Category Archives: Books

books

Lovers of Harmony

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The Songsters multum in parvo; or, New pocket companion for the lovers of harmony. Embracing all the popular new songs, singing at the theatres royale, minor places of amusement, & c. (London: J. Fairburn, no date [1808-1810]). 6 volumes. Graphic Arts Collection (GA) Cruik 1808.2

 

A reference question led to the discovery that each of the six volumes in this series has a different frontispiece. The British Museum attributes the designs to Isaac Cruikshank (1764-1811) and notes: “The book, in six volumes, was issued in 72 weekly numbers, 19 Nov. 1808-31 Mar. 1810, each with four plates; the frontispieces and ten of the other plates are after Cruikshank.” Albert Mayer Cohn lists them as drawn by his son George Cruikshank (1792-1878). The engraving was done by William Grainger (active 1786-1809).

Here’s the set:
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Erigeron Philadelphicum and other Medical Flora

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Constantine S. Rafinesque (1783-1840), Medical Flora; or, Manual of the Medical Botany of The United States of North America (Philadelphia: Printed and published by Atkinson & Alexander, 1828/1830). Two volumes. 100 plates printed in green. Graphic Arts Collection GAX 2016- in process.

 

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Constantine Samuel Rafinesque was a botanist and professor. Originally born in Turkey, he came to Philadelphia in 1802. He met Thomas Jefferson in July 1804 while traveling through Maryland, Virginia and the District of Columbia to study the local flora. Although this was their only meeting, they corresponded sporadically for the next twenty years. During their first bout of correspondence, Rafinesque expressed keen interest in the Lewis and Clark Expedition. Jefferson suggested that he might prove useful in a proposed expedition along the Red River. Rafinesque did not join this expedition, having left the country for Italy before receiving the letter. He remained there for the next ten years.

Rafinesque returned to the U.S. in 1815, and accepted a position as a botany professor at Transylvania University in 1819. Rafinesque wrote to Jefferson after a silence of nearly fifteen years to inquire after a professorship at the University of Virginia. Jefferson promised to “lay [his] letter before the board in due time.” Rafinesque was ultimately unsuccessful in securing a position at the new university, despite applying to Jefferson several more times over the next few years.Rafinesque remained at Transylvania University and did extensive archaeological and linguistic work on the early people in the Ohio Valley. In 1826, he moved to Philadelphia where he continued to write until his death by cancer.” –The Thomas Jefferson Encyclopedia: https://www.monticello.org/site/house-and-gardens/rafinesque-constantine-samuel

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Rafinesque opens volume one with 74 main points, beginning:
1. THE Science of Botany was at all times intimately connected with medical knowledge.
2. Several ancient nations, such as the Grecians, Romans, Hindoos, Chinese, &c. considered Medical Botany as equivalent to both botanical and medical knowledge.
3. Medicine was then, and is still among rude nations, nothing more than the application of an empirical knowledge of vegetable substances.
4. Thence the usual vulgar division of Plants, into the five great Classes of ALIMENTS, SIMPLES, POISONS, FLOWERS and WEEDS, or alimentary, medical, poisonous, ornamental and useless plants.
5. At the revival of learning in Europe, this notion being general, the first works on Botany, were of course mere sketches of Medical Botany, and comments on Grecian or Roman writers.
6. When Tournefort and Linnaeus, about a century ago, became botanical reformers, and made Botany a separate Science, their efforts and improvements were resisted by those who at all times contend against useful innovations.
7. Linnaeus in his Materia Medica, gave a model of systematical Medical Botany, equally concise, perspicuous and accurate; but destitute of the help of figures. . .

He ends with 12 concluding remarks:
1. Physicians do not agree on the mode of action of the properties, nor the proximate and intricate operation of remedies; but the ultimate effects and results being ascertained, they are sufficient for practical use.
2. Drugs are Vegetable substances prepared for use, and kept for sale by Druggists or Pharmacians.
3. Those which are imported, are often adulterated, or inferior kinds are substituted; for instance Peruvian Bark or CINCHONA, and Saffron or CROCUS, are hardly to be met with in the U. S.—Caribean bark or PORTLANDIA, and Bastard Saffron or CARTHAMUS, are usually sold instead, which are very weak substitutes.
4. This arises from a want of medical inspections and officinal knowledge: the results are, that prescriptions fail, physicians are disappointed, and patients suffer.
5. To avoid in part these evils, it is desirable to employ our own genuine medical substances, whenever they afford sufficient remedies and suitable equivalents.
6. Medical substances being often impaired by age, it is desirable to obtain them fresh, or in yearly rotation.
7. Fresh and genuine substances can only be obtained at all times from medical gardens, or honest dealers.
8. The best medical gardens in the United States are those established by the Communities of SHAKERS, or modern Essenians, who cultivate or collect about one hundred and fifty kinds of medical plants.
9. They sell them cheap, fresh and genuine, in a compact and portable form. Pharmacians would do well to supply themselves with them, or to imitate their useful industry.
10. Several of our medical plants and drugs are already an object of trade to Europe and elsewhere. Many more may become in demand, when their valuable properties will be better known.
11. A new branch of trade may thus be opened, which it is our duty to encourage, by collecting and cultivating our medical plants.
12. Herbalists and Collectors are often ignorant and deceitful. The best way to prevent their frauds and correct their blunders is, by enlightening them, adopting botanical names, and refusing spurious drugs.
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Inspiration for orators, poets, painters, architects, and sculptors

emblem5This difficult to read title page translates roughly: A Lot of Useful and Artistic Imagery, or, Hieroglyphic Images of the Virtues, Vices, Emotions, the Arts, and the Sciences: where by Orators, Poets, Painters, Architects, Sculptors, Designers, and others pursue their ideas, Or, in the case of a blocked period, provide inspiration so that one  will not be troubled for a long time.

canvas-2Johann Christoph Weigel created 300 emblems to represent, as the title indicates, virtues, vices, emotions, and other curiosities, then described each one in German, Latin, and French.

The engraver and his older, better-known brother Christoph Weigel (1654-1725) worked closely with the most prominent of the Nuremburg map publishers J.B. Homann and the printer, Kohler. Following the death of the older Weigel in 1725, control of the firm passed to his widow, who published a number of Weigel’s maps and atlases posthumously.

It has been speculated that this emblem book was published by one of the Weigel wives after Johann’s death in 1726. emblem3

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Johann Christoph Weigel (1661?-1726), Viel nutzende und Erfindungen reichende Sinnbild-Kunst, oder, Hieroglijphische Bilder, vorstellung [sic] der Tugenden, Laster, Gemuts-Bewegungen, Künste und Wissenschafften: wodurch Rednern, Poeten, Mahlern, Bauverständigen, Bildhauern, durch Zeichnungen und einer Kurtzen Beschreibung Ansatz ihre Gedancken ferner auszuüben gegeben ferner aus zu üben gegeben oder beij gäh verfallenden gelegenkeiten ihne gnugsame Materi vor Augene gelegt wird, damit sie sich nicht lang besinnen dörffen (Nürnberg: Verlegt und zu finden beij Johann Christoph Weigel …, [1730?]). Graphic Arts Collection GAX 2016- in process

The paper of the text and plates are watermarked with a bishop above NMH. This watermark is not recorded in Heawood, but is known to be used for other publications by Weigel all dated ca. 1730. See also: John Landwehr, German Emblem Books 1531-1888. A bibliography (Utrecht: Haentjens Dekker & Gumbert; Leiden, Sijthoff [1972]). Marquand Library (SA) Z1021.3 .L35J: 306, 641.

COOP

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We are pleased to have acquired Princeton Lecturer in Visual Arts Fia Backström’s newest book COOP, which documents the Swedish artist’s performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance.

“Backström’s work focuses on the fabric of our co-existence with and construction of subjectivity through the social life of images. Backström works with structures of political address, corporate logic, and pedagogical methods , destabilizing authorship and the semiotics of images. She uses exhibition as a format for these structures, while turning social situations into operative displays where methods and media are chosen according to the situation and theme. Her work unfolds via a wide range of media including language, marketing, propaganda, typography, broadsides, objects, and performance. Her environments, live events and projects challenge our habitual notions of what constitutes an exhibition – its institutional context, its dialogue with the audience, and even the works of art that are presented. Frequently works by other artists are incorporated, as well as peers, visitors and institutional staff alike, while she fluidly reworks the terms of engagement.”–Lewis Center for the Arts, Princeton University

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Backström came to Princeton in the spring semester of 2010. Apart form teaching at Princeton, Backström also teaches at the Columbia University MFA Graduate Department since 2008, and co-chairs the Milton Avery Bard MFA photography department. She has lectured widely on her work and been a visiting artist in schools such as NYU, Yale University, Rhode Island School of Design, PennU and MICA.

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Congratulations on the 50th Anniversary of “A Humument”


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humument4It is fifty years since Tom Phillips began work on A Humument. This fall Phillips, who was a Director’s Visitor to the Institute for Advanced Study from 2005 to 2011, will launch the final edition of the book, bringing the work to its completion.

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Published today, 27th October, 2016, the final installment of A Humument will appear in three formats: paperback, hardback, and a limited special edition of 100 numbered copies presented in a clamshell box with a signed and editioned print.

Phillips remembers, “A Humument started life around noon on the 5th of November 1966 at a propitious place. Austin’s Furniture Repository stood on Peckham Rye, where William Blake saw his first angels and which Van Gogh must have passed once or twice on his way to Lewisham. As usual on a Saturday morning Ron Kitaj and I were prowling the huge warehouse in search of bargains. When we arrived at the racks of cheap and dusty books left over from house clearances I boasted to Ron that if I took the first one that cost threepence I could make it serve a serious long-term project. My eye quickly chanced on a yellow book with the tempting title A Human Document. Looking inside we found it had the fateful price. ‘If it’s a dime,’ said Ron ‘then that’s your book: and I’m your witness.’”

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 “Neither a novel, a poem, an artist’s book, or a graphic novel,” wrote Sebastian Smee, “Tom Phillips’s ‘A Humument,’ on show at the Massachusetts Museum of Contemporary Art, is a little bit of all these things and one thing incontrovertibly: a masterpiece. It’s also, uncomfortably, a parasite. Sucking steadily at the life juices of an earlier attempt at art, a late-19th-century novel called ‘A Human Document’ by W.H. Mallock, it has transformed its forgotten host page by page, edition by edition, into something far more imaginative and lasting. And while — like a charming houseguest grown fond of the husband he cuckolds — Phillips is unfailingly well-mannered toward Mallock’s book, he has nonetheless thoroughly bested it.” – Smee, “Tom Phillips’s brilliance on every page,” (Boston Globe July 04, 2013)

A Lecture on Heads

lecture-on-heads2In honor of “Reading Faces,” the standing-room-only panel held a few days ago at the Princeton University Art Museum, here is an 1808 “Lecture on Heads”. The University’s scholars focused on caricatures and studies of expressions, approaching the works of art from the perspectives of art history, psychology, and neuroscience.

Speakers included Anne McCauley, David Hunter McAlpin Professor of the History of Photography and Modern Art; Alexander Todorov, professor of psychology; Judy Fan, postdoctoral research associate in the Princeton Neuroscience Institute; and Veronica White, Curator for Academic Programs.

lecture-on-headsGeorge Alexander Stevens, on the other hand, got the idea of a lecture by a country carpenter, who made the character-blocks that formed the subjects of illustrations. It proved an extraordinary success in the hands of the originator. He carried it about England, through the United States, and on finally to Ireland.

After a certain point (there is disagreement on the exact year) Stevens sold his act to the comedian Charles Lee Lewes, who continued to perform the “Lectures” for several years. Lewes is given credit for the performance in this book. The 25 plates in this volume were designed by George Woodward but etched and colored by Thomas Rowlandson.

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Walt Whitman and Aaron Siskind

“You objects that call from diffusion my meanings and give them shape! . . . you are dear to me.”—Walt Whitman

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Sidney Shiff (1924-2010) acquired the Limited Editions Club (LEC) from Cardavon Press in 1978. He soon became known for the prominent artists he convinced to work on his books, including Jacob Lawrence, Henri Cartier-Bresson, Elizabeth Catlett, Francesco Clemente, Ellsworth Kelly, Sean Scully, and in 1990, Aaron Siskind.

Siskind was 86 years old when he agreed to collaborate on a LEC volume with Shiff. Having once aspired to be a poet himself, Siskind chose Whitman from Shiff’s list suggested authors, just as Edward Weston did for his LEC volume in 1942.

To complete the commission, Siskind walked outside his Providence, Rhode Island home and photographed the tar recently poured into the cracks of the local concrete road. Six of his detailed negatives were transferred to copper plates by Paul Taylor and printed as intaglio prints by Clary Nelson to Renaissance Press.

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Walt Whitman (1819-1892) and Aaron Siskind (1903-1991), Song of the Open Road (New York: Limited Editions Club; printed by Paul Taylor, 1990). Letterpress with six photogravures. Designed by Kevin Begos Jr. and Dan Carr. Setin English Monotype Scotch at Golgonooza Letter Foundry by Julia Ferrari and Dan Carr. The text was printed by Heritage Printers on a paper made at Carterie Enrico Magnani. Edition: 89/550. Graphic Arts Collection 2016- in process

Song of the Open Road
By Walt Whitman

3. You air that serves me with breath to speak!
You objects that call from diffusion my meanings and give them shape!
You light that wraps me and all things in delicate equable showers!
You paths worn in the irregular hollows by the roadsides!
I believe you are latent with unseen existences, you are so dear to me.

You flagg’d walks of the cities! you strong curbs at the edges!
You ferries! you planks and posts of wharves! you timber-lined sides! you distant ships!

You rows of houses! you window-pierc’d façades! you roofs!
You porches and entrances! you copings and iron guards!
You windows whose transparent shells might expose so much!
You doors and ascending steps! you arches!
You gray stones of interminable pavements! you trodden crossings!
From all that has touch’d you I believe you have imparted to yourselves, and now would impart the same secretly to me,
From the living and the dead you have peopled your impassive surfaces, and the spirits thereof would be evident and amicable with me.

Mr. Crindle and The Man in the Moon

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The British artist Henry George Hine (1811-1895) left Punch in 1844 to freelance for a variety of other satirical newspapers and magazines, including Great Gun, Puck, and, beginning in 1847, The Man in the Moon. Although it had a smaller format, Man in the Moon boasted a large, fold-out cartoon narrative at the front of every monthly issue.

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The first fold-out told the Life and Death of Don Guzzles of Carrara (artist unknown), followed the next month with The Foreign Gentleman in London; or the English Adventures of M. Vanille, drawn by Cham (1819-1879).

Man in the Moon’s third issue offered the first of nine installments chronicling Mr. Crindle’s Rapid Career upon Town. Hine collaborated on the story and designs with Albert Smith (1816-1869), who had also left Punch for this new journal.

The Crindle series became so popular with the British public that the nine parts were combined and published as a continuous narrative in four pages, titled The Surprising Adventures and Rapid Career Upon Town of Mr. Crindle (recently acquired by the Graphic Arts Collection).crincle4

Not to be outdone, the Paris publisher Charles Philipon (1800-1861) had Gustave Doré (1832-1883) create a revised version called L’Homme aux Cent Mille Écus (The Man with a Hundred Thousand Crowns) which ran in Journal pour Rire between January 12 and June 15, 1850.journal-pour-rire-1850-01-12-800-2

The Man in the Moon: A Monthly Review and Bulletin of New Measures, New Men, New Books, New Plays, New Jokes, and New Nonsense; Being an Act for the Amalgamation of the Broad Gauge of Fancy with the Narrow Gauge of Fact into the Grand General Amusement Junction (London: Clarke, 1847-1849). Edited by Albert Smith (1816-1869) and Angus B. Reach (1821-1856). Artists include Smith; George Augustus Sala (1828-1895); Phiz (Hablot Knight Browne, 1815-1882); Joseph Kenny Meadows (1790-1874); Lionel Percy Smythe (1839-1918); Cham (1819-1879); Robert B. Brough (1828-1860); Henry George Hine (1811-1895); Isaac Nicholson; and Thomas A. Mayhew. Graphic Arts Collection (GA) 2005-0423N

Le Journal pour rire (Paris: Aubert, 1848-1855). Graphic Arts Collection (GAX) 2011-0030E

Here are some details:

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Japan Paper Company, New York City, Philadelphia, and Boston

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paper-samples2John Bidwell wrote, “Hand-papermaking is now more of an art than a trade, more of a creative opportunity than a commercial proposition.”

In the early 20th century, paper manufacturers in the United States started making sample booklets to promote hand-made and specialty papers. Each of the small volumes included a variety of materials: bound swatches, sizes, weights, colors, and prices of the papers for sale. Unlike written descriptions, this promotional material demonstrated the tactile qualities and aesthetic beauty of the merchandise to the finite market of luxury, limited-edition publishers.

The Japan Paper Company was one of the leading importers of hand-made papers for fine press editions. When Harrison G. Elliott (1879-1954) became the company’s manager, he greatly expanded the firm’s scope, distributing papers from fifteen European and Asian countries.

Elliott was a good friend and associate of Elmer Adler, while Adler was the director of the Pynson Printers. When he gave up that business and came to Princeton, Adler brought with him his collection of paper sample books. Today, the Graphic Arts Collection has identified and catalogued over six dozen booklets, including a large group from the Japan Paper Company.

Recently, a small collection of full-size sheets were also uncovered, which had been sent to Adler by Elliott in 1938.

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1. Oriental Papers. New York City: Japan Paper Company, [19–]. (GAX) 2014-0431N
2. Japanese Tissue Papers Carried in Stock by Japan Paper Company. New York: Japan Paper Company, 1916. (GAX) 2013-0263N
3. Hand Made Papers. New York: The Company, [1917?]. (GAX) Oversize 2010-0002F
4. Privately Printed Books and Their Personal Value as Christmas Gifts. New York: Japan Paper Company, 1921. (GAX) 2004-3723N
5. [A collection of paper sample books from the Japan Paper Company]. [New York: Japan Paper Company, 1924-1939] (GAX) TS1220 .J361
6. Dutch Charcoal Papers. New York City: Japan Paper Company, 1929. RCPXG-7207242
7. Renka Announcements: deckle edge sheets and envelopes imported and carried in stock by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 193-?] (GAX) Oversize 2010-0008Q
8. Handmade Paper: its Method of Manufacture. New York: Japan Paper Company, 1932. RCPXG-5893687
9. Aurelius Hand Made: Handmade Deckle Edge Announcements from Italy … by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 1935?] (GAX) Oversize 2010-0141Q
10. Arnold Hand-Made Deckle Edge Cards & Envelopes: from England … by Japan Paper Company. [New York, N.Y.: Japan Paper Company, 1938?] (GAX) Oversize 2010-0019Q
11. Samples of Letterhead Papers with Envelopes to Match from Japan Paper Company. New York, N.Y.: Japan Paper Company, [1938?] (GAX) Oversize 2010-0017Q
12. Oriental Papers. New York City: Japan Paper Company, [1939?] RECAP-91156800
13. Samples: Bethany, Virgil, Ragston. New York, N.Y.: Japan Paper Company, 1939. (GAX) Oversize 2010-0020Q
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For examples of English hand-made papers see: John Bidwell, Fine papers at the Oxford University Press (Risbury, Herefordshire: Whittington Press, 1999). “This edition of 300 copies is set in 14-point Centaur (from matrices belonging originally to Oxford University Press) printed at Whittington on Zerkall mould-made paper, & half-bound with Fabriano Roma paper.”  GAX copy is no. LI. Graphic Arts Collection (GA) HD8039.P33 B5 1999f

“Les minutes de sable mémorial”

jarry4Alfred Jarry (1873-1907), Les minutes de sable mémorial ([Paris]: Editio[n] du Mercure de Fra[n]ce, C. Renaudie, 1894). One of 216 copies printed. Seven woodcuts carved and printed by Jarry, two printed from earlier woodblocks. Graphic Arts Collection GAX 2016- in process.

 

Alfred Jarry published his first book of prints and poems, Les minutes de sable mémorial in September 1894 at the age of twenty-one. He paid the cost himself working with the printers at Mercure de France where many Symbolists were publishing.

The design of the volume, repeated the following year in his second book César antichrist, includes astonishingly modern typography, which predates that of Un Coup de Dés Jamais N’Abolira Le Hasard (A Throw of the Dice will Never Abolish Chance) by Stéphane Mallarmé in 1897. Jarry’s book should be considered an early artists’ book although it never appears in such studies
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According to Keith Beaumont, “…the prestigious and highly influential Echo de Paris had held a monthly literary competition which offered to aspiring young writers the prospect of four valuable and much coveted prizes of 100 francs each … and a guarantee of publication in the paper’s weekly illustrated literary supplement. Between February and August 1893, Jarry was to win outright or to share five such prizes, with poems or prose texts, which would be republished the following year in his first book, Les Minutes de sable mémorial.” (Keith Beaumont, Alfred Jarry. St. Martin’s Press, 1984)

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Jarry liked multiple meanings for a single text, exemplified in his title: Les minutes de sable mémorial. Beaumont notes, “Sable refers both to the sand of the sablier or hourglass, which marks the passage of time, and which recurs in the title of the last poem in the volume, and to the term for the colour black in heraldry; and memorial has the meaning of both ‘in memory of’ and ‘of the memory’. The title as a whole therefore refers simultaneously to the passage of time whose ‘minutes’ are here recorded; to the movement of memory; and to the committal to paper of a series of moments of creative activity (‘sable’ referring to the ink-blackened pages) which memory has inspired or, alternatively and simultaneously, which are reproduced here as a ‘memorial’.”

 

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In November 1894, Jarry cut his long hair and enlisted in the 101st Infantry Regiment in Laval.
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See also Alfred Jarry (1873-1907), Cesar antechrjst ([Paris]: Mercure de France, 1895). One of 7 large-paper copies on vergé Ingres de carnation. Rare Books (Ex) 3260.33.323 1895 [below]jarry