William Smith (1833/34-1867), Advertise. How? When? Where? With illustrations by William McConnell (1833-1867) and Joseph Swann (London: Routledge, Warne, and Routledge, 1863). Graphic Arts Collection GAX 2013- in process

Historian Thomas Richards calls William Smith, author of Advertise. How? When? Where? a “prophet of modern advertising.” He notes that after the Great Exhibition of 1851 traditional methods of advertising changed radically and that Smith asserted that advertisers ought to exploit these new technologies so as to monopolize all attention. (The Commodity Culture of Victorian England: Advertising and Spectacle, 1851-1914, Stanford University Press, 1991).

I like the fact that he could tell you how many fliers to print if you wanted to paper Covent Garden on a Friday night.

Thomas argued, “Spectacle has become paramount. The commodities in the Crystal Palace are no longer the trivial things that Marx had once said they could be mistaken for; they are a sensual feast for the eye of the spectator, and they have taken on the ceremonial trappings of the dominate institutions and vested interests of mid-Victorian England. In his little book, which later went through twenty-three editions, Smith was one of the first in advertising to acknowledge the power of spectacle in organizing and channeling signification around and through manufactured objects.”

Graphic Arts Collection recently acquired a set of promotional volumes for the French wine distributor Maison Nicolas. Each of these charming annuals was designed by a different contemporary designer, including Marcel Jeanjean, Pierre Lissac, Armand Vallée, Carlègle and in particular, Charles Martin. The text is by Georges Montorgueil, one of several pseudonyms used by the French journalist Octave Lebesgue (1857-1933).

Georges Montorgueil (1857-1933), Monseigneur le Vin (Paris: Van Gindertaele; Poyet; Draeger), 1924-27. Five volumes. Original marbled faux suede paper wrappers. Lithographs and pochoir prints. Graphic Arts Collection in process.

The series includes Le Vin è Travers l’Histoire; Le Vin de Bordeaux; Le Vin de Bourgogne; Anjou-Touraine, Alsace, Champagne et Autres Grands Vins de France; and finally L’Art de Boire (Wine Throughout History; Wines of Bordeaux; Wine of Burgundy; Anjou–Touraine, Alsace, Champagne and Other Great Wines of France; and finally, The Art of Drink).

Street vendors, both past and present, are known for their cries or patter, which lets the customer know what they are selling. Sets of prints depicting these vendors and their merchandise, informally known as Cries, are often distinguished by the city in which they work, such Cries of London or Cries of Paris.

Christoffer Suhr’s 1808 Cries of Hamburg presents 120 street vendors in fully rendered plates, with a surprising variety of food, crafts, and other goods for sale. Der Ausruf in Hamburg was originally issued in 10 parts from 1806 to 1808 and then, bound together into a single volume.

The three Suhr brothers in this family were all artists. Christoffer Suhr (1771-1842) was the oldest, a trained portrait painter and “Professor Extraordinarius” at the Berlin Academy before returning to Hamburg. Cornelius Suhr (1781-1857) was primarily an engraver and Peter Suhr (1788-1857) ran a lithographic press. Together the Brothers Suhr produced a number of prints, illustrated books, maps, and other Hamburgensie (Hamburg memorabilia).

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Christoffer Suhr (1771-1842), Der Ausruf in Hamburg: vorgestellt in ein hundert und zwanzig colorirten Blättern [Hamburg Cries: Presented in 120 Colored Plates] (Hamburg: [Conrad Müller], 1808. Preface by Karl Johann Heinrich Hübbe (1764-1830). Purchased with funds provided by the Rare Book Division and the Graphic Arts Collection, GAX 2013- in process

See more: Katalog der Freiherrlich von Lipperheide’schen Kostümbibliothek (1963). Marquand Library (SA) Z5691 .B45 1963; 807.

Before Joseph Moxon (1627-1691) published Mechanick Exercises, the first comprehensive manual on printing, he published a set of rules on forming letters that would be “useful for writing masters, painters, carvers, masons, and others that are lovers of curiosity.” He dedicated the book to Sir Christopher Wren and called it Regula Trium Ordinum Literarum Typographicarum, or the Rules of the Three Orders of Print Letters (1676). Princeton recently acquired a copy.

Moxon’s letterforms are adapted from Dutch originals. He includes both Roman and Italic, upper and lower cases, and pays special attention to the ampersand. Moxon writes, “Among the many curious Inventions of Humane Wit, the communicating Conceptions by the Complication of Characters is worthily accounted the most Ingenious, most Necessary, and most Admirable, that an High-flown Fancy in its greatest Sublimity could have produced into the World.

Joseph Moxon (1627-1691), Regulae Trium Ordinum Literarum Typographicarum, or, The Rules of the Three Orders of Print Letters: viz. the Roman, Italick, English, Capitals and Small: Shewing How They are Compounded of Geometrick Figures, and Mostly Made by Rule and Compass. Useful for Writing Masters, Painters, Carvers, Masons, and Others that are Lovers of Curiosity (London: printed for James Moxon, on Ludgate Hill at the Sign of Atlas, 1676). Graphic Arts Collection GAX 2013- in process.

Moxon was a hydrographer and printer but also accomplished in other specialties. He described himself as “conversant in . . . smithing, founding, drawing, joynery, turning, engraving, printing books and pictures, globe and map making, mathematical instruments, &c.”

His Rules of the Three Orders was meant to be concise and easy to use. For instance, he saw no reason to repeat rules for ligatures or double letters, but wrote, “I need not discourse on [them], because by these paterns [sic] you may see how they are joyned [sic] together. Having given you such full instructions upon the Roman Capitals and Small Letters, I think it needless to give you copious rules upon the Italick or English Letter, the Paterns being so large that every Member in them are distinct and intelligent, and the Manual Operations so much the same in all, that the Scales down the side and in the Bottom-line serve for an ample Discourse upon every one of them.”

The real name of the author of this rare humorous treatise is Joseph Nightingale (1775–1824), which is Elagnitin spelled backwards (except for the gh). Trained as a Wesleyan Methodist, Nightingale later became a Unitarian minister but made his living primarily as a writer. According to the DNB, “After the publication of his Portraiture of Methodism (1807) Nightingale was exposed to much criticism. When an article in the New Annual Register for 1807 characterized him as ‘a knave’ he brought an action for libel against John Stockdale (1749?–1814), the publisher, and recovered £200 in damages on 11 March 1809.”

“In 1824 he was again received into membership by the Methodists. In private life ‘he was of a kind disposition, lively imagination, and possessed a cheerfulness that never deserted him.’” The author of 50 books including biography, travel, and religion, this satirical text was completed late in his career and is the only book he published under a pseudonym.

J. Elagnitin (Joseph Nightingale 1775-1824), Mock Heroics on Snuff, Tobacco, and Gin ; and a Rhapsody on an Inkstand ; with four appropriate coloured caricature engravings by [Isaac Robert] Cruikshank (London: Printed by and for Hodgson and Co, 1822). Graphic Arts Collection GAX 2013- in process.