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“‘Everything will be remembered’, a palimpsest” by Ravikumar Kashi

Ravikumar Kashi, ‘Everything will be remembered’ a palimpsest. Bangalore, India, 2020. Unique edition. Etched copper plate filled with printing ink, copper wire. Graphic Arts Collection GAX 2020- in process

The Graphic Arts Collection is honored to acquire Ravikumar Kashi’s ‘Everything will be remembered’ a palimpsest, one of four finalist for the 2020 Minnesota Center for Book Arts (MCBA) Prize, selected by juror Betty Bright from 158 submissions sent from 18 countries. “Established in 2009, this biennial award is meant to represent the diversity of approaches to book art, honoring one winner and four finalists for their unity of form, material, and content.”

Born in Bangalore, India, Ravikumar Kashi (ravikashi.com) studied painting, printmaking, and papermaking under masters in India, Scotland, and Korea. He received a National award from Lalit Kala Akademi, Delhi in 2001 and two awards from Karnataka Lalita Kala Academy 1990, 1999 and one from Karnataka Shilpa Kala Academy for his works in 2000. He has also received first prize in ‘Ventipertrenta’, International Festival of Digital Art 2017, from Museo Internazionale Dinamico de Arte Contemporanea, Italy.

 

Note: “The type face of the second layer of the text is an English font called Samarkan, designed to look like a Sanskrit text, and is intended to act as a visual marker for the Indian right-wing practice of quoting ancient texts to gain validation. It is also a simulation of ancient handwritten palm leaf text manuals from India.”

 

Here is a portion of his artist statement for MCBA, beginning with the background for the work:

On 30th May 2019, the Indian right wing party BJP led by Mr. Narendra Modi formed the central government for a second time. Its election campaign was replete with anti- Muslim rhetoric and sloganeering. That same year, on the 12th of December, the Government of India enacted the Citizenship Amendment Act (CAA). In the weeks following, nationwide protests calling for the repealing the CAA and the foregoing of the National Register of Citizens (NRC), which was supposed to precede CAA, were held….

In early 2020, following speeches given by BJP leaders inciting their followers to attack and shoot anti-CAA protesters, riots occurred in North-Eastern Delhi. Beginning on 23 February, and caused chiefly by Hindu mobs attacking Muslims, there were multiple waves of bloodshed, property destruction, and rioting. Of the 53 people killed in three days, two-thirds were Muslims who were shot, beaten, or set on fire in the Indian capital’s deadliest Hindu-Muslim riot since 1950. …


The Work Concept:

My work is a combination of copper plates used historically for documentation and the idea of palimpsest.
Copper plates: In the Madras Museum, located in southern part of India, a series of copper plates from as early as 4th century AD have been preserved and displayed. These copper plates recorded various events of their time for posterity.
Palimpsest: a manuscript or piece of writing material on which later writing has been superimposed on effaced earlier writing; something reused or altered but still bearing visible traces of its earlier form.

In the light of anti-CAA protests and Delhi riots, I wanted to create a copper plate palimpsest for my time , so that the erasure of our constitutional values will not be forgotten.

There are two layers of text in the work. In the partially erased layer seen beneath, is the preamble to the Indian Constitution, declaring its claim to secure justice, liberty, and equality to all citizens, and promote fraternity to maintain unity and integrity of the nation. That layer is being eroded, and replaced with textual details of Delhi riots, narrating the incidents of murder and rampage. There are Slogans of violence like “We will enter the house and beat you up” or “Shoot the traitors”.

…The title for the work ‘Everything will be remembered’ comes from the title of the poem written by anti-CAA activist Aamir Aziz, lines of which were also recently recited by [Roger Waters] of Pink Floyd:



A section of “Everything will be remembered” by Amir Aziz.

Tum Raat Likho Hum Chand Likhenge,
Tum Jail Mein Dalo Hum Deewar Phand Likhenge,
You could write the night, but we will write the moon.
If you put us in jail, we would jump over the walls and still write.

Tum FIR Likho Hum Hain Taiyar Likhenge,
Tum Humein Qatl Kar Do Hum Banke Bhoot Likhenge,
Tumhare Qatl Ke Sare Saboot Likhenge,
If you would lodge an FIR against us, we are all set to write about the injustice we are suffering from.
If you murder us, we will come as the ghosts and still write. We will write mentioning the proofs unveiling the murders you have committed.
We will write mentioning the proofs unveiling the murders you have committed.

…Sab Yaad Rakha Jayega, Sab Kuch Yad Rakha Jayega,
Aur Tumhari Laathiyon Aur Goliyon Se,
Jo Qatl Huwe Hain Mere Yaar Sab,
Unki Yaad Mein Dilon Ko Barbaad Rakha Jayega,
We will remember everything. We will not forget it at all.
The dearest friends of mine who you murdered with lathis (or sticks) & bullets;
In the remembrance of them, we will keep our hearts broken-down. …

Additional reading: Indian antiquary. Bombay, Popular Prakashan [etc.]
https://hdl.handle.net/2027/coo.31924079325662

Ein Deutsches Wörterbuch

Robert Andrew Parker, Ein Deutsches Wörterbuch (A German Dictionary) (Cornwall, CT: Robert Andrew Parker, 2011). A./P. (artist’s proof). 28 hand colored plates unbound as issued and housed in a cardboard and wood box fabricated by the artist, with “Wörterbuch” stenciled on the cover. Graphic Arts Collection GAX 2020- in process.

Robert Andrew Parker’s resume includes “hand double” in 1956 for Kirk Douglas’s Vincent van Gogh drawing and painting the art in Lust for Life. An accomplished jazz drummer, Parker not only performs but he wrote and illustrated a biography on jazz musician Art Tatum, Piano Starts Here.

Parker illustrated over 90 children’s books, poetry books, and literary classics. Princeton’s special collections holds around two dozen of these books, beginning with Marianne Moore (1887-1972), Eight poems, written by Marianne Moore; with drawings by Robert Andrew Parker hand-colored by the artist (New York: Museum of Modern Art, [1962]). Edition: 195. Rare Books PS3525.O5616 A17 1962.

Our most recent acquisition is Parker’s German alphabet book, editioned in only 10 copies. An adult alphabet, each letter is matched with a German word and ominous image. T is for Toten Kopf-Husaren (Death’s Head Hussars), other letters hold suggestions of war and pain. In his Print magazine profile “Robert Andrew Parker on Life and Illustration,” Michael Dooley notes:

The German series, originally produced as monotypes in the mid-1980s, is part of Parker’s lifelong preoccupation with war. Born in 1927, he was already sketching combat scenes by the age of ten. And it was his pictures of imaginary battlefields, published in “Esquire” in 1960, that first brought him to national attention. —https://www.printmag.com/post/robert-andrew-parker-on-life-and-illustration

 

Parker is a prolific fine artist and illustrator, with work in hundreds of books and magazines, including the New Yorker, Life, and Forturne (above). Play the wonderful episode of Virtual Memories, no. 283 to hear an interview with Parker:

Still 1¢, now searchable online

Rita Corbin

Brother Mickey McGrath

Founded in 1933 by Dorothy Day and Peter Maurin, The Catholic Worker movement began in New York City and has grown into an international faith-based, grassroots movement for peace and social justice through nonviolent direct action. The Catholic Worker newspaper documents the voices, events, and values that shaped the movement across the decades. Thanks to the Catholic Research Resources Alliance and Marquette University, all but the first ten years of the newspaper are now digitized and available online for all. Current issues on paper are still available for only one penny.

The graphic artists in this month’s issue include Michelle Dick from the Island of Kaua’i, Hawaii; Brother Mickey McGrath from Camden, NJ; Meg Crocker Birmingham (1951-2011), and Rita Corbin (1930-2011).
Michelle Dick

“A major collection of archival materials relating to Day and to the Catholic Worker movement is held by Raynor Memorial Library’s Department of Special Collections and University Archives. The collection now comprises more than 200 cubic feet, including the personal papers of Day, Maurin, and others involved in the movement; records of past and present Catholic Worker communities; photographs; audio and video recordings of interviews, talks, television programs, and peace demonstrations; and a wide variety of publications.”

Visit the digital archive to explore issues of The Catholic Worker. Find out about the Dorothy Day/Catholic Worker collection at Marquette. Thanks very much to Raynor Memorial Libraries, 1355 W. Wisconsin Ave. Milwaukee, WI 53233

Rita Corbin

Rita Corbin

Michelle Dick

You might enjoy watching:

https://www.pbs.org/video/revolution-of-the-heart-the-dorothy-day-story-lwz697/

…based on Elias Canetti’s ‘Auto da Fé’

Ronald King and George Szirtes, The Burning of the Books. A poem sequence by George Szirtes based on Elias Canetti’s novel ‘Auto da Fé,’ illustrated by Ron King. Artist edition (London: Circle Press, 2008). No. 4 of 30. Graphic Arts Collection GAX 2020- in process

Writer George Szirtes and artist Ronald King collaborated on this sequence of 14 poems and 15 etchings, inspired by Elias Canetti’s famously grotesque yet marvelous novel Auto da Fe set in pre-war Vienna. Quoting from the prospectus:

“Back in 1971 Ron King at the press in Guildford tried to obtain permission from the publishers to illustrate Elias Canetti’s great novel Auto da Fé. Permission was denied to him, as to all others who had requested it, as the author did not wish his work to be illustrated or made into a play or film. In 1981 the novel won Canetti the Nobel prize for literature but still the writer would not release his tight grip on the copyright. Canetti died in 1994 and ten years later King took it on himself to persuade George Szirtes winner of the Eliot prize for poetry 2004, to make a book with him on the theme of Auto da Fé. Within a short time poem after poem of a powerful sequence directly related to or inspired by his re-reading of the book, the poems living as it were, in the crevices of Canetti’s text, arrived at the press from Szirtes.”

George Szirtes, Introduction: “The sequence is titled ‘The Burning of the Books’ since that is what happens at the end of Auto da Fé. The scholar’s library burns in anticipation of the Nazi book-burnings to come. The poems are fuel for King’s visual symbiotic-organisms, joining them in a mutual homage-cum-conflagration.”

Elias Canetti (1905-1994), Auto-da-fé [Blendung]; translated from the German under the personal supervision of the author by C.V. Wedgwood (New York: Stein and Day, 1946). ReCAP, 3437.27.313.9

 

 

Originally formed by Ron King in 1967, the Circle Press, is both part of a tradition and a breaker of tradition. The stages of its life are marked not only by the individual natures of those whose books and prints it has published but also by the differing character of the decades through which it has passed. “The name Circle Press was chosen by Ron to suggest his vision of a group of like-minded persons working within a shared, supportive framework, a circle which over the period of time has enlarged to include over 100 artists and poet.” Its past history is documented in Cooking the Books – Ron King and Circle Press. See also: https://www.jstor.org/stable/41826501

 

 

 
George Szirtes, “What being bilingual means for my writing and identity,” The Guardian Mary 3, 2014. Hungarian-born poet George Szirtes writes in both English and his native tongue. He contemplates bilingualism and belonging:

Sometimes language seems no more than a piece of tissue paper carried on the wind: flimsy, semi-transparent, endlessly vulnerable, like a deflated talks-bubble, almost weightless. At other times it is a brick wall, or worse still a room with dense walls and no exit, with only the sense of voices beyond the wall, faintly audible and never clear enough, everything they say immediately becoming part of the wall. Always provisional, language appears this or that way to us according to our own disposition and relation to it. … https://www.theguardian.com/education/2014/may/03/george-szirtes-bilingual-poetry-translation

“From the only poet to a shining whore,” Samuel Beckett for Henry Crowder to sing.

Photomontage by Man Ray (1890-1976)

Two complementary volumes were recently acquired by the Graphic Arts Collection, greatly enhancing the fine press holding of Nancy Cunard’s Hours Press and more generally, expanding material on Harlem Renaissance expatriates living in Paris during the 1930s:

Henry Crowder (1890-1955), Henry-Music. Poems by Nancy Cunard, Richard Aldington, Walter Lowenfels, Samuel Beckett, and Harold Acton. Music by Henry Crowder (Paris: Hours Press, 1930). Edition: 100. Cover photomontage by Man Ray. Graphic Arts Collection GAX 2020- in process. Acquired thanks to funds provided by the Friends of the Princeton University Library.

Anthony Barnett, Listening for Henry Crowder: A Monograph on His Almost Lost Music with the Poems and Music of Henry-Music (Lewes, East Sussex, England: Allardyce Barnett Publishers, 2007). “This 128 page monograph with previously undocumented materials includes an essay, roll/discography, some 90 photos, documents, music, CD insert with rolls and recordings including the Crowder-Cunard composition Memory Blues aka Bouf sur le toit and new recordings by New York vocalist Allan Harris of six compositions by Crowder including his collaboration with Samuel Beckett.” Graphic Arts Collection GAX 2020- in process

Here is a brief snippet of music by Henry Crowder from Listening for Henry Crowder:

Born in Georgia, the Black jazz pianist Henry Crowder (1890-1955) first met the White shipping heiress Nancy Cunard (1896-1965) in Venice while performing at the Hotel Luna. They fell in love and moved to Cunard’s home outside Paris. Together they converted an old farmhouse in Reanville into a fine press printing studio, called Hours Press, where they set type, designed and printed small editions, and published the work of Ezra Pound, Richard Aldington, Norman Douglas, Laura Riding, and others. The young Samuel Beckett won a poetry contest sponsored by the press and became a valued friend.

 

In Cunard’s book These Were the Hours: Memories of My Hours Press, Reanville and Paris, 1928-1931, she writes about their 1930 publication Henry-Music. Richard Aldington, Harold Acton, Walter Lowenfels, and Beckett each gave Crowder poems to be set to music during an August vacation in the village of Creysse. “Nearly everything was written here in the course of four weeks, so that we went back to Paris with the Opus almost finished. … To do the covers Man Ray’s name came to me at once, for he had not only a strong appreciation for African art but for Henry as well. I had known Man Ray and had admired his work for several years.” Crowder later wrote an account of his years spent with Cunard, published posthumously, with almost no mention of this publication.

Princeton’s copy of Henry-Music includes a lengthy inscription from Crowder to Mr. & Mrs. Otto Theis: “Dear friends, if this little effort of mine brings you one moment of pleasure, I assure that I am amply repaid for whatever effort went into the making of it. You two people are realy [sic] nearer to my heart than you may suspect. Probably I am presuming when I say that, but nevertheless the Gods themselves (whoever they are) don’t always know who loves them.”

See also: Henry Crowder, As Wonderful as All That?: Henry Crowder’s Memoir of His Affair with Nancy Cunard, 1928-1935 (Navarro, CA: Wild Tree Press, 1987).

Nancy Cunard, These Were the Hours (Carbondale and Edwardsville: Southern Illinois University Press, 1969).

Below is the poem twenty-four years old Samuel Beckett gave Henry Crowder for Henry Music, and above is a snippet of vocalist Allan Harris’s recording. The complete recording is available on our CD included in Listening for Henry Crowder. **It begins very quietly**

From the Only Poet To a Shining Whore
for Henry Crowder to Sing

Rahab of the Holy Battlements,
bright dripping shaft
in the bright bright patient
pearl-brow dawn-dusk lover of the sun.

Puttanina mia!
You hid them happy in the high flax,
pale before the fords
of Jordan, and the dry red waters,
and you lowered a pledge
of scarlet hemp.

Oh radiant, oh angry, oh Beatrice,
she foul with the victory
of the bloodless fingers
and proud, and you, Beatrice, mother, sister, daughter, beloved,
fierce pale flame
of doubt, and God’s sorrow,
and my sorrow.

Love Among the Games

verso

recto

L’Amour parmi les jeux, le Souvenir du bon temps, Dédié aux Belles [=Love Among the Games, the Memory of the Good Times, Dedicated to the Beautiful] (Paris: Boulanger, [1785]) with paintings by François Marie Isidore Queverdo (1748-1797). Provenance: bookplate of Robert de Beauvillain.  Graphic Arts Collection GAX 2020- in process.

The complete description that came with the volume: “24mo (binding size 98 x 57 mm). Entirely engraved. 44 leaves = 22 bifolia, a “nested” construction, irregularly paginated: engraved title, Remarques pour la présente année 1785on verso, conjugate with advertisement leaf at end, 6-leaf engraved calendar for 1785 enclosing central quire, paginated 3-62, containing: 12 leaves engraved text, each text leaf alternating with one of 12 full-page engraved “plates” (printed on 6 conjugate bifolia), the printed sides included in the pagination; at center a separate quire of tables of gains and losses, with separate imprint, but included in the pagination (pp. 21-44).”

 

The Graphic Arts Collection has a new, quietly erotic almanac in an embroidered binding set with painted miniatures by or after François Marie Isidore Queverdo (1748-1797). The interior engravings are described elsewhere as by Jean Dambrun (1741-1808) after Queverdo. If you look closely, each print displays various amorous encounters while the poetry describes seduction involving both men and women, husbands and wives, humans and angels.

 

The games mentioned in the title are both actual sports: in January there is bowling, in February is hide and seek, and so on. But they are also the adult games played by men and women throughout the year.

 

Benezit lists Queverdo as born 2 February 1748, in Josselin (Morbihan) and died 24 December 1797, in Paris. “The father of Louis Marie Yves Queverdo, François Queverdo appears on the register of pupils of the Académie Royale as being the protégé of the duchess of Rohan-Chabot and living in her house. He was a pupil of Pierre and Longueil. He collaborated as a draughtsman and engraver on the plates for the Abbé de St-Non’s Picturesque Journey Through Italy ( Voyage pittoresque d’Italie). He also made many engravings from his own drawings of fêtes galantes. His works are not without talent although the forms are heavy and often inaccurate and some of his pieces are highly prized. He imitated the style of Baudouin.”

 

Les quatre-coins (Puss in the Corner), see: https://en.wikipedia.org/wiki/Puss_in_the_corner_(children%27s_game)

Edward Colie Caswell



Looking for a good novel to read while the 2020 campus shuts down for a winter break, Edith Wharton’s Old New York (1924) was suggested. A collection of four novellas set in the 1840s, 1850s, 1860s, and 1870s, the last, New Year’s Day, seemed timely. Although written in France, they describe Wharton’s family home at 14 West 23rd Street–the same building that now holds a Starbucks–acting as prequels to The Age of Innocence, for which she received a Pulitzer Prize in 1921. Each of the four volumes is decorated with a paper label on the cover and illustrated endpapers designed by E.C. Caswell (1879-1963).

Edward Colie Caswell may not have known he was following in  Wharton’s footsteps when, a few years later, he moved into the Chelsea Hotel also on 23rd Street, joining the musicians and writers who first gave the Hotel its reputation for housing bohemians. Suzan Mazur wrote one of the few biographical sketches of Caswell, a well-known book illustrator and columnist for The Villager newspaper. “Caswell started out at a studio in the Ovington Building on Fulton St. before moving to the Chelsea Hotel in the 1930s,” she wrote, adding that he “helped establish the Washington Square Outdoor Art Exhibition.”

What she didn’t mention were his illustrations of Princeton University for the fictional memoir by Latta Griswold (1876-1931) entitled Deering at Princeton: a Story of College Life (1913. Recap PS3513.R786 D44 1913. Gift of Landon T. Raymond, Princeton Class of 1917 collection). It is the story of a freshman named Deering, who endured hazing, bullying, and other difficulties during his first year at Princeton.

The book was read by every student that year and in response to complaints, the author wrote a letter to the Editor of the Princetonian:

Dear Sir:— My attention has been called to the fact that in a recent story “Deering at Princeton”, published a few weeks ago, among the fictitious names given to various Princeton clubs I called one The Arch Club, assigning to it a somewhat undesirable character. It should be evident to everyone, but in case any misunderstanding should arise I desire to say through your columns, that when I selected this name I did not know that the Princeton Arch Club had been formed, and with quite different purposes from those associated with the name in my story. I regret very much that this should have happened, and offer my apologies very sincerely to any who may have been annoyed by the unfortunate mistake. In any future edition of the book the mistake will of course be rectified. Very truly yours, Latta Griswold.”– Daily Princetonian, Volume 37, Number 110, 5 November 1913


Edith Wharton (1862-1937), Old New York (New York and London : D. Appleton and Company, 1924). “The shared main title, Old New York, had served for the working title of The Age of Innocence … All four volumes printed at Van Rees Press, New York (printing completed 30 August 1924)”–Cf. Garrison.

Learn more about Edith Wharton’s New York home:

Maple Leaf Rag

Scott Joplin (ca. 1868–1917) and Ellen Banks (1938-2017), Maple Leaf Rag (Atlanta: Nexus Press, 1988). One folded sheet; 35 cm in case 46 cm. Graphic Arts Collection GAX 2020- in process

Photo by Kalman Zabarsky for Boston University

 

After seeing her work, no one would be surprised to learn that one of Ellen Banks’ earliest influences was Piet Mondrian. In his essay, “Ellen Banks: The Geometries of the Score,” Graham Lock notes that she “paints nothing but music—not as heard but taken directly from the score and transformed, via a system of personal symbolism, into colors and shapes: ‘Music is my still life, my landscape, my nude.’ Banks is unique … in taking music as the sole subject of her art. Her approach is highly unusual too: her canvases are based not on the sound or performance of music but on musical scores.”

Although primarily a painter, Banks editioned this artists’ book [above] transferring her understanding of Scott Joplin’s notation into color and pattern. It is her visualization of sound in shape and embodiment of tone in hue.

Last two verses of The Maple Leaf Rag
Composition by Scott Joplin 1899; Lyrics by Sydney Brown 1903

The men were struck wit’ jealousy, the razors ‘gan to flash
But de ladies gathered ’round me for I’d surely made a mash
The finest belle, she sent a boy to call a coach and four
We rode around a season ’till we both were lost to reason

Oh go ‘way man, I can hypnotize this nation
I can shake the earth’s foundation wit’ the Maple Leaf Rag
Oh go ‘way man, just hold you breath a minute
For there’s not a stunt that’s in it with the Maple Leaf Rag

https://www.lyrics.com/lyric/4695627/Scott+Joplin/Maple+Leaf+Rag

Prints wearing out? Paste in new ones.

Engraved allegorical title page by Adamo Scultori (1530–1585) with a medallion scene of the Virgin and Child, flanked by Saint Dominic and Saint Vincent. Note the close trimmed print.

When the information on this new acquisition is loaded into our online catalogue in a few weeks, the link to this physical book will probably disappear, superseded by one for the Hathi Trust digital copy. During this odd year, it is one or the other. This is too bad, given the unique material properties of our copy.

First published in 1573, compiled by the Dominican Andrea Gianetti da Salò (d. 1575) from the writings of Luis de Granada (1504–1588), the book offers a guide to the fifteen mysteries of the Rosary. Scultori’s engravings caught the attention of the book’s many reader, leading to its reprinting over twenty times in the following thirty years. When Scultori’s plates became worn, they were sometimes re-engraved in later editions. This 1578 Varisco edition holds a number of prints beginning to show wear.

What is most interesting in this individual book are the rich, dark prints someone pasted on top of seven original engravings, a conservation procedure not yet found in any other copy. Our dealer notes “The lack of other similarly ‘improved’ copies seems to indicate a later intervention rather than something made at the time of printing, although the skill with which the new engravings have been pasted suggests a professional, maybe a seventeenth- or eighteenth-century binder or bookseller, rather than a former owner. See: Mortimer 218 (for the 1573 edition).”

Other owners might want to check their copies.

 

Luis de Granada. (Andrea GIANETTI, editor.) Rosario figurato della Sacratissima Vergine Maria Madre di Dio nostra avocata... (Venice, Giovanni Varisco, 1578). Graphic Arts Collection GAX 2020- in process

 

Here are some biographical details on Adamo Scultori (1530–1585) from Brown University:

Son of the Mantuan sculptor Giovanni Battista Mantovano (Mantuano) and brother of the engraver Diana Mantovana (Mantuana, Scultori), Adamo, like his sister, was taught to engrave as a child by his father. His earliest known work, done when still a youngster, was a series of figures from Michelangelo’s Last Judgment fresco in the Sistine Chapel. His made many engravings after the Roman court artist in Mantua, Giulio Romano, and also after the antique. He also engraved frontispieces for book illustration, and in the case of the phlebotomy manual Discorsi di Pietro Paolo Magni Piacentino sopra il modo di sanguinar… he not only designed and engraved the frontispiece of Magni’s first, 1584 edition, but also engraved–and most likely designed-the other illustrations in the book. He was active as a print dealer and publisher in Rome between ca. 1577-80.

Juggling a diabolo in 1813

Le Diable couleur de rose ou Le jeu à la mode [=The Pink Devil or The Fashionable Game] (Paris: [Louis] Janet, Libraire, rue St. Jacques No 59, [ca. 1813-1819]). Graphic Arts Collection GAX 2020- in process


This luxury gift book/almanac for fashionable ladies features poetry, calendars, and six etchings depicting the game of ‘devil sticks’ also called the Chinese yo-yo also known as juggling a diabolo. Although the game originated in China, it was especially popular in France in the early 19th century, as seen here. The front and back endsheets incorporate gilt loops to hold a tiny pencil but there are no notes in this volume.

Bound and published by Janet, the BnF lists Pierre-Claude-Louis Janet, also known as Louis Janet (1788-1840) as a “Bookseller and bookbinder. – Son of the Parisian bookseller-bookbinder Pierre-Étienne Janet (1746-1830) and brother of the music publisher Pierre-Honoré Janet (1779? -1832) and of the engraver-publisher François-Pierre Janet (1784-1870). First established in 1810 as a satin maker and bookbinder. Patented bookseller in Paris on June 26, 1821, in succession from his father who gave him his patent (inspector’s report of April 12, 1821). Publishes almanacs, New Year’s Eve books and gift books known as “keepsakes”. Produces cardboard boxes, serial bindings and luxury bindings. Bankruptcy declared on July 6, 1838. Died in Paris in Jan. 1840. His widow succeeded him in 1841 and would practice until at least 1875.”

Janet’s “fixé sous verre” binding includes two hand painted scenes, front and back, mounted under transparent material framed with heavy gilt paper “gauffred cartonnage” [https://cool.culturalheritage.org/don/dt/dt1504.html]. On the cover a charming lady rises from a cloud balancing cupid on the stem of a rose. Above her is “Avis Aux Dames” or Ladies View or Ladies Point of View.

See also: https://cirque-cnac.bnf.fr/en/diabolo


 
 
Want to learn how to juggle the diabolo?