Category Archives: Acquisitions

new acquisitions

Whitney Darrow Jr.

One of the many gifts to the Graphic Arts Collection in 2015 was the generous donation of 20 drawings by Whitney Darrow Jr., Class of 1931, given by his daughter Linda Darrow.

Confound it, Mockridge, let’s forget our off-season job & get our mind back on baseball.

“Mr. Darrow, one of the last of the early New Yorker cartoonists,” wrote Mel Gussow in the artist’s 1999 obituary, “published more than 1,500 cartoons in the magazine from 1933 to 1982. He was considered a master draftsman and, in contrast to some of his colleagues, he wrote his own captions. ‘He was a great creator of comic ideas, and he avoided most of the standard cartoon cliches,’ Lee Lorenz, the former art editor of The New Yorker, said yesterday. Even away from the drawing board, Mr. Darrow was known for his sense of humor and for being shrewdly observant of the contradictions of human behavior.”

“Mr. Darrow was born in Princeton, N.J., where his father was one of the founders of the Princeton University Press. Growing up in Greenwich, Conn., he wrote parodies for his school paper. In 1931 he graduated from Princeton, where he wrote a humorous column for The Daily Princetonian and was art editor of The Princeton Tiger. He thought about being a writer but seemed to move naturally into drawing.”

“He studied with Thomas Hart Benton and other artists at the Art Students League and in his early 20’s began selling cartoons to Judge, Life and College Humor. In 1933, at 24, he made his breakthrough to The New Yorker at a time when, in Mr. Lorenz’s words, the cartoon, at least as The New Yorker was to popularize it, “was still being born.” –Mel Gussow, “Whitney Darrow Jr., 89, Gentle Satirist of Modern Life, Dies,” New York Times, August 12, 1999.
Here are a few samples.

Well, why didn’t you earn what you estimated?

Signing of the Israeli/Egyptian Peace Accord at the White House, September 17, 1978

Franklin McMahon (1921-2012), Signing of Israeli/Egyptian Peace Accord, The White House, March 26, 1979. Acrylic paint on paper. 22 x 30″ Graphic Arts Collection GA 2015- in process.

“Franklin McMahon, an artist who defied journalism’s preference for photographs to make a renowned career of drawing historic scenes in elegant, emphatic lines, died on Saturday in Lincolnshire, Ill. He was 90.” So begins the artist’s obituary written by Douglas Martin for the New York Times, March 7, 2012.

Martin continues, “With sketch pads in hand, Mr. McMahon covered momentous events in the civil rights struggle, spacecraft launchings, national political conventions and the Vatican, turning out line drawings for major magazines and newspapers. Many were later colored by watercolor or acrylic paints, and most rendered scenes in a heightened, energetic style. His goal, he said, was to step beyond what he considered the limitations of photography to ‘see around corners.’”

The Graphic Arts Collection is pleased to have acquired several important paintings on paper by Franklin McMahon (1921-2012), documenting key moments in recent American history. We thank, in particular, his granddaughter Irene Burke, Class of 2016 and a member of the PUAM Student Advisory Board, for her help with these acquisitions. We also thank Jeremy Darrington, Politics Librarian, and David Magier, AUL for Collection Development, without whom these acquisitions would not have been possible.

Here the artist notes the important date that led to the formal ceremony in 1979.

The first of our McMahon paintings documents the historic signing of the Israeli/Egyptian Peace Accord at the White House.

“On March 26, 1979, in a ceremony hosted by U.S. President Jimmy Carter at the White House, Israeli Prime Minister Menachem Begin and Egyptian President Anwar Sadat signed the Israel-Egypt Peace Treaty, the first peace treaty between Israel and an Arab country.” [Posted by The New York Times Learning Network, March 26, 2012]

“At the signing ceremony, all three leaders offered prayers that the treaty would bring true peace to the Middle East and end the enmity that has erupted into war four times since Israel declared its independence on May 14, 1948.”

“Israel and Egypt had been in a state of war since the Arab-Israeli War, which occurred immediately after the founding of Israel. Following the 1973 Yom Kippur War, the two nations began indirect peace negotiations through U.S. Secretary of State Henry Kissinger, who engaged in “shuttle diplomacy” by meeting with each nation’s representatives.

President Carter took a different approach when he took office in 1977, by inviting Israeli and Egyptian leaders to multi-lateral talks. In 1978, President Carter, President Sadat and Prime Minister Begin met secretly at Camp David in Maryland, where they agreed to the framework for the peace treaty and for the establishment of self-rule for Palestinians living in the West Bank and the Gaza Strip. Both Sadat and Begin were awarded the 1978 Nobel Peace Prize for the Camp David Accords.”

For an in depth discussion of the events leading up to the signing, see the Carter Center’s transcript from the Camp David 25th Anniversary Forum held in 2003.

The Herald Printing Works 1901

The Counting House

“In celebration of his Silver Wedding and birthday, Mr. J. W. Ackrill entertained the staff of the Herald Printing Works and a few other friends to dinner at the George Hotel, on Wednesday evening. Mr. Haywood, the manager, provided a most tempting menu and a pleasant evening was spent.

The employees arranged a surprise for the host in the form of a handsome silver tray, beautifully engraved and bearing suitable illustration executed in the finest form of the engraver’s art. Unfortunately Mr. Ackrill was called from the table as soon as the toast list was opened, in consequence of the illness of Mrs. Ackrill, his mother.

Under the circumstances the presentation to him was made by Mr. J R Foggo, the oldest member of the staff (40 years) through Mr. Robert Ackrill Breare, his eldest nephew. The cause of Mr. Ackrill’s absence was not made known, so the evening was spent most happily.”

“The valuable present was accompanied by an illuminated address in book form, entirely executed in the works, in the manipulation of which every person in the employ had some share. The tray was supplied by Mr. Ogden, of the Little Diamond Shop, together with a very unique engraving thereon.” –unidentified author, “Wednesday Gossip,” Harrogate Herald, May 8, 1901

The Graphic Arts Collection recently acquired this keepsake prepared by the staff of the Herald Printing Works in North Yorkshire, England. The pages are filled with photographs, drawings, examples of printing, and other memorials to their manager. The volume provides a unique look at a printing firm at the turn of the last century.

The female staff

Herald Printing Works. The whole of the work, printing, lithographing, embossing, illuminating, photographing, binding, was executed by the employees of the Herald Printing Works, Harrogate (Harrogate [England]: Herald Printing Works, 1901. 64] card leaves : ill. (some col.) ; 29 x 22 cm.”Presented to Mr. and Mrs. J.W. Ackrill, as a souvenir of their silver wedding, April 29th, 1901, by the employees of the firm as a mark of their respect and esteem.” Graphic Arts Collection (GAX) Q-000067

Frontispieces by Thomas Cross, the Elder, active 1632-1685

John White (died 1671), A Rich Cabinet, with Variety of Inventions: Unlock’d and Open’d, for the Recreation of Ingenious Spirits at their Vacant Hours. Being Receits and Conceits of Severall Natures, and Fit for Those Who Are Lovers of Natural and Artificial Conclusions . . . [Frontispiece by Thomas Cross, active 1632-1685]. Fourth edition, with many additions (London: printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

First published in 1651, A Rich Cabinet is made up of numerous directions and instructions for the purpose of conducting experiments, satisfying curiosities, solving problems, and much more. Instructions are given in Legerdemain (slight of hand); painting; “how to help deafness and to expel wind from the head;” arithmetic; and manufacturing fireworks. The book went through at least eight editions into the 18th century. The Graphic Arts Collection recently acquired the fourth edition. Here’s a selection:

“Receipt IV. How to make dainty sport with a Cat.
If you will have some sport with a Cat, then get a little Bell, such as the tame Hawkes have at their legs, and tye the Bell something hard at the end of the Cats taile, and let her go, she feeling of her tayl smart, and hearing of the Bell gingle, she will run up and down as if she were mad, flying against the walls and windows: then if she can, she will get into some hole to hide her self, but when she wags her tayl never so little, then out she comes, and is as mad as before, and never will rest in quiet till it be taken off or she can get it off her self.

Another
Some have shod a Cat round, with putting melted Pitch into four Walnut-shels, and placing her feet therein, and she will make pretty sport.

Another
I was told of a merry Fellow that came into an Ale-house in cold weather, and finding but a reasonable Fire, said, He would make the Cat piss it out, and watching his opportunity, he getteth his Hostesses Cat, putting her head betwixt his thighs, and holding her four feet fast in one hand, and with the other hand he’d up her tayl near the fire, and did piss such abundance that she quite quenched the same.”

The unusual frontispiece for A Rich Cabinet was designed by the engraver Thomas Cross or Crosse, Sr., who is credited with over 200 portraits (the National Portrait Gallery, London, lists 165 http://www.npg.org.uk/collections/search/person/mp10604/thomas-cross?role=art) and more than two dozen striking title pages with a similar “cabinet of curiosities” format. Johnson’s A Catalogue of Engraved and etched English title-Pages lists 26. If you know of others, please let me know.

David Papillon, A Practicall Abstract Of the Arts of Fortification and Assailing (London, 1645). Lettered with title, imprint, and, at bottom centre, ‘Tho: Cross fecit’

Francis Quarles, Boanerges and Barnabas, or, Judgment and Mercy for afflicted souls (London, R. Lowndes, 1646). Lettered centre left: ‘T. C. fec.’ Rare books 3902.1.318 1667

John Raymond, Gent. An itinerary contayning a voyage, made through Italy, in the yeare 1646, and 1647. Illustrated with divers figures of antiquities. Never before published. By Jo: Raymond, Gent. Il Mercurio Italico communicating a voyage made through Italy ( London: printed for Humphrey Moseley, 1648). Rare books 1541.751

Temporis Augustiae: stollen houres recreations (1649). Lettered within image “Aetatis Suae 21”, and in lower margin four lines of verse “The pencill can noe more: it does present… The high-flowne vertues that adorne his mind”, and production detail “T. Cross Sculpsit”.

Lilly’s, Merlini Anglici Ephemeris: or, general and monthly predictions upon several eminent conjunctions of the planets, for the year 1650 (London, J. Partridge and H. Blunden, 1650).

Moore’s Arithmetick. “Effigies Jonae Moore.” Lettered with title, date “Ao: Aetat 35. 1649”, and production detail, “H. Stone Pinxit / T. Cross Sculpsit”.

James Primrose, Popular Errours or the Errours of the people in matter of Physick (London, W. Wisson for Nicholas Bourne, 1651). Lettered with title, imprint, and at bottom right ‘T. Cross sculpsit’

Brugis Vade mecum: or, a companion for a chyrurgion (London, 1651). Lettered ‘T. Cross sculpsit’

Walter Blith, fl. 1649. The English improuer improued or the survey of husbandry surueyed discovering the improueableness of all lands… (London” printed for John Wright, at the Kings-head in the Old-Bayley, 1652. An expanded edition of “The English improver”. The engraved title page is signed with a crossed T, i.e. Thomas Cross. Rare books Item 6349912

John Gauden, Hieraspistes: A Defence of the Ministry and Ministers of the Church of England (London, 1653). Lettered with title, imprint, various inscriptions, and at bottom right ‘Tho. Cross Sculpsit’

Petrus Cunaeus, Of the Commonwealth of the Hebrews (London, Will. Lee, [1653]). Bottom left, lettered with a ‘T’ on which a Maltese cross has been superimposed, the mark of Thomas Cross. Rare Books: South East (RB) EX Lapidus 1.03

Procopius of Caesarea, The History of the Warres of the Emperour Justinian, translated by Henry Holcroft (1653). Lettered with title, and at bottom centre ‘T. Cross Sculpsit’. Rare Books: Oversize (Exov) 2749.335.653

Lazarus Riverius’s The Practice of Physick. Lettered with title and “Cross fecit”. Rare books 89541.776

Francis Rous, Treatises and Meditations (London, 1657). Lettered at bottom left: ‘T. Cross sculp’

Renodaeus, His dispensatory containing the whole body of pharmacy, translated by Richard Tomlinson (1657). Lettered with title, captions, and at bottom left: ‘Cross sculpsit’. Hind 1952-64 III.322.131

Natura Prodigiorum: or discourse (1660). Johannes Gadburius. Portrait of the astrologer John Gadbury (1660). Lettered with title and “T. Cross Sculpsit”. This was also used as a frontispiece to Gadbury’s ‘Ephemeris’ (1671).

The Whole Book of Psalms in Meeter (1660). Lower margin “T. Cross Sculpsit”.

The compleat clark, containing the best forms of all sorts of presidents, for conveyances and assurances (London, 1664).

John White. A Rich Cabinet, with Variety of Inventions… (London: Printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

William Leybourn, 1626-1716. The art of measuring, or, The carpenters new rule described and explained… London: Printed for Richard Jones …, 1669. Lettered at bottom: ‘Printed for Rich: Jones. 1669’ and ‘T: Cross sculpsit’

Samuel Sturmy, 1633-1669. The Mariner’s Magazine, or Sturmy’s Mathematicall and Practicall Arts (1669). Rare books EXKA Oversize Americana 1679q Sturmy

Samuel Clarke, A Mirrour or Looking-Glass both for Saints, & Sinners, second volume (London, 1671). Lettered with title, imprint, and at bottom left, ‘Cross sculpsit’

Samuel Sturmy, 1633-1669. The mariner’s magazine: stor’d with these mathematical arts ... engraved by Thomas Cross Rare Books: South East (RB) EXKA Oversize Americana 1679q Sturmy

Hugo Grotius. Of the Rights of Peace and War, translated by William Evats (London, Ralph Smith, 1682). ‘Printed for Ralph Smith under the Piazza of the Royall Exch: in Cornhill.’. Lettered below: ‘T. Cross Senior Sculpsit.’ Rare books Oversize PITN 014.41.1682q

Descrizione del Sacro Monte della Vernia

Unnumbered folio 1: Saint Francis of Assisi three quarter length set within a cartouche surrounded by trophies of arms and heraldic devices by Domenico Falcini after Jacopo Ligozzi

Thanks to the generosity of the Friends of the Princeton University Library, the Graphic Arts Collection has acquired one of the most beautiful Baroque books ever printed. We are sincerely grateful for the continuing support of the Friends and hope all readers consider joining this wonderful organization.

In 1608, Lino Moroni, a member of the Observant Franciscans, was invited to produce a book on Mount Alvernia, the sacred retreat of St. Francis of Assisi and the site where, in 1224, he was believed to have received the stigmata. Together with the Veronese painter Jacopo Ligozzi, Moroni traveled to the Tuscan Appenines and the result is a remarkable travelogue entitled Descrizione del Sacro Monte della Vernia (1612).

Bound in vellum with “Monte di Vernia” inked on the spine, the book contains twenty-six prints with letterpress descriptions accompanying the individual plates. Seven of Ligozzi’s drawings were engraved by another local artist, Raphael Sciaminossi (signed with his monogram); a portrait frontispiece was engraved by Domenico Falcini of Siena; and the other plates were engraved by a yet unidentified artist, possibly Ligozzi himself.

Moroni wrote a dedication, an address to the reader, and keys for the plates, set within elaborate borders of typographical elements.

Flaps closed above, flaps open below

Descrizione is memorable not only for the extravagance of the dizzying vistas it records but also for the movable engraved overlays attached to four of the plates, permitting the reader to “see inside” several of the views. Given the tendency for these little slips to become dislodged, it is rare to obtain a volume, like ours, with them all in place.

Flaps closed above, flaps open below

Marquand Art Librarian Sandra Brooke points out that this is one of the Cicognara books. The Digital Cicognara Library is a collaborative effort to recreate in digital form the famous art historical library of Count Leopoldo Cicognara (1767-1834). Princeton University Library has joined this international effort and is currently scheduled to capture over 1800 books cited in the famous 1821 Cicognara Library catalog, pulling from both Marquand library and Rare Books and Special Collections in Firestone library. The acquisition of Moroni’s Descrizione adds to the success of that project and will assist historians around the world.

Plate A: Description with a title, legend, and fold-out print of three sheets depicting Monte della Vernia from the Road of Casentino, by Schiaminossi. Detail below.

Fra Lino Moroni (active early 17th century), Descrizione del Sacro Monte della Vernia (Description of the Sacred Mount Alvernia). Plates after drawings by Jacopo Ligozzi (1547–1627) and Raffaello Schiaminossi (1572–1622), engraved by Domenico Falcini (1575?–1628) and others. Florence: 1612. First edition. Purchased with funds provided by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2015- in process

This copy has the small embossed stamp of the Italian publisher and bibliophile Giannalisa Feltrinelli (1926-1972) on the front endpaper, indicating that it was, at one time, part of the famous Feltrinelli Library.

Napoleon’s Last Home

Attributed to Lieutenant R. P. Read, This Geographical Plan of the Island & Ports of Saint Helena is Dedicated by Permission to Field Marshal His Rl. Highness, and Strathearn, The Duke of Kent [London: Burgis & Barefoot, October, 1815]. Engraved and hand colored map. Graphic Arts Collection (GAX) 2015- in process.

A contemporary photograph of Jamestown, the capital of rugged and remote St. Helena island, a British protectorate in the South Atlantic, where Napoleon arrived in 1815 to serve out his exile. Credit Kent Kobersteen/National Geographic Society—Corbis

In 1815, Napoleon I, Emperor of France (1769-1821) was forced to abdicate his throne but instead of returning to Elba, where he spent time the previous year, the British government chose to send him to the island of St. Helena in the southern Atlantic.

On October 15, 1815, Napoleon and a few followers landed at the harbor of St. Helena. After a short stay at the house of a wealthy English merchant, they moved to Longwood, originally built for the lieutenant governor. This is where he remained until his death in 1821.

A British map was drawn and engraved to show where the Emperor had been sent. Historians have attributed this map to Robert Read, who between 1811 and 1825 rose from Ensign to Lieutenant and may have been on the ship that delivered Napoleon to the island. A copy was recently acquired by the Graphic Arts Collection in the original slipcase with an image of Napoleon on one side.

For a contemporary description of a trip to St. Helena, see: http://www.nytimes.com/2012/04/01/travel/st-helena-cursed-rock-of-napoleons-exile.html?_r=0

Unspecific Object

The genesis of the project Unspecific Object was an open call for objects, which artist Barbara Madsen placed on social media networks and posted at www.unspecificobject.tumblr.com. People were encouraged to submit images of objects they consume past and present. They could be banal, meaningful or significant objects, stored, ignored, or hoarded.

The winners were juried by Jared Ash, Assistant Museum Librarian at the Metropolitan Museum of Art and Arezzoo Moseni, Senior Art Librarian at the New York Public Library. The physical objects were sent through snail mail to Madsen, who built the spaces for the objects, photographed them, and generated photogravures for the book. The Venezuelan poet, Ely Rosa Zamora created her interpretation of the images in verse.

An interview with the artist discussing the project can be found here: http://www.artcritical.com/2015/06/13/eric-sutphin-madsen-moseni/

Each book includes 14 photogravures by Madsen and letterpress poetry by Zamora, both printed by the artist and published by Choir Alley Press, New Jersey, in an edition of 15. The Graphic Arts Collection is fortunately to have acquired copy 6.

Barbara Madsen and Ely Rosa Zamora, Unspecific Object (New Jersey: Choir Alley Press, 2015). Letterpress and photogravures. Copy 6 of 15. Graphic Arts Collection GAX 2015- in process

Petite visionneuse

Thanks to the help of Professor Rubén Gallo, the Graphic Arts Collection acquired a small peep show viewer, ca. 1865, mounted with 12 miniature albumen silver photographs. The pyramid shaped device has a monocular lens at the front through which one views the photographs. A moveable lid can be raised to let in light. The 12 prints are sewed to a panoramic strip of cloth that is rotated by two copper buttons.

The viewer or visionneuse comes originally from a maison close or brothel in Paris. The images, no more than 3 cm, are of a nude man and woman in various erotic poses, not unlike something you might find today on the internet. Small enough to be held in the palm of your hand, the device could easily be passed secretly from one man to another for their viewing pleasure.

For more about the history of prostitution in 19th century Paris, see the exhibition and catalogue for “Splendor and Misery: Images of Prostitution 1850-1910,” at the Musée d’Orsay. http://www.nytimes.com/2015/09/22/arts/design/splendor-and-misery-images-of-prostitution-captures-a-profession-in-paris-through-artists-eyes.html?_r=0

Bartholomew Fair in 1721

Bartholomew’s Fair in 1721, no date (1824). Etching and aquatint designed as a fan. Sold by J.F. Setchel. Graphic Arts Collection GA 2015- in process.

From 1133 to 1855, the citizens of London came together for several days each August to enjoy the pleasures at the Bartholomew Fair. Thanks to this colored aquatint, we can also enjoy the many entertainments offered during the 1721 fair, including a peep-show of The Siege of Gibraltar, Lee and Harper’s presentation of Judith and Holofernes, Faux’s Dexterity of Hand and his Famous posture master. At the top, people are seen riding an “ups and downs,” an early version of the ferris wheel.

“There was once sold in Bartholomew Fair a Fan,” wrote Henry Morley in his Memoirs of Bartholomew Fair, “on which the Fair was represented as it then appeared in the eyes of a Bartholomew artist, who having his own views of perspective, carefully economised the number of his figures, and left out at discretion bodies or legs, in the treatment of which he was embarrassed. A coloured engraving of this picture was issued by Mr. Setchel of Covent Garden, with a brief description commonly assigned to Caulfield, the bookseller, author of four volumes of Remarkable Characters. The date of the Fan is here said to be 1721; but this cannot be right, since it displays, among other things, a puppet show of the Siege of Gibraltar, which occurred in 1727. Almost every great Siege in which England was concerned reappeared on the first occasion in the shows at the Fair.”

A drawing for this scene, owned by the British Museum, was probably made circa 1730 but the fans were likely printed and sold in 1824.
Isaac Fawkes or Faux (1675?–1732) was an English magician and showman. In 1722, he paid for an advertisement that read, “Tricks by Dexterity of Hand, with his Cards, Eggs, Corn, Mice, curious India Birds, and Money . . . Likewize the surprising Activity of Body perform’d by his Little Boy, of 12 Years of Age . . . .” —A Biographical Dictionary of Actors, Volume 5 (Firestone PN 2597 .H5 1973).
Possible portrait of Robert Walpole (1676-1745)

Let not the ballad singer’s shrilling strain
Amid the swarm thy listening ear detain:
Guard well thy pocket, for these syrens stand
To aid the labours of the diving hand;
Confederate in the cheat, they draw the throng,
And Cambric handkerchiefs reward the song.”

–Andrew White Tuer, Old London Street Cries and the Cries of To-day (1885)

David Octavius Hill and Robert Adamson

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), Kenneth Macleay (1802-1878), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process.
Kenneth Macleay was a Scottish painter who specialized in miniatures, seen here posing in full Highland dress. He is also known as the husband to Louisa Campbell (1817-1868).
David Octavius Hill (1802–1870); Robert Adamson (1821–1848), Thomas Duncan (1807-1845), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process
Thomas Duncan, RA RSA, was a Scottish portrait and historical painter.

The Graphic Arts Collection recently acquired 8 early photographic portraits by the great Scottish painter David Octavius Hill (1802-1870) and Robert Adamson (1821-1848), a Scottish chemist and pioneer photographer.

“In the mid-1840s, the Scottish painter-photographer team of Hill and Adamson produced the first substantial body of self-consciously artistic work using the newly invented medium of photography. William Henry Fox Talbot’s patent restrictions on his “calotype” or “Talbotype” process did not apply in Scotland, and, in fact, Talbot encouraged its use there. Among the fellow scientists with whom he corresponded and to whom he sent examples of the new art, was the physicist Sir David Brewster, principal of the United Colleges of Saint Salvator and Saint Leonard at Saint Andrews University, just north of Edinburgh. By 1841, Brewster and his colleague John Adamson, curator of the College Museum and professor of chemistry, were experimenting with the calotype process, and the following year they instructed Adamson’s younger brother Robert in the techniques of paper photography. By May 1843, Robert Adamson, then just twenty-one years old, was prepared to move to Edinburgh and set up shop as the city’s first professional calotypist.” Selection from: Malclom Daniel. “David Octavius Hill (1802–1870) and Robert Adamson (1821–1848) (1840s)”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/hlad/hd_hlad.htm (October 2004)

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), George Meikle Kemp (1795-1844), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process. The Scottish architect George Kemp [also seen below] is best known as the designer of the Scottish Monument in central Edinburgh.

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), George Meikle Kemp (1795-1844), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process..

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), William Etty (1787-1849), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process
The English artist William Etty later painted a self-portrait based on photographs taken by Hill and Adamson.

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), David Octavius Hill and two unknown ladies, ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), Sir William Allan (1782-1850), ca. 1843. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process. Allan was a noted Scottish history painter, who traveled extensively painting in Russia, Italy, Spain, and Greece.

David Octavius Hill (1802–1870); Robert Adamson (1821–1848), William Forrest (1805-1889), ca. 1845. Salted paper print from paper negative. Graphic Arts Collection GA 2015- in process.
The Scottish engraver William Forrest studied with Thomas Fry in London before moving to the United States, eventually settling in Hudson N.Y.

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