Category Archives: Acquisitions

new acquisitions

Who was the first African American musician to perform at the White House?

Blind Tom Concerts at Odd Fellows’ Hall, Columbia, Thursday Evening, October 29th, ‘68. Philadelphia, 1868. Printed handbill/program. 1868. Graphic Arts Collection GAX 2021- in process.



The International Dictionary of Black Composers lists the 19th-century pianist who performed under the stage name “Blind Tom” as Thomas Greene Wiggins Bethune (1849-1908). Bethune was the name of the man who purchased Wiggins and his family when he was only a child and who served as his manager throughout his career (winning several court battles to retain custody). Wiggins was born blind and enslave but found to be a musical prodigy when Bethune bought a piano for his daughter. It was Wiggins who excelled on the instrument and made his concert debut at the age of 8.


Wiggins is believed to be the first African American performer to play at the White House, giving a concert for President James Buchanan in 1859, the same year newspaper advertisements bill him as “Blind Tom.” It would be untrue to say he was completely self-taught since as an adult he studied composition with W. P. Howard and with Joseph Pozananski.

Judging from his publicity at the time, Wiggins performed constantly until 1898, sometimes two or three times a day. An internationally celebrated figure, there is a great deal of information available on Wiggins, including a chapter in Oliver Sachs’ An Anthropologist on Mars, appearances in novels by Willa Cather and John Steinbeck, as well as the novel The Song of the Shank by Jeffrey Reynard Allen.

The Graphic Arts Collection acquired a previously unrecorded 1868 handbill/program for a series of Philadelphia concerts by Wiggins. It joins a broadside [left] already in our collections promoting the pianist.


Liberty Triumphant or The Downfall of Oppression

Attributed to Henry Dawkins (born England, active in New York, 1754-57; Philadelphia, 1757-72?; New York 1772-80), Liberty Triumphant or The Downfall of Oppression, published after December 27, 1773, but before April 1774. Engraving. 275 x 377mm. Purchased with funds given by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2021- in process

Thanks to the generous support from the Friends of the Princeton University Library, the Graphic Arts Collection recently acquired a remarkable pre-revolutionary war print, entitled Liberty Triumphant or The Downfall of Oppression, significant not only for the history and symbolism but for its excellent provenance. While many American historians focus on 1775 and after in terms of print and propaganda, it was 1773 and 1774 when opinions were more fluid on both sides of the Atlantic that are at once less well-known and deeply interesting.

Our impression of the rare Liberty Triumphant engraving comes from the highly regarded collection of Ambassador J. William Middendorf II (born 1924), which “includes some of the most important documents and works on paper representing the history of the United States from its 17th-century colonial origins through the American Revolution and the Founding Era.” As noted in Barron’s profile “the 96-year-old Middendorf II served as the U.S. ambassador to the European Union from 1985-87, and ambassador to the Netherlands from 1969 to 1973. He also served as the Secretary of the Navy from 1974-77.” He was also a preeminent collector of early Americana with an excellent eye, compelling no less than the Metropolitan Museum of Art (New York, N.Y.) and the Baltimore Museum of Art to mount a major exhibition in 1967 of his American paintings and historical prints. In 1973, Sotheby’s held a sale of American historical prints, books, broadsides, maps from the collection of Ambassador and Mrs. J. William Middendorf II, but at that time the family retained their favorite pieces, unwilling to give them up, until now.

Henry Dawkins has an important connection with Princeton University. While we know very little about the artist, who immigrated to the American colonies around 1753 and settled in Philadelphia, we know he traveled regularly to New York City on the coach that rested in Princeton, NJ. He worked as assistant to James Turner until 1758, when he opened his own engraving shop. Of special note to Princeton friends is Dawkins’ engraving after William Tennant, A North-West Prospect of Nassau-Hall, with a Front View of the Presidents House, in New-Jersey, published in Samuel Blair’s An account of the College of New-Jersey, 1764. Two original copies, bound and unbound, are held by the Princeton University Library. We also have the rare portrait of his contemporary, the abolitionist Benjamin Lay, printed by Dawkins while both were living in the area. Significant research still needs to be done on this important but little known artist and what better place to focus that research than Princeton University.


Finally and most important is the inventive iconography and compelling narrative of this rare political print. The artist’s opposing scenes concern the American resistance, beginning late 1773 and early 1774, to the tea tax and the East India Company monopoly, presumably engraved shortly after the Boston Tea Party but before news arrived of the retaliatory “Intolerable Acts” that would close the Port of Boston. There is no evidence that Dawkins produce it as a magazine illustration or book frontispiece but rather printed it on his own, as one of the few large, separate engravings of the American Revolutionary period.

Each of the historical figures is identified from a key provided at the bottom, including Lord North, Lord Bute, John Kearsley, John Vardill, the Duke of Richmond, and others (18 in all). Interspersed with the living characters are allegorical figures, such as Beelzebub, the Prince of Devils, who whispers to Kearsley, “Speak in favor of ye [the] Scheme Now’s the time to push your fortune” and Kearsley replies “Gov T[ryon] will cram the Tea down the Throat of the New Yorkers.”

Our new Indigenous Studies department at Princeton University will find the depiction of America split equally between transplanted Europeans and Native Americans worth study. Labeled the “Sons of Liberty,” one says “Lead us to Liberty or Death,” printed approximately one year before Patrick Henry made his speech to the Second Virginia Convention proclaiming “Give me liberty or give me death.” Their group is led by an Indian queen rather than a male warrior, reflected above in the Goddess of Liberty, who proclaims “Behold the Ardour of my Sons and let not their brave Actions be buried in Oblivion.”

In his study of the four most important American political prints, including Liberty Triumphant, E.P. Richardson writes:

“Eighteenth-century American political prints are a difficult but fascinating study. They are extremely rare. The men and events depicted are often buried deep beneath onrushing time or, if remembered, are presented in so unfamiliar a perspective as to be hardly recognizable. But this is precisely the print’s importance. They show us how history felt as it happened; not the long chain of events of which we, looking backwards, see only the outcome.”

John William Middendorf II understood the importance of these rare sheets. He had the time and resources to collect some of the rarest and most important works representing the history of the United States from its 17th-century colonial origins through the American Revolution and the Founding Era. Now Princeton students can enjoy some of the same treasures.

Rethinking the Incarnation of God as a Corona Warrior

Fragment from Nisha Jha, Incarnation of God as a Corona Warrior, 2020. Ink and acrylic on paper. Graphic Arts Collection GAX 2021- in process


The wonderful thing about these posts is the discussion and research and rethinking they initiate, either immediately or over time. Such is the case with this intriguing new acquisition. We are re-posting with new information and a slightly new interpretation thanks to Ellen Ambrosone and Peter Zirnis.

In this painting, Nisha Jha pairs two figures in one: the god Vishnu and a contemporary medical doctor taking a patient’s temperature with one hand while administering the COVID vaccine with the other: a Corona Warrior! The lifesaving syringe also forms a border isolating and protecting Mithila residents from the virus elsewhere.

This composite figure immediately brings to mind the union of the god Shiva and his wife Parvati in a form known as Ardhanarishvara, the god who is half female. But the chakra, a discus used as a weapon, in the god’s raised hand as well as the conch shells in the border tell us this is Vishnu, the god who periodically comes down to earth to rid the world of evil and restore the divine order.  In Corona Warrior Nisha Jha says she presents Vishnu in the form of a doctor to celebrate brave doctors everywhere, their sleepless nights and their absence from their homes. It is through their hard work that “Corona will lose soon and we will win.”


Nisha Kumari’s decision to focus on Vishnu and, purposefully or not, to invoke the easily recognizable male-female form of Shiva and Parvati, allows for a feminist interpretation of the painting. In this work, Vishnu is on the left (for the viewer) as Shiva would be in an image of Ardhanarishvara, and the doctor is on the right as Parvati would be in the same image. Parvati is no ordinary goddess but a form of Shakti, the supreme female force in the universe. Here we see a contemporary expression of the goddess in the form of a doctor battling covid-19 and cleansing the world of an epidemic. One could say we have multiple paintings before us. It’s a matter of looking. If you just see Vishnu you see one painting, if you see Ardhanarishvara you see a different painting.  Or you can see them both at the same time for a more complex view of the world expressed in the Corona Warrior.



This is one of a small group of contemporary Mithila paintings Princeton has acquired, also including work by Amrita Jha, Dulari Devi, Shalini Karn, and Naresh Kumar Paswan. Our sincere thanks go to Susan S. Wadley, professor emerita of anthropology at Syracuse University, for her invaluable help in forming this collection. A virtual session will be held in March entitled: Mithila Art in 2020: Life, Labor, and COVID-19 in South Asia.

Nisha Jha has been painting since she was a child and now works with her mother Vinita Jha refining her skills in a village near Madhubani town. She also has a bachelor’s degree in economics. “Nowadays wives and daughters also learn to paint and supplement family income with their work. Instead of going from village to village to show their scrolls, the patuas now exhibit at craft fairs and melas, and sometimes at venues abroad. Their paints were all made from natural plants, but now some of them admit to buying commercial products.” -Geraldine Forbes

. . . This otherness, this “Not-being-us”

In one small corner of the world, both the poem Self-Portrait in a Convex Mirror by John Ashbery (1927-2017) and the Arion Press limited edition of Mirror, published in 1984 on the poem’s ten-year anniversary, are so well-known that some would find it shocking that Princeton University would not have already acquired them both. This has been rectified with the recent acquisition of the limited edition with its circular prints by Larry Rivers (1923-2002), Alex Katz (born 1927), Jane Freilicher (1924-2014), Jim Dine (born 1935), Willem de Kooning (1904-1997), R.B. Kitaj (1932-2007), Elaine de Kooning (1920-1989), and Richard Avedon (1923-2004).

The stainless steel pseudo-film canister binding with a cover convex mirror opens to reveal Ashbery’s lines radiating outward like the spokes of a wheel twirling as they are read. Each artist’s contribution is unique, printed as lithographs, woodcut, soft ground etching with aquatint tone, photogravure, and photolithographs on cream wove handmade Twinrocker Mill paper.

Princeton’s reading room will need to also acquire a 20th century record player to facilitate listening to the 33 1/2 rpm recording of Ashbery reading his poem but happily the foreword and essay by Helen Vendler (born 1933) is printed text, designed as liner notes. The record jacket reproduces the original reference for Ashbery’s poem, Francesco Parmigianino’s 1523-24 painting of the same name [below].


Kunsthistorisches Museum

Dozens of scholarly essays have been written about this poem and the corresponding publication, including one recently presented at the Gagosian Chelsea gallery: Best to simply let Ashbery say a few words:

As Parmigianino did it, the right hand
Bigger than the head, thrust at the viewer
And swerving easily away, as though to protect
What it advertises. A few leaded panes, old beams,
Fur, pleated muslin, a coral ring run together
In a movement supporting the face, which swims
Toward and away like the hand
Except that it is in repose. It is what is
Sequestered. Vasari says, “Francesco one day set himself
To take his own portrait, looking at himself from that purpose
In a convex mirror, such as is used by barbers . . .

…For one to intervene? This otherness, this
“Not-being-us” is all there is to look at
In the mirror, though no one can say
How it came to be this way. A ship
Flying unknown colors has entered the harbor.
You are allowing extraneous matters
To break up your day, cloud the focus
Of the crystal ball. Its scene drifts away
Like vapor scattered on the wind. The fertile
Thought-associations that until now came
So easily, appear no more, or rarely. Their
Colorings are less intense, washed out
By autumn rains and winds, spoiled, muddied,
Given back to you because they are worthless.


See also: John Ashbery (1927-2017), Self-portrait in a convex mirror: poems (New York: Viking Press, 1975). Rare Books PS3501.S475 S4


Japanese sketches donated

Six nineteenth-century pen and ink sketches, drawn on five sheets by an unidentified Japanese artist, were generously donated to the Graphic Arts Collection by Alfred Bush, former curator of the Princeton Collections of Western Americana.

While they are unsigned, a potential attribution has been suggested comparing the lines to those of Utagawa Kunisada (1786-1865), also known as Utagawa Toyokuni III. Similar preparatory drawings (shita-e) can be found in the collection with the artist seal (Permanent Link

Note the second drawings of the face pasted on top of the first and the elaborate tattoos on this running warrior.

This gift comes at the same time as the sad news that Yoshiaki Shimizu, the Marquand Professor of Art and Archaeology, Emeritus, and a renowned scholar of Japanese art history, curator and Princeton graduate alumnus, died on January 20, 2021, of lung cancer at home in Portland, Oregon. He was 84. A remembrance is written by Jamie Saxon, Office of Communications, at

Professor Shimizu was a close colleague of Gillett Griffin (1928-2016), former curator of Graphic Arts, and a number of Japanese prints came to our collection over the years thanks to their association.

Purvis Young, “People Whit Something To Do”

“Perhaps the most famous painter to ever come out of Florida,” writes Deirdra Funcheon, Washington Post 1/8/2020, “Young had depicted the struggles and joys of Miami’s poor black community and was branded an ‘outsider artist’.” When he died in 2010, he left 1,884 works of art.

Photograph by David A. Raccuglia

It is no longer correct to classify the African American artist Purvis Young (1943-2010) as an Outsider Artist. His work is owned and exhibited at the Metropolitan Museum of Art in NYC, along with dozens of other major collections, public and private, around the world. In 2018 the artist was posthumously inducted into the Florida Artists Hall of Fame.

Self-taught might be a better term, although Young credits the Florida public libraries and their collections of art books as his teachers. And so it is appropriate that one of his unique artists’ books be added to the Graphic Arts collection in Firestone Library. Like his paintings, the volume is made of found material–a repurposed book–crammed with multi-colored pages, collaged drawings, and personal symbolism. A handwritten title reads: People Whit Something To Do, with various pages dated 1981-1988.


A wonderful full-length documentary Purvis of Overtown was produced by the Souls Grown Deep Foundation in 2012 and can be viewed here: On March 5, at 12:00 noon EST, Raina Lampkins-Fielder, curator at Souls Grown Deep will deliver the 2021 Griffin Memorial Lecture at Princeton University (through zoom) and tell us more about the Atlanta-based nonprofit that documents, preserves, and showcases art by African-American artists of the American South. Register for the event here:



“I been drawing all my life, but I taught myself to paint in the early seventies. I seen people protesting. I seen the war going on. Then I found out how these guys paint their feelings up North, paint on walls. Wall of Respect. That’s when I start painting like that. I didn’t have nothing going for myself. That’s the onliest thing I could mostly do. I was just looking through art books, looking at guys painting their feelings. The first things I painted were heads with halos around them.”

“I started out about 1971 in Goodbread Alley. I wanted to express my own feeling. I wanted the peoples to see it. I put my paintings on a lot of fronts of abandoned buildings. They was fixing to tear them down and build an expressway. I knowed when I was making the art that one day it was going to go. Nothing’s going to last forever.”– Taken from interviews with Purvis Young by William Arnett and Larry Clemons in 1994 and 1995.



Claridad = Clarity

In a joint acquisition between Latin American, Iberian, and Latino Studies and the Graphic Arts Collection, Princeton University Library recently acquired the first 98 issues (out of 140) of Claridad, a periodical published by the Federación de Estudiantes de Chile from 1920 to 1932. A key publication of anarchist and other radical inclinations, Claridad includes contributions by labor leaders, social activists, artists, and writers (including many by Pablo Neruda) of the period. HTML text can be downloaded here,, but no US library holds the graphic paper copies except Princeton.

The National Library of Chile posted a long description, quoted here in part and roughly translated into English:

Claridad magazine was the organ of the Chilean Student Federation and the medium of the so-called “generation of twenties”, founded by Alberto Rojas Jiménez (1900-1934), Raúl Silva Castro (1903-1970) and the Ecuadorian Rafael Yépez, in October 1920. Defined as a “doctrinal, combat and barricade” magazine, it was a wide space for the exchange of ideas from different ideological currents, although with more proximity to anarchist thought (Ossandón, Carlos and Santa Cruz, Eduardo. The outbreak of forms: Chile at the dawn of “mass culture.” [Online HathiTrust Emergency Temporary Access, PN5047.P4 O87 2005]).

…At the time of Claridad‘s appearance, the Student Federation was influenced by ideological currents such as Americanism, internationalism, anti-militarism and pacifism, which were reflected in the magazine and remained as axes of the medium until 1932. The magazine emerged at a time when, in different parts of the world, intellectuals echoed the call of the French group Clarté to establish an “international network of thought”, with a pacifist and anti-militarist tendency.

The Claridad group took up this call, which led to the publication of the publication in the midst of a national climate of political tension. The students of the Federation were in the process of criticizing the government of Juan Luis Sanfuentes (1858-1930) for the political persecution to which they were subjected. Such persecution took place after a group of protesters stormed the association’s headquarters, arguing that the federated students were unpatriotic for not supporting the government’s decision to mobilize military troops to the north of the country, in the context of the prolonged border conflict between Chile and Peru.

…In Claridad a heterogeneous group of Chilean and foreign intellectuals and labor leaders converged, as well as writers and artists, among whom stood out such figures as Gabriela Mistral (1889-1957), Luis Vargas Rosas, Tótila Albert (1892-1967), Manuel Rojas (1896 -1973) and Isaías Cabezón (1891-1963). In this sense, the magazine expressed interest in the renewal movements in the field of art and literature, which was one of its main axes during its first year of publication.

…In 1926, Claridad stopped being published due to the restriction suffered by anarchist publications during the dictatorship of Carlos Ibáñez del Campo (1877-1960). In its reappearance, between August 1931 and January 1932, it continued to be influenced by anarchist and pacifist ideas, but with a new axis that crossed the five issues of this second period: criticism of the military government of Ibáñez. Despite the intentions of continuity that were manifested in issue 140, the magazine abruptly ceased publication, dedicating this issue to one of its main editors and who for many issues was in charge of the section “Today’s poster” that was published on the cover of the magazine, Juan Gandulfo Guerra (1895-1931), who died in December 1931.

Claridad: órgano oficial de la Federación de Estudiantes de la Universidad de Chile (Santiago: Federación de Estudiantes de la Universidad de Chile, 1921-1932). Printed on multi-colored papers. Graphic Arts Collection GAX 2021- in process


Hop-O’-My-Thumb Boxing Night

Drury Lane Christmas Pantomime, Hop O’ My Thumb, Boxing Night. [London, ca. 1864]. Ink and watercolor on paper. Graphic Arts Collection GAX 2021- in process

Not all our students know that “hop-o’-my-thumb” (or hop on my thumb) is a reference to a very small person. The character first appeared as one of eight fairy tales by Charles Perrault (1628-1703) in Histoires ou countes du temps passé in 1697, translated to English by Robert Samber thirty years later. This is only one of many small characters in literature. There is Tom Thumb or Thombe, who dates back to 1621, along with Der kleine Däumling (Germany), Little One Inch/Issun-bōshi (Japan), Thumbikin (Norway), and many others.

Tom Thumbe, his life and death: wherein is declared many maruailous acts of manhood, full of wonder, and strange merriments: which little knight liued in King Arthurs time, and famous in the court of Great-Brittaine. London : Printed [by A. Mathewes?] for Iohn Wright, 1630.

In the 1850s George Cruikshank (1792-1878) published a series of fairy tales, including Hop-o’-My-Thumb, implanted with his personal abstinence pledge and commitment to the temperance movement. He altered the stories so that villains were alcoholics or gamblers. Charles Dickens (1812-1870) was one of Cruikshank’s detractors, writing “Frauds on the fairies” and “Whole hogs,” in Household Words (October 1, 1853), to which Cruikshank responded with his own widely circulated letter that began:

George Cruikshank (1792-1878), A letter from Hop-o’-My-Thumb [i.e. G. Cruikshank] to Charles Dickens, esq.: upon “Frauds on the fairies,” “Whole hogs,” &c. (London : D. Bogue, [1854?]) Graphic Arts Collection Cruik 1854.

See also a draft: George Cruikshank (1792-1878), The Controversy between Charles Dickens and George Cruikshank concerning George Cruikshank’s Fairy Library; autograph letter, 1853. Manuscripts Collection C0256 (no. 36) Gift of Richard Waln Meirs, Class of 1888.


Theatre Royal Drury Lane staged its first pantomimes in the 18th century and by 1761 they became a regular feature. From 1852 to 1888, E. L. Blanchard was the author of 37 pantomimes performed at the Theatre Royal and the first to present Hop-o-My-Thumb within the Christmas pantomime series.

1861 – The House That Jack Built; or, Old Mother Hubbard and Her Wonderful Dog
1862 – Little Goody Two Shows; or, Harlequin and Cock Robin
1863 – Harlequin Sindbad the Sailor; or, The Great Roc of Diamond Valley
1864 – Hop o’ my Thumb and his Eleven Brothers!; or, Harlequin and the Ogre of the Seven-Leagued Boots
1865 – Little King Pippin; or, Harlequin Fortunatus and the Magic Purse and Wishing Purse
1866 – Unknown
1867 – Faw-Fee-Fo-Fum; or, Jack the Giant Killer
1868 – Grimalkin the Great; or, Harlequin Puss in Boots and the Miller’s Son

The Graphic Arts Collection recently acquired an original ink-and-watercolor advertisement designed as a poster or a program cover for the 1864 production. Note in particular the figures that form the letters of the word Pantomime.

In their review, The Times of London praised the performers of the show for executing their craft “in the best manner that circumstances will allow” and for the “great importance” they attached to their pantomime. The Times continued with further accolades: “All the artists are the best….The painter is Mr. William Beverley, the acknowledged chief of faery illustration, the genius to whom the ‘transformation scene’ in the present sense of the word may be said to owe its existence.”

It is hard to make out the artist’s signature in the bottom right corner. Can you recognize the name?

Read more: Jeffrey Richards, The Golden Age of Pantomime (London & New York: I.B. Tauris, [2015]),

Stash House

Eric Avery and Susan Mackin Dolan, Stash House Folio, 2020. Linocuts on hand made paper in linen hinged folio cover. The interior house view is printed on paper made by Susan Mackin Dolan. The hinged folio cover to hold the interior prints is a molded paper linocut by Eric Avery. Copy 7 of 9. Graphic Arts Collection GAX 2021- in process **Note, some images will load slowly but we wanted you to have good resolution

Stash House is a paper/print collaborative artist book project about human trafficking along the border in South Texas, created by Eric Avery and Susan Mackin Dolan with students at the Southwest School of Art in the spring of 2020. Avery and Dolan have been artist friends and collaborators for 35 years.

Their subject matter came from a 2018 article in the Laredo Morning Times, describing a raid by the Customs and Border Protection (CBP) patrol on a “stash house” where 73 migrants were hiding, waiting to be moved further north. “Thinking about how 73 people could sleep in a small house,” wrote Avery, “triggered memories of my work with refugees in Somalia and Indonesia.” He was the medical director in a large refugee camp in Somalia in 1980 and a photograph he made of Vietnamese refugees in the cargo hold of Ship Sea Sweep became an inspiration for their 21st century project.

This is the abandoned house in San Ygnacio [below] that Avery used as a modeled his cover folio, made of cast paper and pieces of clothing (mostly socks) he found abandoned on the Rio Grande riverbank in Laredo. The silhouettes of fifty people sleeping on the floor of such a house were designed by Dolen and editiond in four sheets of double dipped kozo paper. Avery printed four linoleum blocks on the sheets so that when laid out, the assembled print will be a floor plan with walls, door openings, kitchen, bathroom and silhouettes of fifty people.

Here are the students in their class posing as sleeping migrants to work out the configuration of bodies [above] and [below] Avery’s photograph of Vietnamese refugees.

A master of her craft, Dolen described the unique paper making process used: “I started making paper for my prints 40 years ago, because I wanted it to be more integrated into the prints and couldn’t buy the type of paper I needed. I use Japanese kozo, gampi and local plant fibers, cooked and pounded to make the pulp. My sheet forming process is a modified Asian technique and uses contrasting fibers shaped by foam stencils to make images within the sheets of paper. This adds another layer of color and shape to the final printed image.”

In speaking about this project, Avery described “bearing witness” as the narrative function of art. “Living on the border I am a witness to what is happening to the migrants and human rights abuses. I didn’t want our work to contribute to the narrative that the border is out of control and that we need the Wall to control it. The migration of people across our southern border can be monitored by CBP and virtual technology. Building a wall to solve the problem is like building prison walls that we live inside.”

–Dialogue quoted here is from the artists’ conversation in Passage: An online magazine of visions and voices, 4 (October 2020)


Read more:


The 2018 raid on that stash house was, unfortunately, not a one-time occurrence but one of many. Here from January 28, 2021, is a raid on three houses involving 60 migrants. We are thrilled to have this important and timely project at Princeton University.




Denkmal in Stereotypen = A Monument in Stereotype

Vincenz Pall von Pallhausen (1759-1817) and Joseph Bonaventura Progel (died 1851). Denkmal in Stereotypen, den Manen Gutenberg’s geweiht von von Vincenz von Pallhausen im Jahre 1805 und zur vierten Säcularfeier der Buchdruckerkunst mit lithographirten Federzeichnungen zu Johannis 1836 herausgegeben von Progel ([München]: [Franz], 1836, 1805


The Graphic Arts Collection now holds a unique copy of the first and only edition of A Monument in Stereotype: dedicated to Gutenberg’s men, commemorating the Gutenberg jubilee in 1836, edited and reprinted from the 1805 stereotypes under the direction of Joseph Progel.

“Joseph Progel was Registrar of the Bavarian Academy of Sciences in Munich from the late 1820s until the mid-1840s. He was also Registrar for the joint scientific collections of the Academy and of the University of Munich (General-Conservatorium der wissenschaftlichen Sammlungen des Staates). His son was the distinguished botanist August Progel.”–
–Georg Kaspar Nagler, Die Monogrammisten, 1871


The loose plates, collected inside the original paper wrapper, have additional color, compared to the copy in the Bayerische Staatsbibliothek: On the right is a second, proof sheet from Princeton’s copy.

The volume at Princeton includes a second, perhaps rejected proof copy as well as 3 double-page sheets with still another variant of the illustrations, a sheet with a pencil drawing of one of the printed illustrations, and a design in gold for a title-page on a folded double-page sheet contained in blue wrappers with the illustrations in black only.

Here are a few more pages: