Category Archives: Acquisitions

new acquisitions

Face powder envelopes, Kyoto 1815


The Graphic Arts Collection recently acquired a sample album holding nearly 200 colorful cosmetic packages of Oshiroi or white face powder. The ephemeral decorative envelopes are pasted onto 45 unnumbered leaves with various printed and manuscript labels. The final leaf holds a hand-written note indicating the album was produced in Kyoto in 1815.





“In Japan, beauty has long been associated with a light skin tone. During the Nara Period (710–94), women painted their face with a white powder called oshiroi, and in the Heian Period (794–1185), a white facial color continued to stand as a symbol of beauty. References to the beauty of light skin tone are found in the Diary of Lady Murasaki and Tale of Genji. More than a thousand years ago, cosmetics for whitening the skin had already become a status symbol among the aristocracy.”–Originally written in Japanese by Ushijima Bifue.


This marvelous sample book was assembled in 1815 for the Fujiwara Harima Ishizuka Face Powder Company and the Chikamaro Face Powder Company of Kyoto by a cosmetics distributor named Omi-ya.

The early pages hold thirty sets of three labels each: the first label tells in rapturous detail of the special qualities of the contents, the second gives the brand name, and the third the manufacturer’s name.

Following this are 107 color-printed labels for the envelopes (each including a brand name), then another 52 color-printed labels, and finally the actual face powder envelopes. The decorative designs are either color woodblock prints or made from special paper with metallic flakes including gold.



This album was once owned by Dr. Kokichi Kano (1865-1942), a Japanese literature scholar, who came from Oodate City, Akita Prefecture. Kano began his career as the principal of First Higher School (1898-1906) and was then named President of a liberal arts college, Kyoto Imperial University (1906-1908).






Mr. Crindle and The Man in the Moon


The British artist Henry George Hine (1811-1895) left Punch in 1844 to freelance for a variety of other satirical newspapers and magazines, including Great Gun, Puck, and, beginning in 1847, The Man in the Moon. Although it had a smaller format, Man in the Moon boasted a large, fold-out cartoon narrative at the front of every monthly issue.


The first fold-out told the Life and Death of Don Guzzles of Carrara (artist unknown), followed the next month with The Foreign Gentleman in London; or the English Adventures of M. Vanille, drawn by Cham (1819-1879).

Man in the Moon’s third issue offered the first of nine installments chronicling Mr. Crindle’s Rapid Career upon Town. Hine collaborated on the story and designs with Albert Smith (1816-1869), who had also left Punch for this new journal.

The Crindle series became so popular with the British public that the nine parts were combined and published as a continuous narrative in four pages, titled The Surprising Adventures and Rapid Career Upon Town of Mr. Crindle (recently acquired by the Graphic Arts Collection).crincle4

Not to be outdone, the Paris publisher Charles Philipon (1800-1861) had Gustave Doré (1832-1883) create a revised version called L’Homme aux Cent Mille Écus (The Man with a Hundred Thousand Crowns) which ran in Journal pour Rire between January 12 and June 15, 1850.journal-pour-rire-1850-01-12-800-2

The Man in the Moon: A Monthly Review and Bulletin of New Measures, New Men, New Books, New Plays, New Jokes, and New Nonsense; Being an Act for the Amalgamation of the Broad Gauge of Fancy with the Narrow Gauge of Fact into the Grand General Amusement Junction (London: Clarke, 1847-1849). Edited by Albert Smith (1816-1869) and Angus B. Reach (1821-1856). Artists include Smith; George Augustus Sala (1828-1895); Phiz (Hablot Knight Browne, 1815-1882); Joseph Kenny Meadows (1790-1874); Lionel Percy Smythe (1839-1918); Cham (1819-1879); Robert B. Brough (1828-1860); Henry George Hine (1811-1895); Isaac Nicholson; and Thomas A. Mayhew. Graphic Arts Collection (GA) 2005-0423N

Le Journal pour rire (Paris: Aubert, 1848-1855). Graphic Arts Collection (GAX) 2011-0030E

Here are some details:


Illustrated Police News


police-newsThe Illustrated Police News, Law Courts and Weekly Record was founded in 1864. “Published in London by John Ransom and George Purkess and printed by Purkess and Richard Beard, the Illustrated Police News claimed to give attention to subjects of more than ordinary interest ranging from gory murders to courtroom dramas. The sensational weekly priced at 1d . . . Its circulation grew over its first 20 years of publication from 100,000 to 300,000.” –Laurel Brake and Marysa Demoor, Dictionary of Nineteenth-century Journalism in Great Britain and Ireland (2009)

A pictorial front page of the January 14, 1882, issue was recently acquired by the Graphic Arts Collection, without the three text pages that followed. The top-most cells depict George Lamson, who was found guilty of murder, a sensational case covered by the paper almost daily from December 1881 through his hanging the following April.

George Henry Lamson (1850-1882) had become a morphine addict and needed money. On December 3, 1881, he poisoned his crippled brother-in-law using aconite or wolf’s bane, in the hope of receiving his inheritance. The transcript of Lamson’s trial is recorded in the Old Bailey Online database at:

Lamson insisted on his innocence and turned himself in to officials. “However, with the consciousness that I am an innocent and unjustly accused man, I am returning at once to London to face the matter out. If they wish to arrest me they will have ample opportunity of doing so. I shall attempt no concealment. I shall arrive at Waterloo Station about 9.15 tomorrow (Thursday) morning. Do try and meet me there. If I do not see you there I shall go straight to your house, trusting to the possibility of finding Kitty there.—In great haste, yours truly, GEO. H. LAMSON.—W. G. Chapman, Esq.”

Other events are also highlighted in this issue.police-news4


See also Giles St. Aubyn, Infamous Victorians: Palmer and Lamson, two notorious poisoners (London: Constable, 1971). RECAP HV6555.G7S35

“Les minutes de sable mémorial”

jarry4Alfred Jarry (1873-1907), Les minutes de sable mémorial ([Paris]: Editio[n] du Mercure de Fra[n]ce, C. Renaudie, 1894). One of 216 copies printed. Seven woodcuts carved and printed by Jarry, two printed from earlier woodblocks. Graphic Arts Collection GAX 2016- in process.


Alfred Jarry published his first book of prints and poems, Les minutes de sable mémorial in September 1894 at the age of twenty-one. He paid the cost himself working with the printers at Mercure de France where many Symbolists were publishing.

The design of the volume, repeated the following year in his second book César antichrist, includes astonishingly modern typography, which predates that of Un Coup de Dés Jamais N’Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) by Stéphane Mallarmé in 1897. Jarry’s book should be considered an early artists’ book although it never appears in such studies

According to Keith Beaumont, “…the prestigious and highly influential Echo de Paris had held a monthly literary competition which offered to aspiring young writers the prospect of four valuable and much coveted prizes of 100 francs each … and a guarantee of publication in the paper’s weekly illustrated literary supplement. Between February and August 1893, Jarry was to win outright or to share five such prizes, with poems or prose texts, which would be republished the following year in his first book, Les Minutes de sable mémorial.” (Keith Beaumont, Alfred Jarry. St. Martin’s Press, 1984)


Jarry liked multiple meanings for a single text, exemplified in his title: Les minutes de sable mémorial. Beaumont notes, “Sable refers both to the sand of the sablier or hourglass, which marks the passage of time, and which recurs in the title of the last poem in the volume, and to the term for the colour black in heraldry; and memorial has the meaning of both ‘in memory of’ and ‘of the memory’. The title as a whole therefore refers simultaneously to the passage of time whose ‘minutes’ are here recorded; to the movement of memory; and to the committal to paper of a series of moments of creative activity (‘sable’ referring to the ink-blackened pages) which memory has inspired or, alternatively and simultaneously, which are reproduced here as a ‘memorial’.”




In November 1894, Jarry cut his long hair and enlisted in the 101st Infantry Regiment in Laval.


See also Alfred Jarry (1873-1907), Cesar antechrjst ([Paris]: Mercure de France, 1895). One of 7 large-paper copies on vergé Ingres de carnation. Rare Books (Ex) 3260.33.323 1895 [below]jarry


Les sept péchés mortels

hamilton-deadly-sinsEverett Hamilton, Les sept péchés mortels. Observes et graves sur bois dans la ville de Cagnes (Paris: Gilbert Rougeaux, 1936). Copy 34 of 100. Graphic Arts Collection GAX 2016- in process.

Rare Books and Special Collections has many different versions of Sept péchés capitaux or Seven Deadly Sins or Siete pecados capitals or Sieben tödliche Sünden. This is a new addition to the group.



Almost nothing has been recorded about the life of the American artist Everett Hamilton. As a young man, Hamilton left the United States in 1923 to live and study painting in Paris. Six years later, he returned and received his first one-man show of watercolors and linocuts at Montross Galleries on Fifth Avenue.

“The subject matter his pictures are reminiscent of the work of all the other painters who frequent the popular painting resorts of France. There the similarity ends, in that the artist has remained curiously free from popular trends of style and points of view. A direct transcription of visual reality and an emphasis on structure which, when the human figure is introduced, becomes definitely plastic, [and] gives his work its distinctive style.” Brooklyn Daily Eagle, December 15, 1929

By 1932, Hamilton was included in an American watercolors exhibition assembled by the College Art Association and held at the Worcester Art Museum, in Worcester, Massachusetts. His three paintings hung side-by-side with the work of Milton Avery, Charles Burchfield, Stuart Davis, and Wanda Gag, among others.

This was Hamilton’s last American show and it seems likely that the artist moved back to the South of France, where he observed and engraved The Seven Mortal Sins in the town of Cagnes.




How to Write a Letter in 1661

1661bGeorg Philipp Harsdörffer (1607-1658), Der Teutsche Secretarius [The German Secretary], part two (Nuremberg: Christoph and Paul Endtern, 1661). Graphic Arts Collection GAX 2016- in process

“Known as der Spielende (the Playful One) in Germany’s leading intellectual society, . . . Georg Philipp Harsdörffer (1607-58) was one of the most influential advocates of German in the seventeenth century. He intended Der Teutsche Sekretarius (The German Secretary), as a reference tool for chancery as well as private use.”—Camden House History of German Literature (2001).

The Graphic Arts Collection recently acquired part two of Harsdörffer’s popular manual for letter writing. Over 700 pages offer instruction in grammar, spelling, semantics, petitioning, composing official forms, and examples of personal communication. We learn how to write a letter of apology for being drunk and one describing the virtues and vices of men verses animals.





The decorative title page was engraved by Johann Friedrich Fleischberger (1631-1665) after Georg Strauch (1613-1675), both Nuremberg natives who collaborated on a number of projects. In particular they designed and printed a broadside on “the trivial importance, time, and maximum desired importance of eternal goods,” entitled Christiche Betrachtung, with verse attributed to Harsdörffer.





1661aA code appears on the front leaf: +ERO+WERO+OPE25. This has been translated as “I shall be, I shall drink freely, I shall busy myself.” Uvero is the future tense of uveo, which is apparently a variant of uvesco.
According to Lewis & Short, uvesco is “to moisten or refresh one’s self, i.e. to drink freely, to tipple.”
The verb uvesco is used by Horace in one of his Sermones, in the context of drinking wine at a banquet.





Day-Glo Designer’s Guide


In conjunction with VIS 313, we are strengthening our holdings in fluorescent color photography and printing from the 1960s. It is a recognizable moment in printing history, similar to the French pochoir illustration of the 1920s or the wood-engraving of the illustrated newspapers of the 1850s.

This particular guide was printed as a promotional piece to demonstrate the effects of Day-Glo fluorescence for posters and album covers, magazine ads, packaging and more. The volume Includes a short history of Day-Glo and a myriad of tips for designers.

In addition, there is a pop out and build up Day-Glo box, a pop up Day-Glo flower garden and several color sheets in a pocket at the rear. In addition, a 12-page bound in section of Bert Stern’s famous series of Day-Glo serigraph prints of Marilyn Monroe (originally published in Avant Garde magazine)




The Day-Glo designer’s guide (Cleveland, Oh.: Dayglo Color Corp., 1969). Movable/removable parts include (in pocket at rear): Day-Glo tone chart; Day-Glo bonus color chart: Day-Glo four-color process lithography chart.  Graphic Arts Collection GA 2016- in process

Katagami collected in Germany

buntpapierfabrik7[Portfolio of twenty-four Katagami or Japanese paper stencils with floral and ornamental designs], ca. 1850. Folio (420 x 250 mm). Graphic Arts Collection GAX 2016- in process.

Not long ago, within a box of Germany ephemera a dealer found a nondescript portfolio of twenty-four stencils. They were mistaken for something European, even German, and were collected by the Graphic Arts Collection for our matrix collection, sight unseen.

When the pieces arrived, Japanese text was found on several and with further study, we confirmed that they are rare 19th-century Katagami, or Japanese stencils for the dyeing of patterns on kimono and other fabrics.


buntpapierfabrik10katagami4 katagami3

One of the stencils has “Katagami” written on it (型紙) in addition to a partial date, which (according to my colleague) seems to be February (second month) proceeded by the character for tiger–which could refer to the year or to the month, based on the astrological calendar.

Another has a date that might indicate the reign date of Kaei, which would date it between 1848 and 1854. A third is stamped “high grade fine pattern.”



The University of Zurich’s Section for East Asian Art held a symposium last March entitled “Katagami in the West [海外での「型紙」の姿]” and has released the abstracts from those sessions. They help to understand the daily use of these matrices as well as their impact on European artisans. Hopefully, a book will come from this wonderful research. abstracts-katagami-conference02

My thanks to Gail Smith, Senior Bibliographic Specialist, Rare Books & Special Collections Department; Nicole Fabricand-Person, Japanese Art Specialist, Marquand Library; and Setsuko Noguchi, Collection Development Department for their help with this mystery.



Luis Camnitzer illustrates Martin Buber



buber1Luis Camnitzer and Martin Buber (1878-1965), Luis Camnitzer Illustrates Martin Buber (New York: JMB Publishers Ltd, 1970). 10 woodcuts printed at The New York Graphic Workshop. Graphic Arts Collection GAX 2016- in process.


The Graphic Arts Collection is fortunate to have acquired Luis Camnitzer Illustrates Martin Buber, copy J, one of ten copies lettered A-J, each containing one original drawing by the artist and one double suite containing one suite of woodblock prints on Arches paper and one suite of woodblock prints on Natsume paper.

The portfolio includes ten folktales from the Hasidic Jewish tradition in Eastern Europe, selected by Camnitzer from the early masters section of Buber’s Die chassidischen Bücher as translated by Olga Marx. They are paired with ten woodcuts by Camnitzer titled: The Tap at the Window; The Helpful Mountain; The Deaf Man; How We Should Learn; Failure; Blessing of the Moon; To Say Torah and To Be Torah; The Mountain; The Bird Nest; and The Strong Thief.



“In 1964 after moving to New York from his native Uruguay, Camnitzer co-founded The New York Graphic Workshop, along with fellow artists, Argentine Liliana Porter and Venezuelan Guillermo Castillo (1941–1999). For six years until 1970, they examined the conceptual meaning behind printmaking, and sought to test and expand the definition of the medium. In 1964 Camnitzer wrote a manifesto on printmaking that was later adopted by the group as a statement of intent. In this text Camnitzer argues that printmaking should not restrict but rather amplify the possibilities of an artist to generate conceptually rich ideas through strong images.”—Alexander Gray Associates




See also: The New York Graphic Workshop, 1964-1970, edited by Gabriel Pérez-Barreiro, Ursula Davila-Villa, Gina McDaniel Tarver ([Austin, Tex.]: Blanton Museum of Art, 2009). Marquand Library (SA) NE492.C63 N49 2009

Martin Buber (1878-1965), Die chassidischen Bücher (Berlin: Schocken, [1927]). Published in 1949 under title: Die Erzählungen der Chassidim. Recap BM198 .B778 1927

La petite sedanaise

Roger Stoddard once said, “Big books last forever, small books disappear.” We are thrilled to have this new acquisition in the Graphic Arts Collection, where it will last forever.

Les Pseaumes de David, Mis en rime Françoise. Sedan: Jean Jannon, 1636. 64mo in eights (62 x 36 mm). Contemporary vellum, painted black, spine with raised bands, two functioning silver clasps, silver corners, marbled paste-downs. Provenance: contemporary ink inscription A le Marg: Le Cocq fille du Juge d’Origny. Graphic Arts Collection GAX 2016- in process psalterium6
Printed in the independent (up to 1651) Protestant Principality of Sedan in the Ardennes, close to the modern French border with Belgium, this Psalter in French verses is a rather sensational, albeit small, achievement of French typography and Protestant book production.

“In 1610 the Parisian master printer Robert III Estienne recommended the printer, librarian and typecutter Jean Jannon to the Prince of Sedan as a talented and Protestant man of the book. Sedan developed into an academy of Protestant erudition with an impressive collection of printed books, manuscripts and works of art. Jeannon began to print academic theses, classics and religious works, whilst designing and cutting types in Latin, Greek, Hebrew and Syriac.

The type used here, la petite sedanaise, as it became known later, after it had been pirated by a Parisian typecutter, was the smallest type created since the invention of printing. It measures a mere 4.9 points. Jannon reserved this particular type solely for his own use and did not sell it to other printers as he did with his other types. The French government seized Jannon’s printshop in 1641 and the Imprimérie Royale used this particularly small type, which was later misattributed to Garamond. Provenance: The volume belonged to a magistrate Le Cocq in the Channel Island of Alderney. This island was a safe haven for Protestant refugees from France.” –Dealer’s note

psalterium7Princeton also holds two other tiny editions of these Psalms:

Les pseaumes de David, mis en rime françoise (Geneve, chez P. Aubet, 1634). Rare Books (Ex) BS1443 .xF7 1634s  and  Les pseaumes de David : mis en vers françois (Amsterdam: Chez Z. Chatelain, [1652]). Graphic Arts Collection (GAX) 2005-0001S


Note also James Mosley’s 2012 post in Typefoundry :