Category Archives: Books

books

Tamayo’s Apocalypse de Saint Jean

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Rufino Tamayo (1899-1991), written by Issac-Louis Lemaistre De Sacy (1612-1684), Apocalypse de Saint Jean (Monaco: Club international de bibliophile: Jaspard, Polus & cie, 1959). Printed by Jean Paul Vibert, Grosrouvre, and Lucien Détruit, Paris. “Le texte de la présente édition reproduit integralement la version de Lemaistre de Sacy, publiée pour la première fois à Paris, en 1672”–Title page verso. Graphic Arts Collection GAX 2015-in process

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When the Mexican artist Rufino Tamayo died in 1991 at the age of 91, Michael Brenson wrote an extended obituary for the New York Times. He called Tamayo “a force in Mexican art for more than 60 years and one of the leaders of the Mexican Renaissance.” He continued “Mr. Tamayo was prolific. Although he is best known for his painting, he was an influential printmaker who liked being involved in every step of the process, including making his paper by hand.”

The Graphic Arts Collection is fortunate to have acquired the most beautiful livre d’artiste by Tamayo, Apocalypse of St. John (Apocalypse de Saint Jean), which he completed in 1959. The cardboard clamshell box with Tamayo’s design across the front and back, is in surprisingly good condition after almost 60 years. The color of his lithographs is fresh and pure. It is Tamayo’s color that many of us loved the best.

“If I could express with a single word what it is that distinguishes Tamayo from other painters of our age,” commented Octavio Paz, the Mexican poet and Nobel laureate, “I would say, without a moment’s hesitation: sun. For the sun is in all his pictures, whether we see it or not; night itself is for Tamayo simply the sun carbonized.”

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A Lonely Chrysanthemum, a 17th-century novel

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一本菊 [Hitomotogiku = A Single or Lonely Chrysanthemum] ([Kyoto]: Nishida Katsubē, 1660). 3 volumes with woodblock print illustrations. Graphic Arts Collection GAX 2015- in process

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“Hitomotogiku (A Single Chrysanthemum) a tale of the nobility in the form of a Nara picture book, recounts (like many otogi-zoshi about the nobility) the cruelties of a wicked stepmother; but it is unusual in that there are two victims, a brother and a sister, rather than a single Cinderella in the tradition of the stepmother stories of the Heian and Kamakura periods.

The boy (like Genji) is exiled, and the girl (like Ochikubo) is shut up in a wretched house, but despite these Heian touches, the work betrays its Muromachi origins in such passages as the account of a pilgrimage to Kiyomizu-dera, another temple sacred to Kannon.

Worship of Kannon was certainly not new, but during the Muromachi period pilgrimages to the thirty-three temples sacred to Kannon became a craze.” –Donald Keene, Seeds in the Heart: Japanese Literature from earliest times to the late sixteenth century (New York: Holt & Co., 1993): 1096.

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First Edo Guidebook, 1677

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edo suzume1江戶雀 : 12卷 [Edo suzume: 12-kan]. Authors include Entsu Chikayuki, among many others. Woodblock prints painted by Hishikawa Moronobu (ca. 1620-1694) (Edo: Tsuruya Kiemon, 1677). 12 volumes, 35 woodblock prints. Graphic Arts Collection GAX 2015- in process.

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A reminder: this is printed from a hand cut woodblock.

edo suzume9“The Edo Suzume (Sparrows) was the first periodical published in the Edo period. It was compiled from practical guides to famous places in Edo and in the final section it lists up all the Daimyō residences, shrines and temples, neighborhoods and bridges with the explanation that it intended to summarize the area covering approximately 12km in every direction. It forms together with the guides of Kyoto and Osaka (Namba), the Three Suzume.” –Tokyo Metropolitan Library http://www.library.metro.tokyo.jp/portals/0/edo/tokyo_library/english/modal/index.html?d=59

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“This is considered to be the earliest Edo periodical and was authored and published by Edo residents and it is also highly rated as a picture book containing illustrations by Moronobu Hishikawa who is considered to be the founder of Ukiyo-e paintings. At the introduction, it says that practical guides to famous local places, historic sites, temples and shrines were provided for the benefit of those who came to Edo from their home regions. The city center is divided by direction and each one is depicted in great detail from Daimyō residences, shrines and temples and famous historic sites all the way to streets and houses allowing us to know how to reach there.”

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Jack Hillier, The Art of the Japanese Book (London, 1987). (GARF) Oversize NC991 .H55q

Cavafy First Edition

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Constantine Cavafy (1863-1933), Poiēmata / K.P. Kavaphē; kallitechnikē ergasia Takē Kalmouchou ; philologikē epimeleia Rikas Senkopoulou (Alexandrie: Ekdosis “Alexandrinēs Technēs”, [1935]). Copy 510 of 1800. As issued with original printed tan wrappers preserved; bound in tan cloth. Stamped in script on rear cover: Vivliophilike Gonia. Graphic Arts Collection (GA) PA5610.K2 A17 1935

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“The first commercial edition of Cavafy’s work was published in 1935, two years after his death, and was edited by Rika Sengopoulou, wife of the poet’s heir. This rather luxurious . . . volume, illustrated with woodblocks by Takis Kalmouchos, ordered the poems more or less chronologically.

Since then, the “standard” edition has become George Savidis’ two-volume 1963 edition, which sought to maintain some degree of fidelity to the odd folders and booklets the poet himself had been making during the latter part of his life. Savidis is also the person who undertook to edit and publish many of the poems that were still not in circulation in 1933 when Cavafy died. In fact, he’s the one who divided the poems into the categories mentioned above.”–No Two Snowflakes, or Cavafy Canons, are Alike by Karen Emmerich

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cavafy3Things Ended

Possessed by fear and suspicion,
mind agitated, eyes alarmed,
we desperately invent ways out,
plan how to avoid the inevitable
danger that threatens us so terribly.
Yet we’re mistaken, that’s not the danger ahead:
the information was false
(or we didn’t hear it, or didn’t get it right).
Another disaster, one we never imagined,
suddenly, violently, descends upon us,
and finding us unprepared—there’s no time left—
sweeps us away.
Translated by Edmund Keeley/Philip Sherrard (C.P. Cavafy, Collected Poems. Princeton University Press, 1992)

Chronicles of the Bastile Returns

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bastille cruikshankLouis Alexis Chamerovzow (1816-1875), Chronicles of the Bastile. First series, Bertaudière: an historical romance (London: T.C. Newby, 1845). 20 parts in 19; 40 steel engravings by Robert Cruikshank (1789-1856). Original parts in the original blue printed wrappers, enclosed in a blue levant case; very rare in this state. Issued from January 1844 to July 1845 the front cover of each wrapper being dated. Graphic Arts Collection (GA) Oversize Cruik 1845 Robert
bastile cruikshank7During our recent move, a number of items were found that had been recorded as missing for many years, this copy of the Chronicles of the Bastile among them.

According to the Dictionary of National Biography, Louis Alexis Chamerovzow was an anti-slavery campaigner and author. He studied at the Sorbonne and for some time was employed as an English tutor at the Collège Henri Quatre in Paris . . . . “Chamerovzow tried to make a living from writing, and the first volume of a historical romance he had begun while in Paris was published anonymously early in 1844. Part an intended series, Chronicles of the Bastile, The Bertaudière purported to share the secrets imparted to the author by an old Parisian just before he died.

Chamerovzow’s agreement with the publisher T. C. Newby gave him initially little by way of royalties, and in October 1845 he made an application for assistance from the Royal Literary Fund, which awarded him £30 to tide him over until he could obtain a secretaryship, which he had been promised. The Bastille series, illustrated by Robert Cruikshank, was continued in The Embassy, or, The Key to a Mystery (1845) and concluded with Philip of Lutetia, or, The Revolution of 1789 (1848). The latter book appeared opportunely as a new revolution unfolded in France, and Napoleon III’s rise to power that year gave him the topic of his final published romance, The Man of Destiny (1860).” http://www.oxforddnb.com/view/article/101107?docPos=1

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Copyright.gov/orphan

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http://www.copyright.gov/orphan/

In case you have not already seen it, the U.S. Copyright Office released a new report in June: Orphan Works and Mass Digitization: A Report of the Register of Copyrights.  The Report documents the legal and business challenges faced by good faith users who seek to use orphan works and/or engage in mass digitization projects.  A free copy is available at the link above.

It provides a series of legislative recommendations that offer users a way forward out of gridlock, but also take into account the legitimate concerns and exclusive rights of authors and other copyright owners. The Copyright Office has long held the view, which it reiterates in the Report, that too many valuable projects are forestalled because users can neither locate the rightsholders nor protect themselves or their licensees from ongoing exposure to liability.  Similarly, recent litigation has highlighted a gap in the law regarding how to fully facilitate mass digitization projects that are in the public’s interest without undermining the rights of copyright owners, including the right to be fairly compensated.

 

Making Paper

bertram2The Graphic Arts Collection recently acquired a rare trade catalogue from the Scottish firm Bertram, presenting their entire line of papermaking machinery. Note below the watermark printed on each plate so that people can’t steal and reproduce their images.

 

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Paper Makers’ Catalogue ([Edinburgh]: [James Bertram & Son], printed by Mackenzie and Storrie, letterpress and lithographic printers, 1890). Graphic Arts Collection GAX 2015- in process

Happily the Capital Collections site for Edinburgh Libraries and Museums recently posted the history of this important manufacturer and the quote here is a portion of their text:

Bertram Limited, Sciennes was founded in 1821 in Edinburgh and developed into a major manufacturer of papermaking machinery. The firm was founded by George and William Bertram, who came from a family which had been involved in papermaking in Midlothian for generations.

After spending about twenty years in Dartford, Kent learning their craft as papermaking machinery engineers, the brothers returned to Edinburgh to set up their own business, a workshop erected near Sciennes, with a few machines and a small forge. The company moved to new, larger premises around 1859, on the site which it was to occupy for over a century. Another engineering company James Bertram & Son was set up in Leith Walk, by a younger brother in 1845.

In 1860 William Bertram retired after 40 years in the business. He died the same year. George continued to supply not only papermaking machines but other machinery used in the paper making process, including steam engines. David, George’s son took over the business from his father. He was the last of the direct line of Bertrams. When he died in 1907, the family name disappeared from the board.

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Not only wrote the book but also designed the cover

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Frank Lloyd Wright (1867-1959) visited Princeton University many times over his long career. The first and perhaps most important visit was in 1930, when Wright accepted the Kahn lectureship and delivered a series of six illustrated lectures in McCormick Hall. Modern Architecture; Being the Kahn Lectures for 1930, was published the following year by Princeton University Press (we hold 6 copies of the original NA680 .W93). Not content to write the book, Wright also designed the book’s cover, which has become iconic with the man and his work.

The Princeton University Weekly Bulletin (May 3, 1930) announced that “starting today and continuing through May 14th, a series of lectures will be presented by Frank Lloyd Wright on the problems of Modern Architecture. . . . . Today he will speak on the topic, ‘Machinery, Materials, and Men,’ following tomorrow with ‘Style in Industry; the War on Styles.’ His lecture Thursday, ‘The Cardboard House,’ gives promise of being most interesting, and his concluding speech of the week, on Friday, ‘The Passing of the Cornice,’ will take up a trend of modern architecture, which is very noticeable in the work being done today. One week from today he will deliver an address on ‘The Tyranny of the Skyscraper,’ ending his series at Princeton with a talk entitled ‘The City.'”

Wright brought with him a group of recent drawings, which were placed on display in the Museum of Historic Art (an early space that included galleries, the art and archaeology department, the fine arts library, and the School of Architecture). The Bulletin claims that “this will be the first time that Mr. Wright’s drawings have been shown to the public, and they will go on a tour after remaining in the Architecture Building for several days.” Simply titled “The Show,” the traveling exhibit included 600 photographs, 1,000 drawings, and four models that were seen in New York City; Chicago; Eugene, Oregon; Seattle, Washington; several European cities; and Milwaukee’s Layton Gallery.

In the spring of 1933, another exhibit to include Wright’s designs was held in McCormick Hall entitled Early Modern Architecture: Chicago 1870-1910. Prepared by the Museum of Modern Art in New York, this show had the extra special feature of wall labels written by Philip Johnson, Chairman of the Museum’s Department of Architecture, and Professor Henry Russell Hitchcock of Wesleyan University.

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Wright returned to Princeton in 1947 for a two day conference in connection with the University’s bicentennial celebration. “Planning Man’s Physical Environment” brought together 70 architects, city planners, philosophers and social psychologists under the direction of Arthur C. Holden, Class of 1912.  Wright used his time to plead for the decentralization of American cities, telling the students, “we are educated far beyond our capacity.  We have urbanized urbanism until it is a disease—the city is a vampire, living upon the fresh blood of others, sterilizing humanity.”

In 1955, Wright was invited to be the principal speaker at that year’s Senior Class dinner. He happily agreed but at the last minute asked to have the dinner rescheduled while he attended to construction problems with the Guggenheim Museum building.  The 800 students and their guests didn’t seem to mind and in fact, his talk was so memorable that the class of 1959 invited him back. Unfortunately Wright passed away one month before the Princeton event.

Artists’ Books

abSarah Bodman, Senior Research Fellow for Artists’ Books/Programme Leader MA Multidisciplinary Printmaking at the Centre for Fine Print Research in Bristol publishes The Book Arts Newsletter every two months. The most recent, no. 98 (July/August 2015), is now ready for download at:
http://www.bookarts.uwe.ac.uk/banlists.htm
It you don’t already subscribe, you might want to sign up to receive an alert when the next one is published.

The cover of this issue is by the artist Hilke Kurzke and the content includes information on national and international exhibitions; courses, conferences, lectures & workshops; book fairs and much more. If you want to submit your own information, the next deadline for copy will be August 13 for the September/October newsletter.

Please note: Their website will be closed for maintenance from 4pm on Friday 3rd July until 8.30am on Monday 6th July, so please download before or after. For more information, see: www.bookarts.uwe.ac.uk

Grandma’s Kitchen

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Wanda Gag (1893-1946), Grandma’s Kitchen, 1931. Lithograph. Graphic Arts Collection GA 2008.00407.

Minnesota-born Wanda Gág was a struggling young artist when Carl Zigrosser gave her a one-woman-show in his Weyhe Gallery in 1926. The Greenwich Village feminist was also outspoken about women’s rights and published an article stating her views in Nation magazine on June 22, 1927. “These Modern Women: A Hotbed of Feminists” began with an editorial note, “We print herewith the seventeenth and last of a series of anonymous articles giving the personal backgrounds of a group of distinguished women with a modern point of view.”

Ernestine Evans at Coward-McCann Books saw the article and liked both her politics and her art. She offered Gág the possibility of doing a children’s book with their firm and Gág delivered Millions of Cats in 1928 (which is still in print today). The book won a Newbery honor award the following year and led to a series of lithographs, loosely based on the premise. One of them made its way into Elmer Adler’s collection and was circulated at Princeton University as part of our Princeton Print Club exchange in the 1940s.

Wanda Gág (1893-1946), Millions of cats (New York: Coward-McCann, inc., 1938, c1928). Gift of Frank J. Mather, Jr. Graphic Arts Collection (GAX) 2003-0111N.

Wanda Gág (1893-1946), Millions of cats (New York, Coward-McCann, 1928). Cotsen Children’s Library (CTSN) Eng 20 94934bcc9cad2d7595db652d011b836bccb40