Category Archives: Books

books

What Can a Woman Do, and, What a Woman Can Do

 

As a mother and a full-time journalist, Martha Louise Rayne (1836-1911) became interested in what occupations were both open to and appropriate for the women of her day. In 1883, she wrote What Can a Woman Do: Or Her Position in the Business and Literary Worlds, published the following year and recorded as selling over 100,000 copies. She followed up by opening the Mrs. Rayne’s School of Journalism, specifically focused on training women for a professional career. Other occupations she found to be suitable for ladies were hand-coloring photographs and wood engraving.

Rayne’s book had lasting influence, with new editions and variations on the theme published for generations. “What Can a Woman Do” was quickly modified to read “What a Woman Can Do,” for better or worse.

 

In 1894, Frances Benjamin Johnston (1864–1952) opened her first photography studio in Washington, D.C. After much success, she published an article in the Ladies Home Journal discussing the suitability of photography as a profession for women. https://www.cliohistory.org/exhibits/johnston/whatawomancando/ This was part biography and part addendum to Rayne’s book, which had just been reissued in 1893.

In 1911, the year of Rayne’s death, there was even a silent film entitled “What a Woman Can Do,” but the female character’s only occupation is as an unfaithful wife who destroys her husband’s life.

 

 


 

Martha Louise Rayne, What Can a Woman Do; or, Her Position in the Business and Literary World (Petersburgh, N.Y.: Eagle publishing co., [c1893]) Rare Books (Ex) HD6058 .R3 1893 and Miriam Y. Holden Coll. (Holden). Firestone HD6058 .R3

What a Woman Can Do! (London: Aldine Publishing Company, [189-?]). Rare Books Off-Site Storage RCPXR-6160701

Frances Benjamin Johnston, “What A Woman Can Do With A Camera: With Reproductions of Photographs Taken By The Author, And Here Published For The First Time,” The Ladies’ Home Journal. xiv, no. 10 (Sep 1897): 6.

S.H. Muir, What a Woman can do. Humorous song. Words by Arthur Legion (London: J.H. Larway, 1902)

What a Woman Can Do (1911) Silent film directed by and starring Gilbert M. ‘Broncho Billy’ Anderson (1880–1971).

T. Mullet Ellis (1850-1919), What Can a Woman Do for the Empire? (London: Holden [1915]). RECAP 3729.15.396

Mabel St. John, What a woman can do (London: Published for the proprietors at the Fleetway House, 1917). Woman’s world library no. 105.

Martha Louise Rayne, What Can a Woman Do? (New York, Arno Press, 1974 [c1893]). RECAP HD6058.R3 1974

What Can a Woman Do With a Camera?: Photography for Women / edited by Jo Spence & Joan Solomon (London : Scarlet Press, c1995). Marquand Library (SAPH): Photography TR183 .W537 1995

Aquatints by Alexandre Alexeïeff

Léon-Paul Fargue (1876-1947), Poëmes. Eaux-fortes en coleurs par Alexeieff ([Paris]: Librairie Gallimard, [1943]). Copy 61 of 136. Graphic Arts GAX 2017- in process

 


The Graphic Arts Collection is fortunate to have acquired another volume with aquatints by Alexandre Alexeïeff (1901-1982).

The Russian artist emigrated to France after the Russian Revolution and went on to animate films, design sets, and beginning in 1926, illustrate books by Poe, Baudelaire, Andersen, Hoffman, Tolstoy, Pasternak and Malraux, among others.

In her thesis (Universiteit Utrecht 2012), Bregje Hofstede lists 50 books with prints by Alexeïeff (file:///C:/Users/JULIEM~1/AppData/Local/Temp/Alexander%20Alexeieff%20and%20the%20Art%20of%20Illustration-1.pdf)

The chronological list below may not be complete. Titles with an asterisk have only been illustrated with a frontispiece.

 

Soupault, Philippe, Guillaume Apollinaire (Marseille: Éditions Les Cahiers du Sud, 1926).* – Giraudoux, Jean, La Pharmacienne (Paris: Éditions des Cahiers Libres, 1926). – Giraudoux, Jean, Siegfried et le Limousin (Paris: Aux Aldes, 1927). – Gogol, Nicolai, Le journal d’un fou (Paris: Schiffrin / Éditions de la Pléiade, 1927). Second edition: London, Cress Press Limited, 1929. – Hémon, Louis, Maria Chapdelaine. Récit du Canada Francais (Paris: Éditions du Polygone, 1927. – Maurois, André, Les Anglais (Paris: Cahiers Libres, 1927).* – Maurois, André, Voyage au pays des Articoles (Paris: Schiffrin / Éditions de la Pléiade, 1927). – Genbach, Jean, L’Abbé de l’abbaye, poèmes supernaturalistes. (Paris: Tour d’ivoire, 1927). – Soupault, Philippe, Guillaume Apollinaire, ou Reflets de l’incendie (Marseille: Les Cahiers du Sud, 1927).* – Morand, Paul, Bouddha Vivant (Paris: Aux Aldes / Grasset, 1928). – Pouchkine, Alexandre, La dame de pique (Paris: J. E. Pouterman Éditeur, 1928). Second edition: London, the Blackmore Press, 1928. – Kessel, Joseph, Les Nuits de Sibérie (Paris: Flammarion 1928). – Perrault, Charles, Contes (Paris: Hilsum 1928).* – Green, Julien, Mont Cinère (Paris: Plon, 1928).* – Apollianaire, Guillaume, Les épingles (Paris: Cahiers Libres, 1928).* – Soupault, Philippe, Le roi de la vie (Paris: Cahiers Libres, 1928).* – Bove, Emmanuel, Une Fugue (Paris: Éditions de la belle Page, 1928).* – Green, Julien, Adrienne Mesurat (Paris: Les Exemplaires, 1929). – Perrault, C., Les Contes de Perrault. Édition du Tricentenaire. Illustrés par 33 graveurs (Paris: Éditions Au Sans Pareil, 1928). – Giraudoux, Jean, Marche vers Clermont (Paris: Cahiers Libres, 1928).* – Poe, Edgar Allan, Fall of the House of Usher (Paris: Éditions Orion, 1929). Second edition: Maastricht, Stols, 1930. – Dostoevsky, Fyodor, Les frères Karamazov (Paris: la Pléiade / Schiffrin, 1929). – Kessel, Joseph, Dames de Californie (Paris : NRF, 1929).* – Poe, Edgar Allan, translated by Baudelaire, Colloque entre Monos et Una (Paris: Orion, 1929). – Delteil, Joseph, On the River Amour (New York: Covici, 1929). – Pushkin, Aleksandr Sergeevich, Les recites de feu Ivan Pétrovitch Bielkine (Maastricht/Bruxelles: Stols 1930). – Fargue, L.-P., Poèmes (Paris: NRF Gallimard, 1931). – Fournier, Alain, Le Grand Meaulnes (Paris: Éditions de Cluny, 1931).* – [?] Louys, Pierre, Les Chansons de Bilitis (Paris: Cluny, 1933). – Baudelaire, Charles, Petits poèmes en Prose (Paris: Société du Livre d’Art, 1934). – Cervantès, Don Quichote, 1936. Published without text by ArtExEast, Geneva, 2011. – Andersen, Hans Christian: Images de la Lune (Paris: Maximilien Vox, 1942). – Afanas’ev, Aleksandr, Russian Fairy Tales (New York: Pantheon Books, 1945). – Soupault, Philippe: Journal d’un Fantôme (Paris: Éditions du Point du Jour, 1946).* – Tolstoy, Leo, What Men Live by: Russian stories and Legends (York: Pantheon Books, 1943). – Soupault, Philippe, Message de l’île déserte (Den Haag: Stols, 1947).* – Blake, William, Chants d’innocence et d’expérience (Paris: Cahiers Libres, 1947).* – Soupault, Philippe (transl.), Chant du Prince Igor (Rolle: Eynard, 1950). – Chekov, Anton, Une Banale Histore, suivie de: La Steppe – Goûssev – Vollôdia (Paris Imprimerie Nationale / André Sauret, 1955).* – Flaubert, Gustave, Premières Lettres à L.C. (Paris: Les Impénitents, 1957).* – Pasternak, Boris, Dr Zhivago (Paris: Gallimard, 1959). Second edition by Pantheon Books. – Hoffmann, Ernst Theodore Amadeus, Contes (Paris: Club du Livre, 1960). – Dostoevsky, Fyodor, The Gambler & Notes from the Underground (New York: Heritage Press / Limited Editions Club / Sign of the Stone Book, 1967). – Malraux, André, Oeuvres (Paris: Rombaldi, 1979). – Malraux, André, La Tentation de l’Occident (Paris: Ateliers Rigal, 1991). – Malraux, André, La Condition Humain, (Paris: Ateliers Rigal, 1991). – Malraux, André, La Voie Royale (Paris: Ateliers Rigal, 1991). – Malraux, André, Les Noyés de l’Altenbourg (Paris: Ateliers Rigal, 1991). – Tolstoy, Leo, Anna Karenina (Paris: Rigal, 1995 / Librairie Nicaise, 1997). – Alexeïeff, Alexandre, Album de 120 eaux-fortes et Aquatintes de A. Alexeïeff (Paris: Ateliers Rigal-Bertansetti, 1997).

Digitization of Hamilton Smalls

“1767 / Heartman #27 / This is the / [George Parker] Winship copy. / The only one / known.”  The New-England Primer Improved for the More Easy Attaining the True Reading of English To Which Is Added, The Assembly of Divines, and Mr. Cotton’s Catechism (1767). 10 cm.

In preparation for the digitization of the Sinclair Hamilton Collection, each volume is being examined by Roel Munoz, Library Digital Imaging Manager, and  Mick LeTourneaux, Rare Books Conservator. We are working in order by size, not date, beginning with the smallest American imprints that include woodcuts or wood engravings.

Some conservation will be done now and some will wait until after the volume is photographed, making it easier for the technicians to open and shoot the pages. Missing volumes are being located and Gail Smith, Senior Bibliographic Specialist, is revising the cataloguing to reflect the location in our new vaults.

[Above] An early conservator repaired the spine with new sewing and then, continued stitching across the title page.

[Below] This book was probably repaired by a 19th-century reader using a straight pin, which still holds three pages together.

 

Every binding will be photographed, front and back, as well as all blank pages, although there are very few.  If a special box was constructed for the volumes, it will be photographed also. Wish us luck.

Princeton University. Library. Early American book illustrators and wood engravers, 1670-1870; a catalogue of a collection of American books, illustrated for the most part with woodcuts and wood engravings in the Princeton University Library. With an introductory sketch of the development of early American book illustration by Sinclair Hamilton. With a foreword by Frank Weitenkampf (Princeton, N.J., 1958). Graphic Arts Collection (GAX) Hamilton

Extra Extra George Cruikshank

Thanks to the help of the Friends of the Princeton University Library, the Graphic Arts Collection has acquired an enlarged and extra-illustrated copy of Blanchard Jerrold (1826-1884), The Life of George Cruikshank (London: Chatto and Windus, 1880 (1882)). These four folio volumes are packed with 1,052 additional hand-colored etchings, engravings, portraits, map, letters, drawings, watercolors, and other significant works highlighting and elaborating on the original text.

The Life of George Cruikshank is not an uncommon book, Princeton has several. The text was prepared four years after Cruikshank’s death in 1878 as an homage to the artist. Extra-illustrated versions are also included in our collection but they do not compare to our new acquisition.

Previously, the largest volume in Princeton’s collection was comprised of two octavo books (as published) with 78 additional plates. Our new acquisition is three times the size with extra material from the whole of Cruikshank’s oeuvre, beginning with his earliest caricatures to his book illustrations (especially Dickens) to his obsession with Temperance, including such series as Monstrosities (Fashion), Oliver Twist, Hunting Stories, The Bottle, Drunkard’s Children and many others. Several prints are signed by Cruikshank in pencil and there are frequent notes concerning their rarity.


There are many plates of London views and haunts; portraits of the Royal family and leading celebrities; playbills and posters for theater productions; along with many prints by Cruikshank’s family and colleagues, such as Thomas Rowlandson, Isaac Cruikshank, James Gillray, Robert Cruikshank and others.

There are seventeen manuscripts and signed items including autograph letters by George Cruikshank, Ruskin, Jerrold, Crowquil, and others. One letter has been attributed to Guy Fawkes.

Note the added borders on the lower print.

 


Extra-illustrated books are receiving attention from a new generation of scholars. A major conference is planned for next spring at the Herzog August Library in Wolfenbüttel, Germany along with a special issue of the journal Wolfenbütteler Notizen zur Buchgeschichte on the subject.

In his study of the history, symptoms, and cure of a fatal disease caused by the unrestrained desire to possess printed works, Thomas Frognall Dibdin observes that “[a] passion for a book which has any peculiarity about it,” as a result of grangerising by means of collected prints, transcriptions, or various cutouts, “or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania.”

Holywell Street

These volumes join Princeton University Library’s collection of over 1000 of Cruikshank’s caricatures and over 100 of his drawings, collected by Richard Waln Miers, Class of 1888. Thanks to our Friends, these new materials enhance an already great collection, bringing added rewards to our students and to scholars worldwide.

Pfeffel’s Fables

Gottlieb Konrad Pfeffel (1736-1809), Fables et poésies choisies de Théophile-Conrad Pfeffel: traduites en vers français et précédées d’une notice biographique par M. Paul Lehr (Strasbourg: G. Silbermann et L. Derivaux, 1840). Graphic Arts RECAP-97004798

Originally written in German and published as Fabeln und poetische Erzählungen, nine editions of the text were published between 1840 and 1861. Paul Lehr (1787-1865) did the French translation in 1840 for the publishers Sibermann and Derivaus, who paid special attention to the design and printing of this edition. Michael Twyman notes that some of the earliest datable examples of the five-colour method are to be found in this volume.

Georges Zipélius (1808-1890) drew the illustrations and Frédéric-Emile Simon (1805-1886) was responsible for the chromolithographic printing on the title page and on the four chapter or book titles, with text printed by Gustave Silbermann (1801-1876).


David Whitesell, at the University of Virginia wrote a nice piece on planographic printing found in their collection, commenting

“Printers have long sought to demonstrate and advertise their prowess through specimen work, and lithographers have been no exception. Perhaps the finest early chromolithographic printing was that executed by the Strasbourg firm of Frédéric Émile Simon. During the 1830s Simon teamed with the innovative calligrapher Jean Midolle to issue three extraordinary specimen books . . . [including] Album du Moyen Âge (1836). That many of its plates are heightened with dusted gold, silver, and bronze powders, and even some discreet hand coloring, does not detract from their beauty and technical mastery.”

The Young Crocodile and the Lizard

One day a young crocodile, on the banks of the Niger, discovered a lizard; He was going to devour him. “Grace!” said the reptile, “For your cousin.”
“How talkative! You my cousin? Explain the matter to me. – You see in me, my dear parent, A crocodile still child.”
“Indeed, yes, the more I consider you, the more I perceive that we resemble each other; But to dispel my doubts, let us go and find my mother; Quickly, my dear cousin, let us plunge!”
The frightened lizard: “What! you want me to dive? I never supported the water. – Oh! for the blow, all handsome!
“You think I’m imposing it by a rude lie: I’m not your dupe, and I’m going, neighbor, to swallow you!”
At these words, opening his huge mouth, he crunched without pity the alleged cousin.

One cannot always be deceived by appearance.

Schiller’s Gedichte

When Lucien Goldschmidt and Weston Naef got to Schiller’s Gedichte, while working on The Truthful Lens, they did not mince words but described it as “the most sumptuous early German book illustrated with photographs.” —The Truthful Lens: a Survey of the Photographically Illustrated Book, 1844-1914 , no. 145 (1980). GARF Oversize TR925 .G73

 

To mark the centenary of Friedrich Schiller’s birth, a Jubiläum (anniversary) edition of his poems was published between 1859 and 1862, decorated with 44 albumen silver prints by Joseph Albert (1825-1886), after drawings by Böcklen, Kirchner, C. Pilothy, F. Pilothy, Ramberg, Schwind, and others. Throughout the text are woodcuts by an unidentified artist after designs by the Nazarene artist Julius Schnorr von Carolsfeld (1794-1872).

The Graphic Arts Collection is fortunate to have acquired this extraordinary book, beautifully bound in beveled-edge wooden boards covered with dark green embossed morocco and brass-corner bosses.

 

Friedrich Schiller (1759-1805), Schiller’s Gedichte, mit Photographieen nach Zeichnungen von Böcklen … [et al.]; und Holzschnitten nach Zeichnungen von Julius Schnorr (Stuttgart: Cotta, 1859-1862). Graphic Arts Collection GAX 2017- in process

 

 

Ode To Joy
Friedrich Schiller, translated by William F. Wertz (first section)

Joy, thou beauteous godly lightning,
Daughter of Elysium,
Fire drunken we are ent’ring
Heavenly, thy holy home!
Thy enchantments bind together,
What did custom stern divide,
Every man becomes a brother,
Where thy gentle wings abide.

Chorus.
Be embrac’d, ye millions yonder!
Take this kiss throughout the world!
Brothers—o’er the stars unfurl’d
Must reside a loving Father.

Who the noble prize achieveth,
Good friend of a friend to be;
Who a lovely wife attaineth,
Join us in his jubilee!
Yes—he too who but one being
On this earth can call his own!
He who ne’er was able, weeping
Stealeth from this league alone!

Chorus.
He who in the great ring dwelleth,
Homage pays to sympathy!
To the stars above leads she,
Where on high the Unknown reigneth.

Joy is drunk by every being
From kind nature’s flowing breasts,
Every evil, every good thing
For her rosy footprint quests.
Gave she us both vines and kisses,
In the face of death a friend,
To the worm were given blisses
And the Cherubs God attend.

Chorus.
Fall before him, all ye millions?
Know’st thou the Creator, world?
Seek above the stars unfurl’d,
Yonder dwells He in the heavens.

 

Every Building on the Thames Strip

John Heaviside Clark, Panorama of the Thames from London to Richmond (London: Samuel Leigh, ca. 1824). Graphic Arts Collection GAX 2017- in process


In 1966, American artist Ed Ruscha pieced together photographs showing both sides of the Los Angeles Sunset Strip from Beverly Hills and Laurel Canyon. The mile and a half stretch of road became a 24-foot-long leporello or concertina folded book, which he called Every Building on the Sunset Strip.

Nearly 150 years earlier in 1824, Scottish printmaker John Heaviside Clark (ca. 1770-1836) created 45 aquatinted etchings of the Thames River, showing the buildings and landscape on both sides from London to Richmond. The 15-mile stretch became a bound volume called Panorama of the Thames from London to Richmond. If it were unbound, the prints would extend 59 feet (18 meters).

 

Edward Ruscha, Every Building on the Sunset Strip ([Los Angeles]: E. Ruscha, 1966). 1 folded sheet ([53] p.). Graphic Arts Collection (GAX) 2006-2722N

 


 

John Heaviside Clark was sometimes known as Waterloo Clark, after the drawings he made of the battlefield. He exhibited regularly at the Royal Academy and published A Practical Essay on the Art of Colouring and Painting Landscapes (1807); A Practical Illustration of Gilpin’s Day (1824); The Amateur’s Assistant, or, A series of instructions in sketching from nature (1826); Elements of Drawing and Painting in Water Colours; (1841)(GAX) 2003-0273N; and Friedrich Wilhelm Delkeskamp (1794-1872), Panorama of the Rhine and the adjacent country from Cologne to Mayence (ca. 1830)(Ex) Oversize 2008-0020Q.


 

Being a pleasant and profitable companion for children

It was a good day. In preparing to digitize the smallest volumes in the Sinclair Hamilton collection of American books illustrated with woodcuts and wood engravings, we made a search for the few missing copies. Many were found including this 1774 edition of The History of the Holy Jesus, printed and sold by John Boyle in Marlborough Street, Boston. Note the frontispiece portrait of “a lover of their precious souls.”

 


Many of the illustrations in this 1774 edition are thought to have been cut by Isaiah Thomas (1749-1831) after the metal relief plates engraved by James Turner (1722-1759), first published in 1745. The Sinclair Hamilton Collection has six editions of The History of the Holy Jesus, 1749: Hamilton 28s; 1749: Hamilton 1311(1)s; 1767: Hamilton 68(2)s; 1774: Hamilton 68(1)s; 1779: Hamilton 88s; and 1958 (1746): Hamilton 1311(2)s.

For more, see Dale Roylance’s “Of Sin and Salvation,” in Princeton University Library Chronicle Winter 1998 http://libweb5.princeton.edu/visual_materials/pulc/pulc_v_59_n_2.pdf

One of the cuts completely changed by Thomas is this image of three stars, which replaced a picture of three wise men. Two might be seen as falling stars, or shooting stars. Below are a few more of his cuts.

 


The History of the Holy Jesus: containing a brief and plain account of his birth, life, death, resurrection and ascension into heaven: and his coming again at the great and last Day of Judgment: being a pleasant and profitable companion for children: composed on purpose for their use / by a lover of their precious souls. The twenty-fifth edition. Boston: Printed and sold by John Boyle … , 1774. Woodcuts attributed to Isaiah Thomas. Cf. Hamilton. Inscribed “Moley Heving, her book” and “Moley Heving, her book, bought the year 1779, March the 22, price four shillings.”–in ink, on frontispiece recto. Graphic Arts Collection (GAX) Hamilton 68(1)s

 

 

Sermones prestantissimi sacrarum literarum

Johann Geiler von Kaysersberg (1445-1510), Sermo[n]es prestantissimi sacrarum literarum doctoris Joa[n]nis Geilerii Keiserspergii, contionatoris Argetine[m] fructuosissimi de te[m]pore [et] de s[e]ctis accomodandi ([Strasbourg]: [Joannes Grüniger], [1515]). Bound in contemporary blind-stamped half pigskin over wooden boards with brass clasps, the book has been rebacked, preserving old spine. Provenance: early marginalia; Joh. Wigand (signature on title); collection of Arthur and Charlotte Vershbow; purchased from John Fleming, 1971. Graphic Arts Collection GAX 2017- in process

The Graphic Arts Collection recently acquired one of several issues of the second edition of Geiler’s sermons, illustrated with the same unusual set of woodcuts representing danse macabre subjects that appeared in the first edition of 1514. Geiler, sometimes called the German Savonarola, was a “preacher at the Strassburg cathedral, who attracted huge audiences while advocating reform. Inspired by the ideals of humanism, Geiler composed and delivered sermons that were at once learned and passionate, and above all, accessible to a broad audience.” Carlos M.N. Eire, Reformations: The Early Modern World, 1450-1650 (2016).

The title page is printed in the dotted manner or manière criblée or Schrotblatt, a technique found in Germany and France in the late 15th and early 16th centuries, in which the design is created from punches or stamps on a metal plate. Seven woodcuts and numerous woodcut initials also decorate the book.

For more about the dotted manner technique, see also: Prints in the dotted manner and other metal-cuts of the XV century in the Department of Prints and Drawings, British Museum, edited by Campbell Dodgson …(London: Printed by order of the Trustees, 1937). Marquand Library (SA) Oversize NE55.L8 B709f

Sylvester Rosa Koehler (1837-1900), White-line engraving for relief-printing in the fifteenth and sixteenth centuries. [Dotted prints, gravures en manière criblée, Schrotblätter] (Washington: Government Printing Office, 1892). Marquand Library NE1000 .K7

Blocks, cut but never printed

One hundred and fifty curators, conservators, and historians met on Thursday 21 September 2017 at the Courtauld Institute, London, to view and discuss “Blocks Plates Stones.”

Twelve papers were delivered, including Huigen Leeflang of the Rijksmuseum seen here introducing the “curtain viewer” developed by Robert G. Erdmann, senior scientist at the Rijks, which allows you to compare differing impressions or a plate together with a print in the same image. The Metropolitan Museum of Art posted examples of Erdmann’s viewer that you can use online: http://www.metmuseum.org/exhibitions/listings/2017/hercules-segers/segers-closer-look

In addition, there were nine object sessions with physical blocks and plates. Seen here are a selection of “printing blocks from the collections of Senate House Library” by Tansy Barton, Senate House Library. Nineteen posters introducing new and continuing projects were available with their creators. After today, the posters have been accepted into the newly established Poster House in Chelsea, New York City.

One thread throughout the sessions involved blocks prepared but never printed. Conference organizer Elizabeth Savage reminded us that William Morris never allowed anyone to print from his woodblocks but only from the electrotypes after them. The boxwood blocks for his Kelmscott Chaucer were wrapped up and packed away for 100 years to assure they would not be inked or printed. **Those 100 years are now over and the blocks, in the British Museum, might be available for printing (or at least photographing).

See the article written by Peter Lawrence in the August 15, 2015 issue of Multiples, the Journal of the Society of Wood Engravers, edited by Chris Daunt, for more information about Morris’s blocks. Princeton students note: This can be ordered through interlibrary loan and should not be confused with the Wood Engravers’ Network (WEN). The Graphic Arts Collection at Princeton has the archive for the Wood Engravers Network here:

Wood Engravers’ Network collection (1995- ). Consists of issues of Bundle, Newsletter, and Block & Burin, along with membership directories, supplier directories, announcements, and other related printed material. Grouped by date into folders labeled by Bundle issue number. Graphic Arts Collection (GAX) 2015-0046F.