Category Archives: Illustrated books

illustrated books

Doré and Chateaubriand

Princeton University Library owns over 70 variant editions of Atala, the early novella by François-René de Chateaubriand (1768-1848) first published in 1801. Five of them are illustrated by the French artist, Gustave Doré (1832-1883), a few pages of which are seen here:

François-René, vicomte de Chateaubriand (1768-1848), Atala. Avec les dessins de Gustave Doré (Paris: L. Hachette et Cie., 1863). Rare Books (Ex) Oversize PQ2205 .A8 1863f and Oversize 3239.7.313.1863f

François-René, vicomte de Chateaubriand (1768-1848), Atala. Translated by James Spence Harry, from Firmin Didot’s edition of the viscount’s works. Illustrated by Gustave Dore (New York [etc.] Cassell & company, limited [c1884]). Recap Oversize 3239.7.313.7q

François-René, vicomte de Chateaubriand (1768-1848), Atala; desenhos de Gustavo Doré; traducção de Guilherme Braga. Segunda edição de luxo (Porto: Empreza Editora de Obras Classicas e Illustradas, 1884 (Porto : Typographia Occidental). Rare Books (Ex) Oversize 2010-0044F

François-René, vicomte de Chateaubriand (1768-1848), Atala. Translated by James Spence Harry, from Firmin Didot’s edition of the viscount’s works. Illustrated by Gustave Doré (Chicago, New York, Belford, Clarke & co., 1886). Graphic Arts Collection (GAX) Oversize PQ2205.A8 E5 1886q

A brief biography Gustave Doré was prepared for his 2014 exhibition at the Musée d’Orsay in Paris:

Gustave Doré (1832-1883), Gustav Dore (1832-1883) : master of imagination / edited by Philippe Kaenel (Paris: Musée d’Orsay: Flammarion; [Ottawa, Canada]: National Gallery of Canada, [2014]). Marquand Library (SA) Oversize ND553.D7 A4 2014q

Hamlet in Block Prints

William Shakespeare (1564-1616), Hamlet, Prince of Denmark, in block prints by D.N.S.[Dorothy Newkirk Stewart, 1891-1955] (Santa Fe, N.M.: [Pictograph Press], 1949). “A book by W. Shakespeare, abbreviated in block prints by D.N.S.; color registration, Eleanor Jones; consultant, Agnes C. Sims; material help, Gustave Baumann and The King’s Press…” Graphic Arts Collection GAX Oversize NE1215.S8 A5q

“Dorothy Newkirk Stewart, who signed her prints with the initials “DNS”, was born April 8, 1891 in Philadelphia, PA. She was one of the early members of the Santa Fe Art Colony, arriving in 1925. For the next 30 years she resided in that city, making occasional trips to Mexico and Europe. She and her sister, Margretta S. Dietrich lived in the historic Juan Jose Prado house at 519 Canyon Road adjacent to El Zaguan. Her gallery, Galeria Mexico, and her printmaking studio were located at 551 Canyon Road. In addition, she had a studio for a time on property she owned near Atalya Hill. Part of that property was donated to the Forest Trust by her friend, Irene Von Horvath. It is now open to the public as the DNS Trail.

With her sister Margretta and others she worked to foster an appreciation of Indian arts and crafts and Indian culture. Her Handbook of Indian Dances was an outgrowth of this interest. In her Canyon Road studio she produced linoleum and wood block prints for her editions of several Shakespeare plays as well as the Indian Dances handbook. During the years 1912-1915, she studied at the Pennsylvania Academy of Fine Arts and in Paris. She died in 1955, and was honored by a retrospective exhibition at the New Mexico Museum of Art.”– Arnold Stream, New Mexico Museum of Art Library and Archives

The Prophecies of the Sibyls

Philippus de Barberis (ca. 1426-1487), Opusculum de vaticiniis Sibillarum (Oppenheim: [Jacob Köbel, ca. 1514). Large woodcut on title-page and 12 full page woodcuts of female soothsayers. Previous owner: W.J. Le Mattre. Graphic Arts Collection GAX 2015- in process

This collection of the prophecies of the Sibyls was printed by Jacob Köbel (1460-1533), who ran a press in Oppenheim from 1503 to 1532. Although there is no date in the book, we believe it was printed about 1514 (Goff B-122, after 1500). Counting the title page, there are 13 large woodcuts with quotations and architectural borders. This is not the copy owned by Arthur Vershbow but in equally good condition.
The source for the texts of the prophecies of the Sibyls is by the Dominican Philippus de Barberis, Discordantiae sanctorum doctorum Hieronymi et Augustini adiunctis aliis opusculis, which was compiled c. 1479 and appeared in several printed versions.

“L’Opusculum de his in quibus Augustinus et Hieronymus dissentire videntur in divinis litteris fu riedito in una raccolta di scritti detta Opuscula (pubblicata perla prima volta nel 1481; il titolo è ricavato dalla prefazione), con il titolo di Discordantiae sanctorum doctorum Hieronymi et Augustini (unico opuscolo della raccolta che sia opera del B.): il contenuto degli altri scritti degli Opuscula (i vaticini delle sibille, i carmi della poetessa Falconia, il simbolo anastasiano, l’orazione domenicale, la salutazione angelica, ecc.) induce a pensare che questa raccolta fosse destinata a uso scolastico; essa, comunque, ebbe una certa fortuna e varie edizioni, alcune delle quali successive alla morte del Barbieri. Iù stata avanzata dal Di Giovanni l’ipotesi che il B. fosse anche l’autore di un’opera intitolata De vita et moribus philosophorum (Codice 3. Q.q. A. III, cc, 65 della Biblioteca comunale di Palermo): centoventotto biografie di filosofi, poeti e scrittori, seguite, per meglio porne in evidenza il pensiero, da brani delle opere dei biografati. Poiché il manoscritto proviene dal convento domenicano di Palermo e fu copiato in Sicilia, poiché il B., sino al Quattrocento, fu l’unico a interessarsi di storia delle scienze, il Di Giovanni gli attribui questo lavoro, seppure con riserva. Questa conclusione tuttavia non può che rimanere allo stato di ipotesi; né si può ritenere che tale lavoro sia da identificarsi con il De inventoribus,noto soltanto attraverso la citazione della Viroruni illustrium cronica dello stesso Barbieri.” Dizionario Biografico degli Italiani – Volume 6 (1964)

A Budget of Wit was found while moving the collection

The Budget of Wit; or, Choice Selections of Bon Mots, Irish Bulls, Witty Stories, &c. … (London: Dean & Munday [1818]). 286 p.; 7 cm. Engraved title and 1 pl. “Cruikshank, del., Davenport, sculp.” In brown wrapper original back preserved, title of which is “Little budget, 1818.” Graphic Arts Collection (GA) Cruik 1818.28s

Thanks to our good colleagues, this miniature book was discovered today during our collection move. It is one a many humorous volumes with designs by George Cruikshank (1792-1878) etched by Samuel Davenport (1783-1867). Although it is small, it is extremely rare and we are glad to have it back in the right sequence on our shelves.

Lithographic covers by Toulouse-Lautrec

Julien Sermet (born 1855), Les courtes joies: poésies (Brief Pleasures: poems); préface de Gustave Geffroy [Cover illustrations by Henri de Toulouse-Lautrec] (Paris: Joubert, 1897). Graphic Arts Collection (GAX) 2015- in process

The Graphic Arts Collection recently acquired four small books with original lithographic paper wrappers designed by Henri de Toulouse-Lautrec (1864-1901). All of them were included in the exhibition catalogue Toulouse-Lautrec Book Covers & Brochures published by the Department of Printing and Graphic Arts, Houghton Library in 1972 (Graphic Arts GA NC980.5.T68 H37).

On several of these volumes the design continues around and onto the back cover. On this book, the artist depicts a fishwife selling herring on the front, with the image of Don Quixote on the back.

Tristan Bernard (1866-1947), Les pieds nickelés: comédie en 1 acte (Nickel-plated Feet, i.e. Those Who Don’t Work: A Comedy in One Act) [First performed in Paris at the Théâtre de l’Oeuvre, March 15, 1895. Cover illustrations by Henri de Toulouse-Lautrec] (Paris: P. Ollendorff, 1895). Graphic Arts Collection (GAX) 2015- in process

On the front of this book [above], Lautrec has drawn three figures. The woman seen at the bottom has been identified as the pianist Misia Sert (born Maria Zofia Olga Zenajda Godebska, 1872-1950) who was a patron to many French artists and with her first husband Thadée Natanson, hosted a salon in Paris. She also posed for many of the painters, including Lautrec.

Tristan Bernard (1866-1947), Le fardeau de la liberté; comédie en un acte (The Burden of Liberty. A Comedy in One Act) [Cover illustrations by Henri de Toulouse-Lautrec] (Paris: Éditions de la Revue blanche, 1897). Graphic Arts Collection (GAX) 2015- in process.

Louis Marsolleau (1864-1935) and Arthur Byl (died 1908), Hors les lois: comʹedie en un acte (Outside the Law: a Comedy in One Act) [Performed first at the Thʹeatre Antoine, Nov. 5, 1897. Cover illustrations by Henri de Toulouse-Lautrec] (Paris: P.-V. Stock, 1898). Graphic Arts Collection (GAX) 2015- in process

If you open the wrapper fully on this volume, you will see a couple watching two costumed actors admiring a bust of Molière. Lautrec went to the theater often and designed both posters and programs for many productions.

Illustrated by Brunelleschi

Alfred de Musset (1810-1857), La nuit venitienne. Fantasio. Les caprices de Marianne. Illustrated by Umberto Brunelleschi (1879-1949) (Paris: L’edition d’art H. Piazza, 1913). Colophon: Il a été tiré de cet ouvrage cinq cents exemplaires sur papier du Japon signés par l’artiste./ “Achevé d’ imprimer a Paris le 10 Novembre 1913.” Graphic Arts Collection 2015- in process. Gift of Andrea G. Stillman.

Umberto Brunelleschi (1879-1949), Contes du temps jadis (Paris: l’Édition d’art, H. Piazza, 1912). “Achevé d’imprimer le 10 Octobre 1912 par G. Kadar, Paris”–Colophon. “Il a été tiré de cet ouvrage 400 exemplaires sur papier du Japon”–Verso of half-title. Graphic Arts Collection 2015- in process. Gift of Andrea G. Stillman.

Thanks to the generous gift of Andrea G. Stillman, the Graphic Arts Collection has acquired two volumes with illustrations designed by Umberto Brunelleschi. Both were published in limited editions by Jules Henri Piazza (1861-1929) under the imprint L’Edition d’Art (The Art Edition H. Piazza and Company). For over 30 years, Piazza issued luxury books in French and English illustrated with reproductions after designs by living artists. We are fortunate to add these two to our collection.

Gazette du Bon Ton completed

Gazette du bon ton: arts, modes et frivolities (Paris: Lucien Vogel, 1912–1925). 700 pochoir plates. Graphic Arts Collection (GAX) Oversize GT500 .G252q

The Graphic Arts Collection holds nearly 200 books and magazines with pochoir (stencil) coloring, assembled primarily by Charles Rahn Fry, Class of 1965. Fry’s collection includes the first half of the French fashion magazine Gazette du Bon Ton, published by Lucien Vogel (1886-1954) from 1912 to 1915 when it was suspended at the outbreak of the First World War.

Each issue contains ten unbound, pochoir colored fashion plates produced by notable artists and illustrators such as Georges Lepape, Pierre Brissaud, Georges Barbier, and Bernard Boutet de Monvel.

Recently, we had the opportunity to acquire the second half of the publication, 1920 to 1925, completing the set of all 70 issues contained in 69 fascicles. These not only include all the original pochoir plates but the advertising supplements as well.

Several changes occurred when the magazine resumed publication in 1920. In particular, it had a second editor, the American Condé Nast (1873-1942). Vogel collaborated with Nast on a pavilion and publication for the 1915 Panama Pacific International Exposition. The two men worked so well together that when the Gazette resumed in 1920, Nast provided the financial backing and both men were listed on the masthead. Nast was so taken with the French publication that he began his own American edition called: Gazette du Bon Genre (not at Princeton).

The Complete Collation of the Gazette du Bon Ton is as follows:
No. 1 Undated no volume number (Novembre 1912); No. 2 Undated no volume number (Décembre 1912); No. 3 Undated no volume number (Janvier 1913); No. 4 Février 1913 no volume number; No. 5 Mars 1913 no volume number; No. 6 Avril 1913 no volume number; No. 7 Mai 1913 no volume number; No. 8 Juin 1913 no volume number; No. 9 Juillet 1913 no volume number; No. 10 Aout 1913 no volume number; No. 11 Septembre 1913 no volume number; No. 12 Octobre 1913 no volume number; No. 1 Noël Janvier 1914 no volume number; Février 1914 first appearance of a volume number: 2e Année No. 2; Mars 1914 2e Année No. 3; April 1914 2e Année No. 4; Mai 1914 2e Anné No. 5; Juin 1914 2e Année No. 6; Juillet 1914 2e Année No. 7; Été 1915 2e Année Nos. 8-9.

Recently added: Janvier-Février 1920 3e Année No. 1; Mars 1920 3e Année No. 2; Avril 1920 3e Année No. 3; Mai 1920 3e Année No. 4; Juin 1920 3e Année No. 5; Juillet 1920 3e Année No. 6; No month given, 1920. 3e Année No. 7; No month given, 1920. 3e Année No. 8; No month given, 1920. 3e Année No. 9; No month given, 1920. 3e Année No. 10; No month given, 1921. 4e Année No. 1; No month given, 1921. 4e Année No. 2; No month given, 1921. 4e Année No. 3; No month given, 1921. 4e Année No. 4; No month given, 1921. 4e Année No. 5; No month given, 1921. 4e Année No. 6; No month given, 1921. 4e Année No. 7; No month given, 1921. 4e Année No. 8; No month given, 1921. 4e Année No. 9; No month given, 1921. 4e Année No. 10; No month given, 1922. 5e Année No. 1; No month given, 1922. 5e Année No. 2; No month given, 1922. 5e Année No. 3; No month given, 1922. 5e Année No. 4; No month given, 1922. 5e Année No. 5; No month given, 1922. 5e Année No. 6; No month given, 1922. 5e Année No. 7; No month given, 1922. 5e Année No. 8; No month given, 1922. 5e Année No. 9; No month given, 1922. 5e Année No. 10; No month given, 1923. 6e Année No. 1; No month given, 1923. 6e Année No. 2; No month given, 1923. 6e Année No. 3; No month given, 1923. 6e Année No. 4; No month given, 1923. 6e Année No. 5; No month given, 1924. 6e Année No. 6; Mars, 1924. 6e Année No. 7; Avril, 1924. 6e Année No. 8; Mai, 1924. 6e Année No. 9; Juin, 1924. 6e Année No. 10; Juillet, 1924.7e Année No. 1; No month given, 1924-1925 7e Année No. 2; No month given, 1924-1925. 7e Année No. 3; No month given, 1924-1925. 7e Année No. 4; No month given, 1924-1925. 7e Année No. 5; No month given, 1924-1925. 7e Année No. 6; No month given, 1924-1925. 7e Année No. 7 (Special issue Le Pavillon de l’Élégance); No month given, 1924-1925. 7e Année No. 8; No month given, 1924-1925. 7e Année No. 9.

Souvenir travel books

Nearly 100 souvenir travel books just turned up in the Graphic Arts Collection, most with pictorial covers and accordion bound images. Some have original photographs or photogravures. Many are no bigger than the palm of your hand. Here are a few examples.

Les Héros de la ligue

Cornelis Dusart (1660-1704), Les Héros de la ligue. Ou, La procession monacale. Conduitte par Louis XIV, pour la conversion des protestans de son royaume (The Heroes of the League: Or, The Monastic Procession. Led by Louis XIV for the Conversion of Protestants in his Kingdom) (Paris [i.e. Hollande]: Chez père Peters à l’enseigne de Louis le Grand, 1691). 2 preliminary leaves: 24 Mezzotints. Graphic Arts Collection GAX 2015- in process

The Graphic Arts Collection is pleased to add this volume that contains a satirical poem, “Sonnet. Reponse des refugiez aux persecuteurs,” and 24 caricature portraits representing persons playing an important role in the religious struggles at the time. Several years earlier, on October 22, 1685, Louis XIV revoked the Edict of Nantes by signing the Edict of Fontainebleau, which ordered the destruction of Huguenot churches, as well as the closing of Protestant schools.

Each portrait is accompanied by a quatrain. The portraits have been ascribed to C. Dusart, and, with less probability, to L. Gaultier. A set of twelve of the original coloured drawings by Dusart are in the University of Leiden.

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La Lune: Paraissant toutes les nouvelles lunes.

The Graphic Arts Collection holds almost complete runs of La Lune: paraissant toutes les nouvelles lunes (Paris: [s.n.], 1865-1868). GAX 2011-0004E [Princeton owns no.2-98] and the magazine it evolved into: L’Eclipse (Paris: [s.n.], 1868-1876). GAX 2010-0021E. [Princeton owns 1870-1872, 1873-1876].
Founded and edited by François Polo (1838-1874), the magazine’s most important illustrator was André Gill (1840-1885). According to Donald Crafton: “The central attraction was, of course, André Gill (born Louis-Alexandre Gosset de Guines). At this time, in 1878, he was the preeminent caricaturist of France, owing largely to his daring attacks in the illustrated press against the Second Empire….

Hired in 1865 by the courageous publisher François Polo to illustrate his new satirical journal La Lune, Gill was frequently the target of attempts by Emperor Napoleon III to suppress political caricature. In spite of this, the paper had a circulation of 500,000 by 1867.

Gill constantly tested the limits of censorship apparatus that forbade not only unauthorized representations of the government but allegorical content as well. “The Masked Wrestlers” of November 3, 1867, was taken to be an antipapist statement, although it showed only two wrestlers….

It was enough, in December when the case was tried before a magistrate, to send Polo to jail with a stiff fine and meant the end of La Lune. Eight days after the last La Lune, Polo started a new paper to replace it and petulantly called it L’Eclipse.”

—Donald Crafton, Emile Cohl, Caricature, and Film (Princeton: Princeton University Press, 1990). Firestone Library (F) NC1766.F82 C6433 1990