Category Archives: Acquisitions

new acquisitions

A Potentiality…

Susan Silton, A Potentiality Long after its Actuality Has Become a Things of the Past: 1/5 (Los Angeles: Susan Silton, 2018). Gift of James Welling, Lecturer with the rank of Professor in Visual Arts. Graphic Arts Collection GAX 2019- in process

Full Hannah Arendt (1906-1975) quote: “It is in the very nature of things human that every act that has once made its appearance and has been recorded in the history of mankind stays with mankind as a potentiality long after its actuality has become a thing of the past.”

In early 2018 Silton acquired a collection of old newspapers from the 1930s and early 1940s. In stark fashion all share an article about Hitler’s Germany. The artist is particularly struck by how the archive reflects an unfolding of events in a “daily” context—a harbinger of the imminent Holocaust. Returning to that era’s quotidian from the vantage point of our own is especially potent and unsettling.

For this project, ten to twenty original newspaper pages are framed; placed between each is a black and white photographic image culled from Silton’s own previously unprinted proofsheets from the 1980s and early 1990s—observational in nature, documenting moments from everyday life—a dead possum, the shadow of a swing on sand, a group of people gazing upward at a subject off-frame, a church marquee with the words “DISTANT FROM GOD.”

While in Quartet for the End of Time she holds a space for viewers to musically feel the work’s original historical context, in A potentiality… the artist inserts her own body and histories to insist on the importance of remembering the mundane across multiple generations, as well as on the vital role of a free press in disseminating truth. Silton conceived this project following her presentation of Quartet for the End of Time in 2017, and considers this, and The stain of________. A stain on________. to comprise a trilogy that reflects on the ways we absorb and document history and bear witness to trauma.

The artist’s website notes: A potentiality… exists in various forms: the exhibited form as described above, and a mailed version, which consists of digital reprints of five New York Times front pages from the early 1930s. In January, 2019, Silton will be mailing the set of prints, one at a time over several weeks, to a list that includes political journalists and leaders at the forefront of civil rights advocacy in the US.

Thanks to our generous donor, the Graphic Arts Collection now has the complete set of 5 papers.

Idylls of Rural Life

Charles Shannon (1863-1937), The Garden Plot, from the series Idylls of Rural Life, ca. 1898. Chiaroscuro woodcut. Reproduced in The International Studio, 59 (October 1916). Graphic Arts Collection. Gift of Sally M. and William B. Rhoads, ’66 *75.


“The First Exhibition of Original Engraving” was held at E.J. Van Wisselingh’s Dutch Gallery on Old Bold Street in 1898 with work by Charles Ricketts, Charles Shannon, Sturge Moore, Reginald Savage, and Lucien Pissarro. As described 18 years later in The International Studio, Shannon’s contribution featured a series of 12 chiaroscuro woodcuts. These small rondels chronicled the “Idylls of Rural Life,” throughout the seasons of the year, printed in dark green-grey, buff yellow, and white inks.

The Graphic Arts Collection recently acquired one print from this series entitled “The Garden Plot,” thanks to the generous donation of Sally M. and William B. Rhoads, ’66 *75. As an undergraduate, William Rhoads was inspired to begin collecting prints after attending Robert Koch’s seminar “Art of the Print.” Rhoads was also kind enough to add a print by Shannon’s frequent partner, Charles Ricketts [see below].

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Charles S. Ricketts (1866-1931), Floods (Inondation), ca. 1895. Wood engraving in black on wove paper. Reproduced in Album VII from L’Estampe originale. Graphic Arts Collection. Gift of Sally M. and William B. Rhoads, ’66 *75.

Photographs of Caesar and unidentified young woman

The Graphic Arts Collection recently acquired a 19th-century cased image of an unidentified woman that was sent through the mail. The ninth-plate ambrotype (2 1/2 x 2 inches) is a formal studio portrait of an African American woman with earrings and brooch hand-colored in gold. A note on the case reads: “Mr. Scroggins, Portsmouth Va., Box 1036,” crossed out to read “601” and stamped “ADVERTISED” by the dead-letter office. We presume the date to be late 1850s or early 1860s.

This portrait was delivered through the mail to a Virginia address, but was undeliverable, and marked “ADVERTISED” by the post office. It was found among other similar photographs from a dead-letter office. Was Mr. Scroggins a plantation owner being offered a new house slave or a free African American gentleman getting a picture of a family member? There are many potential connections: : The name Scroggin turns up in a note “secured” by Jno Scroggin to pay for the freedom of an enslaved man at Bellegrave Plantation, Virginia. Mr. Scroggin might have been active in securing the freedom of others.


The selection above is taken from Temple Tsenes-Hills, I Am the Utterance of My Name (2006), which tells the story of Frances Jane Scroggins, born enslaved in Virginia but emancipated. Might this be connected?

Might the portrait have some connection with this document [above] certifying the freedom of Matthew Scroggins? Not Virginia but also not far away. If you can help us with this intriguing story, please send your research suggestions or results.

The second cased image recently acquired by Graphic Arts has a named sitter:

This sixth-plate ambrotype is a formal studio photograph of Caesar, an officer’s servant near Washington. A small note traveling with the case reads: “W DeW Pringle body servant Caesar while serving in the Civil War, 1862.”

The dealer’s note provides additional research:

A sharp and striking portrait of an Army servant, very likely a freedman, taken during the early period of the war. Contrabands escaping to freedom did not yet have the option of military service before 1863, but often found employment as personal servants for army officers.

Caesar’s employer Lieutenant William DeWolf Pringle (1840-1930) of Lockport, NY, was chosen as an officer for the 22nd New York Light Artillery Battery in September of 1862, which became part of the 9th New York Heavy Artillery Regiment in early 1863; he served there through October 1864. His unit served on the defenses of Washington through May 1864, and then went out on the Overland and Shenandoah Valley campaigns.

His father Benjamin Pringle (1807-1887) has served two terms as a United States Congressman, and in 1863 was appointed by President Lincoln to serve as a judge in South Africa on a special court for prosecuting the international slave trade. After the war, Lieutenant Pringle was a lawyer in Hastings, Minnesota, near where this ambrotype was found.

Intriguing cover art

Blaise Cendrars, Panorama de la Pégre (Grenoble: B. Arthaud, [1935]). Cover design by Cassandre. First edition. A compilation of reviews and reports for various French newspapers by Cendrars, illustrated with photogravure plates. Graphic Arts Collection 2019- in process

Cassandre (pseudonym of Adolphe Jean-Marie Mouron, 1901-1968) was a French commercial poster artist and typeface designer. In addition to his commercial work, he taught graphic design at the École des Arts Décoratifs and then, at the École d’Art Graphique. Understanding the importance of typography, Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot.


The Graphic Arts Collection recently acquired a group of paperbacks with superb cover art. Here are a few samples.

Ferri-Pisani, Les Pervertis. Roman d’un potache. Cover designed by Gaston Secretan (Paris: Librairie universelle, [1905]). First edition. Graphic Arts Collection GAX 2019- in process

A notable homoerotic novel set in a boy’s boarding school. “Les Pervertis, by a precocious young French author, Ferri-Pisani, is so special and doubtless true, a picture of homosexualism in a great Paris lycée that it may well become a classic in its type.” (Edward Prime-Stevenson, The Intersexes: A History of Similisexualism as a Problem in Social Life, 1908). Ferri-Pisani was a great-nephew of George Sand.

Georges Le Rouge. La Rue hantée (Paris: Éditions Nilsson, [1914]). First edition. Graphic Arts Collection 2019- in process

Le Rouge was a prolific author of crime, mystery and other pulp fiction, best known for Le Mysterieux Docteur Cornelius, who came to be revered by the Surrealists. Cendrars wrote of him in 1968:

How to define his multicolored versatility, his lively and spontaneous erudition never at a loss for arguments? He was no drudge, no hack; even in the obscure anonymous brochures that were sold only at news-stands and in neighborhood or provincial notion shops, he was never unworthy of his craft as a writer which he took very seriously and of which he was very proud. On the contrary, it was in these unsigned popular publications—fat volumes such as a key to dreams, a cookbook (which I have recommended to all the gourmets I know)—and in the unbound pamphlets, often a simple printed sheet folded in four, eight, or sixteen pages that was sold for two, four, ten sous at Metro entrances on Saturday nights (Paris Review).

Liane de Pougy (pseudonym of Anne Marie Chassaigne), Ecce Homo. D’ici, de la. Cover design by Gaston Noury (Paris: Société Parisienne d’Édition, [1903]). Graphic Arts Collection GAX 2019- in process

A novel by De Pougy, who escaped to Paris after an abusive early marriage, where she dabbled in acting and prostitution, and became a regular user of cocaine and opium, a writer, and a star of the Folies bergères. She had numerous relationships with women, notably Natalie Clifford Barney, recorded in her novel Idylle Saphique, published in 1901.

See also:
Gramont, Elisabeth de, 1875-1954. Correspondance. Elisabeth de Gramont, Liane de Pougy; introduction & notes de Francesco Rapazzini (Venise: L’Amazone retrouvée, 2006). Rare Books 2012-0524N

Jacob, Max, 1876-1944. Lettres à Liane de Pougy. Max Jacob, Salomon Reinach; préf. de Jean Chalon pour les lettres de Max Jacob; introd. de Paul Bernard pour les lettres de Salomon Reinach ([Paris]: Plon, c1980). Firestone Library » PQ2619.A17 Z567

Pougy, Liane de, 1869-1950. Idylle saphique: roman ([Paris]: Alteredit, 2003). Firestone Library PQ2631.O68 I39 2003

Pougy, Liane de, 1869-1950. Idylle saphique: roman. Liane de Pougy; préface de Jean Chalon (Paris: J.-C. Lattès, 1979). ReCAP » PQ2631.O685 I3 1979g

Pougy, Liane de, 1869-1950. My blue notebooks. Liane de Pougy [i.e. M. C. Ghika]; pref. by R. P. Rzewuski; translated from the French by Diana Athill (New York: Harper & Row, 1979). ReCAP CT1018.G48A3513 1979

The Wonderful Magazine and Marvellous Chronicle

The Wonderful Magazine Or Marvellous Chronicle; Or New Weekly Entertainer. A Work Recording Authentic Accounts of The Most Extraordinary Productions, Events, And Occurrences, In Providence, Nature, And Art… (London: Printed for the Proprietors, Published By C. Johnson, 1793).    Volumes 1-5. Graphic Arts Collection GAX 2019- In process.


Portrait of an innkeeper known as Mother Louse of Louse Hall, a famous establishment outside the city of Oxford; fanciful coat of arms bottom center: three lice surmounted by a tankard, motto on banner underneath, ‘Three liese pas-sant’ (a re-issue).

Henry Jenkins, 169-years-old.

The following Forty Numbers of this Work (making only Sixty in the whole) will be enriched with a great Variety of engravings, equally extraordinary, Wonderful, Marvellous, Astonishing, and Interesting, too numerous to mention here. every future Number will therefore be Embellished with One or two most Elegant engravings, consisting of the most Extraordinary, Wonderful, and Rare Productions in Nature and Art, drawn and engraved by eminent Artists, among which will be included many Large Quarto Copper-plates, containing extraordinary Representations, which cannot be included in a less Size.

The frontispiece of the first volume is labeled, “The Art of Lying Burlesqued in an Account of A Wonderful Flight or Journey from France to Gibraltar, America, &c. Related by an Eminent Author,” which may refer to Jonathan Swift’s Gulliver’s Travels (1726) included in serial form throughout the first three volumes.


The story of John Bigg, the Dinton Hermit, who only wore leather.

Margaret Finch, Queen of the Norwood Gypsies, Died 1740, Aged 108 years.


“Old Boots of Rippon in Yorkshire” shown with his ability to hold a coin between the tips of his nose and chin.

Subtitled: “Consisting entirely of Such Curious Matters as come under the Denominations of Miraculous!, Queer!, Odd!, Strange!, Supernatural!, Whimsical!, Absurd!, Out Of The Way! and Unaccountable! including Genuine Accounts of the most surprising Escapes from Death – Deliverances from Dangers – Strange Discoveries of long concealed Murders – Strange and Unaccountable Accidents – The Surprising Phenomena of Nature – Absurd and Ridiculous Customs peculiar to different Ages and Nations – Dreadful Shipwrecks – Heroic Adventures – Uncommon Instances of Courage, Strength, Longevity, or Long Life, Accounts of Persons Famous for Eating, Drinking, Fasting, Walking, or Sleeping – Interesting and extraordinary Anecdotes – Memorable Exploits – Perilous Adventures – Strange Effects of Imagination in Pregnant Women – And whatever else is calculated to promote Mirth or Entertainment, or what is Wonderful, Marvellous, or Astonishing. – The Whole carefully Collected from the Writings of the most approved Historians, Travellers, Astrologers, Physicians, Physiognomists, Philosophers, &c. of all Ages and Countries. – Embellished with a great Variety of Elegant Copper Plates accurately Engraved.”


Mademoiselle de Beaumont, or the Chevalier d’Eon. Female Minister Plenipo. Capt. of Dragoons Etc. Etc.
See also:



Cut Dada

Werner Pfeiffer, Hocus Pocus (Red Hook, N.Y.: Pear Whistle Press, 2012). Altered book. One of 50 copies. Graphic Arts Collection GAX 2019- in process

In 2005, curator Leah Dickerman and an extended group of authors published Dada: Zurich, Berlin, Hanover, Cologne, New York, Paris; the catalogue for an exhibition held at the Centre Georges Pompidou, Paris; the National Gallery of Art, Washington D.C.; and the Museum of Modern Art, New York. A survey of perhaps the most influential modern art movement as it developed in six crucial cities during the period 1916 to 1926, the book quickly became a canonical text in the study of modern art.


As an homage to the movement and the publication, Werner Pfeiffer created what he calls a book object titled Hocus Pocus that cuts and rebinds the catalogue into 12 individual books, each one telling a modified narrative.


Appropriation of existing art or text has a long tradition within modern art and within the contemporary artists’ book genre is a sub-division known as ‘altered books’. Another good example of an altered book artist is John Latham, whose copy of Art and Culture by Clement Greenberg is now accessioned into the Museum of Modern Art in liquid form: Pfeiffer’s Hocus Pocus has been accessioned into several art museum collections including the Museum of Fine Art, Boston.



See also our copy of John Latham (1921-2006), The Mechanical Bride by Marshall McLuhan, ca. 1969. Altered book. Gift of William Howard Adams. Graphic Arts GAX Oversize 2006-0384Q:

Saint Stephen the Prōtomartyr

The Graphic Arts Collection recently acquired a new print, “Copper icon cast of Saint Stephen the Prōtomartyr,” with text in modern Greek, printed in Vienna in 1765. Thanks to our Modern Greek Archivist for Special Collections, Kalliopi Balatsouka, for her expert cataloguing:

The devotional woodcut shows an icon of Saint Stephen the Prōtomartyr cast in copper, for veneration at the Eastern Orthodox monastery of Kōnstamonitou on Mount Athos in Greece. Commissioned by Abbot Gabriel of Vatopedi, and financed by Athanasios Alexiou of Grabovo, the icon was displayed at Kōnstamonitou. Saint Stephen, the central image within woodcut border, is depicted frontal in the deacon’s attire, holding the censer with his right hand and with his left hand extended the Holy Book. A halo around his head bears the inscription: “Ho Hagios Prōtomartys Stephanos.”

The Eye of God in an equilateral triangle with a single eye inside it and rays emanating from it towards the saint’s head is positioned off center to the right corner; a replica of the monastery with the inscription “Monastēri Kōnstamonētou” is shown next to the saint’s figure.” At the bottom of the scene, a five-line legend in Greek runs as follows: “Hē Parousa sevasmia eikōn echalkocharachthē Dia syndromēs tou panosiōtatou / ky[riou] Gavriēl tou Vatopedinou di exodōn de tou timiōtatou, ky[riou] athanasiou alexiou / ek grabovo, kai aphierōthē par autou en tē Hiera Monē tou Kōnstamonētou, hina / dōrean charizētai tois orthodoxou christianois. epistasia de tou timiōtatou / ky[riou] Kōnstantinou oikonomou ek poleōs Melenikou. 1765. en viennē.”

The print comes in time for the symposium “Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres,” hosted by the Index of Medieval Art, the Princeton Institute for International and Regional Studies, the Department of Art & Archaeology at Princeton University, The Seeger Center for Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund, the Mary Jaharis Center for Byzantine Art and Culture, the International Center of Medieval Art, and the Society of Historians of East European, Eurasian, and Russian Art and Architecture.

This two-day symposium, April 5-6, 2019, focuses on the art, history, and culture of Eastern Europe between the 14th and the 16th centuries. Rare Books and Special Collections welcomes a small group of visitors over to view our collections during the event, including this new acquisition.

El Círculo de piedra — Cuba 1967

Carlos Franqui (1921-2010), El Círculo de Piedra (Milan: Grafica Uno, printed by Giorgio Upiglio, 1971). Purchased in part with funds provided by the Program in Latin American Studies (PLAS) and by the Graphic Arts Collection GAX 2019- in process

The Graphic Arts Collection recently acquired a portfolio with poetry by Carlos Franqui and fifteen color lithographs on wove paper signed in pencil by the author in an edition of 125. The title, The Stone Circle, is a reference both to the lithographic process and to the circle of artists while in exile. Contributing artists include Valerio Adami, Alexander Calder, Jorge Camacho, Augustin Cárdenas, César Baldaccini, Corneille, Gudmundur Erró, Asger Jorn, Piotr Kowalski, Wifredo Lam, Joan Miró, Edouard Pignon, Paul Rebeyrolle, Antoni Tápies, and Emilio Vedova. The portfolio also contains a recording on vinyl of Y Etonces Comprendio by Luigi Nono.

“The memories of Giorgio Upiglio on the ‘Círculo de piedra’,” loosely translated:

‘The Círculo de piedra’ adventure was born thanks to the friendship with Carlos Franqui, who was introduced to me by Wilfredo Lam. I was in Cuba, in 1967, in the middle of the cold war, I remember that there were cannons under my hotel. All of Carlos’s friends, including almost all the artists who would later create the ‘Circulo de piedra’ three years later, were in Havana in ’67 for the Salon de Mayo congress. I remember Jorn, Lam, Cesar, Tapies, my wife Rita Gallè, Calder, Adami, the critic Guido Ballo. On that occasion I met Fidel Castro, to whom I gave a copy of my edition made with Lam Apostroph Apocalypse. Castro subsequently organized a graphic exhibition at the Casa de las Américas.

On that occasion, they gave me all the prints that went on the boxes of the Romeo y Julieta cigars and those of the Montecristo. The prints that were still made in lithography on stone, a lithograph that remained a tradition of graphic art untouched by the big industry low cost runs. What interests me remains of the ‘Círculo de Piedra’ is the common spirit of familiarity with Carlos Franqui, mine, and of all the artists, in the years of exile from Cuba. The folder is born without a precise commercial purpose and neither is there a a union between artists and a movement…

It was also born to support Carlos economically and that is why I left him a part of the edition. The portfolio is a project that–as you can imagine–has also cost a lot for the artists involved, but the enthusiasm for our work has led us to bear the costs of the edition and each of the 15 artists was left with a copy of the work, as a reminder of the common project. Mirò was printed by Maeght in Saint-Paul-de-Vence, Jorn by Bramsen in Paris, Calder I printed it, because he was in Milan for the exhibition at Studio Marconi; Vedova, Tapies, Adami, Lam and all the others were printed in Milan in Via Fara 9. The work was presented on October 17th 1970 at the Marconi Studio and at the Piccola Scala in Milan with the concert by Luigi Nono Y entonces comprendò, of which each folder contains the disc published by Ricordi.

For more about Giorgio Upiglio, see:

“O António Maria” followed by “Ponto nos II”

O António Maria, edited and directed by Rafael Bordalo Pinheiro (Lisbon). Complete: Vol. 1, No. 1 (June 12, 1879) to Vol. 7, No. 3 (January 21, 1885)
Ponto nos II, edited and directed by Rafael Bordalo Pinheiro (Lisbon). Complete: Vol. 1, No. 1 (May 7, 1885) to Vol. 7, No. 293 (February 5, 1891). Graphic Arts Collection GAX 2019- in process

Few artists rise to such stature that an entire museum is created in their honor. Rafael Bordalo Pinheiro (1846-1905) is such a talent. The Rafael Bordalo Pinheiro Museum and Library in Lisbon describe him as

“a striking figure of the Portuguese culture of the second half of the 19th century. He was born in Lisbon on Rua da Fé on March 21, 1846 [and] followed the family tradition of a life dedicated to the Arts. An enterprising and multifaceted artist, he has traveled a very personal way, dedicating himself to the graphic arts, plastic arts, ceramics, drawing of objects and decoration, producing a vast work that almost always critically reflects the daily cultural, political and social of the time in that lived.…

Pinheiro was also innovative, developing humorous design and cartoon as an artistic expression. Integrating the circle of intellectuals and artists who defined the Generation of 70 [ also called the Generation of Coimbra]… to show a true portrait of the society of that time. Conscious of the power and strength of the press, he founded several periodicals, using caricature as a vehicle for the defense of his ideals.”

The Graphic Arts Collection has acquired complete runs of two of Pinheiro’s satirical magazines, openly political and focused on changing public opinion against the corruption in the Portuguese government of that period. While extremely popular O António Maria faced opposition from various agencies and in 1884, the government passed new laws, resulting in serious limitations to freedom of the press. Publication of the magazine ended in January 1885.

After several months and a change of title, Pinheiro began once again with Ponto nos II, this time joined by his son, Miguel Gustavo Bordalo Pinheiro. One reviewer notes: “Ponto nos II goes beyond the erosive action of political caricature. In its pages also there is space for the news, the chronicle, literary activity, the success of exploration trips in Africa, the Portuguese representation at the Paris International Fair.”

An additional note comes from the dealer:

From the middle of 1889, colonial policy, within the framework of the conflict of interests between Portugal and England, is the theme that dominates weekly the pages of Ponto nos ii. In the face of the government’s vacillations before the “English arrogance,” the weekly assumes itself as the mouthpiece of national interests and calls everyone to fight. The allusions to republicans and to the Republic also grow. Political tension and popular outrage roar on every page.

On 31 January, the Republican revolt erupts in Porto, a fact the newspaper Pontos nos ii does not hesitate to analyze in the following numbers: “Cowards!” In February of the following year, the same author will present a more sober reading of the events. It is a true republican manifesto that Ponto nos ii welcomes in its pages. The price of such high courage is not unexpected: the newspaper is suspended.

Thanks to Fernando Acosta-Rodríguez, Librarian for Latin American, Iberian, and Latino Studies at Princeton University Library for his help with this acquisition.


The First Capitol of the United States

The New York Magazine; or, Literary Repository for March 1790 (New York: T. and J. Swords, 1790). One engraving included by Cornelius Tiebout (ca.1773-1832) “Perspective View of the Federal Edifice in the City of New York, engraved for the New-York Magazine,” 1790. Graphic Arts Collection GAX 2019- in process

The New-York Magazine began publication in January 1790 and ran until December, 1797, making it one of the longest running eighteenth-century American magazines. The Graphic Arts Collection is fortunate to have acquired a rare issue for March 1790 (Vol.1, No.3).

Each issue included a full page engraving and this particular issue contains a “Perspective View of the Federal Edifice in the City of New York”, also known at that time as the capitol of the United States. During the first two years of George Washington’s presidency, the United States Congress, consisting of the United States Senate and the United States House of Representatives, met from March 4, 1789, to March 4, 1791, at Federal Hall in New York City and then, later at Congress Hall in Philadelphia.

New-York Magazine‘s varied content includes the weather report, local marriages and deaths, as well as four pages of “Congressional Affairs,” with reports from Alexander Hamilton and George Washington. Among the topics under discussion were establishing a 24 diplomatic corps, organizing a national militia and considering the request of Yale College that the duties on a lately­ imported “philosophical apparatus” be refunded to the college so as to encourage science.

The magazine listed 469 subscribers at the close of its first volume, George Washington among them and his library at Mount Vernon included at least the first five volumes. Princeton’s issue is signed by John Barron, Broad Street­­, assumed to be the subscriber.

Federal Hall in New York City today.

Tiebout was around eighteen-years-old when he began engraving for the editors Thomas and James Swords, cutting simple copper plates from drawings by Alexander Anderson and others. In 1793 he went to London, where he studied with the printmaker James Heath, returning an expert in stipple engraving. His plate in March 1790 of the New York City Federal Building details the embellishment by Pierre Charles L’Enfant in 1788 and the issue opens with an article describing the building at length. It is assumed that the print was originally not bound in but simply laid into the issue and so, exceedingly rare to find it still included.