Category Archives: Books

books

Oliver Twist with Cruikshank’s original plate

George Cruikshank (1792-1878), “A Fast [first?] Sketch, George Cruikshank, Oliver Twist” ca. 1838. Pencil on paper. Graphic Arts Collection

Charles Dickens (1812-1870), Oliver Twist; or, The Parish Boy’s Progress. By “Boz”. [1st ed.] (London: R. Bentley: 1838). 3 v. Illustrated by G. Cruikshank. Contains the “fireside” plate, canceled in later issues and the plate substituted. Graphic Arts Collection (GA) Cruik 1838.2

In preparing for a visit from ENG 343 Word and Image: 19th Century Literature and Art, several editions of Charles Dickens’s Oliver Twist have been pulled. Dickens famously did not like the final illustration and asked his artist, George Cruikshank, to draw another plate. Various editions over the years include one or the other of these illustration, etched in metal.

The matter supplied in advance of the monthly portions in the magazine, formed the bulk of the last volume as published in the book; and for this the plates had to be prepared by Cruikshank also in advance of the magazine, to furnish them in time for the separate publication: Sikes and his dob, Fagin in the cell, and Rose Maylie and Oliver, being the three last. Non of these Dickens had seen until he saw them in the book on the eve of its publication; when he so strongly objected to one of them that it had to be cancelled. “I returned suddenly to town yesterday afternoon,” he wrote to the artist at the end of October, “to look at the latter pages of ‘Oliver Twist’ before it was delivered to the booksellers, when I saw the majority of the plates in the last volume for the first time. With reference to the last one—Robe Maylie and Oliver—without entering into the question of great haste, or any other cause, which may have led to it being what it is, I am quite sure there can be little difference of opinion between us with respect to the result. May I ask you whether you will object to designing this plate afresh, and doing so at once, in order that as few impressions as possible of the present one may go forth? I feel confident you know me too well to feel hurt by this enquiry, and with equal confidence in you I have lost no time in preferring it.” John Forster (1812-1876), The Life of Charles Dickens (Leipzig, Tauchnitz, 1872-74): 191-92. Firestone Library (F) PR4581 .F677 1872

Bentley’s miscellany ([London : Richard Bentley], 1837-1868). (Cruik) 1837.6 vol. 5

Cruikshank replaced the final plate with this “Rose Maylie and Oliver (the Church version),” which is found in most copies.

Charles Dickens (1812-1870), The Adventures of Oliver Twist; or, The Parish Boy’s Progress. With twenty-four illustrations on steel, by George Cruikshank. A new ed., rev. and cor. (London: Pub. for the author, by Bradbury & Evans, 1846). “For this edition the plates were ’touched up’ by Findlay and changed in several details with sometimes new backgrounds added.” cf. J. C. Thompson, Bibliography. In the 10 original numbers, with all the green pictorial wrappers, in perfect condition, uncut; green morocco case. Graphic Arts Collection (GA) Cruik 1838.21

Rowlandson’s metrical illustrations for Dance of Death

Thanks to our generous donor Dickson Q. Brown, Class of 1895, the Princeton University Library not only holds the original parts for William Combe’s English Dance of Death, but also fifteen proofs hand colored by Rowlandson. Here are a few:

Father Time! ‘tis well we are met:–
I am dispos’d to fume and fret,
To see that mortals have the power
Thus to prolong Life’s fleeting hour;
To see them thus display the art
That blunts my unavailing dart;
And, though the fatal arrow’s sped,
To make men live when they are dead:
While you with placid eye look on,
Nor blame the mischief that is done:
Nay, suffer the records to last
When many an age is gone and past.

William Combe (1742-1823), English Dance of Death: in twenty-four monthly numbers, from the designs of Thomas Rowlandson, accompanied with metrical illustrations, by the author of “Doctor Syntax” (London: Printed by J. Diggens … : Published at R. Ackermann’s Repository of Arts … and to be had of all the book and print-sellers in the United Kingdom., 1814-1816). 24 pts. in 1; 74 leaves of plates, in aquatint designed by Thomas Rowlandson (1756-1827). Graphic Arts Collection (GA) Rowlandson 1814 and 1814.2

The earliest use of “metrical illustrations” that I’ve found is 1634: George Wither, A collection of emblemes, ancient and moderne: quickenend with metrical illustrations, both morall and divine. Frontispiece by William Marshall and the emblem of Crispijn of the Passe.

Albert Rutherston

Ian Rogerson, Pen, Paper & a Box of Paints: Albert Rutherston, Illustrator and Designer for the Stage (Upper Denby: Fleece Press, 2015). Graphic Arts Collection GA2015- in process

“Ninety years after the first and only book on Albert Rutherston was published,” notes the book’s colophon, “you now hold one of the 250 copies of this new study.”

The Graphic Arts collection recently acquired one of the 250 copies of a new study of the pochoir printed designs by British artist Albert Rutherston, published by Fleece Press.

The prospectus notes, “Albert Rutherston is well known as a distinctive book illustrator whose work benefited from the pochoir process employed by the Curwen Press. He illustrated many books and for a short period before the First World War had a profound influence on theatre and stage costume design, though he chose not to pursue this. There has been no book on his work until now.”
Albert Rutherston was a figure and landscape painter, book illustrator, and designer of posters and stage sets. He studied at the Slade School from 1898 until 1902 and was a member of the New English Art Club from 1905. Rutherston was Ruskin Master of Drawing at Oxford from 1929 to 1948. –(note from the National Portrait Gallery, London)

Princeton University Library holds 29 books illustrated by Rutherston, beginning with Ronald Firbank (1886-1926), Inclinations (London: G. Richards, 1916). Rare Books (Ex) PR6011.I7 xI5 1916.

See also: Alan Powers, Art and print: the Curwen story (London: Tate, 2008). Marquand Library (SA) NE628.4 .P69 2008
David McKitterick, Wallpapers by Edward Bawden printed at the Curwen Press (Andoversford, Gloucestershire: Whittington Press, 1989). Graphic Arts Collection (GAX) Oversize 2014-0025F

Rock and Paper. Revisiting Michael Heizer

Michael Heizer, Tom Slaughter, Ray Charles White, Scott Kilgour, John Giorno, Robert Harms, Daniel Villeneuve, Beatriz Milhazes (Durham, Pa.: Durham Press, 1996). Graphic Arts Collection (GAX) Oversize 2006-0386Q

“The son of an anthropologist, Heizer acknowledges numerous ancient sources for some of his forms but sees the comparison as more apt in the realm of effect than of specific reference: ‘It is interesting to build a sculpture that attempts to create an atmosphere of awe. Small works are said to do this but it is not my experience. Immense, architecturally sized sculpture creates both the object and the atmosphere. Awe is a state of mind equivalent to religious experience, I think if people feel commitment they feel something has been transcended.’”

Michael Heizer, Negative Megalith 5, 1998. Dia Art Foundation ©Michael Heizer

“The simplified geometric forms of North, East, South, West [below] suggest the underlying Euclidean lexicon of basic three-dimensional forms—box, cone, and wedge—essential for all sculpture, ancient and modern. The architectural scale and construction of Heizer’s work call forth comparisons to the megalithic monuments of ancient cultures—a comparison that is explicitly addressed in his Negative Megalith #5 (1998, above), a natural, menhir-like stone inscribed in a rectangular niche, installed in a neighboring gallery.”–Dia Art Foundation

Above and below: Michael Heizer, North, East, South, West, 1967/2002. Dia Art Foundation ©Michael Heizer

See also: Michael Heizer—Dragged mass geometric (New York, N.Y.: Whitney Museum of American Art, 1985). Marquand Library NB237.H44 W48

Frontispieces by Thomas Cross, the Elder, active 1632-1685

John White (died 1671), A Rich Cabinet, with Variety of Inventions: Unlock’d and Open’d, for the Recreation of Ingenious Spirits at their Vacant Hours. Being Receits and Conceits of Severall Natures, and Fit for Those Who Are Lovers of Natural and Artificial Conclusions . . . [Frontispiece by Thomas Cross, active 1632-1685]. Fourth edition, with many additions (London: printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

First published in 1651, A Rich Cabinet is made up of numerous directions and instructions for the purpose of conducting experiments, satisfying curiosities, solving problems, and much more. Instructions are given in Legerdemain (slight of hand); painting; “how to help deafness and to expel wind from the head;” arithmetic; and manufacturing fireworks. The book went through at least eight editions into the 18th century. The Graphic Arts Collection recently acquired the fourth edition. Here’s a selection:

“Receipt IV. How to make dainty sport with a Cat.
If you will have some sport with a Cat, then get a little Bell, such as the tame Hawkes have at their legs, and tye the Bell something hard at the end of the Cats taile, and let her go, she feeling of her tayl smart, and hearing of the Bell gingle, she will run up and down as if she were mad, flying against the walls and windows: then if she can, she will get into some hole to hide her self, but when she wags her tayl never so little, then out she comes, and is as mad as before, and never will rest in quiet till it be taken off or she can get it off her self.

Another
Some have shod a Cat round, with putting melted Pitch into four Walnut-shels, and placing her feet therein, and she will make pretty sport.

Another
I was told of a merry Fellow that came into an Ale-house in cold weather, and finding but a reasonable Fire, said, He would make the Cat piss it out, and watching his opportunity, he getteth his Hostesses Cat, putting her head betwixt his thighs, and holding her four feet fast in one hand, and with the other hand he’d up her tayl near the fire, and did piss such abundance that she quite quenched the same.”

The unusual frontispiece for A Rich Cabinet was designed by the engraver Thomas Cross or Crosse, Sr., who is credited with over 200 portraits (the National Portrait Gallery, London, lists 165 http://www.npg.org.uk/collections/search/person/mp10604/thomas-cross?role=art) and more than two dozen striking title pages with a similar “cabinet of curiosities” format. Johnson’s A Catalogue of Engraved and etched English title-Pages lists 26. If you know of others, please let me know.

David Papillon, A Practicall Abstract Of the Arts of Fortification and Assailing (London, 1645). Lettered with title, imprint, and, at bottom centre, ‘Tho: Cross fecit’

Francis Quarles, Boanerges and Barnabas, or, Judgment and Mercy for afflicted souls (London, R. Lowndes, 1646). Lettered centre left: ‘T. C. fec.’ Rare books 3902.1.318 1667

John Raymond, Gent. An itinerary contayning a voyage, made through Italy, in the yeare 1646, and 1647. Illustrated with divers figures of antiquities. Never before published. By Jo: Raymond, Gent. Il Mercurio Italico communicating a voyage made through Italy ( London: printed for Humphrey Moseley, 1648). Rare books 1541.751

Temporis Augustiae: stollen houres recreations (1649). Lettered within image “Aetatis Suae 21”, and in lower margin four lines of verse “The pencill can noe more: it does present… The high-flowne vertues that adorne his mind”, and production detail “T. Cross Sculpsit”.

Lilly’s, Merlini Anglici Ephemeris: or, general and monthly predictions upon several eminent conjunctions of the planets, for the year 1650 (London, J. Partridge and H. Blunden, 1650).

Moore’s Arithmetick. “Effigies Jonae Moore.” Lettered with title, date “Ao: Aetat 35. 1649”, and production detail, “H. Stone Pinxit / T. Cross Sculpsit”.

James Primrose, Popular Errours or the Errours of the people in matter of Physick (London, W. Wisson for Nicholas Bourne, 1651). Lettered with title, imprint, and at bottom right ‘T. Cross sculpsit’

Brugis Vade mecum: or, a companion for a chyrurgion (London, 1651). Lettered ‘T. Cross sculpsit’

Walter Blith, fl. 1649. The English improuer improued or the survey of husbandry surueyed discovering the improueableness of all lands… (London” printed for John Wright, at the Kings-head in the Old-Bayley, 1652. An expanded edition of “The English improver”. The engraved title page is signed with a crossed T, i.e. Thomas Cross. Rare books Item 6349912

John Gauden, Hieraspistes: A Defence of the Ministry and Ministers of the Church of England (London, 1653). Lettered with title, imprint, various inscriptions, and at bottom right ‘Tho. Cross Sculpsit’

Petrus Cunaeus, Of the Commonwealth of the Hebrews (London, Will. Lee, [1653]). Bottom left, lettered with a ‘T’ on which a Maltese cross has been superimposed, the mark of Thomas Cross. Rare Books: South East (RB) EX Lapidus 1.03

Procopius of Caesarea, The History of the Warres of the Emperour Justinian, translated by Henry Holcroft (1653). Lettered with title, and at bottom centre ‘T. Cross Sculpsit’. Rare Books: Oversize (Exov) 2749.335.653

Lazarus Riverius’s The Practice of Physick. Lettered with title and “Cross fecit”. Rare books 89541.776

Francis Rous, Treatises and Meditations (London, 1657). Lettered at bottom left: ‘T. Cross sculp’

Renodaeus, His dispensatory containing the whole body of pharmacy, translated by Richard Tomlinson (1657). Lettered with title, captions, and at bottom left: ‘Cross sculpsit’. Hind 1952-64 III.322.131

Natura Prodigiorum: or discourse (1660). Johannes Gadburius. Portrait of the astrologer John Gadbury (1660). Lettered with title and “T. Cross Sculpsit”. This was also used as a frontispiece to Gadbury’s ‘Ephemeris’ (1671).

The Whole Book of Psalms in Meeter (1660). Lower margin “T. Cross Sculpsit”.

The compleat clark, containing the best forms of all sorts of presidents, for conveyances and assurances (London, 1664).

John White. A Rich Cabinet, with Variety of Inventions… (London: Printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

William Leybourn, 1626-1716. The art of measuring, or, The carpenters new rule described and explained… London: Printed for Richard Jones …, 1669. Lettered at bottom: ‘Printed for Rich: Jones. 1669’ and ‘T: Cross sculpsit’

Samuel Sturmy, 1633-1669. The Mariner’s Magazine, or Sturmy’s Mathematicall and Practicall Arts (1669). Rare books EXKA Oversize Americana 1679q Sturmy

Samuel Clarke, A Mirrour or Looking-Glass both for Saints, & Sinners, second volume (London, 1671). Lettered with title, imprint, and at bottom left, ‘Cross sculpsit’

Samuel Sturmy, 1633-1669. The mariner’s magazine: stor’d with these mathematical arts ... engraved by Thomas Cross Rare Books: South East (RB) EXKA Oversize Americana 1679q Sturmy

Hugo Grotius. Of the Rights of Peace and War, translated by William Evats (London, Ralph Smith, 1682). ‘Printed for Ralph Smith under the Piazza of the Royall Exch: in Cornhill.’. Lettered below: ‘T. Cross Senior Sculpsit.’ Rare books Oversize PITN 014.41.1682q

Descrizione del Sacro Monte della Vernia

Unnumbered folio 1: Saint Francis of Assisi three quarter length set within a cartouche surrounded by trophies of arms and heraldic devices by Domenico Falcini after Jacopo Ligozzi

Thanks to the generosity of the Friends of the Princeton University Library, the Graphic Arts Collection has acquired one of the most beautiful Baroque books ever printed. We are sincerely grateful for the continuing support of the Friends and hope all readers consider joining this wonderful organization.

In 1608, Lino Moroni, a member of the Observant Franciscans, was invited to produce a book on Mount Alvernia, the sacred retreat of St. Francis of Assisi and the site where, in 1224, he was believed to have received the stigmata. Together with the Veronese painter Jacopo Ligozzi, Moroni traveled to the Tuscan Appenines and the result is a remarkable travelogue entitled Descrizione del Sacro Monte della Vernia (1612).

Bound in vellum with “Monte di Vernia” inked on the spine, the book contains twenty-six prints with letterpress descriptions accompanying the individual plates. Seven of Ligozzi’s drawings were engraved by another local artist, Raphael Sciaminossi (signed with his monogram); a portrait frontispiece was engraved by Domenico Falcini of Siena; and the other plates were engraved by a yet unidentified artist, possibly Ligozzi himself.

Moroni wrote a dedication, an address to the reader, and keys for the plates, set within elaborate borders of typographical elements.

Flaps closed above, flaps open below

Descrizione is memorable not only for the extravagance of the dizzying vistas it records but also for the movable engraved overlays attached to four of the plates, permitting the reader to “see inside” several of the views. Given the tendency for these little slips to become dislodged, it is rare to obtain a volume, like ours, with them all in place.

Flaps closed above, flaps open below

Marquand Art Librarian Sandra Brooke points out that this is one of the Cicognara books. The Digital Cicognara Library is a collaborative effort to recreate in digital form the famous art historical library of Count Leopoldo Cicognara (1767-1834). Princeton University Library has joined this international effort and is currently scheduled to capture over 1800 books cited in the famous 1821 Cicognara Library catalog, pulling from both Marquand library and Rare Books and Special Collections in Firestone library. The acquisition of Moroni’s Descrizione adds to the success of that project and will assist historians around the world.

Plate A: Description with a title, legend, and fold-out print of three sheets depicting Monte della Vernia from the Road of Casentino, by Schiaminossi. Detail below.

Fra Lino Moroni (active early 17th century), Descrizione del Sacro Monte della Vernia (Description of the Sacred Mount Alvernia). Plates after drawings by Jacopo Ligozzi (1547–1627) and Raffaello Schiaminossi (1572–1622), engraved by Domenico Falcini (1575?–1628) and others. Florence: 1612. First edition. Purchased with funds provided by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2015- in process

This copy has the small embossed stamp of the Italian publisher and bibliophile Giannalisa Feltrinelli (1926-1972) on the front endpaper, indicating that it was, at one time, part of the famous Feltrinelli Library.

Unspecific Object

The genesis of the project Unspecific Object was an open call for objects, which artist Barbara Madsen placed on social media networks and posted at www.unspecificobject.tumblr.com. People were encouraged to submit images of objects they consume past and present. They could be banal, meaningful or significant objects, stored, ignored, or hoarded.

The winners were juried by Jared Ash, Assistant Museum Librarian at the Metropolitan Museum of Art and Arezzoo Moseni, Senior Art Librarian at the New York Public Library. The physical objects were sent through snail mail to Madsen, who built the spaces for the objects, photographed them, and generated photogravures for the book. The Venezuelan poet, Ely Rosa Zamora created her interpretation of the images in verse.

An interview with the artist discussing the project can be found here: http://www.artcritical.com/2015/06/13/eric-sutphin-madsen-moseni/

Each book includes 14 photogravures by Madsen and letterpress poetry by Zamora, both printed by the artist and published by Choir Alley Press, New Jersey, in an edition of 15. The Graphic Arts Collection is fortunately to have acquired copy 6.

Barbara Madsen and Ely Rosa Zamora, Unspecific Object (New Jersey: Choir Alley Press, 2015). Letterpress and photogravures. Copy 6 of 15. Graphic Arts Collection GAX 2015- in process

Thereafter

Maro Vandorou, Thereafter ([Dublin, CA]: Maro Vandorou; printed and bound by Sandy Tilcock, 2015). 20 unnumbered leaves. Graphic Arts Collection GA 2015- in process

“Thereafter is a limited edition handmade book of original images and writings. The conceptual focus is on capturing, depicting and interpreting the enigmatic behavior of a coral paeonia. In the course of 7 days the flower undergoes an almost mystical transformation with a profound healing effect.”

A Speech Introducing Albert Einstein

George Bernard Shaw (1856-1950), A Speech Introducing Albert Einstein. Introduction and etching by Joseph R. Goldyne (Rockport, Maine: Two Ponds Press, 2015). Copy 19 of 75. Graphic Arts Collection GA 2015- in process

“Professor Albert Einstein heard himself acclaimed by George Bernard Shaw tonight as one of the handful of men in all human history who have “Created Universes.” Before a thousand guests at a dinner here Professor Einstein listened while Mr. Shaw placed him on a pedestal with the greatest thinkers of mankind. Only seven men in the history of 2,500 years, said Mr. Shaw, could share with Professor Einstein his place as a destroyer of the old absolutism and builder of the new world. The list began with Pythagoras and included Ptolemy, Aristotle, Copernicus, Kepler, Galileo, Newton, and finally Einstein, “the greatest of our contemporaries.” –Anonymous, “Shaw Calls Einstein Universe Creator. Acclaims Scientist, the Guest at Dinner in London, as One of History’s Eight Greatest.” Special cable to the New York Times, October 29, 1930.

Shaw’s speech was delivered at a formal high-profile fund-raising dinner for ORT (Obschestvo Remeslenovo i. Zemledelcheskovo Trouda), an organization dedicated to the support of Eastern European Jewry. The setting was the ballroom of London’s Savoy Hotel in 1930.

In this newly acquired fine press edition, the full text of Shaw’s speech is reprinted, together with Albert Einstein’s response, originally delivered in German and printed here in English translation. Joesph Goldyne illustrated the volume with five etchings created especially for this publication. The drypoints, etchings, and burnished aquatints, executed with the artist’s unique graphic signature, pay tribute to the featured speakers as well as to the sense of the event.

.
.
.
.

A portion of the actual speech has been posted here. Nice to include the laughter and the applause:

A Man in Bogotá

The Man in Bogotá. Story by Amy Hempel, Photocollages by Mary Daniel Hobson, Design and Night Skies by Charles Hobson ([San Francisco]: Pacific Editions, 2015). Copy 17 of 40. Graphic Arts Collection GAX 2015- in process.

“Mary Daniel Hobson’s photocollages were created by layering photographic transparencies, stitched tissue paper, old maps, handwriting and real bird feathers. They have been reproduced here as archival pigment prints on Entrada 300 rag paper by Rhiannon Alpers at the San Francisco Art Institute. Rhiannon Alpers also printed the text in Adobe Garamond by letterpress on Coronado SST paper.”

“The circular holes in the pages were laser cut at Magnolia Editions in Oakland, California, and the covers and clamshell boxes have been made at the studio of John DeMerritt, Emeryville, California.”

“Charles Hobson designed the edition and painted the night sky individually for each set of covers and for the insets with acrylic paint on Canson Mi-Tientes paper. He also assembled and bound the edition with the assistance of Alice Shaw.”–Colophon.

“The book contains five photocollages bound into a concertina spine. A sixth image is presented as a separate print signed by the artist in a folder on the inside of the back cover.”–Prospectus.

An interview with the author Amy Hempel: http://bombmagazine.org/article/2058/amy-hempel

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: