Category Archives: Books

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Mammoth Double Sheet Pictorial Brother Jonathan now online

In the winter of 1860, an advertisement was posted in several urban newspapers: Pictorial Brother Jonathan for Christmas and New Years. The Great Holiday Sheet of Pictures for 1860. The Mammoth Brother Jonathan this year stands Unrivalled! It positively can’t be beat! Price 12 Cents per copy—Ten for One Dollar. The copy continued:

“The Pictorial Double Brother Jonathan for Christmas and New Years was first issued in the year 1840-—just twenty years ago. It was at that time such a novelty that the demand for it continued three or four months, and even then the circulation reached eighty thousand copies. Since that period it has been issued regularly each year, with the avearage [sic] sale of over one hundred thousand copies for every number. Among the Newsvenders, the Brother Jonathan is extremely popular, as they never have a copy of it leftover unsold.

The immense size of the Mammoth Double Brother Jonathan enables us to give in it a profuse amount of reading and still leave room for the great number of Elegant Large Pictures. Altogether, you will find it to be a paper unsurpassed in interest, in point of handsome embellishment and agreeable reading. We give away this elegant Pictorial Paper to every yearly and half-yearly subscriber to the Weekly Brother Jonathan. The Christmas and New Years Pictorial Brother Jonathan will be sent, post-paid, to purchasers at 12 cents per single copy, or ten copies for One Dollar; but if you [subscribe] to the weekly paper, you will get a copy of the pictorial for nothing. Be sure to mention that you want the Pictorial Brother Jonathan, to prevent any mistake. Send cash to B. H. Day, 48 Beekman-Street, New York.”

We are thrilled to announce that Princeton University Library’s rare collection of 23 mammoth issues and 2 prospectuses of the Pictorial Double Brother Jonathan have been cleaned, flattened, repaired, catalogued, digitized, and posted online for the public to read and enjoy.
Brother Jonathan [A collection of 25 mammoth double-sheet numbers in its series Pictorial Jubilee] (New York: Wilson & Company, 1845-1860). Permanent Link: http://arks.princeton.edu/ark:/88435/9z903261b
Sizes vary, primarily 81 x 56 cm.
Princeton University Library holdings:
July 4, 1845
July 4, 1846
July 4, 1847
[1847?] An illustrated history of the victories and conquests … (gift of Sinclair Hamilton)
[Dec. 1847] Christmas/New Year
July 4, 1848
March 4, 1849
No. 22 [Dec. 1850] Christmas/New Year (gift of Sinclair Hamilton)
No. 23, July 4, 1851
[1852?] Prospectus or advertising sheet for Christmas and New Year
No. 25 [Dec. 1851] Christmas/New Year 1852 (gift of Sinclair Hamilton)
Vol. 13, no. 28, June 26th, 1852 [4th of July]
[Dec. 1852] Christmas/New Year
July 4, 1853
July 4, 1854
[Dec. 1854] Christmas/New Year (2 copies)
[Dec. 1855] Christmas/New Year
[Dec. 1856] Christmas/New Year
Vol. 18, no. 317, December 12, 1857 Christmas/New Year
Vol. 18, no. 344, June 19 1858, [4th of July]
Vol. 18, no. 369, Dec. 11, 1858, Christmas/New Year
Vol. 19, no. 397, June 25, 1859 [4th of July]
Prospectus or advertising sheet for Christmas and New Year
Vol. 19, no. 421, December 10, 1859, Christmas/New Year
Vol. 20, no. 474, Dec. 15, 1860, Christmas/New Year.

Over the years, these wonderful issues have been called Brother Jonathan Pictorial; Double Sheet Brother Jonathan Pictorial; Jubilee Sheet Brother Jonathan; Jubilee Number Brother Jonathan Pictorial Double; and so on, making them not only difficult to find but hard to describe.

One of the many benefits to having these mammoth newspapers online is the ability to zoom in and see details. Several of the double-page spreads hold wood engravings 3 feet tall by 4 feet wide. Artists such as Frank Leslie (1821-1880) perfected the technique of dividing a scene between many small woodblocks and then, reassembling the blocks once they are engraved. Even zooming in, it is hard to see evidence of the individual blocks.

Above is a detail from below.

The amount of space available on these large sheets allowed for the publishing of entire novels, public orations, and complete essays. Here is a tiny portion of George Van Santvoord’s essay “The Character of Robespierre and the First French Revolution.”

Thanks to the dozens of staff members who worked on this project, to Sinclair Hamilton who donated the first copies, and Steve Ferguson who brought this extremely rare collection together.
Permanent Link: http://arks.princeton.edu/ark:/88435/9z903261b

Nap Poems published by the Letterpress Club

Congratulations to the members of the Princeton University Letterpress Club who printed and published their first limited edition, fine press poetry book, entitled Nap Poems. The Graphic Arts Collection is proud to receive copy 5 of 30 for Rare Books and Special Collections, a few pages of which are shown here.

The edition was set at the Typography Studio located in the Lewis Center for the Arts, 185 Nassau Street. Monica Youn, Rowan Ricardo Phillips, Michael Dickman, and Ben Lerner from Creative Writing at the Center graciously donated the poems, which were printed on a Vandercook SP20 proof press using Bixler’s Garamond type.

Members of the Letterpress Club who spent the spring semester producing Nap Poems include Jazmyn Blackburn, Class of 2019; Joyce Lee, Class of 2017; Zachary Liu, Class of 2018; Shefali Nayak, Class of 2018; Duc Nguyen, Class of 2017; Kennedy Poore, Class of 2018; and Jonathan Zong, Class of 2018. Peter Kazantsev was the letterpress studio technician for the Lewis Center.

Here are a few pictures from the Club’s open house last year: http://dailyprincetonian.com/galleries/sports/2015/02/princeton-university-letterpress-club-open-house/

For more information about classes and events at the Lewis Center, see: http://arts.princeton.edu/

The Voyage of the Jamestown on Her Errand of Mercy

Tucked inside the 1847 volume:

Robert Bennet Forbes (1804-1889), The Voyage of the Jamestown on Her Errand of Mercy (Boston: Eastburn’s Press, 1847). Frontispiece signed: F.H. Lane, del. GAX copy is presentation copy to Honble. Josiah Quincy with inscription by author. Graphic Arts Collection (GAX) ND237.L24 F67

is a rare lithograph drawn by:

Fitz Hugh (or Henry) Lane (1804-1865), Boston, March 28th 1847, Departure of the Jamestown, for Cork, Ireland, R. B. B. Forbes, Commander. Lithograph, printed by Lane & Scott’s Lith, Tremont Temple, Boston, 1847.

Details on the print and the book can be found at:
http://fitzhenrylaneonline.org/catalog/entry.php?id=475&print=true
Fitz Henry Lane Historical Archive, catalogue raisonné, and educational resource; an online project under the direction of the Cape Ann Museum.

Melissa Geisler Trafton writes, “When news of the second year of the devastating Irish potato famine reached Boston in 1846, Bostonians formed a relief committee and began to look for ways to help. Robert Bennet Forbes lobbied the U.S. Navy for use of the “Jamestown,” a sloop that was lying idle in Charlestown Navy Yard. On March 3, 1847, by United States Congressional resolution, R. B. Forbes was authorized to take command of the “Jamestown,” while Captain George Coleman McKay was authorized to command USS “Macedonian,” then at New York Navy Yard. Tons of food and $151,000 were donated and loaded onto the “Jamestown” by the Boston Labourers Society (mostly Irish), free of charge. On March 28, 1847, the “Jamestown” left Boston at 8:30 a.m. under the command of R. B. Forbes, who managed to complete the Atlantic crossing in a record-breaking seventeen days.

Upon his return, Forbes wrote a book about the voyage, Voyage of the Jamestown in Her Errand of Mercy. In 1847 Lane was running his own lithography shop in Boston with his partner John Scott. Lane had already made two lithographs of Forbes’s innovative steam-powered vessels in 1845, Auxiliary Steam Packet Ship Massachusetts (inv. 442) and Steam packet ship Mass., in a Squall, Nov. 10, 1845 (inv. 443). It was natural that, in 1847, Forbes would turn to Lane to make a lithograph for the frontispiece of his book.” –Melissa Geisler Trafton

Picasso and Iliazd

Iliazd (Ilya Zdanevich, 1894-1975), Pirosmanachvili 1914 (Paris: Le Degré 41, 1972). Original vellum binding, with yellow dust-wrapper and preserved in publisher’s beige cloth chemise and slipcase. Presentation copy from Iliazd’s last wife to Chota Takaishvili. One of 78 copies printed on Japon ancien paper, signed in red pencil on the colophon by Iliazd and with the original etching signed by Picasso, printed by Atelier Lacourière Frélaut. Graphic Arts Collection GAX in process

“It was something of a secret after World War II that one of the most rewarding people in Paris was a man who liked to be addressed simply as Iliazd,” wrote John Russell for the New York Times. “He was known—when known at all—as the architect, designer and publisher of illustrated books in which, one after another, the great surviving names of the School of Paris played a part.” Russell goes on to assert that Iliazd excelled “as poet, geographer, book designer, mountain climber, printer, publisher, fabric designer for Sonia Delaunay and Coco Chanel, pioneer dismantler of language, idiosyncratic stage performer and organizer in the early 1920’s of some of the last of the great classic artists’ balls.” All true.

Born Ilia Zdanevitch in Tiflis, Georgia, Iliazd (1894-1975) was a founding member of the Russian Futurists. Like many of his contemporaries, the artist eventually made his way to Paris where he designed and published extraordinary livres d’artistes, including several with his own prose and poetry under the imprint Le Degré 41 (41 degrees refers to the latitude of his hometown, the alcoholic content of brandy, and the Celsius measure of the point at which fever leads to delirium).

From 1940 to 1974, Iliazd produced 20 extraordinary books, including 9 with Pablo Picasso (1881-1973). None have been collected by Princeton University until now.

According to Bookvica, a rare book shop from Iliazd’s hometown of Tiflis, “Iliazd returned to his homeland in 1912 and with his brother, artist Kirill Zdanevitch, he met Georgian painter Niko Pirosmani (1862-1918). They became very enthusiastic about him.

Iliazd was alarmed by the difficult economic straits that the painter was in and wrote a manifesto to promote his art; it was published in a local paper Zakavkazskaya Rech’ in 1913 under the title “Khudozhnik-samorodok” (A natural-born artist). It was Iliazd’s first publication. In June 1914 the journal Vostok published his article “Niko Pirosmani,” in which he mythologized the biography of the older artist, linking him with the Silver Age and the Russian avant-garde.”

In the summer of 1971, Iliazd decided to reprint the article and to help promote it, he asked Picasso to etch the frontispiece. His friend agreed and produced a beautiful drypoint, which was printed at the Atelier Lacourière Frélaut (originally the studio of Roger Lacourière, who passed it on to his collaborator and successor Jacques Frélaut in 1957).

The edition of 78 was completed and signed by December 1972, four months before Picasso’s death. Although this was also intended to be Iliazd’s last book, technical difficulties on another project, Courtisan Grotesque (which had been finished in 1974), caused it to be printed after Pirosmanachvili.

The copy now in the Princeton University Library comes from the collection of Damian Alaniya. This collector once erased the owner’s stamp of the previous owner to whom this copy was presented by the Iliazd’s wife with signature on the front endpaper: “Eu souvenir de Ms Zdanevitch pour Chota Takaishvili avec les amitiés Ms Helene Zdanevitch. 1.7.82.”

Johanna Drucker writes, “Drawing to the end of his energies, Iliazd had evidently wished this book to perform a double closure: as the end of the cycle of large books, and as the close of the full cycle of his life’s work. There was a mirroring effect between the beginning and the end, a deliberate, marked recognition of the self-consciousness which had dictated the construction of the oeuvre as a whole.” “Iliazd and the Book as a Form of Art,” The Journal of Decorative and Propaganda Arts 7 (Winter 1988): 36-51.

Le faux satyrique puni

Marc Perachon (1630-1709). Le faux satyrique puni, et le merite couronné, dans une lettre d’artiste, a l’un de ses amis, contenant L’Apologie de Mr. Perachon l’Avocat, contre les fausses Satyres du pretendu Poëte sans fard, & La Juste Critique des ses Satyres, & des faux Satyriques avec La Defense de Plusieurs personnes qu’il a Satyrisées: & Le Brevet du Roy (Lyon: Chez Claude Rey, [1696]). First ed., bound in 1800s chocolate calf by Koehler. Graphic Arts Collection GAX in process

C’est ainsi que les Dieux, pour Signaler leurs dons, Punissent les mechants, et couronnent les bon

Quoting the dealer’s note, “Uncommon first edition of this somewhat pious attack on the satirical poetry of François Gacon (1667-1725) [Poëte sans fard] and, by extension, on the man himself, by the Lyonnais lawyer Marc Perrachon (or Perachon, 1630-1709). Perrachon, a protestant convert and “auteur de poésies passablement misérables,” was one of the many targets of the Oratorian Gacon’s pen, but not the best known; Gacon also satirized the likes of Jean-Baptiste Rousseau and Boileau, whom he initially took as a model.

His attack on Perrachon . . . in fact landed him in gaol for a few months, but this was not enough to discourage Perrachon from publishing the present work in response, and in his own defence; the caption to the engraved title (”C’est ainsi que les Dieux, pour signaler leurs dons, Punissent les mechants, et couronnent les bons”) shows on which side Perrachon considered himself to lie.

Perrachon, writing in the third person, describes the faults in Gacon’s writing, contrasting it with the true satires of the Greeks, and attacking his “mauvaises rimes, ses hemistiches d’un mesme son, ses mauvaises cesures, ses enjambemens, ses mauvaises constructions, ses transpositions, ses fausses cadences, ses mauvaises mots, ou barbarismes, ses fausses significations des termes,” and so on, giving examples of each.”

Note the use of engraved initials.

See also below: François Gacon (1667-1725), Discours satiriques en vers (Cologne, 1696). Fictitious imprint; printed in Lyons by Boudet. Rare Books (Ex) PQ1985.G2 A7 1696

and François Gacon (1667-1725), Le journal satirique intercepté, ou, Apologie de Monsieur Arrouet de Voltaire, et de Monsieur Houdart de La Motte ([S.l. : s.n.], 1719). Rare Books (Ex) 3298.368

John Tryon and William Wallett, found in a railway carriage.

John Tryon, The Old Clown’s History; in Three Periods. Introducing graphic sketches of show life in its multifarious phases … With characteristics of distinguished showmen … (New York: Torrey Brothers, Printers, 1872). Dedication copy inscribed on front free endpaper: “Jn. Tryon to W.F. Wallett. With author’s respectful compts.” Above it, the inscription: “Found in a Railway Carriage, Jany. 22nd 1873. M.B. Rogers.” Graphic Arts Collection in process

Found in a Railway Carriage, January 22, 1873. Dedicated to William Frederick Wallett, ‘the Queen’s Jester.’
Frontispiece portrait of John Tryon (1800-1876), who managed the New York Bowery Amphitheater from 1843 to 1848. He went on to found the New York Sunday Courier newspaper. Note the picture on the wall of a cynocephalus, or a creature with the head of a dog and on the floor a poster advertising a learned pig (see William Frederick Pinchbeck, The expositor; or many mysteries unravelled. Delineated in a series of letters … Comprising the learned pig. . . (Boston: Printed for the author, 1805). EX 4293.721)

Wallett’s autobiography mentions Tryon several times. “There was a jolly old Trojan named John Tryon, who has for the last thirty years provided a circus home in New York or Boston during each winter for those who are thrown out of employment at the end of the summer season. In fact, instead of calling his establishment a circus, it ought to be entitled ‘John Tryon’s Refuge for the Destitute.’ It was he who first offered to take and open the circus, in order to give me an opportunity of appearing before a New York audience. But the dear friend with whom I lived urged upon me the policy of not being in too great a hurry, remarking that a week or two made no difference to him, and would be a great object in my engagements. Therefore, being independent for the time, I was not compelled to accept the first offer, but could wait to make my own terms, which I soon obtained.”

“The great day of appearance arrived. It was a very fine morning, but about noon commenced the first and only real snow storm I had ever seen. It seemed to increase in density as evening approached. About six o’clock while we were at dinner, I had risen from the table several times to look through the blinds, and had seen the snow still coming down, and about knee-deep on the ground—I could not eat, but almost gave way to despair. I said to my wife, “It’s of no use; we might as well give it up, our old fortune pursues us everywhere.” But her cheering smile and words encouraged me. At that moment a knock was heard at the door. It was one of Mr. Tryon’s sons, who came to tell me the house had long been full, and they wished me to come immediately, to commence an hour before the time announced. So I hurried away and found the house crowded in every part, and a thousand persons outside unable to gain admission. Everything went off beautifully; and I received my share of the proceeds at the close of the performance. On my arrival home I counted out before the astonished eyes of my rejoicing partner 300 dollars, or £60 sterling for this first night’s performance in New York.”

“…My next visit was to Boston, Massachusetts, with my old friend Tryon again, at the old Federal Theatre. Here my success was equal to that in New York or Philadelphia. We had only three horses in the establishment, Lady North, Old Mex, and Washington. They belonged to S. B. Howes, and all had the camel itch. Jem Nixon was equestrian manager. To make out our entrees our manager had to hire horses from livery stables, and as there had been a heavy fall of snow, and horses were in great demand for sleighing, we sometimes had to put off our entrees till nearly ten o’clock at night, waiting for the horses’ return from their day’s work. Their legs were hastily washed, and their sweating and stained bodies covered with rich velvet, bedizened with spangles, really cut a very respectable figure.”

See also William Frederick Wallett and John Luntley, The Public Life of W.F. Wallett, the Queen’s Jester: an autobiography of forty years’ professional experience and travels (London: Bemrose and Sons, 1870). Rare Books: Theatre Collection (ThX) GV1811.W2 A2

New Graphic Design Books

The Graphic Arts Collection recently acquired three small DIY books for graphic design from the 1890s, 1920s, and 1950s. Here are a few samples.

K. Lönberg-Holm (1895-1972) and Ladislav Sutnar, Catalog Design Progress (New York: Sweet’s Catalog Service, 1950). Planned and developed by the research department of Sweet’s Catalog Service. Graphic Arts Collection GA in process

Mark M. Maycock, A Class-Book of Color: including Color Definitions, Color Scaling, and the Harmony of Colors (Springfield, Mass.: Milton Bradley Co., 1895). Graphic Arts Collection GA in process

Making Show Windows Pay: a Self Study Course with Complete Instructions for Making and Arranging Window Displays for Every Occasion (Framingham, Mass.: Window Display Studio of the Dennison Manufacturing Co., 1928). Graphic Arts Collection GA in process

William Henry Jackson

In 1890, Edward Wilson asked the Denver-based photographer William Henry Jackson (1843-1942) for a negative to publish in Wilson’s Photographic Magazine. Instead of one, Jackson sent ten and Wilson printed them all.

In various copies of the April 5 issue (v. 27, no. 367) readers will find ten very different photographs, printed by the Philadelphia studio of Roberts & Fellows. The Princeton University Library copy has “Calle de Guadeloupe. Chinuahua,” showing a pastoral scene with a circle of covered wagons.

Jackson completists will have to also find “A Gen near Caviota, Mexico,” “Lagos. General view, showing the cathedral,” “Lagos, from the river,” “Queretaro Fountain, near the church. Santa Clara,” “Popocatapetl [or Popocatepetl] Mountain, from Tiamacas,” “In the Garden. Santa Barbara Mission,” “The Arizona Garden. Hotel del Monte,” “The Ferns. Hotel del Monte,” and “The Cypresses of Monterey.”

Surprisingly, Princeton also owns a separate print of “Lagos. general view, showing the cathedral” [see below] so we have two of the ten.

The American Coloritype Company

“Learning of Georg Meisenbach’s success with halftone printing in England, [William] Kurtz set out to reproduce the process and in doing so, became one of the United States’ first commercial practitioners of reproducing photographic plates in halftone prints . . . Likewise, when Hermann Wilhelm Vogel’s advances in color photography became known, Kurtz arranged to purchase the American rights to the ‘three-color process’ from Vogel and was able to devise a way to apply it to halftone printing.” (S.H. Horgan, Inland Printer, August 1921)

William Kurtz’s first three-color photoengraving, called a Coloritype, was published in the January 1, 1893, issue of Photographische Mittheilungen, Vogel’s Berlin photography journal. Two months later, the same image was used as a frontispiece of The Engraver & Printer, a small trade publication, which had attempted three-color printing several years earlier (see John Bidwell, “’The Engraver and Printer’, a Boston Trade Journal of the Eighteen Nineties,” The Papers of the Bibliographical Society of America 71, no. 1 (1977): 29-48).

After these two relatively limited uses of the process, Edward Wilson financed the printing of over 6,000 Coloritypes for the May 1893 issue of Wilson’s Photographic Magazine [seen above]. “This illustration,” wrote Horgan, “proved to the whole printing world that reproductions of colors by photography into three half-tone blocks to be printed in colored inks had arrived.”

Contrary to published sources, Kurtz applied for and received a patent on his process (Letters Patent of the U.S. no. 498,396A granted May 30, 1893), but this did little to stop printers and publishers across the country making their own three-color prints.

While Kurtz’s Coloritype Company leased five floors at 32 Lafayette in lower Manhattan, with a public gallery on the ground floor, Gustave Zeese formed the Chicago Colortype Company (dropping the ‘I’ from the name), Julius Regenstein established the Photo Colortype Company, and Frederick Osgood’s Osgood Engraving Company switched to Colortypes. In New York, the Moss Colortype Company did the same but advertised theirs as Moss-types. Kurtz’s $200,000 investment was overwhelmed by it competitors and his company was eventually bought-out, leaving Kurtz bankrupt.

Edward Wilson had for many years been documenting the experiments of Vogel, Kurtz, and others in his monthly magazine. Here is the note he published in the April 1893 issue of Wilson’s Photographic Magazine, describing the history of three-color printing to date.

See also: American Colortype Company. Annual report (Clifton, N.J.: The Company). RECAP HD9729 .A49.

Note: Most of the digital sources of early colortype printing have been reproduced online without color and so, original paper sources must be used for research. See: The Philadelphia Photographer (Philadelphia, Pa.: Benerman & Wilson, 1864-1888). Continued by Wilson’s Photographic Magazine. Graphic Arts Collection (GAX) 2015-0580N and 2007 0008M.

An index to the photographs and early photoengravings published by Wilson is being completed and will be published here soon.

The first emblem book written by a woman

[left] 2nd edition 1584 Zurich; [center] 3rd edition 1619 Frankfurt; [right] 4th edition 1620 Rochelle

Thanks to a recent acquisition, made jointly by the rare book division and the graphic arts collection, Princeton researchers now have the opportunity to study Georgette de Montenay’s rare emblem book through three consecutive editions, three publishers, and three unique physical volumes. In addition, we can follow the transfer of the one hundred copper plates by the French goldsmith, painter, and sculptor Pierre Woeiriot (1532-1599) as they moved from Switzerland to Germany to France for more than fifty years, reprinted with no visible damage or deterioration and outliving both the artist and the author.

On zealous affection and intelligence
Spirit, heart, speech and voice
All in agreement; instrument, books, fingers
I sing to my God’s excellence
O’ quill in my hand, not in vain,
From which I write
The praises of Christ
The promise of financial reward is not what leads you on [an anagram for the author’s name:]

“Georgette de Montenay has been the object of enduring scholarly interest, not only as the first woman author of an emblem book, but also as the creator of a new literary and artistic genre: the religious emblem. Most probably converted to Protestantism under the influence of Jeanne d’Albret, Queen of Navarre (to whose court she was attached after her marriage to Guyon de Gout, c. 1562), de Montenay composed a series of one hundred militant Christian octets in the mid-1560s and closely supervised their illustration by a gifted Lyonnaise etcher, Pierre Woeiriot, who was also of the reformed persuasion.

The Emblesmes ou devises chrestiennes were finally published in 1571 by a brother in religion, Jean Marcorelle, and were to have an immediate success.”—Sara F. Matthews Grieco, “Georgette de Montenay” Renaissance Quarterly 47, no.4 (Winter 1994). Since this article, a copy found in the Royal Library in Copenhagen suggests that Montenay’s book may have appeared even earlier.
Note that the words “Vera effigies Reginae Navarrae” have been added to the first engraved emblem in our newly acquired 1619 edition.

Georgette de Montenay (1540-approximately 1581), Georgiae Montaneae, nobilis Gallae, Emblematum Christianorum centuria / cum eorundem Latina interpretatione = Cent emblemes chrestiens (Tigvri: Apud Christophorum Froschouerum, 1584). Translation of Emblemes ou devises chrestiennes; text in Latin and French. Engravings by Pierre Woeiriot (1532-1599). These plates were used for the first French ed., 1571.-cf.Landwehr. Rare Books: Miriam Y. Holden Collection (ExHolden) N7710 .M66 1584

Georgette de Montenay (1540-approximately 1581), Monumenta Emblematum Christianorum (Frankfurt am Main: Jean Charles Unckel, 1619). Illustrations printed from plates engraved by Pierre Woeiriot (1532-1599). Polyglot edition with engraved title page by Peter Rollas and added engraved portrait of Jeanne d’Albret. Purchased with funds from Rare Book Division and Graphic Arts Collection

Georgette de Montenay (1540-approximately 1581), Emblèmes, ou devises chrestiennes (Rochelle: Par Iean Dinet, 1620). Illustrations printed from plates engraved by Pierre Woeiriot (1532-1599). “The sheets are those of the 1571 edition, with a new title page.” Cf. Praz. Rare Books (Ex) N7710 .M66 1620

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