Category Archives: Medium

mediums

Snow is coming

Morton C. Hansen, Untitled [Snowy landscape with horse-drawn sleighs on tree-lined street, houses at right], 1928. Wood engraving. Graphic Arts Collection GA 2007.01397.

Adolf Arthur Dehn (1895-1968), Snow, 1930. Lithograph. Graphic Arts Collection GA 2007.01186. Edition 16/30. Inscribed: “For Elmer Adler”.

Hans Frank (1884-1948), Untitled [Deer in Snow], no date. Woodcut. Graphic Arts Collection GC121

Ruth and James McCrea, The Snows of Kilimanjaro [Book jacket design for Hemingway novel], no date [1970]. Oil on board. Graphic arts Collection GA 2006.02555. Gift of Charles Scribner III, Class of 1973.

John Lawrence, The Four Seasons (Winter), 1997. Wood engraving. Graphic Arts Collection GA 2005.00893. Portfolio cover: “Four wood engravings made in 1982 to illustrate The Magic Apple Tree by Susan Hill, now issued by the Fleece Press, August, 1997.” Edition 101/120.

Iain MacNab (1890-1967), The First Snow, 1925. Sand-grain etching. Graphic Arts Collection GA 2007.01770

Umetaro Azechi (born 1902), Stand on the Snow Gorge, 1956. Woodblock print. Graphic Arts Collection GA 2009.00485.

Guy Crittington MacCoy (1904-1981), Sugar Snow, 1946. Screen print. Graphic Arts Collection GA 2007.01785

Norman Kent (1903-1972), Untitled [Landscape with snow and four houses], no date. Woodcut. Graphic Arts Collection GA 2007.01530

Joe Jefferson, the Painter

Joseph Jefferson (1829-1905), Untitled [Landscape], 1905. Oil on canvas. Signed and dated: “J. Jefferson // 95”. Graphic Arts Collection GA 2006.02631.

The actor Joseph Jefferson, best known for his performance as Rip Van Winkle, was also a talented painter. If the date on the work in the Graphic Arts Collection is 1895, the painting was probably included in his 1901 Washington D.C. exhibition, admired and reviewed by Willa Cather in her 1901 essay “Joe Jefferson, the Painter.” See: Willa Cather (1873-1947), The world and the parish; Willa Cather’s articles and reviews, 1893-1902 (1970). Firestone Library (F) PS3505.A87 A16 1970

A second review by A.D. Albert Jr. begins, “On the occasion of a recent exhibition of paintings by Mr. Joseph Jefferson, the artist was present and joined frankly in the criticisms of those professionals and students who were in attendance. His evident pleasure in intelligent compliment and the eagerness with which he argued for the mood of particular paintings indicated unmistakably the spirit of earnestness and affection out of which the pictures have grown.

…Those of Mr. Jefferson’s critics who have seen him as Caleb Plummer or Rip Van Winkle insist, unconsciously perhaps, on regarding his paintings as the “aside” of a great character of the stage, or the studies of a dilettante. …There is too much merit in the work to warrant any study of it except as the ripened productions of a true student of nature. No concessions are necessary because Mr. Jefferson has done other things well or allowances required because his appearance as a painter is one of the later manifestations of his artistic temperament.

That any man whose life has been so busy could acquire a deep insight into the art-spirit of trees and rolling hills is not often to be expected, probably; but when that insight once speaks in serious purpose to express itself it deserves to be taken seriously and the expression judged solely on its merits.”–A.D. Albert Jr., “Mr. Joseph Jefferson as a Painter,” The Critic 39 (1901).

Bunbury’s designs after Tristram Shandy

Henry William Bunbury (1750-1811), “The Siege of Namur by Captain Shandy and Corporal Trim” from Life and opinions of Tristram Shandy, gentleman, no date [1772]. Hand colored etching. Graphic Arts Collection GA 2011.00548.

thomas_rowlandson_the_siege_of_namur_by_captain_shandy_and_corporal_tr_d5771657h

Undated etching from the Walpole Library attributed to Thomas Rowlandson [left] and a drawing sold by Christies also attributed to Rowlandson [right]. After Bunbury’s design but note the difference on the door on the far right.

Laurence Sterne is “the most illustrated novelist of the eighteenth century,” writes Peter de Voogd. “The English language editions alone yield well over 1,300 different illustrations and the field is so vast that it must be subdivided.” [“Sterne and Visual Culture” in The Cambridge Companion to Laurence Sterne (2009)]. Sterne’s The Life and Opinions of Tristram Shandy, Gentleman was published in nine volumes, the first two appearing in 1759 and the last in 1767.

A series of etchings were designed in 1772 by the amateur draughtsman Henry William Bunbury, including “The Overthrow of Dr. Slop,” “The Battle of the Cataplasm,” “The Siege of Namur,” and “The Damnation of Obadiah.” This set was inspired by Sterne’s book but never bound with the text. They were published by James Bertherton in 1773; re-etched and published in 1799 by S.W. Fores; and then, lithographed in 1815-17.

Princeton’s Graphic Arts Collection owns several prints etched by Bunbury before the Bertherton edition, including one laterally reversed from the final published print. Although Thomas Rowlandson prepared two plates for a later bound edition of Tristram Shandy, they are different images, not the same as Bunbury’s designs.
Henry William Bunbury (1750-1811), “The Damnation of Obadiah” from Life and opinions of Tristram Shandy, gentleman, no date [ca.1772]. Hand colored etching. Graphic Arts Collection GA 2011.00546. Gift of Dickson Q. Brown, Class of 1895.

Henry William Bunbury (1750-1811), “The Overthrow of Dr. Slop” from Life and opinions of Tristram Shandy, gentleman, no date [ca.1772]. Hand colored etching. GA 2011.00547. Gift of Dickson Q. Brown, Class of 1895.

James Bretherton (active 1770-1781) after Henry William Bunbury (1750-1811), “The Overthrow of Dr. Slop” from Life and opinions of Tristram Shandy, gentleman, 3 February 1773. Etching. Graphic Arts Collection GA 2011.00506. Gift of Dickson Q. Brown, Class of 1895.

Beneath the design is engraved, “When Obadiah & his Coach Horse turn’d the Corner rapid, furious, pop, full upon him – nothing I think in Nature can be supposed more terrible than such a rencounter – Obadiah pull’d of [sic] his Cap twice to Dr Slop, once when he was falling & again when he saw him seated.”

James Bretherton (active 1770-1781) after Henry William Bunbury (1750-1811), “The Battle of the Cataplasm” from Life and opinions of Tristram Shandy, gentleman, 3 February 1773. Hand colored etching. Graphic Arts Collection, GA 2011.00505. 1773/02/03. Gift of Dickson Q. Brown, class of 1895.

Beneath the design is engraved, “Susannah, rowing one way & looking another, set fire to Dr. Slop’s Wig, which being somewhat bushy & unctuous withal was as soon burnt as kindled – You impudent Whore cried Slop (for what is passion but a wild Beast) You impudent Whore cried Slop getting upright with the Cataplasm in his hand – I never was at the destruction of any body’s nose said Susannah, which is more than you can say; – Is it? cried Slop, throwing the Cataplasm in her face – Yes it is cried Susannah returning the Complement with what was left in the pan”

Gerald Kenneth Geerlings’ winning etching

Gerald Kenneth Geerlings (born 1897-1998), Grand Canal, America (also called Electrical Building at Night) [Chicago Fair], 1933. Etching and drypoint on yellow/green paper. Graphic Arts Collection GA 2007.01331

The American artist Gerald Geerlings was awarded first prize for the best etching at the 1933 “Century of Progress,” Chicago World’s Fair. Click here to view a large photographic panorama of century of progress from the Library of Congress collection.

According to the Chicago Tribune‘s 1934 World’s Fair Notes I: “In two seasons the 85,000 lights at the Fair have cost $800,000 forty. According to J. L. McConnell, construction chief, 35,000 of them have been broken or replaced. The largest was a 3,000 watt arc and the smallest a 73h watt bulb.” [Chicago Tribune 10/21/1934]

“[Shepard] Vogelgesang collaborated with J. L. McConnell, the director of electrical effects, to get an idea of how to effectively merge color and light at night. Illumination in 1934 was reported to be about fifty per cent greater than in 1933. Two scintillators shot variegated patterns of colored light into the sky. The most spectacular new feature of the 1934 fair was the huge new fountain which was illuminated and colored by submarine flood lights extending the length of the fountain. The ever changing lights could be controlled either automatically or by hand.” [Century of Progress website http://www.cityclicker.net/chicfair/index.html]

Devils, Dragons, and Monsters

William Elmes (active 1804-1816), General Frost Shaveing Little Boney, 1 December 1812. Hand-colored etching. “Invade My Country indeed-I’ll Shave-Freeze-and Bury you in Snow-You little Monkey.”

John Cawse (1778-1862), Genius, of Bazaar arrived at London, 29 May 1816. Hand-colored etching.

“This Monster who is a Native of Turkey has lately made his appearance in London & such is his power that by first appearing in Soho he got Acquainted with Mr Tr-t-r sinse which he has Spread Destruction through all the best houses in Town to the Great anoyance of all poor Shop-keepers.”

Thomas Rowlandson (1757-1827) after George Moutard Woodward (ca.1760-1809), Witches in a Hay Loft, 29 April 1807. Hand-colored etchng.

Charles Williams (1797-1830), Malignant Aspects Looking with Envy on John Bull and His Satelites, or a New Planetary System, 21 October 1807. Hand-colored etching.

J. Lewis Marks (ca.1796-1855),The Tyrant Overtaken by Justice is Excluded from the World, May 1814. Hand-colored etching.

Unidentified artist, The Devil and Doctor Fostus or a finishing dose for poor Hibernia, no date [1809?]. Hand-colored etching.

“Doctor Fostus’s invaluable remedy for Bankruptcies, poverty, distress, Nakedness, loss of trade, starvation, and all other Calamities incident to a long oppress’d and suffering people—the Doctor ever anxious to promote the Welfare of Ireland now offers his anti gallic Quintessence to the scrutinising eye of an enlightened populice [sic], with the trifleing advance of 50. pr cent, occasioned by the highly beneficial useful & necessary war, and happy success of our late & present glorious Expeditions— this Noble Medecine is composed of all the Doctors former & present happy compositions—a single Dose of which acts so powerfully on the Nervous System as to rid the patient of all his Earthly Infirmities—”

Found in: George M. Woodward (ca.1760-1809), The Caricature Magazine, or, Hudibrastic Mirror ([London] : Tegg, [1807-1820]). Graphic Arts Collection (GA) Kane Room Rowlandson 1807.5f

Trees and Shrubs of Fife and Kinross

John Jeffrey and Charles Howie. The Trees and Shrubs of Fife and Kinross (Leith: printed for private circulation by Reid & Son, 1879). Photographic negatives by Andrew Young, of Burntisland, printed as woodburytypes by Lock & Whtfield of London. Graphic Arts Collection (GAX) Oversize 2006-0145F

The Graphic Arts Collection holds one of 100 privately printed volumes offering an arboricultural study of Scotland. “The following pages are the result of numerous wanderings through the counties of Fife and Kinross during the summers of 1875-6-7-8. The localities visited, and the many fine specimens of Trees and Shrubs which came under our notice, afforded us both pleasure and instruction, and in submitting our observations for perusal, our chief object will be fulfilled if we can interest the Reader in the subject of Arboriculture, or contribute a little to the information and enjoyment of any lover of nature.”-from the Preface.

The following is a selection from the “Obituary Notice of John Jeffrey, Balsusney,” by C. Howie, St Andrews.

John Jeffrey, Balsusney, Kirkcaldy, along with his brothers, succeeded to an extensive linen manufacturing business, carried on by their father in Kirkcaldy and the west of Scotland. . . . As a relief from the constant routine of an industrious life, he betook himself to the culture of trees and shrubs, planting his park by the side of his works with choice specimens. . . . the recreative study of plant life in the field was his delight, nothing being more pleasing to him than the sight of some majestic tree that stood forth among its contemporaries. He resolved, in conjunction with the writer, to register the dimensions of trees in the Fife district, a dendrometer being obtained from Mr Sang of Kirkcaldy for ascertaining the height.

When Mr Jeffrey resolved to publish, we restricted our pursuits only to taking note of the largest trees, and those of more recent introduction . . . no expense was spared in photographing specimens, the plates being forwarded to London to undergo the Woodbury process. There were only 100 copies printed of this labour of love, many were given away to friends, and the rest were readily disposed of. A copy was presented to the then prime minister, with the authors’ compliments. —Transactions and Proceedings, vol. 17-18 (Botanical Society of Edinburgh, 1889).

Engraved musical tutors “rendered easy”

The Graphic Arts Collection recently acquired a Collection of Seven Musical Tutors, for Instruction in Playing the Flute, Oboe, Clarinet, Bassoon or Fagotto, Violin, Violoncello, and German Flute (London: [1800-1830s]). Each of the seven engraved booklets run approximately 30 pages with covers and advertising included. A label on the front board is lettered in gilt “T. Eaton/ 1834.” Here are a few examples.

CDV of Bible

Nineteenth-century cartes-de-viste were most often portraits of celebrated figures who posed at the commercial studios of local photographers. They sat or stood holding various books or other personal effects to indicate their occupations and interests. Seldom do we see the objects of affection on their own, such as with these three CDVs of a large Bible taken at the People’s Popular Photograph Rooms, in Bridgeport Connecticut, ca. 1860-1870.

In trying to identify the book in the photographs, Steve Ferguson had the good suggestion to look at the first edition of Luther’s German translation of the Bible posted by the Special Collection Division of the University at St. Andrews Library.

http://standrewsrarebooks.wordpress.com/2014/12/09/new-acquisitions-hand-coloured-1589-luther-bible/

Created in the early 16th century, the binding is similar, as are the illustrations by Jost Amman and his workshop. I have yet to find a collector in Connecticut who might have owned such a bible in the 19th century.

If you have other suggestions, we would be grateful to hear them.

Cape Henlopen Lighthouse

A View of the Lighthouse on Cape Henlopen; taken at Sea, August 1780. Engraving. Gift of Charles C. Abbott (1843-1919). Graphic Arts Collection GA 2015- uncatalogued prints.

This 18th century engraving only recently turned up in a folder. Created by an unidentified artist, the view documents the Cape Henlopen lighthouse only 13 years after it was built in 1767. The print was published in the February 1788 Columbian Magazine or Monthly Miscellany, opposite page 108, although it may well have been used as an illustration earlier.

Our print was donated in 1901 to Junius Spencer Morgan II, Class of 1888 (1867–1932), while he was working at the Princeton University Library, given by the American naturalist and author Charles C. Abbott (1843-1919).

Here is a brief history of the lighthouse by Eric A. Pearson Jr. “Bits and Pieces on Fabulous Cape Henlopen”:

“Before collapsing in April 1926, the Cape Henlopen Lighthouse guided vessels from the Atlantic Ocean into the Delaware Bay for more than 150 years. Built in 1767 with money raised from a series of lotteries in Philadelphia, the lighthouse was made of stone brought down from the Brandywine River north of Wilmington, Del., near the Pennsylvania border. The tower was 26 feet in diameter, 6 feet thick at the base, 69 feet, 3 inches tall, and 17 feet, 6 inches in diameter and 3 feet thick at the top. It was built on the north side of the Great Dune, 46 feet above sea level, to obtain additional height. Because the dune moved 3 to 5 feet a year, it eventually claimed the lighthouse.”

Ansel Adams Act proposed 1/2/15

H. R. 5893

To restore the First Amendment Rights of Photographers.

IN THE HOUSE OF REPRESENTATIVES

January 2, 2015

Mr. Stockman introduced the following bill; which was referred to the
Committee on Oversight and Government Reform, and in addition to the
Committees on Natural Resources, Agriculture, and the Judiciary, for a
period to be subsequently determined by the Speaker, in each case for
consideration of such provisions as fall within the jurisdiction of the
committee concerned

A BILL

To restore the First Amendment Rights of Photographers.

Be it enacted by the Senate and House of Representatives of the
United States of America in Congress assembled,

SEC. 2. FINDINGS.

Congress finds as follows:
(1) In recent years, the Federal Government has enacted
regulations to prohibit or restrict photography in National
Parks, public spaces, and of government buildings, law
enforcement officers, and other government personnel carrying
out their duties.
(2) In recent years, photographers on Federal lands and
spaces have been threatened with seizure and forfeiture of
photographic equipment and memory cards, and have been arrested
or threatened with arrest for merely recording what the eye can
see from public spaces.
(3) Even in the absence of laws or regulations, Federal law
enforcement officers, other government personnel, and private
contractors have been instructed to prohibit photography from
public spaces, and threatened photographers with arrest or
seizure of photographic equipment.
(4) Arresting photographers, seizing photographic
equipment, and requirements to obtain permits, pay fees, or buy
insurance policies are abridgments of freedom of speech and of
the press.
(5) The First Amendment of the United States Constitution
states, “Congress shall make no law . . . abridging the
freedom of speech, or of the press.”.
(6) Still and motion photographs are speech.
(7) The photography by Ansel Adams and other famous
photographers helped bring home to Americans the beauty and
fragility of our natural resources.
(8) Ansel Adams’ photographs helped build public support to
make Yosemite into a National Park.
(9) Future “Ansel Adams” must not have their paths
blocked, regulated and made more expensive with fees and fines,
or be threatened with arrest and seizure of their equipment.

To continue reading, see: https://www.congress.gov/bill/113th-congress/house-bill/5893/text

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