Category Archives: Acquisitions

new acquisitions

Jeu d’Ovide


Jeu d’Ovide ou de Métamorphoses = The Game of Ovid or the Metamorphosis, ca. 1923. Graphic Arts Collection 2019- in process

 

This early 20th-century transformation game is played by rotating 18 wooden joysticks to change various facial features and create an almost unlimited series of profiles or expressions. The complex device won the Grand Prize at the 1923 Lépine Competition in Paris.

Louis Jean-Baptiste Lépine (1846-1933), Prefect of the Paris police,  established this annual competition for inventors, originally intended to encourage small toy manufacturers but expanded to include a wide variety of innovations.

The 118th edition of the Concours Lépine Show will take place April 27 to May 8, 2019 at the Foire de Paris in the Porte de Versailles. If you wish to enter, you can download information here. Applications should be mailed to: Lépine competition, 12, Rue Beccaria, 75012 Paris France

 

 

 

Fire Safety 1828


Giovanni Aldini (1762-1834), Habillement du pompier pour le préserver de l’action de la flamme. Par le Chev. Jean Aldini. Et instruments mis à l’exposition publique honorés d’une médaille en or par le Gouvernement L. et R. de Milan, le 4 Octobre 1828 (Milan de l’Imprimerie Impériale et Royale, [1828]). Hand colored engraved frontispiece. Graphic Arts Collection GAX N-001774

The Italian physicist Giovanni Aldini (1762-1834) is perhaps best-known for his experiments in galvanism and in lighthouse engineering. With this small pamphlet dated 1828, he introduced a protective suit for firemen lined with cloth soaked in alum for the body and asbestos cloth for the face and hands. The outer layer is made of copper wire gauze. A demonstration of the suit’s effectiveness is captured in this hand colored frontispiece, in which a fireman plunges his body into an open flame. In another print, not in this pamphlet, a firemen conducts a mock rescue using the clothing: https://pictures.royalsociety.org/image-rs-11242

The artist of these scenes has been attributed by one source to the French artist Victor-Philippe-Francois Lemoine-Benoit (1800s): https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0317167100003851

This short tract is, as Aldini states on p. 15, a forerunner to a larger work which he proposes to publish the following year. This intended work Essai expérimental sur l’art de traverser les flammes et de sauver des personnes et des objets préc ieux dans les maisons incendiées was published in 1830 as Art de se préserver de l’action de flamme, with five additional engravings, unfortunately only digitized in black and white: https://babel.hathitrust.org/cgi/pt?id=mdp.39015067197437;view=thumb;seq=1OCLC: 1734256

Giovanni dall’Armi, first lithographic printer in Rome

Alessandro Lante and Nicola Maria Nicolaj. Notificazione sulla facolta privativa di esercitare la nuova arte detta litografia [Notification on the private faculty to practice the new art called lithography]. In Roma, presso Lazarini, stampatore delle rev. Camera Apostolica 1808. Folio (405 x 290 mm) broadside. Graphic Arts Collection GAX 2019- in process

The Graphic Arts Collection recently acquired this rare broadside published by the authorities of the Vatican State granting a one year privilege to the publisher Giovanni dall’Armi (died 1829) on the exclusive use of lithography as a printing technique on the territory of the Vatican State. This is followed by a concise description of its specification:

La nuova arte detta litografia, (…) consiste in riportare moltiplicate volte dalla pierra o composizione lapidiforme sulla carta ognie specie di segni o immagini, che su quella sieno stati fatti al rovescio con particolari materie, e preparazioni, ed indiricevuta la tinta vengono sottoposti insieme colle carte destinate a rice verli, all’azione della machine di pressione, come distesamente risulta dal Chirografo Pontificio segnato il di 14. Decembre del prossimo passato anno 1807.

This ephemeral document was printed twelve years before the first Italian manual on lithography was published in Florence: Cosimo Ridolfi (1794-1865) and Ferdinando Tartini, Memoria sulla litografia di C. Ridolfi, e F. Tartini (Firenze: Presso Gaspero Ricci, 1819).

In 1905, Giuseppe Fumagalli wrote in Lexicon typographicum Italiae:

Les origines de la lithographie à Rome qui étaient fort obscures, ont été éclaircies par les heureuses trouvailles de mon ami, le Dr. A. Bertarelli, bibliophile aussi savant qu’infatigable dans la chasse aux vieux bouquins, aux anciennes paperasses. Dans la préface du Trattato di lilografia, traduit du français et publié à Milan en 1828, il est dit que la lithographie existait à Rome dès 1807; mais il y a là une erreur grossière. L’introduction à Rome de cet art nouveau est due à Jean Dall’armi, que quelques-uns considèrent à tort comme l’introducteur de la lithographie aussi à Milan et à Venise où, probablement, il n’a jamais été ; et malgré son nom italien, les uns affirment qu’il était de Munich, les autres le croient français: il est probable qu’il était tout simplement italien. Les journaux romains de l’époque nous apprennent seulement qu’il est mort à Rome le 15 décembre 1829, et ces mêmes journaux, en donnant l’annonce de sa mort, confirment qu’il a été le premier fondateur à Rome d’une imprimerie lithographique.

Loosely translated:

The origins of lithography in Rome, which were very obscure, were cleared up by the happy discoveries of my friend, Dr. A. Bertarelli, bibliophile as learned as tireless in the hunt for old books, old paperwork. In the preface to Trattato di lilografia, translated from French and published in Milan in 1828, it is said that lithography existed in Rome as early as 1807; but there is a gross error. The introduction to Rome of this new art is due to Jean Dall’armi, whom some mistakenly consider as the introducer of lithography also in Milan and Venice, where, probably, he has never been; and despite his Italian name, some say he was from Munich, the others think he’s French: he’s probably just Italian. The Roman newspapers of the time only teach us that he died in Rome on December 15, 1829, and these same newspapers, in announcing his death, confirm that he was the first founder in Rome of lithographic printing.

Pank-a-Squith



 

From 1903 to 1917, the Women’s Social and Political Union (WSPU) served as the leading militant organization campaigning for women’s rights in London. Run exclusively by women, the WSPU was dedicated to political action and civil disobedience led by Emmeline Pankhurst (1858-1928) and her daughters Christabel and Sylvia.

The game’s title, “Pank-a-Squith,” comes from a combination of the names Emmeline Pankhurst and Prime Minister H.H. Asquith, the two major players in the struggle.

Fighting for women’s suffrage, members became known as the suffragettes, represented here in the six figures making their way around this 1909 board game sold to help raise money for the WSPU. Each of the women carries a rolled petition, traveling from the first square representing home and family to the winning square of the Houses of Parliament.

Along the way, there are arrests, hunger strikers, and many other setbacks. This game, recently acquired by the Graphic Arts Collection with the help of Sara Howard, the Program in Gender & Sexuality Studies librarian, also includes the rare instruction sheet outlining the consequences of landing on each square.

Pank-a-Squith [board game.] (Germany: [Women’s Social and Political Union, 1909]) Graphic Arts Collection GAX 2019- in process.

 


See also: Elizabeth Crawford, The women’s suffrage movement: a reference guide, 1866-1928 (New York: Routledge, 2001). Firestone JN979 .C73 2001

 

Not just a book, but The Book

The French poet Stéphane Mallarmé spent more than 30 years on a project he called Le Livre. This legendary, unfinished project, published posthumously in French, has now been translated into English for the first time. Below is a segment from the review, “Stéphane Mallarmé’s The Book and Un Coup de dés jamais n’abolira le Hasard,” by Mary Ann Caws in The Brooklyn Rail.
https://brooklynrail.org/2019/02/art_books/Stphane-MallarmsThe-BookandUn-Coup-de-ds-jamais-nabolira-le-Hasard

To take just the 72 pages of Stéphane Mallarmé’s Le Livre (originally posthumously published in French in 1957), at once fragmentary and yet feeling so completely itself, every time we encounter it, it seems a more astonishing piece of work. I always loved the way it was so majestically presented, collecting notes and drafts along with typeset pages, the poet dressed as scribe or priest of poetry, leaving the assembled audience every fifteen minutes of reciting in order to reshuffle the remaining pages, so that CHANCE would enter each time he re-appeared on the stage. For this was not just a book, but The Book.

What it means for us now, in this present rendering, is a lively reading of life as art—conceived of in the most simple and elementary terms, whose juncture we have to determine and carry out ourselves in each of our individual readings, private or collective and public. That was Mallarmé’s magic, the private as shared, the non-journalistic as both poetic and unboring, so he crossed out almost every other word to make the text less immediately graspable.

Here is the thing: Mallarmé is always the most modern—the most complicatedly modern—no matter what. As for Le Livre, or The Book, Sylvia Gorelick’s newly translated rendering (after the Scherer and the Marchal editions, to which I was bravely clinging), is deeply intelligent. After perusing her introduction to find the (absolutely) confessional mode of Mallarmé:

I am me—faithful to the
book

It just gets me. Of course he was, and of course we all remember his saying as he gasped, dying “Destroy it – / It would have been beautiful” about his Hérodiade—and how glad we are it did not meet that fate.

Here are a few sample pages.

 

Stéphane Mallarmé, Le “Livre” de Mallarmé; premières recherches sur des documents inédits [par] Jacques Schérer. Préf. de Henri Mondor (Paris: Gallimard [1957]). Firestone PQ2344 .L587 1957

Stéphane Mallarmé, The Book; translated and with an introduction by Sylvia Gorelick (Cambridge, Massachusetts : Exact Change, 2018). Firestone PQ2344 .A2 2018

Here is section 6 “Le Livre, Instrument Spirituel” published by Mallarmé in Revue Blanche, July 1895 (Firestone Recap 0904.749):




Before you build a wall, remove the art

As Firestone Library comes to the end of a ten year (or so) renovation, we are still finding collections in unexpected places. This morning, a six-foot framed canvas was uncovered behind a storage closet for emergency preparedness supplies. Happily, the canvas and the frame have been retrieved thanks to our wonderful security and maintenance staff.

German Prospectors in California

Fortuna im Goldlande oder das Lustige Kleeblatt in Californien. Unterhaltendes Gesells chaftsspiel. Nürnberg: Verlag von J.L. Lotzbeck, [n.d., c. 1855]. Hand-colored lithograph and illustrated board, folding down into the original card slipcase with a hand colored label. Graphic Arts Collection 2019- in process

 

On the morning of January 24, 1848, James Wilson Marshall discovered gold on John Sutter’s property in California and the American Gold Rush began. Within a year, the ’49ers flooded the area in search of their fortune, traveling from across the United States and as far as Europe. Few men and women were successful, but a game was produced around 1855 to allow the German public to join with these optimistic prospectors.

 

Fortuna im Goldlande oder das Lustige Kleeblatt in Californien = Fortune in the Gold Land or the funny shamrock in California was first published by the Nuremberg publisher Johann Ludwig Lotzbeck (1816-1886) and very successful, given advertisements in local newspapers. The game takes you along with four German friends, who are traveling to California in search of gold. Along the way, they (you) encounter Native Americans and various wild animals (lions, crocodiles, bears, etc.), eventually digging for gold with unusual tools. If you make it to the center point, riding an ostrich or a lion, the goddess of fortune will pour your gold out of two cornucopias.

For more information, see Norbert Finzsch and Michaela Hampf: “’Fortuna in the Gold Land: or the funny shamrock in California.’ Rhenish emigrants in California, 1830 to 1900,” Schöne Neue Welt, 2001, pp. 237-57.

 

An invitation to the ball


From 1892 to 1966, current and former students of the École nationale supérieure des Beaux-Arts (ENSBA) held an annual, elaborately costumed ball, many at the Moulin Rouge, the Salle Wagram, or the Parc des Expositions Porte de Versailles.

Beginning in 1900 each ball had a specific historic theme, often derived from an ancient text or inspired by an exotic foreign culture. This invitation [above and below] lists some of the themes.

The invitations posted here are some of the more modest, with the risqué examples held back. The balls themselves became notorious for nudity and debaucherous activities, the students trying to out-do themselves with each year. We are told the event ended the next morning with “a procession through the Latin Quarter, a romp around the Louvre, and a march over the Pont du Carrousel to the Théâtre de l’Odéon, where the party goers would disband.”

Costumes and masks were absolutely required however, “the soldier—the dress suit, black or in color— the monk—the blouse—the domino—kitchen boy—loafer—bicyclist, and other nauseous types” were prohibited.

 

The Graphic Arts Collection recently acquired invitations for the Bal des Quat’Z’Arts from the following years: 1912, 1917, 1923, 1925, 1926, 1928, 1930, 1931, 1932, 1933, 1934, 1946, 1947, 1949, 1950, 1951, 1952, 1953, 1954, 1955, and 1956.

Happily, a website has been established to bring together the history of these mad balls, located at: http://www.4zarts.org/



A collection of 27 invitations to the Bal des Quat’Z’Arts, 1912-1956. Graphic Arts Collection GAX 2019- in process

Grande vue panoramique de Paris sous Louis XIV

Nicolas Berey (ca.1610-1665). Grande vue panoramique de Paris sous Louis XIV, Prise de Ménilmontant. [at top] Lutetiae, vulgo Paris, Urbis Galliarum primariae, non Europae solius, sed orbis. Totius celeberrimae prospectus, N. Berey ex. Dédiés à Messieurs les Prévosts des Marchands et Echevins de la Ville de Paris, par leur très humble serviteur N. (Nicolas) Berey = Great panoramic view of Paris under Louis XIV, taken from Ménilmontant [20th arrondissement]. Paris, France, the principal city, not only in Europe but the world. Populous in all perspectives. Dedicated to the directors of the merchants and aldermen of the City of Paris, by their very humble servant N. (Nicolas) Berey. Paris, chez N. Berey, Près les Augustins aux deux Globes, avec privilège du Roy, ca. 1655. Acquired in part with funds provided by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2019- in process

 

With sincere thanks to the Friends of the Princeton University Library, the Graphic Arts Collection has acquired this nearly 8 foot assembled panorama of Paris from around 1655. Gravée [Gravure] à l’eau-forte et au burin par Noël Cochin (Troyes 1622-Venise 1695) et imprimée sur 4 feuilles de papier verge. = Etched and engraved by Noël Cochin, printed on 4 sheets of laid paper.

 

 
The central engraving is completed at the top by the title (carved in wood so letters print white) “Lutetiae, vulgo Paris, Urbis Galliarum primariae, non Europae solius, sed orbis. Totius celeberrimae prospectus, N. Berey ex.” and at the bottom and sides by 18 prints representing the King, the Duke of Anjou, and 16 monuments or particular views of Paris. The panorama forms a circle from the Abbey of Saint-Antoine on the left (southeast) to Montmartre in the north.

Note the words “Totius celeberrimae prospectus.” With more than four hundred thousand inhabitants in the 1650s, Paris was the most heavily populated city in Europe. This prospect conveys its density, showing the city packed into a basin in the midst of hills in which it would later rise, causing the windmill sentries to disappear. Cochin assigns the starring roles to the churches, which provide the only important verticals besides those of the strongholds of the Bastille and the Temple.

An additional 18 columns of letterpress text in French and Latin form the bottom row, listing and describing the views presented (loosely translated, Brief Description of the Estate, Grandeur, and remarkable particularity of the City, ‘University of Paris.’).

See also: Catalogue de livres et estampes relatifs à l’Histoire de la ville de Paris et de ses environs provenant de la Bibliothèque de Feu M. Hippolyte Destailleur, n°157.

Sue Reed, French Prints from the Age of the Musketeers, no. 59.

 

 

As indicated by his sign, “Aux deux globes” on the Quai des Augustins, Nicolas Berey primarily sold maps and topographical views. He seems to have opened the shop around 1639 and joined with Antoine de Fer to buy the copper plates from Christopher Tassin. It was a neighborhood where other publishers and merchants of intaglio prints were also located at that time. Among his other cartographic works is the Carte Generale de toutes les postes et traverses de France, published around 1640, with all the routes and stops of the postal services in France in the second quarter of the 17th century.

At his death in June 1665, his son Nicolas (II) continued the publishing and running of the shop. Unfortunately, only two years later the young Nicolas also died, leaving the shop and printing in the hands of Alexis-Hubert Jaillot, who was married to Jeanne, the daughter of Nicolas and half-sister of Nicolas (II).

In an interesting side note, the engraver Noël Cochin (brother to Nicolas Cochin) was illiterate, quite a rare for a printmaker at that time. Since he could not sign (engrave) his name, he would draw a small cavalier, charging on horseback, at the bottom of documents and prints.

 

 

 

Elena Jordana and Ediciones el Mendrugo

A precursor to the better-known 21st century cartoneras (inexpensive books with cardboard covers, originally from Argentina), the Ediciones el Mendrugo also published poetry with handmade images in a modest format from found or recycled materials. Three examples recently came into the Graphic Arts Collection.

[loosely translated from the Living Books site] “…it is worth mentioning a previous history in the publishing world, curiously ignored by those who investigated this popular phenomenon, Ediciones El Mendrugo, by the Argentine poet Elena Jordana, who in the early 70s published books bound with corrugated cardboard, printed on kraft paper (or estraza) and tied with sisal thread, with typography of rubber stamps, where it was necessary to count on heavy typewriters capable of perforating on the stencil (artistic decoration technique), in order to consign the data of title and authorship on the covers, in the aesthetic way of the university flyers.

Each issue was personally distributed by the author herself, on her trips to Mexico, the United States and Argentina. Among the published authors are Nicanor Parra, Ernesto Sábato (who gave up his publication rights so that the text “Letter to a young writer”, with support from the Argentine Society of Writers (SADE), was presented at the 1974 Book Fair), Octavio Paz, Enrique Fierro, Juan de la Cabada, Guillermo Samperio, José Joaquín Blanco and Alejandro Sandoval among thirty writers. As it appears in the journalistic chronicle, each book was made individually among friends, with jugs of wine and songs (Elena herself studied folksong in its beginnings), even some books were accompanied by a jute backpack so readers could wear it more comfortably.”–http://librosvivientes.blogspot.com/2015/11/ediciones-el-mendrugo-precursora-de-las.html

Princeton University Library holds nearly 400 cantoneras, most from the 21st century and so, the addition of these earlier examples of the genre are most welcome. While there are many groups or presses making these books, the majority of our current holdings are from the Eloísa Cartonera.

A history of the movement has been published, which will be helpful in sorting out the participants: Akademia cartonera: a primer of Latin American cartonera publishers = un abc de las editoriales cartoneras en América Latina edited by Ksenija Bilbija, Paloma Celis Carbajal; editorial assistance by Lauren Pagel and Djurdja Trajković (Madison, Wis.: Parallel Press, University of Wisconsin-Madison Libraries, 2009). Firestone Z490 .A37 2009.

Maka C. Dorantes (Maka), Espacio del Espacio (Mexico City, D. F.: Ediciones el Mendrugo/Elena Jordana, n. d. 197?). First Edition. Unpageated (ca. 30 pp.) Graphic Arts Collection in process

MarcoAntonio Montes de Oca, Astillas (Mexico City, D. F.: Ediciones el Mendrugo/Elena Jordana, n. d. 197?). First Edition. Graphic Arts Collection in process

Maka C. Dorantes (Maka), Velamen (Mexico City, D. F.: Ediciones el Mendrugo/Elena Jordana, n. d. 197?). First Edition. Graphic Arts Collection in process