Category Archives: Acquisitions

new acquisitions

A Key to the Panorama of London from Albion Mills

Now on deposit in the Graphic Arts Collection, thanks to Bruce Willsie, Class of 1986, is a rare engraving: Robert Barker (1739-1806) and Henry Aston Barker (1774-1856), [Key to the panorama ‘London from the roof of the Albion Mills’], ca. 1792. Graphic Arts Collection.

 

Patented in 1787 by Robert Barker, the 365° painted panorama transported spectators into a virtual reality of place and time. Advertisements read: “There is no Deception of Glasses, or any other whatever; the View being only a fair Sketch, displaying at once a Circle of a very extraordinary Extent, the same as if on the Spot; forming, perhaps, one of the most Picturesque Views in Europe.”

In 1791, Barker’s first London show, View of London from the Roof of the Albion Mills, began at the five-story, steam-powered flour mill on the south side of Blackfriars Bridge designed by Samuel Wyatt in 1786 but gutted by fire in March 1791.* After London, the painting toured Europe and many of the brochures or descriptions given to the audiences were printed in several languages.

 

“[Robert] Barker’s Panorama of London from Albion Mill does not survive, although contemporary visual evidence is offered by two descriptive orientation keys and a set of commemorative aquatints. Panorama visitors were given such descriptive keys gratis, not only as souvenirs, but also to inform them of significant sights: they are themselves an important response to Barker’s epistemological anxiety about his painting.

Two orientation keys survive for Barker’s Panorama of London: the first, an undated and cheaply printed [engraving], which can be speculatively dated to 1792, and the second, entitled Panorama de Londres, with the text in French and English, probably issued in Paris c. 1803. –Markman Ellis, “Spectacles within doors’: Panoramas of London in the 1790s” https://www.euppublishing.com/doi/pdfplus/10.3366/E1354991X0800024X


The panorama’s scenes weren’t what you might expect. One set of the six memorial aquatints can be found at the British Museum, and a mounted set is held at the Government Art Collection, Queen’s Yard, 179a Tottenham Court Road, London [see below].

The British Museum has two versions of the key print, describing one as written in French and Dutch, although it appears to be the same as Princeton’s engraving in English, French, and German.


Robert Barker (1736-1796), London from the Roof of the Albion Mills: a Facsimile of Robert and Henry Aston Barker’s Panorama of 1792-3 / introduction by Ralph Hyde ; keys by Peter Jackson (London: Guildhall Library Publications in association with the London Topographical Society, 1988). Marquand Library Oversize DA682 .B37e

 

“This 360 degree view is taken from the roof of the Albion sugar mills at the S. end of Blackfriars Bridge, to which vantage point Henry Aston Barker was sent to make sketches by his father, Robert Barker, in the winter of 1790-91 … The son’s drawings were then greatly enlarged and painted in distemper on canvas by Robert Barker to create a 1,479 sq. ft. exhibition panorama. This at first was exhibited at … Leicester Square … Birnie’s aquatints of H.A. and R. Barker’s London panorama were prepared and published while it was still on exhibition in Castle Street and testify to the show’s popularity. … Altick records that the six aquatints served as the source for America’s first panorama show. Taken to the United States by a gentleman named Laing, they were copied onto canvas by William Winstanley. The resulting panorama was exhibited in Greenwich Street, New York City, in 1795.”–Ralph Hyde, Gilded Scenes and Shining Prospects: Panoramic Views of British Towns 1575–1900. New Haven, Connecticut: Yale Center for British Art, 1985.

*The fire in the Albion Mills and perhaps Barker’s panorama were the inspiration for
Jerusalem by William Blake [preface to Milton]:
And did those feet in ancient time
Walk upon Englands mountains green:
And was the holy Lamb of God,
On Englands pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among these dark Satanic Mills?

Bring me my Bow of burning gold:
Bring me my arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my sword sleep in my hand:
Till we have built Jerusalem,
In Englands green & pleasant Land.

Die Blumen-Monde

Carl, Count Brandis, Die Blumen-Monde. Zwölf Blumen-Bilder nach der Natur photographirt von Carl Grafen Brandis; mit Original-Dichtungen von Felix Dahn, dessen Gemalin und Schwester. [The Flower Months. Twelve Flower Pictures Photographed from Nature with Poems by Felix Dahn, his Wife and his Sister] (Wien: Lechner [1891]). Graphic Arts Collection GAX 2019- in process


While a member of the Amateur Photography Club of Vienna, Carl Brandis prepared 13 heliogravures (including title page) on chine-collé for the Viennese publisher and university bookseller Rudolf Lechner (1822-1895).

Although they appear to be a trompe-l’œil trick, each still life is taken ‘from nature’ with flowers, ferns, and grasses arranged to frame a letterpress poem by Felix Dahn (1834-1912). One arrangement for each month of the year. The loose plates are housed in an elaborate publisher’s cloth portfolio approximately 2 ft tall (64 x 49.5 cm).

In 1893, Brandis received favorable notices for his still-life photography at a Salzburg exhibition, but no other mentions of the artist survive.

Felix Dahn was a German law professor, author, poet and historian. His wife, Therese von Droste-Hülshoff (1845-1929), was also a writer, and a relative of the poet Annette von Droste-Hülshoff. Dahn’s sister Constanze von Bomhard (1846–1933) was a writer, too, publishing under the pseudonym C. Hirundo.

Exhibition of the Salzburg Amateur Club. On 15 June, it was solemnly inaugurated by Sr. Kaiser Highness Archduke Ferdinand IV, Grand Duke of Toscana, and surprised the arrangement with its elegance, richness and many really excellent pictures. . . .The number of pictures exhibited is 2000, and since we have only a modest selection here, it may be considered which gigantic production corresponds to this collection. …We can confine ourselves here only to the most outstanding exhibits, and there deserve mention. …; Count C. Brandis with still life. – Photographische Korrespondenz, 30 1893

 

The rescue of Cardinal Vincenzo Maria Orsini, future Pope Benedict XIII, and other miracles

 

Two months after the Saint’s death, Drusilla, wife of Antonio Fantini, fell from a balcony at the height of twenty palms into a court-yard, striking her head against some pieces of iron which were lying on a table; her lower lip was cut through in three places, and her right eye protruded from the socket; both her eyes indeed were so much injured that her sight was entirely gone; her nose was crushed, and her teeth broken, and there was a deep gash in her left hand; moreover, great quantities of blood issued from her mouth, and she was to all appearance a corpse. …

In the meanwhile Antonio Franco, the surgeon, arrived, and when he had examined the wounds and injuries, he gave it as his opinion that it was quite impossible she should survive …

After these fifteen days, … the sick woman was left alone in the house, she recommended herself in her heart to S. Philip, who formerly was her spiritual father; and as she prayed she felt on a sudden a great weight in her breast, and it seemed as though a handkerchief were forced down her throat, and then gradually drawn up again; whereupon her sight was instantly restored, and she saw the holy father vested as a priest, with a glory around his head, and he was holding the handkerchief in his hand all covered with blood; he said moreover, “Do not be afraid, for thou wilt not die this time:” and in an instant she was cured …. [1847 English translation]


Pietro Giacomo Bacci (ca. 1575-1656), Vita di S. Filippo Neri Fiorentino, fondatore della Congregazione dell’Oratorio … con la notizia di alcuni compagni del medesimo santo, aggiunta dal P. Maestro Giacomo Ricci = Life of St. Philip Neri Fiorentino, founder of the Congregation of the Oratory … with the news of some companions of the same saint, added by Fr. Maestro Giacomo Ricci (Rome: Bernabò and Lazzarini, 1745). Graphic Arts Collection GAX -in process

The Graphic Arts Collection recently acquired a lavishly illustrated edition of the popular hagiography (biography of a saint) of Filippo Neri (1515-1595), first published in 1622 and reissued continuously through the twentieth century.

The artists of the frontispiece, title vignette, and 45 engraved plates include:
Engraved portrait frontispiece by the German engraver Christian Sas (born 1648, active 1660) after the French painter Jacques Stella (1596-1657).
Engraved title vignette of the Virgin and Child on the half-moon and 41 plates are by the Italian engraver Luca Ciamberlano (born ca. 1570) after the Italian painter Guido Reni (1575-1642); three plates are by Sas after Stella; and one (no.45) is by the Italian artist Girolamo Frezza (1659-ca. 1741) after the Italian painter Pier Leone Ghezzi (1674-1755).

Dealers note: New to this edition is a plate (p. 45) depicting the miraculous rescue of Cardinal Vincenzo Maria Orsini, future Pope Benedict XIII, from the rubble of the church of the Annunziata in Benevento during the earthquake that devastated the area in 1688.

Read more about the iconography of the plates: Massimo Leone, Saints and Signs: A Semiotic Reading of Conversion in Early Modern Catholicism (2010) p. 292-300

 

 

 

 

 

A Roma vende i libri per aiutare i poveri = In Rome he sells books to help the poor.

Plan de la justice de Dieu sur la terre

Ç’est ici la jalousie de l’eternel = This is the jealousy of the Eternal

Affligée, tempetée, rejoui-toi, voici ton Roi qui vient t epouser, & se rendre victorieux sur tes ennemis = Sorrowful, Tempted, Rejoice; behold your King who comes to marry, and make himself victorious over your enemies

Quand vous aurez saccagé, vous serez saccagés, car la lumière est apparue dans les ténèbres pour les détruire = When you have ransacked, you will be ransacked, for the light has appeared in the darkness to destroy them.

 

Plan de la justice de Dieu, sur la terre dans ces derniers jours, et du relèvement de la chûte de l’homme par son péché. [Part 2:] Quand vous aurez saccagé, vous serez saccagé: car la Lumière est apparue dans les Ténèbres , signed Jean Allut, Charles Portalès, Nicolas Facio ([Place of publication not identified]: Imprimé par les soins de N. F. [Nicolas Fatio de Duillier], 1714). Graphic Arts Collection 2019 in process

This posthumous collection of sermons by the charismatic Camisard Élie Marion (1678-1713) includes a wonderful allegorical frontispiece to part two. Marion became a spokesman for “the armed rebellion of the mostly illiterate Camisards, clandestine Protestant groups in the mountainous redoubts of the Cévennes, whose strength continued to grow during the first few years of the 18th century.” Their revolt culminated in the War of the Cévennes, which “opposed no more than 3000 Camisards against 20,000 dragoons over a period of two years” (Oxford DNB).

At the engraving’s center a blindfolded woman (representing the true church) is being pulled in four different directions by four priests of Christian religions: Calvinism, Lutheranism, Rome, and Greek orthodoxy. Between the priests four unidentified monarchs draw their swords and stand ready to attack. The above translations are rough and if anyone has a better suggestion, they can be changed.

For more about Marion, see: https://doi.org/10.1093/ref:odnb/109569

Clarke Garrett, Spirit possession and popular religion: from the Camisards to the Shakers (Baltimore: Johns Hopkins University Press, 1987).  BR112 .G37 1987

Cassandra


Mary Heebner, Cassandra, a poem by Stephen Kessler; images by Mary Heebner ([Santa Barbara, Calif.]: Simplemente Maria Press, MMXIX [2019]). 1 folded sheet (20 panels); approximately 26 x 500 cm folded to 26 x 26 cm + 1 booklet. Copy 10 of 25. Acquired with matching funds provided by the Program in Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund. Graphic Arts Collection GAX 2019 in process

http://www.maryheebner.com/thework/artistsbooks/cassandra/

The illustrations are adapted from the collage series Veiled/Unveiled (2018). The poem is from “Garage Elegies”, Black Widow Press, 2018.

“Design by Simplemente Maria Press. All text is printed letterpress from polymer plates, typeset in Spectrum MT, by John Balkwill, The Lumino Press, Santa Barbara, California. The images are printed digitally, with some debossing on Legacy Etching cotton rag paper. Individual collage and hand-painting is added to each page by the artist.

The booklet containing the poem, colophon and notes on the mythological Cassandra is handsewn with a Legacy etching cover over Saint-Armand handmade cotton paper.

The accordion structure which opens out over 75 inches, and the booklet rest in a zinc box, made by David Shelton Studios, Santa Barbara, California, with a drawing etched on the lid of the powder-coated box by Joel Sherman, at M Studio, University of California, Santa Barbara.”–Colophon.

 

 Cassandra
With your swampy voice, your electric hair,
rhythm of reeds tideswayed in the rivershallows,
sinuous strings, sidemen on the bank keeping the beat,
you sing bad news with a sound of sweet illusions, of doom
that is not a disaster but merely inevitable, what anyone would expect
if they took a deep look at the evidence everywhere, beauty and truth
entwined with death, cruelty on the loose, tenderness barely enduring
under the lash of chaos muted by coercion—those rules
even the stupid can understand—and out of such murky depths
some lovely myth may rise in song to beggar disbelief.
[selection of text]

Interview with Mary Heebner from Atelier Visit on Vimeo.

Elisabeth Sonrel

 

The Graphic Arts Collection recently added two small Catholic missals decorated with chromolithographs in the art nouveau style typical of Élisabeth Sonrel (1874-1951). Her portraits of pretty girls in soft pastels and floral wreaths are instantly recognizable from posters and other nouveau ephemera.

Sonrel only produced a few prayer books with the Tours publishing house known as A. Mame et Fils, under Paul Mame (1833-1903), son of Alfred Mame (1811-1893). Decorated bibles and illustrated books were the shop’s specialty where, according to one source, they published six million volumes yearly.


Missel, avec illustration par Mlle. Sonrel (Tours: A . Mame et Fils, [1900?]). Embossed leather with all-over cross motif within fleuron borders; elaborate gilt inner dentelles and marbled endpapers; in original marbled-pattern slipcase. Graphic Arts Collection GAX 2019- in process

Missel des saintes femmes de France, avec illustration par Elisabeth Sonrel (Tours: Maison A. Mame et fils, 1900). Full morocco binding with four incised bands at the spine and the owner’s applied metal initials on the front board; all edges gilt over marbling; triple embroidered bookmark with metal piece reading “Credo.: In original hinged case with ruched ecru silk lining. Graphic Arts Collection GAX 2019 in process

 

New York After Dark in 1931

Charles G. Shaw, Nightlife: Vanity Fair’s Intimate Guide to New York After Dark (New York: John day Company, 1931). Decorated by Raymond Bret-Koch (1902-1996). Graphic Arts Collection GAX 2019- in process.  Note: Prohibition ended in 1933.

This indexed guide provides information on speakeasies, night clubs, dance halls, and more with specific chapters on Harlem, Greenwich Village, Lower East Side, and Yorkville. Restaurants are divided into luxury, foreign, chop suey with dancing, chop suey without dancing, chophouses, and grill rooms.

Decoration throughout is by Raymond Bret-Koch (1902-1996). The BnF lists him as French and continues “Architect, decorator, poster designer and illustrator. – Learn architecture with Mallet-Stevens, decoration with André Groult, advertising art with Tolmer. – After his military service, he specialized in decoration and advertising. He has had a great activity in the press, as a creator, editor, poster artist and in publishing as an illustrator.”

 

The fabulous Moscowitz Roumanian (correct spelling) restaurant  is described “the walls are garish, the decor cheap, there is no pretense to chic. but here is, mark you, a house of comfort, ease, and relaxation.” For more on this classic, see: https://www.jta.org/jewniverse/2017/nycs-bygone-era-of-jewish-romanian-steakhouses . Happily Sammy’s Romanian is still open: http://www.sammysromanian.com/index.html

The House Beautiful

William C. Gannett (1840-1923) and Frank Lloyd Wright (1867-1959), The House Beautiful (River Forest, Ill.: Auvergne Press, 1896-1898). Printed by William Herman Winslow. Copy 71 of 90. Graphic Arts Collection GAX 2019- in process

“In a setting designed by Frank Lloyd Wright and printed by hand at the Auvergne Press in River Forest by William Herman Winslow and Frank Lloyd Wright during the winter months of the year eighteen hundred ninety six and seven.” Includes a brochure sewn to 1st front fly-leaf containing 12 collotypes [not photogravure] of dried weeds. Completed at the end of 1898. Cf. Mary Jane Hamilton, Frank Lloyd Wright and the book arts, 1993.

“In 1895 the Auvergne Press … printed its first book, an edition of Keats’s The Eve of St. Agnes, for which [Frank Lloyd] Wright designed the title page. They then set to work on a second, Wright contributing photographic studies of dried weeds and several pen-and-ink designs of highly stylized flower patterns. The book’s title was The House Beautiful, a reprint of a sermon by William C. Gannett, editor of Unity and close friend of Jenkin Lloyd Jones. Gannett’s account of the construction of the Lloyd Jones family church made the first public mention of the family’s “boy architect.” Gannett’s sermon is not inspired, but his title was most up-to-date and symbolic, echoing as it did the central concern of the Arts and Crafts Movement.”

“The chance to experiment in a new field was obviously a great lure for Wright, but what seems to have meant most to him was the importance of the message being put forward by this old friend of his family, one that he could ‘clothe with chastity,’ as he noted in the book itself. Later, he explained to Gannett, ‘its [sic] good to catch a glimpse sometimes of what the world will be like when cultivation has mellowed harshness and gentle unselfishness is the rule of life.’” –Meryle Secrest, Frank Lloyd Wright: A Biography (1998).

Édouard Chimot and Les Editions d’Art Devambez

From 1923 to 1931, the fine print publishing house of Maison Devambez established the imprint, Les Éditions d’Art Devambez (also written Ed. d’art Devambez), which produced a series of limited edition, artist illustrated books. Édouard Chimot (1880-1959) was named artistic director of the imprint that he led with close, personal interaction with his fellow artists, often matching them with texts by nineteenth-century French authors. Most volumes include intaglio prints, with drypoint a particular specialty of their printers.

In its first years, Chimot published:
Anatole France, Le Petit Pierre, illustrated by Pierre Brissaud, 1923
Anatole France, La Vie en Fleur, illustrated by Pierre Brissaud, 1924
Henri de Regnier, La Canne de Jaspe, illustrated by Drian, 1924
Pierre Louÿs, Les Chansons de Bilitis, illustrated by Édouard Chimot, 1925
Maurice Barrès, La Mort de Vénise, illustrated by Edgar Chahine, 1926
Claude Farrère, L’Homme qui Assassina, illustrated by Henri Farge, 1926
Gustave Flaubert, Salammbô, illustrated by William Walcot, 1926
Pierre Loti, La Troisième Jeunesse de Madame Prune, illustrated by Tsuguharu Foujita, 1926
Pierre Louÿs, Les Poésies de Méléagre, illustrated by Édouard Chimot, 1926

Born in Venice, Edgar Chahine (1874-1947) became a French citizen in 1925 and spent the next few years creating prints as illustration for fine press editions. His work on Mort de Venise is of particular interest because his Paris studio was destroyed by fire in 1926, making the prints in this book some of the few surviving impressions from his Venice series (begun in 1906 with Impressions d’Italie). Chahine went on to illustrate books by Paul Verlaine (1844-1896); Anatole France (1824-1924); Collette (1873-1954); Gustave Flaubert (1821-1880); and others.


Maurice Barres (1862-1923), La mort de Venise. Illustrée de vingt-six eaux-fortes originales gravées par Edgar Chahine (Paris: Editions d’Art Devambez, 1926). Copy 94 of 231. Graphic Arts Collection GAX Q-000649

Fables drawn by Gustave Doré

Princeton University Library lists 696 versions of the Fables of Jean de La Fontaine (1621-1695) dating from 1668 to 2018 in twenty identified languages, including both paper and online, audio, manuscript, visual, projected, and a senior thesis. Yet it was a surprise when a request came for the book illustrated by Gustave Doré.

His more than 300 designs were first published in Paris by Librairie de L. Hachette in 60 parts between 1866 and 1868. Our London and New York edition published by Cassell, Petter, and Galpin has no date connected to it but sources list 1868. It was a generous gift from the great book collector W.T. Scheide.

 

Don’t miss the lizard hanging from the ceiling.

 

Doré’s designs were handsomely wood engraved by T. Ettling; Huyot; Adolphe François Pannemaker (born 1822); George Auriol (1863-1938); Paul Jonnard (ca. 1863-1902); and possibly others, but the prints were not well received. “La Fontaine sees clearly and true; M. Doré sees falsely, strangely and eccentrically,” wrote a critic (recorded by Jules Claretie). The artist himself was worn out by the effort and wrote, “-the job appalled me, crushed me.”

Regardless, readers loved the translation and the prints leading to multiple editions, including a sold out trade edition. The unusual presence of human beings in these animal tales seemed to resonate with people. Situations are presented with great dramatic flare and a realistic terror usually reserved for Dante or Milton. What do you think? Read more about the project in Nigel Gosling, Gustave Doré, (Newton Abbott: David and Charles, 1973) Marquand ND 553.D7G6.

 

Jean de La Fontaine (1621-1695), The Fables of La Fontaine, translated into English verse by Walter Thornbury, with illustrations by Gustave Doré (1832-1883) (London and New York: Cassell, Petter, and Galpin, [1800?]). GAX copy: Bookplate of William Taylor Scheide (1847-1907). Graphic Arts Collection Oversize 2003-0072Q