Berlin. Kloss specialized in highly finished topographical and architectural watercolor views. Thanks to this sketchbook, we can now chronicle his time in Rome, which he captured in seventeen architectural views including Vesta Temple; view of St. Peter from the Gianicolo; view of St. Peter with Castel san Angelo and Tiber; Porta dell Popolo; bridge over the Tiber; Forum Romanum; Venus Temple; Concordia Temple; Sant’Onofrio; Temple of Antonio; the lake in Villa Borghese gardens; Villa Pamphili; gardens of Villa Medici; courtyard view of a Roman palace; and several unidentified views. He also visited Tivoli, Venice, Florence, and the ruins in Paestum and Portici.
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kloss sketchbook7There are also four pages of autographs, where German artist friends living in Rome recorded their names at the end of Kloss’s sketchbook as a sign of friendship. He notes, “Am latten Abend im Künstlerverein hier Roma, als ich den Künstlern Lebewohl sagte, haben dieselben ein Gleiches gethan und zur Erinnerung ihre Namen hier eingetragen” (on the last evening at the German Artists Society in Rome, when I [i.e. Kloss] said farewell, the artists did the same and in memory of our friendship signed their names).

This is a very early document showing that there was a formal association, a Künstlerverein, of German artists in Rome. A total of seventeen German artists residing in Rome, mostly painters, but also the odd sculptor or etcher, signed their names and some also gave the city of their birth. They are listed here in the order they appear in the sketchbook:

August Hopfgarten – Zur Erinnerung an Rome (i.e. ‘in memory of Rome’) [lived in Rome 1827-32]; J[ohann] Bravo [lived from 1827 in Rome]; G. Baumgarten aus Dresden; Friederich Peller aus Weimar [Rome 1826-31]; Dr. Carl Schunterman; Adolph Loehser; Adolph Kaiser aus Weimar [Rome 1828-30]; H[erman] W[ilhelm] Bissen [Rome 1823-35, sculptor, favourite pupil of Thorvaldsen]; August Riedel aus Bayreuth [Rome March 1828-29, and again from 1832]; Kühne aus Eisleben; August Richter aus Dresden [Rome 1826-30, draughtsman]; [Franz] Nadorp [Rome from Jan. 1828, etcher]; A[nton] Draeger aus Trier [lived in Rome since 1821]; Friedrich Mosbrugger aus Konstanz [Rome Dec. 1827-1829]; Bernhard Neher von Biberach [Rome 1827-31]; Eduard Erhad aus Graudenz in Westpreussen [Rome 1826-30]; Rudolf Freytag zur Erinnerung Rom ’28 [Rome 1825-30, again 1840-43, sculptor]; Joseph Anton Koch Rome [Rome 1795-1812, and 1815-1839], Kloss has written above Koch’s name ‘Ausgezeichneter Landschaftsmaler’ (i.e. ‘excellent landscape painter’), while Koch himself, a notorious womaniser, used the opportunity to greet a lady friend, Louise Oesterreich, from afar in the knowledge that Kloss would report his greetings to her in his native Berlin, he helpfully also furnished her address, ‘Louise Oesterreich, Mauerstra[sse] no. 65, eine Treppe hoch, bitte ich höflich zu grüssen’; [August] W[ilhelm] Schirmer [Rome 1827-31].

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Friedrich Wilhelm Kloss (1805-1875), Sketchbook of Rome, Tivoli, Florence, Venice, and the ruins of Paestum, ca. 1828. Pencil, pen and wash drawings. Graphic Arts Collection GAX 2016- in process

Illustrations to the Epitome of the Ancient History of Japan

mcleod7Illustrations to the Epitome of the Ancient History of Japan, including Illustrations to Guide Book, collected and arranged by N. [Nicholas] McLeod (Kiyoto, 1877). “The illustrations include specimens of the ethnology of the different races in Japan, and their special belongings, Shinto and Buddhist pictures, legends and illustrated proofs of the descent of part of the Japanese race from lost Israel.” Graphic Arts Collection GAX in process. Gift of Edith and Emmet Gowin.

 

mcleod11According to the acquisition note posted by the National Library of Scotland (http://www.nls.uk/) “This is, by any standards, a strange book.” Thanks to the generous donation of Edith and Emmet Gowin, Princeton University Library researchers can also puzzle over the first illustrated edition of Nicholas McLeod’s odd volume.

The NLS entry goes on to attempt a description: “It was published . . . to accompany the author’s Epitome of the Ancient History of Japan. . . . Central to the Epitome is McLeod’s belief that the Shindai or holy class of Japan are descended from the Lost Tribes of Israel. He also calls attention to the fact that the first known king of Japan was Osee, who came to the throne in 730 B.C. and that the last king of Israel was, the similarly named Hosea who died in 722 B.C.

In the preface McLeod mentions that ‘the engravings are the workmanship of the best Japanese artists, but as they have had as yet so little experience of foreign letters, the execution is imperfect’. There are engravings of kings, temples as well as some relating to the author’s thesis such as ‘supposed order of march of Israelites to Japan’.”

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Emblems Engraved on Wood

gill2In 1915, Eric Gill (1882-1940) designed and cut illustrations for Hilary Douglas Clarke Pepler’s The Devil’s Devices, or, Control Versus Service (London: Hampshire House Workshops). The following February 2, in honor of the Feast of the Purification of the Blessed Virgin Mary, Gill and Pepler printed fifteen copies of the wood engravings and published them as Emblems Engraved on Wood.

The small keepsake was such a success that Gill printed another run of 33 copies. The Graphic Arts Collection recently acquired a copy of the second edition, without the wrapper but signed by Gill in pencil. Here are a few pages.gill5

Eric Gill (1882-1940), Emblems Engraved on Wood. 2nd ed. (Ditchling, Sussex: D. Pepler and E. Gill, 1916). Copy 24 of 33. Graphic Arts Collection in process
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The Punishments of China / Les Punitions des Chinois

punishments of china5“Burning a man’s eyes with lime” in Les Punitions des Chinois, représentés en vingt-deux gravures: avec des explications en Anglais et en Francais (London: Guillaume Miller; Printed for W. Miller by W. Bulmer, 1801). Twenty-two hand colored stipple engravings by John Dadley (1767-1817). Graphic Arts Collection GAX in process. References:  Abbey Travel 532 (1804 edition); Colas 2010; Cordier Sinica 549
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Preface. The Chinese code of penal laws is compiled in such a manner as to have a punishment appropriated for every crime; a series of these is displayed in the following Plates. The wisdom of the Chinese Legislature is no where more conspicuous than in its treatment of robbers, no person being deomed [sic] to suffer death for having merely deprived another of some temporal property, provided he neither uses, nor carries, any offensive weapon. This sagacious edict renders robbery unfrequent; the daring violator of the laws, hesitating to take with him those means which might preserve his own life, or affect that of the plundered, in the event of resistance, generally confines his depredations to acts of private pilfering; and a robbery, attended with murder, is, of course, very rarely perpetrated.

punishments of china9The manner of beheading.
punishments of china8Conducting an offender into banishment.
punishments of china7Close confinement.
punishments of china6Punishment of the wooden collar.
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punishments of chinaGeorge Henry Mason, The Punishments of China. Illustrated by twenty-two engravings: with explanations in English and French (London: Printed for W. Miller by W. Bulmer, 1801). Graphic Arts Collections GAX in process.

1. A culprit before a magistrate; 2. A culprit conveyed to prison; 3. A culprit conducted to trial; 4. An offender undergoing the bastinade; 5. Twisting a man’s ears; 6. Punishment of the swing; 7. Punishing a boatman; 8. Punishing an interpreter; 9. The rack; 10. Torturing the fingers; 11. Burning a man’s eyes with lime; 12. A malefactor chained to an iron bar; 13. Punishment of the wooden collar; 14. A man fastened to a block of wood; 15. A malefactor in a cage; 16. Punishment of a wooden tube; 17. Hamstringing a malefactor; 18. Close confinement; 19. Conducting an offender into banishment; 20. A malefactor conducted to execution; 21. The capital punishment of the cord; 22. The manner of beheading.