Category Archives: Acquisitions

new acquisitions

Terms and Conditions


One of the best things about Robert Sikoryak’s new edition of Terms and Conditions (self-published in April 2015 and posted on Tumblr between September and December 2015) is the index.

How many of the 101 illustrators and cartoonist parodied in this volume can you identify without cheating, i.e. using the index? By my count, the earliest is Winsor McCay from 1905 and the most recent are several from 2014.

More information on the project can be found here and in the dozens of other reviews that have appeared before and after the book’s release this week.



[left] Winsor McCay, Little Nemo in Slumberland (1905). [right] Stan Lee and Jack Kirby, The Incredible Hulk (1962)


[left] Ian Boothby and John Costanza, Simpsons Comic (2002). [right] Stan Lee and John Buscema, Silver Surfer (1968)


Tom Wilson, Ziggy (1976)

Robert Sikoryak, Terms and Conditions (Montreal, Québec: Drawn & Quarterly, 2017). Graphic Arts Collection GArecap 2017- in process

Watercolor Lessons 1811

The Graphic Arts Collection recently acquired two drawing and coloring manuals, including one of the first English manuals to include actual color samples, only predated by Mary Gartside’s Essay on Light and Shade (1805) Ex 2013-0074Q.

Giles Firmin Phillips, A Practical Treatise on Drawing and on Painting in Water Colours, with Illustrative Examples in Pencil, in Sepia, and in Water Colours, Leading the Artist Progressively, from the First Rudiments, to the Completion of Works of Art in Their Finished State; Comprehending the Treatment of Coast Scenery, River Scenery, and General Landscape (London: A. & H. Bailey and Co., 1839). Graphic Arts Collection GAX 2017- in process

Engraved title with hand colored aquatint vignette, 14 soft-ground etchings with monochrome aquatint added, (one view in three progressive stages), 5 colored aquatints, and a color chart. Abbey Life 166.

David Cox, A Series of Progressive Lessons Intended to Elucidate the Art of Painting in Water Colours. (London: T. Clay, 1811). Graphic Arts Collection GAX 2017- in process

Illustrated with 13 plates (2 soft-ground etchings and 11 aquatints including 6 with hand coloring), and 8 color squares in the text.


Live Dog / Evil God

Born in Minnesota, Fritz Scholder (1937-2005) moved with his family to Sacramento, California, where he began studying painting with Wayne Thiebaud. Although Scholder was one-quarter Luseino, a California Mission tribe, he grew up outside the native American community and only later began to explore this cultural heritage, bringing to it a unique perspective.

In 1970, Tamarind Institute invited Scholder to Albuquerque to create a suite of lithographs he called, Indians Forever. From that time on, Scholder would be a major influence for his generation of native American artists.

Afternoon Nap was published in 1991, the first in a series of book projects by Nazraeli Press, Munich, followed in 1992 with Live Dog / Evil God in a limited edition of 50 copies. Nazraeli was founded in 1989 by Chris Pichler, specializing in books of photography. Scholder created ten cliche-verres or glass plate negatives for the book that were printed as kallitypes by James Hajicek. These were reproduced in duotone lithograph by Fabe Litho in Tucson, Arizona.

Pichler also published Scholder’s 1993 exhibition catalogue with an essay by Edward Lucie-Smith for the Riva Yares Gallery (SA ND237.S31 L824 1993). This review of Scholder’s 2015 exhibition at the Denver Art Museum brings the artist’s work up to date.

Fritz Scholder (1937-2005), Live Dog / Evil God (Munich and Tucson: Nazraeli Press, 1992). Copy 44 of 50. Includes a suite of ten original prints. Graphic Arts Collection GAX 2017- in process

In the Fabled Fragrant East

Pietro Bembo (1470-1547), Stanzas. Spine title: In the fabled, fragrant East; Nell’ odorato e lucido oriente. Translation by David R. Slavitt, edited by Michele Miracolo (Austin: Michele Miracolo Press; printed by Bradley Hutchinson, 2015). Dos-à-dos binding. Graphic Arts Collection GAX 2017- in process


Pietro Bembo was a well-known Vienna poet and humanist who composed this 50 stanza poem as part of the Carnival festivities for the court of Urbino in 1507: “For the entertainment of the lords and ladies gathered at Castel Durante, and to the delight of Madonna Elisabetta Gonzaga, Duchessa d’Urbino, and Madonna Emilia Pia, her good friend and companion. Both ladies are entreated by Bembo and Don Ottaviano Fregoso, disguised as ambassadors from the court of the Goddess Venus, to renounce their sad devotion to chastity and embrace the pleasures of Love.”

The Graphic Arts Collection recently acquired the inaugural publication from Austin’s Michele Miracolo Press. Bembo’s text has been newly translated into English by David Slavitt and printed by Bradley Hutchinson from Blado types cast at his letterpress workshop in Texas.

“Approximately 100 copies of this bilingual edition were printed and bound in an unusual “tête bêche” [a.k.a., dos à dos] style, with each language having its own front cover but meeting in the middle, one text upside down in relation to the other.

The printing was executed on a Heidelberg flat-bed cylinder letterpress by Bradley Hutchinson. The paper is a scarce mouldmade sheet from the 1980’s, no longer manufactured, from the Magnani mill in Pescia, Italy.

The text is smythe sewn and bound into stiff wrappers, with a soft grey dust jacket and enclosed in a handsome slipcase made by Jace Graf at Cloverleaf Studio in Austin, Texas.”–prospectus.



See also:

Pietro Bembo (1470-1547), Le rime di m. Pietro Bembo, nvovamente ricorrette et ristampate In Vinegia [G. Scotto] (1552). “Stanze di m. Pietro Bembo nvovamente ricorrette & ristampate.” with separate t.p.: 10 l. at end. Rare Books (Ex) 3122.68.1552

and Pietro Bembo (1470-1547), Gliasolani de Messer Pietro Bembo (Venetia, Aldo Romano, 1505). Rare Books (Ex) 3122.68.313

A slate book with “noiseless” slate pencils

The Graphic Arts Collection recently acquired a slate book–two wooden framed slates hinged with the original cord–together with a pack of noiseless Scholar’s Slate Pencils “for clever boys and girls.” A listing in the New York Times from 1893 gives the cost of slate pencils VS lead (graphite) pencils.

According to Stone magazine, v.10 (1895) “Only one firm in the United States is making slate pencils from native slate. There are imported many slate pencils—that is, pencils made of slate—from Germany, and also some soapstone pencils from abroad. The native soapstone pencil industry languishes, according to those interested, because of the recent reduction in the tariff upon imported soapstone pencils.

Millions of pencils made of slate are turned out at a quarry in Pennsylvania. The rough slate is sawn into suitable pieces by machinery, and from each piece a special machine cuts six pencils of standard length, 5 1/2 inches. These pencils come out rounded, but not pointed. Deft boys take them by twos and threes and quickly point them at an emery wheel rapidly revolved by machinery.

The pencils are then put up in pasteboard boxes of 100 each, and these boxes are placed in wooden cases containing 10,000 pencils. The wholesale price of slate pencils is only $6.75 per case. Pencils that break in the making are made up into “shorts,” measuring 3 1/2 or 4 1/2 inches, and the shorter pencils are made also from small fragments of slate.

Pencils wrapped in the American flag printed on paper cost about $2 a case more than the ordinary standard bare pencil, and pencils wrapped in gilt paper come somewhat higher. It is an easy bit of ciphering to make out that pencils at $6.75 a case of 10,000 are worth about two-thirds of a mill or one-fifteenth of a cent each.”


Housing Piazzetta’s Studi di Pittura

The following is a guest post by Lindsey Hobbs, Collections Conservator in our Preservation Office:

A newly acquired rare edition of Giambatista Piazzetta’s Studi di Pittura, a series of engravings to guide aspiring artists printed in 18th-century Venice, presented some handling and storage concerns for the library. [original post: ]  The book’s value alone merited a custom drop spine box for protection, however, the binding also created challenges.

Although the binding is well in tact, the soft, worn cover boards flex and bow in dramatic fashion when lifted. Since the delicate nature of the boards is not apparent upon visual inspection, we needed a means of signaling to future researchers that this book requires special care before it’s handled.

The solution I landed on is a drop spine box with an integral, or built-in cradle. When opened, the user must lift and prop the first platform of a cradle via a ribbon in order to access the book. One can then prop the second platform in the same manner on the right to support the book while in use. When finished, the cradle platforms fold back around the book to allow the box to close.

This was my first attempt at building this type of enclosure and I have already thought of ways to improve it. My initial thought was to build two separate cradle “wings” to attach beneath the right and left box trays but this made the opening and closing action of the box a bit awkward. Building the cradle in a wrap-around style for the book was necessary to create a more fluid movement.

Of course, the best feature of this style is the intuitiveness of its use. I think the ribbon placement provides a clear indicator of what to do when opening the box, and once pulled, the rest of the structure guides the cradle into place. While the cradle adds a bit of construction time over a standard drop spine, it offers a relatively simple solution for showing users how to use this special book.

Remarks on Prints

The Grove Dictionary of Art declares Richard Dalton (1715?-1791) one of the most influential figures in the sphere of collecting in England for some four decades.

In 1749, at the age of thirty-nine, Dalton visited Calabria and Sicily and then, Egypt, Turkey and Greece. He was possibly the first English artist to record the ancient monuments of these places.

In 1755 he was appointed librarian to the Prince of Wales (later George III) but after only three years was back in Italy with commissions to buy drawings and medals. Both loved and hated, Dalton remains a powerful figure in the world of art and antiquities.

His major work evolved from a selection of drawings executed during his 1749 tour, which was finally published in 1791 as: Antiquities and views in Greece and Egypt; with the manners and customs of the inhabitants: … Engraved on 79 copper-plates by Chatelain [and others] ([London]: T. King and H. Chapman, 1791). (SAX) Oversize N5330 .D17e

Before that publication appeared, Dalton prepared a commentary without the plates about the places and cultures he visited, released as: Remarks on Prints, That Were Published in the Year 1781, Relative to the Manners, Customs, &C. of the Present Inhabitants of Egypt. from Drawings Made on the Spot, A.D. 1749 (London: printed by J. Nichols for J. Robson and W. Clarke, 1790). The Graphic Arts Collection is pleased to add this rare volume  to augment both the story of Dalton and the history of collecting.

See also: John Dalton (1709-1763), Remarks on XII Historical Designs of Raphael, and the Museum Græcum et Ægyptiacum, or, Antiquities of Greece and Egypt, illustrated by prints (London: Printed for M. Cooper …, 1752). (Ex) 2008-0382N

The Trial of Elizabeth Canning 1754

The Trial of Elizabeth Canning, Spinster, for Willful and Corrupt Perjury; at Justice Hall in the Old-Bailey, held by Adjournment, on Monday the 29th of April, Wednesday the 1st, Friday the 3d, Saturday the 4th, Monday the 6th (London: printed by the authority and appointment of the Right Honourable Thomas Rawlinson Esq; Lord Mayor, for John Clarke under the Royal Exchange, and sold also by M. Cooper in Pater-Noster Row, [1754]).

Bound with Crisp Gascoyne, An Address to the Liverymen of the City of London, from Sir Crisp Gascoyne, Knt. Late Lord-Mayor, relative to his conduct in the cases of Elizabeth Canning and Mary Squires (London: printed for James Hodges at London-Bridge, [1754]).

Bound with additional trials. Graphic Arts Collection 2017- in process

The Graphic Arts Collection recently acquired this volume of several trial transcripts bound together and extra illustrated with a hand colored etching entitled The Gypsy’s Triumph, a satire on the Elizabeth Canning affair. The print depicts Crisp Gascoyne and Mary Squires (the old gypsy) carried in triumph by four old gypsies with broomsticks and wearing pointed hats.


There are many versions of this curious story. A brief description was posted on The Londonist’s site:

“It’s 1 January 1753, in the City of London. An 18 year old maidservant disappears on the way back to her mother’s house near St Mary Aldermanbury. She wasn’t seen or heard from until nearly a month later, when she reappeared, dirty and bloodied, in ripped clothing. The maidservant was Elizabeth Canning. She claimed to have been kidnapped from near Bedlam Hospital and taken to a house on Hertford Road in Enfield. Here, a woman tried to force her into prostitution. When she refused, she was kept prisoner until she escaped through a window and managed to return home. Her disappearance has been the source of speculation and theories ever since. She identified Enfield woman Mary Wells and Romany woman Mary Squires as her captors. They both went to trial — despite Squires having an alibi, she was sentenced to hanging, while Wells was sentenced to branding on the thumb and six months in prison. Sir Crisp Gascoyne, who was Lord Mayor of London and Chief Magistrate, opened his own inquiry which led to the King granting a pardon. Canning herself was then indicted for perjury, found guilty and sentenced to one month imprisonment, after which she was sent to America. The truth about the case was never revealed.”



See also: Sir Crisp Gascoyne (1700-1761), An address to the liverymen of the city of London: from Sir Crisp Gascoyne … relative to his conduct in the cases of Elizabeth Canning and Mary Squires (London: Printed for James Hodges, 1754). Rare Books (Ex) Oversize HV6248.C15 G3q

“I dare do all that may become a man, Who dares do more is none.”

“Sweet Mercy is Nobility’s true Badge.”


Publicaciones revolucionarias

Publicaciones revolucionarias [Revolutionary publications]. 1. ed. (Bogotá, Colombia: Silueta Ediciones, 2016). Nine volumes. Graphic Arts Collection GAX 2017- in process.


The Graphic Arts Collection recently acquired a set of nine publications from La Silueta, a fine press in Bogotá, Colombia:

No. 1 – Avocados by Santiago Rueda
No. 2 – Labor by Lucas Ospina
No. 3  – Ceiling by Gabriela Pinilla
No. 4 – LMCP by WIlson Diaz
No. 5 – Liberating orgasm by The fulminant
No. 6 – Present! I presented! by Andrés Felipe Uribe
No. 7 – Poscon by Chócolo
No. 8 – 33 Revolutions per minute by Hernán Sansone
No. 9 – The Penitent by Alfredo Greñas

“Hacemos el tipo de libros que nos gustaría que existieran” /
“We make the kind of books that we want to exist,” write their editors.

“We are an independent publisher who works to publish the books we would like to see in bookstores, to buy and read. We edit authors who represent, in one way or another, a fresh and novel proposal; whose drawings, texts, and stories help open the minds of those who acquire them and become tools that help them take creative directions different from traditional ones.

Our titles, their designs, and the themes appeal to that playful side that we all still have alive inside us. A color, a source, an illustration, or a specific function can reactivate in such a way that the experience of having them in the hands always goes to Be gratifying and pleasurable.

Our books are designed to be explored both physically and in terms of content because in La Silueta we are convinced that both form and substance are important. We believe that there are contents that must exist and that they must be presented in such a way that they are striking to the senses because, in the end, everything enters through them.”

La Silueta editors Andrés Fresneda and Juan Pablo Fajardo with printing press.

One of the finest Venetian illustrated books of the Settecento

Giovanni Marco Pitteri (1703-1786) and Francesco Bartolozzi (1727-1815), after Giovanni Battista Piazzetta (1682-1754), Studi di pittura già dissegnati da Giambatista Piazzetta ed ora con l’intaglio di Marco Pitteri [Painting Studies Drawn by Giambattista Piazzetta and Now Together with Marco Pitteri’s Engravings] (Venice: [Giambattista Albrizzi], 1760). 28 pp. text and 48 engravings after 24 drawings. Includes Alcuni avvertimenti per lo incamminamento di un Giovani alla pittura di Gian Pietro Cavazzoni Zannotti (Giampietro Zannotti, 1674-1765). Graphic Arts Collection 2017- in process

In 1750, the celebrated painter and draftsman Giovanni Battista Piazzetta was appointed director of the Academy of Fine Arts in Venice but at the same time, came under increasing financial difficulties. His good friend, leading Venetian publisher Giambattista Battista Albrizzi commissioned a series of instructional life drawings for aspiring artists.

Piazzetta died in 1754 and over the next six years, Francesco Bartolozzi and Marco Pitteri each engraved their own representations of his drawings, which Albrizzi published both sets in 1760 as a manual for painting students; 48 engraved plates after 24 drawings. Bartolozzi emphasizing the line and Pitteri the light and shadow.

Piazzetta, Male Nude in a Landscape. Black chalk on paper. Morgan Museum and Library, Gift of the Samuel H. Kress Foundation. 1961.12:53

This rare volume of virtuoso talent also includes the only surviving etched self-portrait of Piazzetta dated 1738 and a biography of the artist written by Albrizzi. The Graphic Arts Collection is honored to now hold one of the only complete first editions reproducing Piazzetta’s master drawings. Half a generation older than Giambattista Tiepolo, Piazzetta exercised a profound influence on the work of the younger artist, which continues into the 21st century.

Print historian Suzanne Boorsch wrote, “Giambattista Albrizzi’s final tribute to Piazzetta is the Studj di pittura, a sort of model book reproducing twenty-four drawings of nude figures by Piazzetta. During much of his life Piazzetta directed an art school, and Albrizzi’s aim was to put into a more lasting form Piazzetta’s role as teacher. The book, not published until six years after Piazzetta’s death, includes two plates reproducing each drawing, one by Francesco Bartolozzi, which is quite conventional, with outlines and cross-hatching, and the other in Pitteri’s singular, arresting manner.” –Venetian Prints and Books in the Age of Tiepolo (1997). Marquand (SA) NE2052.4.V46 B66 1997