The 360°BOOK is a new revolutionary format that enables the artist to create a panoramic three-dimensional world. The book opens and expands into a dynamic circle of pages. Each page is finely crafted works of art, drawing the viewer from a scene of two dimensions to a three-dimensional world/diorama.
Yusuke Oono was born in Germany in 1983 and graduated from The University of Tokyo where he obtained both his Bachelor’s and Master’s degrees in Architecture. He is the recipient of the Art Directors Club of New York and has received many other awards. He works primarily as an architect but is also active in other related fields including interior product design and art installation.
Carrado Govoni’s “Diver” (La Palombaro) first appeared in the February 11, 1915 issue of Filippo Tommaso Marinetti’s Parole consonanti vocali numeri in libertà. Then on March 27, 1915, the Futurist journal Lacerba published Govoni’s self-portrait, drawn with visual poetry.
Not long after this, Govoni’s book Rarefazioni e parole in libertà was published by the Marinetti’s Milan imprint Edizioni futuriste di “Poesia.” (SAX PQ4817.O8 Z4852 1915q), which included both Govoni’s Driver and his Self-portrait but this time, with slight variations in each. Why are they different? Did he decide not to have teeth for a reason? Which versions are the final, definitive work?
Filippo Tommaso Marinetti (1876-1944) began the entrepreneurship [Parole] as “a disinterested love of art which was combined with his wish to address the need for an alternative space that could sustain the talents he wished to launch into the marketplace of art and literature: the painters Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini, Ardengo Soffici, Fortunato Depero, Enrico Prampolini, as well as the writers Aldo Palazzeschi, Corrado Govoni, Paolo Buzzi, Luciano Folgore, Francesco Cangiullo, and many others.
The “Futurist Editions of Poesia” were perhaps the most important embodiment of Marinetti’s desire to create an alternative cultural space, becoming an experimental laboratory in the true sense of the term, where the canons of a new writing, the “words-in-freedom,” were successively elaborated and consecrated for the first time …’We reserve the ‘Futurist Editions of Poesia’ for those works that are absolutely Futurist in their violence and intellectual extremism and that cannot be published by others because of their typographical difficulties.—Claudia Salaris, “Marketing Modernism: Marinetti as Publisher,”.Modernism/Modernity 1.3 (1994): 109-27.
“The first presented a series of experiments in visual poetry, while the second featured applications of the poetical techniques suggested by F.M. Marinetti in the “Manifesto della letteratura futurista” (Manifesto of Futurist Literature, 1912). In both instances, however, the Futurist method provided Govoni a pretext for his eclectic analogical imagery. These works were often illustrated by the poet’s own sketches or drawings, which constituted in integral part of his verse.” —Encyclopedia of Italian Literary Studies (2006)
As we previously posted, the Graphic Arts Collection holds a unique volume of nearly 400 specimens of European papers with different watermarks (1377-1840), acquired at the suggestion of Elmer Adler with a fund turned over to the Library by the Friends of the Princeton University Library. Adler must have been a good negotiator, talking rare book dealer Philip Duschnes down from $350 to $300.
Recently, the album was not only digitized: (Permanent Link) http://arks.princeton.edu/ark:/88435/k930bz393, but we have also created an excel sheet so the watermarks can be searched with words:
Originally in the collection of Dawson Turner (1775–1858), the auction catalogue description reads: ’Watermarks on Paper. A very curious collection of upwards of three hundred and seventy specimens of paper with various Watermarks, for A.D. 1377 to A. D. 1842, collected with a view to assist in ascertaining the age of undated manuscripts, and of verifying that of dated ones, by Dawson Turner, Esq. and bound in 1 vol. half calf.’
See also: Catalogue of the Remaining Portion of the Library of Dawson Turner, Esq., M.A., F.R.S., F.S.A., F.L.S., etc., etc. formerly of Yarmouth: which will be sold by auction by Messrs. Puttick and Simpson … Leicester Square … on Monday, May 16th, 1859, and seven following days (Sunday excepted). [London, 1859], item 1523.
Specimens of Paper with Different Water Marks, 1377-1840. 1 v. (unpaged); 40 cm. 371 specimens of watermarked paper, together with brief descriptions of each in a mid-nineteenth century ms. hand. The specimens are mainly blank leaves, though some leaves feature writing and letterpress. Specimen 334 is stamped sheet addressed to Dawson Turner (1775-1858), Yarmouth. Purchased with funds from the Friends of the Princeton University Library. Graphic Arts: Reference Collection (GARF) Oversize Z237 .S632f
In 1922, bibliophile Elmer Adler (1884–1962) founded the private press Pynson Printers and in 1930, began publishing a quarterly journal for book collectors called The Colophon, which featured articles on publishing, printing, and collecting. The physical volumes were also meant to offer examples of contemporary fine press publishing, with articles designed and printed by various presses within the same issue. The driving forces behind The Colophon were Adler, Burton Emmett, and John T. Winterich along with an extended list of contributing editors named in each issue.
While the vast majority of writers, editors, designers, and printers were men, the publication was not exclusively male and a look at the women who contributed to The Colophon provides insight into the history of the book in America during the early twentieth century. Adler closed Pynson Printers and The Colophon in 1940 when he moved to Princeton University. Although there was an attempt to continue under new editorial leadership, it was never equal to the earlier publication and did not last.
Here are the women included in The Colophon. The attached pdf provides an index to each woman’s individual contributions.The Women of The Colophon
Myrta Lockett Avary (1857-1946), author and journalist. Her books include Dixie After the War, The Recollections of Alexander H. Stephens and Uncle Remus and the Wren’s Nest.
Esther Averill (1902–1992) editor, publisher, writer and illustrator best known for the Cat Club picture books.
Althea Leah (Bierbower) Bass (1892–1988), Western Americana historian. Publications include Young Inquirer, The Arapaho Way, Cherokee Messenger, and The Story of a Young Seneca Indian Girl and Her Family, among others.
Babette Ann Boleman (1900s), author and rare book researcher.
Pearl S. Buck (1892–1973), writer and novelist. As the daughter of missionaries, Buck spent most of her life before 1934 in Zhenjiang, China. Her novel The Good Earth was the best-selling fiction book in the United States in 1931 and 1932 and won the Pulitzer Prize in 1932.
Willa Cather (1873–1947), writer and novelist. Notable books on American frontier life include O Pioneers!, The Song of the Lark, and My Ántonia. Elmer Adler and Pynson Printers published her early poetry.
Bertha Coolidge (1880–1953) American portrait miniaturist and bibliographer. Notable compilations include Morris L. Parrish’s A List of the Writings of Lewis Carroll [Charles L. Dodgson]in the Library at Dormy House, Pine Valley, New Jersey (1928) and A Catalogue of the Altschul Collection of George Meredith in the Yale University Library (1931).
Bertha Jean Cunningham (1900s), author, married to a book collector living in Chicago.
Anne Goldthwaite (1869–1944), painter. Trained in Paris, Goldthwaite returned to New York in time to be included in the 1913 Armory Show. She was close friends of Kathrine Dreier, Edith Halpert, and Joseph Brummer, who each exhibited and sold her work at various stages of her career. She was also an active member of the New York Society of Women Artists and enthusiastic advocate for women’s rights.
Belle da Costa Greene (1883–1950), librarian to J. P. Morgan. After his death in 1913, Greene continued as librarian under his son, Jack Morgan. In 1924 the private collection was incorporated by the State of New York as a library for public uses and the Board of Trustees appointed Greene first director of the Pierpont Morgan Library.
Ruth Shepard Granniss (1872–1954), librarian to The Grolier Club, New York. Author of The Book in America, in collaboration with Lawrence C. Wroth, John Carter Brown Library (1939).
Jeanette Griffith (active 1920s–1930s), photographer.
Anne Lyon Haight (1895-1977), writer and bibliophile. Her books include Banned books, Notes on Some Books Banned for Various Reasons at Various Times and in Various Places; Morals, Manners, Etiquette and the Three R’s; and Portrait of Latin America as Seen by her Print Makers. Most notably, she was President of the Hroswitha Club, a women’s bibliophilic organization.
Helen O’Connor Harter (1905–1990), artist and illustrator. Married Thomas Harter, chief of the Los Angeles Examiner’s art department, and moved to New York City where they both worked as commercial illustrators. Eventually, they settled in Helen’s hometown of Tempe, Arizona, where she continued to teach and paint.
Victoria Hutson Huntley (1900–1971), artist and printmaker. Hutson studied under John Sloan and Max Weber, specializing in lithography and awarded prizes from the Chicago Art Institute and the Philadelphia Print Club. She painted murals for the post office in Greenwich, Connecticut, and in Springville, New York, under the Treasury Relief Art Project, part of the New Deal arts program.
Helen M. Knubel (1901-1992), historian. According to the New York Times, she was considered the foremost archivist of the history of the Lutheran Church in North America. She helped to organize the library and archives of the National Lutheran Council, of which she was the secretary of research and statistics from 1954 to 1966. She then became associate director of the Office of Research, Statistics and Archives of the Lutheran Council in the U.S.A., the successor of the NLC.
Marie Abrams Lawson (1894–1956), author and illustrator. The only woman asked to design a cover of The Colophon, Lawson primarily wrote and illustrated children’s books. She was married to Robert Lawson, also a children’s book author and illustrator.
Vera Liebert (1900s), actress and theater historian.
Flora Virginia Milner Livingston (1862–1962), librarian and bibliographer. She was named curator of Harry Elkins Widener collection at Harvard College Library, following the death of her husband Luther S. Livingston, the first librarian of the Widener collection. She completed bibliographies for Rudyard Kipling, Henry James, John Gay and others.
(Emma) Miriam Lone (born ca. 1873), bibliographer and chief cataloguer for New York dealer Lathrop Harper. Author of A Selection of Incunabula Describing One Thousand Books Printed in the XVth Century.
Dorothy McEntee (1902-1990) artist and printmaker.
Dorothy McKay (1902–1972), artist and cartoonist. McKay drew for various magazines including The New Yorker, Esquire, and Life, among others.
Edith Whittlesley Newton (1878–1964), painter and printmaker. Newton lived in New Milford, Connecticut, where she specialized in landscape painting and lithographs.
Lucy Eugenia Osborne (1879–1955), librarian, bibliographer, and historian of rare books at the Chapin Library, Williams College from 1922 to 1947.
Elizabeth Robins Pennell (1855–1936), American writer. She wrote art criticism, travelogues, memoirs, and biographies of Mary Wollstonecraft, Charles Godfrey Leland, and James Abbott McNeill Whistler. She was also a collector of cookbooks, which was given to the Library of Congress along with her husband, Joseph Pennell’s library.
Carlotta Petrina (1901–1997), artist and printer. Best known for her 1933 illustrations to John Milton’s Paradise Lost and the John Dryden translation of Virgil’s Aeneid (1944). The Carlotta Petrina Museum and Cultural Center in Brownsville, Texas, exhibits her art and memorabilia.
Fanny (Fannie Elizabeth) Ratchford (1887–1974), librarian and historian. Ratchford served as librarian of rare books at the University of Texas, Austin. She wrote numerous books and articles, beginning with Some Reminiscences of Persons and Incidents of the Civil War (1909). She received Guggenheim fellowships for 1929–1930, 1939–1940, and 1957–1958 and, late in life, assisted in editing the Oxford edition of the complete works of the Brontës.
Elizabeth Ridgway (1900s), book collector.
Ethel Dane Roberts (1900s), librarian and curator of the Frances Pearsons Plimpton Library of Italian Literature, Wellesley College, Wellesley, Massachusetts.
Dorothy Leigh Sayers (1893–1957), English crime writer, poet, playwright, and humanist. Best known for her mysteries, especially the character of amateur sleuth Lord Peter Wimsey.
Lillian Gary Taylor (1865–1961), collector. Taylor’s library of best-selling American fiction included over 1900 volumes published between 1787 and 1945 and was donated to the University of Virginia in 1945.
Eleanor M. Tilton (1913-1991?), professor and authority on Ralph W. Emerson.
Olivia H. D. Torrence (1900s), author and wife of the poet Ridgely Torrence.
Janet Camp Buck Troxell (1897–1987), collector. Between 1930 and 1965 she amassed over 800 printed items and more than 3,000 manuscripts relating to the Rossettis and their friends (now at Princeton University Library). Names relate to three marriages: Wilder Hobson, New York publisher; Dr. Albert W. Buck, superintendent of New Haven Hospital; and Gilbert McCoy Troxell, curator of American literature, Yale University Library.
Eunice Wead (1881–1969), librarian and curator. A graduate of Smith College, Wead became Smith’s reference librarian in 1906. She moved to Ann Arbor, Michigan, serving as a curator of rare books in the general library, in the William L. Clements Library, and as one of the first teachers in the Department of Library Science. On her retirement from Michigan, she returned to Smith to give a course in book history and book arts.
Carolyn Wells (1862–1942), writer and collector. Wells was a prolific author, including mystery novels, poetry, humor, and children’s books. Her collection of Walt Whitman poetry was donated to the Library of Congress.
Blanche Colton Williams (1879–1944) author and professor of English literature. Williams earned a master’s degree from Columbia University in 1908 and a doctorate in 1913. She went on to teach in the English Department at Hunter College and eventually head of the department. The first editor of the O. Henry Prize Stories, she also collected George Eliot first editions, donated to the Mississippi University for Women library.
Edith Wharton (1862–1937), novelist and playwright. Wharton was the first woman to win the Pulitzer Prize for Literature in 1921. She is best remembered for her books The Age of Innocence, The House of Mirth, Ethan Frome, and her manual The Writing of Fiction.
The Program in Latin American Studies (PLAS) is once again hosting members of the academic and artistic communities of Puerto Rico as visitors at Princeton University in summer 2019. The program continues to provide relief to scholars, students, and artists affected by the catastrophic aftermath of hurricanes Irma and Maria in 2017 by allowing them to continue their work at Princeton on a temporary basis.
The VISAPUR program provides a range of support including a stipend to cover living expenses, office space, access to libraries and other scholarly material, and an opportunity to engage with colleagues at Princeton.
Endorsed by the Princeton Task Force on Puerto Rico, PLAS manages the program with co-sponsorship from the Office of the Provost. Additional support has been provided by, the Firestone Library, Department of Spanish and Portuguese, Office of the Dean of the Faculty, Office of the Dean of the College, Graduate School, Office of the Registrar, and Housing and Real Estate Services. Special thanks to professor emeritus Arcadio Díaz Quiñones, former PLAS director and professor of Spanish and Portuguese, for his leadership and commitment to the project.
See pictures from last year’s program also: https://graphicarts.princeton.edu/2018/08/16/welcome-visiting-scholars-and-artists-from-puerto-rico/
Among the many treasures pulled to show our visitors was this new acquisition: Luis Lloréns Torres (1876-1944), Valle de Collores; grabados por Consuelo Gotay (Puerto Rico: Gotay, 1991). “Trabajaron en la tipografía, la impresión y la encuadernación, Consuelo Gotay, Rafael Orejuela, and Víctor Rodríguez Gotay.” Copy 44 of 100. Inscribed to Arcadio Díaz Quiñones from the artist. Graphic Arts Collection GAX 2019- in process
Attributed to Arthur James Hervey Wyatt (1861-1938), Tuppenny Rhymes. Illustrated manuscript dedicated to Raymond Benedict Hervey Wyatt “on his [16th] birthday 15th Decr. 1906.” 38 illustrated pages. Graphic Arts Collection GAX 2019- in process
The Graphic Arts Collection recently acquired this wonderful illustrated manuscript written for the teenager Raymond Benedict Hervey Wyatt (1890-1977) by one of his parents, likely his father, the engineer Arthur James Hervey Wyatt.
Educated at Bedford Grammar School, Wyatt Sr. went on to become an expert in sighting devices for heavy guns working for over twenty years for Morris Aiming Tube and Ammunition Company, Ltd. During the War, he joined the Ministry of Munitions and became assistant inspector for the East Midlands Area, with headquarters at Bedford.
This comic and affectionate gift to his son interposes humorous verse with nine full page and four half page illustrated comic advertisements for faux companies.
These include “Bovrox. The strongest thing on earth. Prepared only in our Chicago factory from the oldest and most delicate cows. In fragile bottles 2/6”; “Petrach’s Cheese Chocolate. Delicious! Scrumptious! Made from pure chocolate and ripe old Stilton cheese”; “Boko for the nose. Ensures a luxurious nasal organ.”
Of the nine manuscript poems, the second, Raymond’s Life. After W. S. Gilbert, follows the path of Raymond’s life from his ambitions to be an engine driver, his education as a Bedford Scholar, his love of cricket, and his ambition for various careers.
It ends: “With engineering, law and Greek / And many another rum thing, / With half the world’s pursuit’s to seek/ Let’s hope he sticks to something./ Mid agriculture, bank or school- / The crowded court – museum cook, / The bar – the bench / Or chemic stench/ Let’s hope he sticks to something.”
In real life, Raymond went on to be a successful pathologist and coroner, working at Bedford County Hospital in 1926 and the Coroner for the South-Western Division in London. In 1941, Wyatt carried out the inquests into the deaths of Karl Drucke and Werner Walti who were executed as spies by Alfred Pierrepoint at Wandsworth Prison on August 6,1906.
A number of people helped today to match a set of unmarked prints to a published book. The prints are some of the many sheets that have been sitting in the department for many years unidentified and uncatalogued. Stop here if you want to try it yourself before reading the answer below.
Success came first to Nicola Shilliam, Marquand Library’s Western Bibliographer, who was able to match the recognizable scenes of Jerusalem with the correct edition and illustrator.
Torquato Tasso (1544-1595), La Gerusalemme liberata di Torquato Tasso; con le annotationi di Scipion Gentili e di Giulio Guastauini: et li argomenti di Oratio Ariosti [=The Liberated Jerusalem of Torquato Tasso; with annotations by Scipion Gentili and Giulio Guastauini: and the topics of Oratio Ariosti] (Genoa: Giuseppe Pavoni ad instanza di Bernardo Castello, 1617). Full page engraved plates facing the opening of each of the 20 cantos, engraved by Camillo Cungi (ca. 1597–1649) after designs by Bernardo Castello (1557–1629). EXOV 3137.34.197
We all felt foolish. Gerusalemme Liberata of Torquato Tasso, published in 1581, is considered one of Italy’s great contribution to epic poetry and should be easily recognized. Three illustrated editions were prepared by the Italian painter Bernardo Castello, the largest and most successful this 3rd edition in 1617.
The sheets discovered in the Graphic Arts Collection, while in poor condition, may have been early proofs as the engraver Camillo Cungi worked to reproduce Castello’s drawings. On the other hand, they may have been prepared for a pirated edition. Below is one example of the proof and the published engraving.
Here is an open library edition, if you want to see or read the whole book: https://openlibrary.org/books/OL25624814M/La_Gerusalemme_di_Torquato_Tasso
Here is a lecture on the various illustrated edition of Gerusalemme Liberata.
Finally, here are several more of the proofs in the Graphic Arts Collection, so you can compare them to the published book.
The Graphic Arts reference collection holds four enormous volumes documenting jobs produced by Elmer Adler’s Pynson Printers from 1922 to 1940 when the press was closed. An index to these volumes has been created by Sherry X. Zhang and Jena Mayer with help from Brianna R. Cregle and AnnaLee Pauls, which is key word searchable allowing researchers, for the first time, to study Adler’s commercial work. PDFs are attached here and to the voyager record for these scrapbooks. https://catalog.princeton.edu/catalog/7343684 Pynson Printers jobs. Graphic Arts: Reference Collection Oversize Z232.P99 A9f
Volume one:Copy of PynsonPrinters_Volume 1
Volume two:Copy of PynsonPrinters_vol.2
Volume three:Copy of PynsonPrinters_vol.3
Volume four:Copy of PynsonPrinters_vol.4 (1) (1)
Extras: Copy of PynsonPrinters_Presses
“From the twentieth of March, 1922, the Pynson Printers are at your service for the planning and production of all printing in which quality is the first consideration. We have founded our organization on the belief that the printer should be primarily an artist—a designer and a creator rather than a mere manufacturer. Toward this end, we have assembled a group whose several abilities and varied experience cover every phase of the art and business of printing. . . . We will do no work in which quality must be sacrificed to exigencies of time or cost” (Reprinted in Lawrance Thompson “Forty Mercer Street,” Princeton University Library Chronicle 2, no. 1 (November 1940): 32).
Together with designers Walter Dorwin Teague (1883-1960), Hubert L. Canfield, and David Silvé, Adler opened a small, fine press printing shop at 122 East 32nd Street named Pynson Printers, after the sixteenth-century printer Richard Pynson.
Within six months, the others had moved on, leaving Adler the sole owner of the firm (see: John F. Peckham “Forty Mercer,” Princeton Alumni Weekly 41, no. 12 (December 16, 1940): 8). As stated in the opening announcement, concerns with quality rather than commercial practicality led production. To that end, he sought out artisans, publishers, and clients who shared his love of typography and fine printing.
The Pynson Printers office moved to the New York Times building at 239 West 43rd Street, elegantly decorated by Lucien Bernhard. In a 1925 letter to Rockwell Kent (1882-1971), with whom he was already in business, Adler wrote, “Since you were last here Mr. [Lucien] Bernhard has arranged to build a studio adjoining our shop which will help create more of the kind of thing we want to have….” (Adler to Kent, February 13, 1925. CO262, box 32, Adler papers). These three men, Adler, Kent, and the recently emigrated German designer Lucien Bernhard (1883-1972), began working together on a variety of printing and design projects.
Their first fine press book, Candide, began in 1925 when 27-year-old Bennett Cerf and his 23-year-old friend Donald Klopfer decided they wanted a business of their own. Cerf was vice-president at the publishing house of Boni & Liveright and interested in the firm’s catalog of 109 titles published under the Modern Library imprint. Klopfer and Cerf raised $215,000 to purchase the imprint and then, set about to redefine the Modern Library to make it distinctly their own.
“We went to a man I had heard was a great typographer named Elmer Adler, who headed the Pynson Printers,” said Cerf. “He was so good that he was allowed to have his office in the New York Times building . . . Elmer Adler was an elegant gentleman whose family headed the Adler Rochester clothing company. It was beautiful, beautiful work that he turned out at only about eight times what it should have cost . . . Elmer helped us redesign modern library [and] helped us find the man to design the flying girl with the torch. . . So the modern library had a new dress that was very stylish,” (Bennett Cerf oral history, p. 144. Columbia University Libraries).
“We were talking about doing a few books on the side,” recalled Cerf, “when suddenly I got an inspiration and said, ‘We just said we were going to publish a few books on the side at random. Let’s call it Random House.’” Kent was so taken with the idea he offered to draw them a trademark on the spot and five minutes later handed Cerf the Random House symbol, which has been on their colophon ever since.
Candide was a success but Adler’s partnership with Random House was short-lived. “Elmer didn’t cotton to trade publishing . . . He was a very difficult partner anyway—very querulous and dictatorial, and he wanted to do everything his way, and when we wanted to have other printers do books, Elmer was very jealous.”
Cerf and Klopfer bought out his share, even though he never put up any money to join them. Adler continued to do business with Random House and Cerf remained a stockholder in the Pynson Printers. Kent did business with them both and joined Bernhard in founding a design firm they named Contempora.
Adler closed the Pynson Printers in 1940, when he was invited to move to Princeton, New Jersey, and established a department of Graphic Arts for Princeton University. He brought with him a personal collection—fourteen tons of books, prints, paintings, records, and equipment—which became the basis for the graphic arts collection we enjoy today. Although he donated some records of the Pynson Press to the NYPL in 1936, he retained a large amount of material with which to teach, including papers, proofs, and plates, which he sold to the Princeton University Library in 1948 for one dollar.
Attributed to Girolamo Priuli (1476-1547), La Galatea: Poema Lirico con l’Allegorie dell’Academico Veneto Sconosciuto ([Place of publication not identified]: [publisher not identified], 1620? Graphic Arts Collection GAX 2910- in process
An unexpected treasure came this week in an unusual first edition of La Galatea. Poema lirico con l’allegorie dell’accademico Veneto sconosciuto cavalleresco (pseudonym of the Venetian poet Girolamo Priuli), variously dated 1620 to 1625. An unidentified artist created sixteen engravings illustrating the poetic epic of Acis and Galatea. Strangely, the first six plates are all of the same scene with Galatea in the water, looking left, looking right, in the rain, in the sunshine, etc. Readers must look twice to realize they have subtle differences.
Once while Galatea let Scylla comb her hair, she addressed these words to her, sighing often: ‘At least, O virgin Scylla, you are not wooed by a relentless breed of men: and you can reject them without fear, as you do. But I, whose father is Nereus, and whose mother is sea-green Doris, I, though protected by a crowd of sisters, was not allowed to flee the love of Polyphemus, the Cyclops, except through sorrow’, and tears stopped the sound of her voice. When the girl had wiped away the tears with her white fingers, and the goddess was comforted, she said: ‘Tell me, O dearest one: do not hide the cause of your sadness (I can be so trusted)’ The Nereid answered Crateis’s daughter in these words: ‘Acis was the son of Faunus and the nymph Symaethis, a great delight to his father and mother, but more so even to me, since he and I alone were united. He was handsome, and having marked his sixteenth birthday, a faint down covered his tender cheeks. I sought him, the Cyclops sought me, endlessly. If you asked, I could not say which was stronger in me, hatred of Cyclops, or love of Acis, both of them were equally strong.
Oh! Gentle Venus, how powerful your rule is over us! How that ruthless creature, terrifying even to the woods themselves, whom no stranger has ever seen with impunity, who scorns mighty Olympus and its gods, how he feels what love is, and, on fire, captured by powerful desire, forgets his flocks and caves. Now Polyphemus, you care for your appearance, and are anxious to please, now you comb your bristling hair with a rake, and are pleased to cut your shaggy beard with a reaping hook, and to gaze at your savage face in the water and compose its expression. Your love of killing, your fierceness, and your huge thirst for blood, end, and the ships come and go in safety.
The title page is especially appealing with its architectural frame [recycled?] topped with the word Resistit (Withstands). The allegorical figures have been described elsewhere as “the Temperance that resists Love, Apollo with the nine Muses; below the Aurora brand; adorned with little heads, large initials and xylographed endings.”
The artist writes, “Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcut alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature.”
“My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being. The etchings were drawn from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout.”
“The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. Claudia Cohen boxed and bound the book. The edition numbers forty, including five deluxe copies. The regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. The deluxe is bound in full leather, enclosed in a box and includes an additional suite of the etchings.”
Der Totentanz by Hans Ganz and Hans Holbein: https://www.gutenberg.org/ebooks/23775
William M. Ivins, “Hans Holbein’s Dance of Death”: https://www.metmuseum.org/pubs/bulletins/1/pdf/3254072.pdf.bannered.pdf