On May 1, 1933, in the depths of the Great Depression, The Catholic Worker newspaper made its debut with a first issue of twenty-five hundred copies. Dorothy Day and a few others hawked the paper in Union Square for a penny a copy to passersby.–https://www.catholicworker.org/

Still costing one penny, The Catholic Worker remains one of the best sources for black and white graphic art. Here are a few cuts from a recent issue. Browse or search for additional examples of CW art here: https://www.catholicworker.org/dorothyday/browse/index.html
Rita Corbin

After realizing she had no interest in advertising, she then studied under printmaker Harold Sternberg at the Art Students league, followed by an apprenticeship with German-born abstract expressionist Hans Hoffman, though her studies with him came to end when she married. But her best art education, she said, came from spending afternoons visiting the art museums and galleries, and walking the streets and riding the subways drawing the ordinary people she saw.

Rita arrived at the Catholic Worker on Chrystie Street at the age of twenty. Although she wasn’t aware of it she was following in the footsteps of Ade Bethune. the first Catholic Worker artist. As Dorothy did with Ade fifteen years previously, she immediately set Rita to work illustrating the paper, and Rita became a life-long contributor as one of the three primary Worker artists along with Ade and Fritz Eichenberg. Of the three, Rita was the only one to have lived at the Catholic Worker, and she also raised five children while being an artist. –“In Memory of Rita Corbin 1930-2011” by Kate Hennessy in The Catholic Worker January 2012

Julie Lonneman

Rita Corbin

Julie Lonneman

June Hildebrand

Brian Kavanagh

The Catholic Worker. Firestone Library Forrestal Annex 0921.247f
Subscriptions
36 East 1st Street
New York NY 10003
Phone: 212-777-9617

On December 8, 1896, The Daily Princetonian published a short note:

A new magazine which is creating quite a stir among the lovers of current literature is a monthly periodical called John-A-Dreams. This little and attractive magazine was started last June and has been issued monthly since then and its final success is assured by the large sale which it has attained. Its form is novel which adds much to its popularity.

It generally contains several short stories which are marvels for their freshness and simplicity as well as for the pleasing manner in which they are told. Besides this there are in each number several poems which compare favorably with the present day verse. The two departments “The Artistic Standpoint” and “By The Fireside are of especial interest. The former is a series of criticisms which show a keen grasp of the subject at hand. This magazine is edited and published by Robert Sloss of the class of ’93. The cover design, as well as all parts of the magazine, is very artistic. —Daily Princetonian 21, No. 109 (8 December 1896).

John-a-Dreams: A Magazine for the Conservative Iconoclast and the Practical Dreamer, Devoted to Mere Literature and to Classical Typography.

After graduation, Robert T. Sloss (1872-1920, Princeton Class of 1893) moved to Greenwich Village where he formed a partnership with John J. Corell (1873-1954) to found the Corell Press and the monthly magazine John-a-Dreams. Their staff artist and poet was Sloss’ classmate Booth Tarkington (1869-1946, Princeton class of 1893) and the cover image of a dreaming man was drawn by the artist John Sloan (1871-1951), still living in Philadelphia but already a well-known illustrator. At the time, Sloan had left The Philadelphia Inquirer to join the art department of The Philadelphia Press, where he only worked afternoons and evenings, leaving his mornings free to paint and take on other commissions.

While Tarkington was writing one-act plays, his college classmate Robert Sloss launched in Greenwich Village a “little” magazine called John-a-Dreams. The publication appeared only seven times between August, 1896, and May, 1897, but during its short life Tarkington, the unpaid staff artist, contributed prose, poetry, and drawings “The Kisses of Marjorie,” for instance, first appearing there.
…Most of Tarkington’s contributions to John-a-Dreams are unimportant, though they illustrate a poetic preoccupation that began at the age of thirteen and lasted till he was thirty. Throughout the Nineties he composed poems, and only after his first novel was published did he foreswear verse.
…Then he abandoned poetry completely, except when his fictional characters occasionally were moved to lyric expression. Before 1899, however, about two dozen of his poems appeared in print, many in Princeton publications, a handful in the Indianapolis Journal, and three in Sloss’ magazine.

–James Leslie Woodress, Booth Tarkington: Gentleman from Indiana (Philadelphia; New York: Lippincott, 1955).

For more information, the archive of Corell Press is held by Wichita State University: MS 89-20, where they note:

The collection consists of selected material of Sloss (Princeton Class of 1893): correspondence, printed copies of two of his articles, and newspaper clippings. Correspondence includes letters of recommendation for Sloss from Princeton faculty (1891-1893) and other letters from such notables as Edmund Gosse and Theodore Roosevelt, written to Sloss in London when he was a journalist there during World War I. …Most of the correspondence and literary works are attributed to Booth Tarkington; however, some also concern Corell’s magazine, John-a-Dreams. Correspondents include Edward W. Bryant, Robert T. Sloss, Carolyn Wells, Kenneth Brown, St. George Best, and Barton Currie. The collection also contains copies of the little magazine, John-a-Dreams, including its prospectus and inaugural issues.

—http://specialcollections.wichita.edu/collections/ms/89-20/89-20-A.HTML

Booth Tarkington, Tantor Media

John-a-Dreams (New York: Corell Press and the Press of the Classical School (Associated), 1896-1897). Vol. 1. no. 1 (July 1896)- v. 2, no. 6 (June 1897). Rare Books 0901.415 v.1-2, no.5

Everett Shinn, Robert Henri and John Sloan, ca. 1896. Photograph shows the three men in Henri’s Philadelphia studio; a few years later all three had moved to New York. Published in: Archives of American Art Journal v. 19, no. 2, p. 3; v. 35, no. 1-4, p. 99

When Robert Brown asked Fritz Eichenberg (1901-1990) [left] about his dramatic book illustration, the artist answered,

“Well, it solves, also, my own problems. Some people have to take it to a psychiatrist or a psychoanalyst. I was able to use art as a kind of purifier, or as a kind of a safety valve for my own problems. Because to leave your so-called “native country” and come into a completely new civilization and adjust yourself to it – raise children here – presents a problem which is not insurmountable. But it’s psychologically difficult. You don’t want to be a rebel in your new country. You want to show your gratitude, in a way. You also try to do your share to improve conditions wherever they can be improved by your knowledge, or by your work, or by your contribution to society. And, I think, through my work, I could reach people, which has always been very important to me. …

…Man is a very fragile being. He does his best to corrupt the environment in which he lives. We have now the problems of pollution and nuclear energy and we have gone through a disastrous war. We lost more than the war. We lost our integrity and our standing in the world to a large degree. Whatever I could do as a kind of conciliator coming from the other side I tried to do.

…And since I have been lucky enough to be commissioned to do the imagery accompanying the works of great writers, it makes me a kind of a mediator – a kind of interpreter – a visual interpreter – and has helped many people to read Dostoyevsky who’ve never read Dostoyevsky before. Or the Brontes. Jane Eyre and Wuthering Heights are probably the most popular books I have done.

–Smithsonian Archives of American Art Oral history interview with Fritz Eichenberg, 1979 May 14-December 7. https://www.aaa.si.edu/collections/interviews/oral-history-interview-fritz-eichenberg-12736#overview

St. Toirdealbhach’s Tale (from The Once and Future King)

Thanks to the friendship between former Graphic Arts Curator Dale Roylance and Eichenberg, Princeton holds complete proof sets for most of the wood engravings Eichenberg printed as book illustrations. This includes the unpublished illustrations planned for an edition of T.H. White (1906-1964), The Once and Future King (New York: Collins, 1939)

The Maid and the Unicorn (from The Once and Future King)

Merlyn and Archimedes (from The Once and Future King)

The Boar Hunt (from The Once and Future King)

The Wart and the Hawks (from The Once and Future King)

Don Juan Asmodeus, A Political Lecture on Heads, alias Blockheads!! A Characteristic Poem: Containing the Heads of Derry Down Triangle, the State Jackal … [etc.] Drawn from Craniological Inspection, after the Manner of Doctors Gall and Spurzheim, of Vienna (London: J. Fairburn [1818?]). Graphic Arts Collection Cruik 1815.5. Frontispiece fold out by George Cruikshank.

The anonymous author of this small book [King of the Demons] states his purpose on the title page:

I prophesy on each man’s skull
The heavy, thick, the dark, or dull;
O’ver politics supreme I reign,
Explore the labyrinths of the brain:–
To show how little, great men are
Is Asmodeus constant care!

John Gay (1685–1732). The Beggar’s Opera. 1922.
Act I
Scene 1.
Scene, Peachum’s House.
PEACHUM sitting at a Table with a large Book of Accounts before him.

AIR I.—An old Woman clothed in Gray, &c.

Through all the Employments of Life
Each Neighbour abuses his Brother;
Whore and Rogue they call Husband and Wife:
All Professions be-rogue one another:
The Priest calls the Lawyer a Cheat,
The Lawyer be-knaves the Divine:
And the Statesman, because he’s so great,
Thinks his Trade as honest as mine.

Here are a few of the ten blockheads.

Identified by Dorothy George as Robert Banks Jenkinson, 2nd Earl of Liverpool (1770-1828), Prime minister 1812 to 1827. Also known as Liverpool. His verse reads in part:
Jack Jenkinson, secure as fate,
A stupid pillar of the State;
Whose father, o’ve the Atlantic wave,
In days of yore both got and gave,
Got places, money, meat, and fuel,
And fed the poor with water gruel;

Isabella Anne Ingram Shepherd, 2nd Marchioness of Hertford (1760-1834), married Francis Ingram Seymour, Viscount Beauchamp, later 2nd Marquess of Hertford.
The lecture goes:
Her sparkling eyes, where Cupids muster,
Outshine the ruby’s polish’d lustre.
Yet crows’ feet, underneath her lashes,
Have mark’d her jolly cheeks with gashes;
And spite of dress, of airs, and pride,
Proclaim the age she fain would hide.

Robert Stewart, Viscount Castlereagh and 2nd Marquess of Londonderry (1769-1822). Better known as Viscount Castlereagh. As Chief Secretary for Ireland (1798-1801) was instrumental in the passage of the Act of Union in 1800, but his attempt to achieve subsequent political emancipation of Roman Catholics was unsuccessful. Pictured with ass’s ears and the motto Eiren-go-bray [Ireland Forever].
His lecture ends:
That head joust now consumed in smoke,
Around our necks has placed a yoke,
Which many a painful year ‘twill take
Either to lighten or to break;
And ages yet unknown to fame,
Shall curse the Irish Statesman’s name.