Maro Vandorou, Thereafter ([Dublin, CA]: Maro Vandorou; printed and bound by Sandy Tilcock, 2015). 20 unnumbered leaves. Graphic Arts Collection GA 2015- in process
“Thereafter is a limited edition handmade book of original images and writings. The conceptual focus is on capturing, depicting and interpreting the enigmatic behavior of a coral paeonia. In the course of 7 days the flower undergoes an almost mystical transformation with a profound healing effect.”
George Bernard Shaw (1856-1950), A Speech Introducing Albert Einstein. Introduction and etching by Joseph R. Goldyne (Rockport, Maine: Two Ponds Press, 2015). Copy 19 of 75. Graphic Arts Collection GA 2015- in process
“Professor Albert Einstein heard himself acclaimed by George Bernard Shaw tonight as one of the handful of men in all human history who have “Created Universes.” Before a thousand guests at a dinner here Professor Einstein listened while Mr. Shaw placed him on a pedestal with the greatest thinkers of mankind. Only seven men in the history of 2,500 years, said Mr. Shaw, could share with Professor Einstein his place as a destroyer of the old absolutism and builder of the new world. The list began with Pythagoras and included Ptolemy, Aristotle, Copernicus, Kepler, Galileo, Newton, and finally Einstein, “the greatest of our contemporaries.” –Anonymous, “Shaw Calls Einstein Universe Creator. Acclaims Scientist, the Guest at Dinner in London, as One of History’s Eight Greatest.” Special cable to the New York Times, October 29, 1930.
Shaw’s speech was delivered at a formal high-profile fund-raising dinner for ORT (Obschestvo Remeslenovo i. Zemledelcheskovo Trouda), an organization dedicated to the support of Eastern European Jewry. The setting was the ballroom of London’s Savoy Hotel in 1930.
In this newly acquired fine press edition, the full text of Shaw’s speech is reprinted, together with Albert Einstein’s response, originally delivered in German and printed here in English translation. Joesph Goldyne illustrated the volume with five etchings created especially for this publication. The drypoints, etchings, and burnished aquatints, executed with the artist’s unique graphic signature, pay tribute to the featured speakers as well as to the sense of the event.
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A portion of the actual speech has been posted here. Nice to include the laughter and the applause:
The Man in Bogotá. Story by Amy Hempel, Photocollages by Mary Daniel Hobson, Design and Night Skies by Charles Hobson ([San Francisco]: Pacific Editions, 2015). Copy 17 of 40. Graphic Arts Collection GAX 2015- in process.
“The circular holes in the pages were laser cut at Magnolia Editions in Oakland, California, and the covers and clamshell boxes have been made at the studio of John DeMerritt, Emeryville, California.”
“Charles Hobson designed the edition and painted the night sky individually for each set of covers and for the insets with acrylic paint on Canson Mi-Tientes paper. He also assembled and bound the edition with the assistance of Alice Shaw.”–Colophon.
“The book contains five photocollages bound into a concertina spine. A sixth image is presented as a separate print signed by the artist in a folder on the inside of the back cover.”–Prospectus.
An interview with the author Amy Hempel: http://bombmagazine.org/article/2058/amy-hempel
Richtige Grund Sätze der Friction Berechnung, Zuweit gewißerer Beurtheilung und Einrichtung aller Machinen überhaupt, aus des Monsr. Amontons und Monsr. Belidors Schrifften, dennen Lieb habern mechanischer Wissenschafften zu gefallen in beliebter kürtze zusammen getragen Andere Tabelle. Sumptibus hæredun Homannianorum Cum Privil. S. C. M. [ca. 1740-6]. Engraving. Graphic Arts Collection GA 2015- in process
The Graphic Arts Collection recently acquired two large 18th-century wall charts outlining the principles of statics and friction. Homann Erben, one of the leading map publishers of the era, produced and published them in Nurnberg, Germany.
In the chart below, five simple machines are depicted demonstrating the concepts of force, equilibrium, and statics. Forty individual illustrations, together with accompanying descriptions and calculations, show a number of gear mechanisms, counterweights and pulleys, explaining ways in which forces combine with each other so as to produce equilibrium. At the top of this post, our second chart represents the “Important Principles of Friction” in sixteen variations using pulleys and hoists.
The principles being described come from two noted scientists: Guillaume Amontons (1663-1705) and Bernard Forest de Bélidor (1697/98-1761). Amontons “produced the first known study on the question of losses caused by friction in machines, and established the laws of proportionality between the friction and the mutual pressure of the bodies in contact.” Bélidor was professor of mathematics at the artillery school at La Fère, who wrote numerous texts on mechanics, including La Science des ingénieurs (1729), Marquand Library SAX NA2510 .B421 and Architecture hydraulique (1737-39) Recap 9166.162.
Homann Erben die Fürhehmsten Grund-Sätze der Static; oder Die Vergleichung der krafft und last an denen fünf einfachen machinen über haupt, bloß nach dem gleich gewichts standt, ohne der in der bewegung darbeis fürfallenden friction, in deutlichen proportions sätzen nach denen reguln der verhältnis in beliebte kürtze gebracht. [Nürnberg]: Herausgegeben von Homoennischen erben mit Kayser aller gn. Privl., [ca. 1740-60]. Engraving. Graphic Arts Collection GA2015- in process
The Czech Republic has a number of mineral and thermal springs. Over the years, curative spas and luxury resorts have been built around this area, hosting many famous visitors (I’m told), including Goethe, Beethoven, and Peter the Great. The most eminent are in the West Bohemian spa triangle including two of the largest: Karlovy Vary (Carlsbad) in valley of the River Teplá and Mariánské Lázně (Marienbad), not far from Prague.
In 1830, Gottlieb Unger and Christoph Schäck purchased a carriage, which they called “the company wagon” or Gesellschaftswagen. These entrepreneurs established a bus route between the spa towns of Carlsbad and Marienbad, approximately 32.15 km or 19.98 miles. The estimated driving time given today on google maps is 43 minutes.
This unrecorded broadside advertises their luxury wagon service in a covered but open-side, horse-drawn carriage, which seated eight passengers comfortably. The broadside goes on to offer another smaller carriage for the exclusive use of four people and other options for personal transport throughout the summer months. Longer trips to Leipzig, Dresden or Prague could be arranged.
Gesellschaftswagen broadside ([Carlsbad], 1831). 383 x 233 mm, Graphic Arts collection GAX 2015- in process.
Jean Dupuis (1799-1888) was a celebrated French athlete, circus performer, and wrestler who would traveled from town to town, performing feats of strength. He would lift a variety of heavy objects and then, challenge the strongest man in the town to a wrestling match, offering prize money to anyone who could defeat him.
He managed to remain undefeated for a number of years, fighting predominantly in Germany but also in Paris, Moscow, Rome, and Warsaw. Finally, on January 22, 1841, Dupuis lost a fight at the Munich Royal Theatre. A rare satirical broadside (above and below) was published celebrating this defeat at the hands of a Munich servant known only as Simon. The charming illustration shows Dupuis as a defeated half naked Hercules collapsed in his chariot as four Munich citizens wave his broadsides at him. These may well be the four men who wished to fight him. Dupuis only agreed to fight two and was defeated in his second bout.
Only one other copy of the Dupuis defeat broadside has been found in the Germanisches Nationalmuseum in Nuremberg and that copy is uncolored.The Stadtgeschichtliches Museum Leipzig (City Museum of Leipzig) has a number of Dupuis wrestling broadsides, although not these two. The distinctive wrestling woodcut at the bottom of this post was owned by Dupuis as it is used in two other broadsides by him.
Abschiedsworte an den geworfenen Herrn Jean Dupuis ersten Herkules von Europa und noch einigen Provinzen. Munich, 22 January 1841. Lithographic broadside with calligraphic title printed in gold. Graphic Arts Collection GAX 2015- in process.
Sonntag den 20. October 1839. Grosses Kampfspiel im Ringen von Jean Dupuis mit einem starken Mann … welcher seine Kraft, heute Sonntag in der Abend-Vorstellung, mit mir messen will. [Leipzig], 1839. Graphic Arts Collection GAX 2015- in process
In 1994, Gerald J. Levy donated to the Princeton University Library 6,000 wood engravings from 19th-century illustrated journals such as Harper’s Weekly and the London Illustrated News. The Gerald J. and Anne C. Levy Iconographic Library, 1850-1920, is still available and used by researchers.
Along with these came a box of 19th-century almanacs and home remedy manuals. We are finally sorting these treasures out for conservation and cataloguing.
One is a rare 1892 issue of Warner’s Safe Cure Almanac (“First edition: 8,000,000 copies”). This company is described in depth on the blog “Safe Cure Almanacs”: https://warnerssafeblog.wordpress.com/category/safe-cure-almanacs/
Besides wonderful advertisements, the issue held at Princeton includes a special feature on “How to make money,” and a section of testimonials from men who have been cured of kidney disease, headache, dyspepsia, and that ‘tired feeling’ by Warner’s products. “Safe yeast” is also sold for home cooking by all “first class grocers.”
Here are a few more:
Princeton University students are invited to a free viewing of the exhibition Graphic Passion: Matisse and the Book Arts, along with other shows at the Morgan Library this Thursday evening, November 12, 2015. The Graphic Arts Collection just received the catalogue to this collection, which offers three scholarly essays with new insight into the works of this well-known artist. In addition, 47 books illustrated by Matisse between 1912 and 1954 are illustrated and described in detail. “Each of these projects,” writes curator John Bidwell, “large and small, reveals something about his deep appreciation for the printed word.” Hopefully, our students will take advantage of this wonderful opportunity.
Edward Harington (1754-1807), A Schizzo on the Genius of Man: In which, among various Subjects, the Merits of Mr. Thomas Barker, the Celebrated Young Painter of Bath, is particularly Considered, and his Pictures Reviewed, by the Author of An Excursion from Paris to Fontainbleau. For the Benefit of the Bath Casualty Hospital. Two etched plates by G. Steart. First Edition. Bath: printed by R. Cruttwell; and sold by G.G.J. and J. Robinson, London, and all the Booksellers in Bath, 1793. Graphic Arts Collection GAX 2015- in process
“D—e, Sir, if tis not as fine a Moon as ever shone from Heaven to lighten this villainous world, and all true judges of Painting will say so, you never saw, nor never had, or ever will have, such a glorious moon in Wales! No, Sir, you must come to England to be enlightened. Vide note to pages 59, &e.”
Edward Harington (1754-1807) of Harington-Place, Bath, was the son of Dr. Henry Harington, noted musician, physician to the Mineral Water Hospital, and Mayor of Bath.
An Excursion from Paris to Fontainbleau was published in 1786 and Harington was fearful of the French Revolution along with the “rude, ragged rabble.” A Schizzo on the Genius of Man was intended to prove that genius is conferred not by nurture but by nature, not by a process of evolution but through the agency of divine providence.
Harington took the Bath artist Thomas Barker (1769-1847) [see yesterday’s post] as an example of an individual whose talents were born within him, not acquired. Unlike some painters “who basely prostitute their talents to despicable face-painting,” Barker had “a too generous disdain for the love of money to pervert the talents which Heaven had given him.” Even Gainsborough, he averred, “never possessed a genius so strong and so universal.”
The Graphic Arts Collection has acquired George Cruikshank’s copy of this book with his bold signature and the date 1850 at the head of the title. Cruikshank also added a manuscript note, in ink, in the margin of p. 225.
Discussing Raphael’s cartoon of the The Miraculous Draught of Fishes, he writes: “The boats in the carton [sic] are so small in proportion to the figures that they look ridiculous. The two fishermen who are draging [sic] the net are also bad, both being in the same attitude nearly. The other parts of the picture are beautiful – G.C.”
1850 was a pivotal year in the life of George Cruikshank (1792-1878). His first wife, Mary Anne, died in May 1849 and he collapsed, both emotionally and financially. In March 1850 he married Eliza Widdison, and they moved to 48 Mornington Place.
Cruikshank slowly returned to his art, and turned to oil-paintings, though without the success of his smaller-scale etchings. His studio also became home to his maid, Adelaide Attree, who bore him 11 children between 1854 and 1875. His other passion was temperance and he came to be regarded as “the St. George of water drinkers”.
Bookseller’s label of H. M. Gilbert of Southampton (established 1859). The half-title has the ink signature of the potter William Henry Goss (1833-1906), and a note “See in my library “Barker’s Landscape Scenery” and my remarks therein about pictures in my collection by J. Barker the son of Thomas Barker” with his signature and date 6th December 1887.
Thomas Barker (1769-1847), Forty Lithographic Impressions from Drawings of Landscape Scenery by Thomas Barker, Selected from His Studies of Rustic Figures after Nature (Bath, printed by D.J. Redman, 1813). Lithographs printed on different color paper with added sepia wash. Graphic Arts Collection GAX 2015- in process
“Until 1812 there seems to have been only one set of lithographic equipment in England, for the press set up by Senefelder passed successively from André to Vollweiler and then to the quarter-Master-General’s Office. But at the close of 1812 or the beginning of 1813 Redman decided to branch out on his own and set up the first English lithographic press outside London at the fashionable city of Bath.
No doubt the work he had been doing at the Horse guards was thoroughly menial compared with the printing he had previously done with André and Vollweiler, and at Bath he directed his attention principally to the printing of artists’ drawings. While there he came into contact with Bankes, who wrote and published the first English treatise on lithography at Bath in 1813.
It is reasonable to suppose that it was Redman who instructed Bankes in the technical side of the process, for he is described in the text as being ‘under the patronage of the artists there, and at the service of the public, to provide the necessary materials, viz. the ink and pencil, and to prepare the stone, and take the impressions from drawings made on it’. Moreover, it was provably through Redman that Bankes obtained some of the original stones of the Specimens of Polyautography, for once again there is a suggestion that these should be reissued.
With the removal of Redman from London, Bath was now the centre of lithography in England—at least for the printing of artists’ drawings—and all the important productions for the next three years were printed by Redman there.”–Michael Twyman Lithography 1800-1850, pp.34-35.
