Category Archives: Books

books

Henrietta Maria Moriarty, artist and novelist

Henrietta Maria Moriarty (1781-1842), Viridarium: Coloured Plates of Greenhouse Plants, with Linnean Names, and with Concise Rules for Their Culture (London: Printed by Dewick & Clarke, Aldergate-Street, for the Author; and sold by William Earl, No. 47, Albemarle-Street, Piccadilly. 1806). First edition. 50 handcolored aquatint plates, each accompanied with a corresponding leaf of descriptive text. Graphic Arts Collection GAX 2018- in process.

In his post Avoiding sex with Mrs Moriarty, garden historian Dr. David Marsh writes that facts concerning Moriarty’s life have been elusive. She traveled in high class circles: the book’s subscription list is headed by Prince Augustus, the Duke of Sussex and the younger brother of George IV and William IV.  The work is dedicated to Lady de Clifford, who also bought five copies.

The plates are mainly copied from Curtis’s Botanical Magazine so it leaves open the question of why this work came to press. Thanks to research by our friends at Marlborough Books, we now have answers about who Moriarty really was. They found a novel by Moriarty, published in 1811 under the title Brighton in an Uproar, and writes:

“This is very clearly an autobiographical work in which she uses the nom de plume of ‘Mrs Mortimer.’ Unfortunately this ‘novel’ also seems to have caused her downfall and imprisonment for slander. This connection has apparently eluded research so in case anyone wants to delve further into the mystery of Mrs Moriarty we thought to give at least an outline of her life.”

In Brighton in an Uproar, Moriarty relates why Viridarium came to be written.

Mrs. Mortimer advertised for two or three ladies to board with her: she succeeded in procuring one; and the aunt of one of the officers belonging to the corps in which her husband had served also came to reside with her. Mrs. Forth was a lady of great accomplishments, aid most pleasing manners: her behaviour to Hubertine and her children was such as rendered her an invaluable friend, and meeting with such an inmate was a great blessing to Mrs. Mortimer in her present distressed situation.

. . . Drawing had always been a favourite occupation with her; and she was advised to publish a botanical work by subscription. She was averse to this as she knew her abilities were not equal to such a task; but as it was expected of her, she immediately set about it . . . Another strong inducement to publish by subscription was the ardent desire which she had to liquidate her late husband’s debts; and in this she succeeded as from her exertion’s she paid them all within two year’s amounting to the sum of four hundred and eighty pounds.

Marlborough’s research continues,

“Henrietta Maria was christened on the 22 February 1781 at Romsey in Hampshire. She was the daughter of Major Benjamin Godfrey of the Inniskilling Dragoons and his wife Henrietta. On the 9th July 1796 she married Matthew Moriarty, Esq., of Chatham in Kent and then a Major in the Marines, she would have been barely 15 at the time of her marriage and presumably this was through the consent of her now widowed mother. Unfortunately he was not a good husband, he left a trail of debt and died somewhat dissolute, and worse leaving his widow and children unprovided for.

In order to clear the debts she wrote Viridarium and later also two novels. . . As a widow Henrietta was not reconciled to her Irish relatives and despite trying to make ends meet by writing she was clearly in financial trouble, worse she seems to have slandered someone and was committed to the King’s Bench prison in December 1813. Her occupation as a boarding house keeper, seems slightly desperate and maybe it is not surprising that she is not acknowledged in print from this time forth except the sad record contained in the 1841 census that she was a ward of the Kensington Union Workhouse followed by her death a year later.”

Noa Noa

We pulled the collotype facsimile of Paul Gauguin’s Noa Noa yesterday for the students to study.

Paul Gauguin (1848-1903) began writing his travel journal Noa Noa [Fragrance] after returning to Paris from Tahiti in 1893. The text manuscript was given to the poet Charles Morice (1860-1919) while Gauguin kept his original pages with prints, drawings, and other visual material pasted in.

In 1926, a facsimile of Gauguin’s manuscript, now in the Louvre, was created by the German art historian Julius Meier-Graefe and published in collaboration with R. Piper & Co in an edition of 400. It reproduces Gauguin’s handwritten text and all the pasted in prints and drawings in collotype.

Through his many German connections, former curator of Graphic Arts Elmer Adler was fortunate to acquired copy no. 34. Inside the front cover (now moved to Adler Papers CO262), he kept a letter from John Rewald with a brief explanation of the book’s publishing history. It reads in part:

“New York, April 7th ’43. Dear Mr. Adler, Many thanks for your letter. The story of Noa-Noa is at least as complicated as the one of Avant et après. It was written in France, the idea being conceived by Gauguin and his friend Charles Morice. The original edition contains poems by Morice succeeding each chapter by Gauguin, and no illustrations. It was published after the painter’s return to Tahiti and finally almost caused a complete break between Gauguin and Morice in connection with the royalties etc. The original manuscript with the drawings, watercolors, and photographs pasted in was given by Gauguin to [Georges-]Daniel de Monfreid. When Gauguin’s widow succeeded in extorting the Avant et après manuscript from [André] Fontainas, Monfried feared that he, too, would be unable to resist her tears; he hurried immediately to the Louvre and offered Noa-Noa as a gift.

Noa-Noa still belongs to the Louvre-Museum. The Avant et après manuscript was sold by the German publisher, Kurt Wolf (he is now in this country) who had it acquired legally from Gauguin’s widow and ignored that it actually belonged to Fontainas. I have just been informed by the last owners that it has been definitely lost in the way from England to America, thanks to Hitler’s submarines.”

Various facsimiles have been published over the years, several are digitized but not Gauguin’s original pages: http://onlinebooks.library.upenn.edu/webbin/book/lookupname?key=Gauguin%2C%20Paul%2C%201848%2D1903. Hopefully our friends at the Louvre will digitize it one day.

Paul Gauguin (1848-1903), Noa Noa ([München: Marées Gesellschaft: R. Piper, 1926]). Copy 34 of 400, one of 320 copies bound in woven straw cloth. Letter from John Rewald to Elmer Adler, April 7, 1943, about Noa Noa and Avant et après, in Adler correspondence. Graphic Arts Collection Oversize 2007-0082Q


See also:
Paul Gauguin (1848-1903), Noa Noa [Première éd. du texte authentique de Gauguin, établi sur le manuscrtit initial retrouvé. Préf., étude, vie de l’artiste, notes et bibliographie de Jean Loize ([Paris] A. Balland [1966]. ND553.G27 A3 1966

Paul Gauguin (1848-1903), Noa Noa (Paris: Sagot-Le Garrec, 1954). Facsimiles of a manuscript in the possession of Berthe Le Garrec, and a letter from Charles Morice to Edmund Sagot (laid in). Marquand Library Oversize ND553.G2 A35 1954f

Paul Gauguin (1848-1903), Avant et après, avec les vingt-sept dessins du manuscrit original (Paris, G. Crès et cie, 1923). Marquand Library ND553.G2 A33 1923

Down By The Riverside

Richard Wright (1908-1960) and John Wilson (1922-2015), Down by the Riverside, with four etchings by John Wilson (New York: The Limited Editions Club, [2001]). “The etchings have been editioned at the Center Street Studio by James Stroud.”–Colophon. Copy 88 of 300. Graphic Arts Collection GAX 2018- in process

[left] Richard Wright (1909-1960), Uncle Tom’s Children, Four Novellas (New York, London: Harper & Brothers, 1938). PS3545.R815 U535 1938

 

 

Roxbury-born artist John Wilson (1922-2015) first read Richard Wright in 1945, responding to his words with a lithograph entitled “Native Son.” When the Limited Editions Club commissioned a suite of prints inspired by Wright’s short story Down by the Riverside, Wilson not only produced the prints but wrote the afterword for the volume.

“Growing up in Boston during the late 1920’s and 30’s,” he notes, “I saw gruesome pictures of southern lynchings in the black press. I understood that simply being black was the most important reality affecting my entire life. In New England the attitude was that this was a southern thing because there was no legal discrimination ‘up north.’ Of course everyone in my community understood the difference between rhetoric and reality.”

“In the early forties, I read Richard Wright’s Uncle Tom’s Children. Those powerful, trenchant short stories put me in the middle of ‘that southern thing,’ I felt a strong sense of brotherhood, identifying with his characters struggling to survive with dignity. I understood more clearly the role of terror and uncompromising violence.”

“. . . I chose to illustrate this story because of Wright’s vivid dramatic setting. Etching techniques like aquatint and spit biting were ideal to interpret the dark brooding, murky atmosphere. Above all, the river with its powerful currents and its violent energy . . . seemed to symbolize basic forces of nature. I wanted the blue translucent shapes and flowing rhythms of the water to carry the figures from one episode to the next.”–John Wilson, 2001.

“Down by the Riverside” (previously unpublished), the second short story in the 1938 and 1940 editions of Uncle Tom’s Children, dramatizes the tragic death of a black man, Brother Mann, who uses a stolen boat during a Mississippi flood to take his pregnant wife to a hospital for the child’s delivery. On the way to the hospital, Mann is discovered by the owner of the boat, a white man, who tries to shoot him, but Mann, in self-defense, kills the owner. When Mann reaches the hospital, he finds his wife dead. Later he is drafted by the military men in charge of rescuing flood victims.

The first house to which he is sent, with a black companion, both of them on another boat, happens to be that of the owner of the stolen boat, whose family recognizes Mann. Although he considers killing them, their house suddenly tilts, the axe in his hand does not fall over their heads, and he ends up rescuing them. Once the boat safely reaches the hill, they tell the authorities that Mann is a murderer. As he flees down the riverside, he is shot to death.”–The Mississippi Quarterly, Spring 1993, by Yoshinobu Hakutani

 

Gustave Doré’s Raven


Edgar Allan Poe (1809-1849), The Raven (New York: Harper & Brothers, 1884). Steel engraving after drawings by Gustave Doré (1832-1883). Graphic Arts Collection Oversize 2004-0014F and Oversize 2004-0015F

I was asked today what the original cost was for Gustave Doré’s The Raven, poem by Edgar Allen Poe. The volume is being studied by ART 564 “Seminar in 19th-Century Art–Word and Image.”

This was Doré’s last project, completed weeks before his death on January 23, 1883. His drawings were turned over to Harper & Brothers in New York City, where fourteen master engravers were hired to rush the volume to press. Few of the artists are known today except by last names: H. Claudius; R. A. Muller; W. Zimmerman; Frederick Juengling; G. F. Buechner; R. G. Tietze; F. S. King; T. Johnson; R. Standenbaur; Frank French; R. Schelling; George Kruell; Victor Bernstrom; and Robert Hoskin.

The plates had to be cut in steel rather than copper because of the size of the edition: 10,000 copies with 26 engravings each, requiring at least 260,000 full-page sheets to be printed, collated, and bound.

First mentions of a Doré Raven began appearing almost immediately, such as the “Literary Note” in the Detroit Free Press February 4, 1883, that read,

“A few months before his death, Gustave Dore completed a series of illustrations to Edgar Allan Poe’s ‘The Raven.’ The sketches–between twenty and thirty in number–are now the property of Messrs. Harper & Brothers. They will be engraved in this country and published with the text of ‘The Raven,’ as a companion volume to Messrs. Harper & Brothers’ sumptuous edition of ‘The Ancient Mariner,’ illustrated by Dore.”

By October, the title was advertised as one of Harper & Brothers Christmas gift books at a cost of $10 (equivalent to $244 today). Sales were heavy and Doré’s work received critical praise, unlike the poor reception Édouard Manet’s lithographs for The Raven (Le Corbeau) received in 1875.

The quality of the plates varies widely, according to the skill of the individual engraver. The steel plate added coldness and flatness of the images. However, when they succeed, the result is striking.

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.


 


Robert Delaunay and Vicente Huidobro

Vicente Huidobro (1893-1948) and Robert Delaunay (1885-1941), Tour Eiffel. Poème par Vincente Huidobro; peintures par Robert Delaunay (Madrid: privately printed, 1918). Graphic Arts Collection GAX 2018- in process


In 1908, the painters Robert Delaunay (1885-1941) and Sonia Terk (1885-1979) met and fell in love but had to wait a year for her divorce to come through before they could marry. To celebrate their new life together Delaunay painted the Eiffel Tower, the first of thirty canvases depicting that  symbol of French modernity.

For the next few years the Eiffel Tower became he primary focus, just as Claude Monet painted dozens of haystacks a generation earlier. Through these paintings, he developed a personal style of Cubist fragmentation, interweaving various perspectives with the light and color from different times of the day.

When the series was finally exhibited in Paris, their friend Guillaume Apollinaire (1880-1918) proclaimed Delaunay “an artist who has a monumental vision of the world.” Apollinaire wrote a visual poem or Calligram in honor of Delaunay’s towers and coined the term Orphism to describe the painter’s style.

In 1913, Sonia Delaunay-Terk collaborated with the Swiss-born poet Frédéric-Louis Sauser (1887-1961), better known as Blaise Cendrars, on an epic narrative, La prose du Transsibérien et de la Petite Jehanne de France, describing a Trans-Siberian railway journey concluding at the Eiffel Tower.

Deborah Wye wrote, “Comprised of brightly colored arabesques, concentric circles, triangles, and rectangles, Delaunay-Terk’s pochoir illustrations for Blaise Cendrars’s poem and its radical format have made this a landmark in the history of the modern book. . . . Calling their creation “the first simultaneous book,” Delaunay-Terk and Cendrars drew on the artistic theory of simultaneity, espoused by the artist’s husband, the painter Robert Delaunay, and modern poets.”–Artists and Prints: Masterworks from The Museum of Modern Art (2004).

 

When war was declared, the Delaunays left Paris and in 1918 moved to Madrid, where they opened Casa Sonia to sell Delaunay-Terk’s designs for interior decoration and fashion. That summer, Robert collaborated with the Chilean concrete poet Vicente Huidobro (1893-1948) on another simultaneous book, Tour Eiffel. Huidobro’s visual poem, dedicated to Delaunay, was letterpress printed on multi-colored papers bound with a silken cord.

They used one section of a poem published the year before in the journal Nord-Sud (named for the metro line that linked Montmartre to Montparnasse). As a nod this, Delaunay added these directional terms to his cover design: a brightly stenciled (pochoir) Eiffel Tower embedded in colorful rings, as if picking up where La prose du Transsibérien left off

The Graphic Arts Collection has finally acquired a copy of this important volume for Princeton.




 

 

After the war, they returned to Paris and Delaunay went back to the Eiffel Tower as subject matter, further exploring his colorful Orphism. Delaunay-Terk expanded her textile design business, creating fashions for individual clients and for theatrical performances.

 

Robert Delaunay, “Eiffel Tower,” 1924. Oil on Canvas, 161.6 cm x 96.8 cm. Saint Louis Art Museum, Saint Louis.

North Drive Press

Founded by Matt Keegan and Lizzy Lee in 2003, the North Drive Press published its 5th and final issue in 2010. All except one of the annual publications are out-of-print and so, it was a wonderful surprise when #3 and #5 were donated to the Graphic Arts Collection by James Welling. Both issues include work by current and former Princeton University instructors.

The first issue was distributed in a brown vinyl sleeve but when Susan Barber joined the team, the container was switched to a cardboard box. Many texts are now also available online at: http://www.northdrivepress.com/home.html

“…North Drive Press has provided hundreds of artists and arts practitioners with the opportunity to produce and cheaply distribute new works in multiple form. The annual publication has included 7″ records, posters, books, ready-mades, soap, temporary tattoos, photographs, perfume, and more. Interviews and texts—a core part of the project—are conversational, experimental, and available on our website for free download.

For NDP#3 and NDP#4, Sara Greenberger Rafferty, another artist committed to collaboration and artist-produced publications, joined North Drive Press as co-editor. Sara and Matt expanded North Drive Press to include exhibition and print publishing programs—separate from but complementary to the annual NDP publication.

They organized an evening at New York’s performance venue The Kitchen, published a suite of Exquisite Corpse prints, and exhibited at NADA and various other venues.

NDP #5 is a great note to end on: we’ve helped produce a dynamic assortment of artists’ multiples, from temporary tatoos to custom-made soap; and published a varied and compelling collection of interviews, panel discussions, and texts. We hope North Drive Press has added to the long, rich history of innovative, artist-made publications, and we hope our readers will be inspired to continue to investigate the exciting possibilities that non-traditional formats have to offer.”

North Drive Press #3. Work by Matt Keegan; Sara Greenberger Rafferty; Su Barber; Domenick Ammirati; Leslie Hewitt; Fia Backström; Kelley Walker; Frank Benson; Matt Johnson; Walead Beshty; James Welling; AA Bronson; Paul O’Neill; Pablo Bronstein; Anna Craycroft; Champion Fine Art; Lauren Cornell; Lillian Schwartz; Sarah Crowner; Paulina Olowska; Shannon Ebner; Arthur Ou; Lia Gangitano; Lisa Kirk; Sabrina Gschwandtner; Dara Birnbaum; Rebecca Cleman; Ed Halter ([Brooklyn]: North Drive Press, 2006). Gift of James Welling. Graphic Arts Collection GAX 2018-in process

North Drive Press #5. Work by B’L’ing; Kenneth Goldsmith; Fia Backström; Joseph Logan; Kathrin Meyer; Andreas Bunte; Ann Craven; Amy Granat; Trinie Dalton; Francine Spiegel; Roe Ethridge; Eve Fowler; A.L. Steiner; Luke Fowler; Matt Wolf; Martha Friedman; Heather Rowe; Georg Gatsas; Norbert Möslang; Sam Gordon; B. Wurtz; Matt Hoyt; Jay Sanders; Melissa Ip; Cary Kwok; Matt Kegan; Su Barber ([Brooklyn}; North Drive Press, 2010). Gift of James Welling. Graphic Arts Collection GAX 2018- in process

The Black Panther, not the movie

“The initial idea behind the paper was to inform and to enlighten and to educate people about the basic issues in the community and to tell our story from our own perspective. We had an X-acto blade, some white sheets of paper, and we would typeset [the pages] on the typewriter with the ball. We couldn’t hardly afford but one color ink and so it was black with one other color. . . To get that bold, broad look, I began to mimic woodcuts with markers and pens, playing with shadows . . . We were creating a culture, a culture of resistance … [and] I became the minister of culture.”–Emory Douglas.


A request came recently to see what graphics we had by Emory Douglas (born 1943), minister of culture for the Black Panther Party from 1967 to 1980. The Princeton University Library holds an incomplete run of The Black Panther newspaper, founded by Huey P. Newton (1942-1989) and Bobby Seale (born 1936) in 1967.

Happily, the issues are not faded or damaged, but filled with bold graphics designed by Douglas, many reproduced as posters and fliers after they appeared in the paper.

Printed by Howard Quinn Printers in San Francisco, The Black Panther Intercommunal News Service came out on Wednesday evening and at its height, 100,000 copies were sold weekly in 30 cities across the country [subscription numbers vary widely]. During the 1970s, one issue cost 25 cents.

Jonina Abron, who served as the editor of the paper from 1978 until September 1980 when it closed, stated that “the newspaper staff met weekly to discuss the content of the paper and sought to communicate visually the message contained in the printed articles.”

 

In 2015, Douglas was recognized with the American Institute of Graphic Arts Medal “for his fearless and powerful use of graphic design in the Black Panther party’s struggle for civil rights and against racism, oppression, and social injustice.”  To read more about this event, see: https://www.aiga.org/medalist-emory-douglas-2015.

Retrospective exhibitions of Douglas’s graphic art were held at the Museum of Contemporary Art, Los Angeles from 2007 to 2008 and a second at the New Museum in New York the following year.

 

 

 

 

Black Panther Party. Ministry of Information, The Black Panther (Oakland, Calif.: Black Panther Party for Self Defense San Francisco, CA : The Black Panther Party, Ministry of Information, 1967-1980). Began with volume 1, number 1 (April 25, 1967); ceased with v. 20, no. 9 (Sept. 1980). Annex A 0921.183F

 

Books with Tails

The American bibliographer Henry Stevens (1819-1886) graduated at Yale in 1843 and studied at Harvard Law School in 1843–1844 before moving to London to work as a professional collector of Americana. Many collections—public and private, British and American—are rich thanks to his scholarship and perseverance.

In 1873, he made a list of nearly 2,000 Books with Tails or “continuations.” He also calls them incomplete or unfinished periodicals. A few pages from this list are posted here, in honor of the many book dealers, collectors, and bibliographers coming to town in a few days.




Henry Stevens, American books with tails to ’em. A private pocket list of the incomplete or unfinished American periodicals transactions memoirs judicial reports laws journals legislative documents and other continuations and works in progress supplied to the British Museum and other libraries ([London: Stevens’s Bibliographical Nuggetory, 1873]). ReCAP 04041.881

New Compositions in Human Beauty

 

Nakagawa Shūzō, 人体美の新構成 [Jintaibi no shin kōsei = New Compositions in Human Beauty] (東京 : 太陽社, [1932]). 12 unbound folded sheets with 12 photographs tipped onto the page opposite text. Graphic Arts Collection GAX 2018- in process.

Almost nothing is written, English or Japanese, about this book or the photographer/designer Nakagawa Shūzō, except for entry no. 53 in The Japanese Photobook 1912-1990 ([Göttingen: Steidl, 2017]). Marquand Oversize TR105 .J365 2017q.

If you can tell us more, please write.


La Comédie française 1680-1880

Arsène Houssaye (1815-1896), La Comédie française 1680-1880 ([Paris: L. Baschet, 1880]). 38 portraits, engraved and photogravure. One of 400 copies. ReCAP Oversize 32261.479.3f


Henri Rousselon (1822-1902) joined the Parisian art publishers Goupil & Cie. in 1860 as director of the photographic division, operating from their print “factory” in Asnieres. At first, the company specialized in albumen silver prints, then Woodburytypes, and finally, Rousselon perfected his own unique technique of photogravure, presented to the Société française de photographie in 1872. Within a year, his Goupil-gravures gained international acclaim as the most luxurious of all photomechanical prints, superbly printed in deep, rich blacks with remarkable detail.


The Goupil Company marked the 200th anniversary of the Comédie française with a luxurious volume of full-length portraits, some actors posing in character (deceased members represented from paintings and prints), along with a text written by the theater’s former director Arsène Houssaye (1814-1896).

Included are Molière, Samson, Geffroy, Regnier, Aug. Brohan, Bressant, Talbot, Got, Delaunay, Maubant, Max. Brohan, Marie Favart, Jouassain, Coquelin, Edile Riquier Febvre, Provost-Ponsin, Dinah Félix, Thiron, Reichenberg, Croizette, Mounet-Sully, Laroche, S. Bernhardt, Barré, Barette, Broizat, Worms, Coquelin cadet, Sarnary, Baron, Mlle Clairon, Préville, Mlle David, Mlle Mars, and two company portraits from 1841 and 1863.

To create the photogravures for this compilation, Rousselon used the negatives by five contemporary photographers, the majority of which are by Count Stanislaw Julian Ostrorog (1830-1890) who went by the moniker Walery (also used by his son). A naturalized British citizen, Walery ran a successful portrait business in Paris until 1878, when he returned to work in London. Although his primary studio was on Regents Street as this project was underway, he undoubtedly traveled as demand for his work required.

Only a few portraits in the volume are by the gregarious Étienne Carjat (1828-1906), who learned to use a camera in 1855 and used it to captured hundreds of award-winning portraits of the leading actors, writers, and artists of Paris (all of whom he called his friends). Carjat shot with various size cameras, including large format glass negatives, which were then used to print both Woodburytypes and photogravures, sometimes many years after the initial capture.

Carjat’s friend Paul Nadar (1856-1939) is also represented with a few portraits, as are Ferdinand Mulnier (1817-1891) and the little-known Charles Klary (born 1837).