Category Archives: Medium

mediums

Voyages d’un naturaliste et ses observations


In 1799, Michel Etienne Descourtilz, a French naturalist and surgeon, arrived at Saint Domingue on the Caribbean island of Hispaniola and remained there nearly four years, during which time the indigenous people revolted. Today the island hosts the Dominican Republic and Haiti. Although Descourtilz collected samples, documented language and music, and made sketches, many of his belongings were destroyed during the revolution. Returning to Paris, it took him five more years to complete his narrative, first published in 1809.

“The first-person accounts by whites taken prisoner during the interracial violence in Saint-Domingue during the revolutionary era … were written primarily to refute opponents of slavery in revolutionary France. Precisely because their authors had personally confronted a situation in which black slaves had at least provisionally defeated the white world-the only such situation in the Atlantic world up to that time-these narratives are of extraordinary interest for the development of modern discourses about race and identity.

The Saint-Domingue insurrection, which began in 1791 and culminated in the creation of the independent black republic of Haiti in 1804, has haunted thinking about race throughout the Western world ever since. …The insurrection demonstrated that people of color could not only be active agents in the making of history, but that they could overthrow white rule and seize control of the crown jewel of one of the great European empires, the most valuable piece of colonial real estate in the world at the time. Toussaint Louverture, the black leader who emerged to lead this movement, represented slaveholders’ worst nightmare, and his saga became an inspiration for movements for freedom among people of color on both sides of the Atlantic.

Compared to the number of narratives about North American whites captured by Native Americans or white Europeans enslaved in the “Barbary states” of North Africa, the corpus of first-person testimonies from the Saint-Domingue uprising is small. Only two fairly lengthy accounts published at the time are known: the colonist Gros’s Historick Recital, of the Different Occurrences in the Camps of Grand-Reviere…, and the naturalist Michel Etienne Descourtilz’s Voyages d’un naturaliste, which recounts the author’s experiences from 1799 to 1803, during Toussaint’s reign and in the war which resulted in the destruction of the last vestiges of white rule in Haiti.” —Jeremy D. Popkin, “Facing Racial Revolution: Captivity Narratives and Identity in the Saint-Domingue Insurrection,” Eighteenth-Century Studies , Summer, 2003, Vol. 36, No. 4 (Summer, 2003) URL: https://www.jstor.org/stable/30053605

 

Michel Etienne Descourtilz (1775-1835), Voyages d’un naturaliste, et ses observations : faites sur les trois règnes de la nature, dans plusieurs ports de mer français, en Espagne, au continent de l’Amérique Septentrionale, à Saint-Yago de Cuba, et à St.-Domingue, où l’auteur devenu le prisonnier de 40,000 Noirs révoltés, et par suite mis en liberté par une colonne de l’armée française, donne des détails circonstanciés sur l’expédition du général Leclerc [Travels of a naturalist, and his observations: made on the three kingdoms of nature, in several French seaports, in Spain, in the continent of North America, in Saint-Yago de Cuba, and in Santo Domingo, where the author who became the prisoner of 40,000 revolting indigenous people, and consequently released by a column of the French army, gives detailed details of the expedition of General Leclerc] (Paris: Dufart père, 1809). Complete with 45 full-page colored stipple engravings (3 frontispieces); a conversation in Creole; and two local songs with musical scores. Graphic Arts Collection GAX2021- in process

 

 


 

 

 

 

 

 

Les Ascensionnistes

 

 

Les Ascensionnistes. Nouveau jeu de Société très Attrayant, [The Mountaineers: An Attractive New Board Game]. (Paris: MD [Mauclair & Dacier]; Printed at Roches Frères, ca. 1885). Graphic Arts Collection GAX 2021- in process

The game’s decorated box holds a folding chromolithographic board with 108 numbered squares; six hand painted die-cast figures; 32 white and coloured playing tokens in a bag; a shaped paper-mâché tray; a bone dice; and printed instructions. According to the online Game of the Goose database (http://www.giochidelloca.it/anteprime.php?pagina=40&ordine=anno) this is the same game published by Simonin-Cuny and similar game reset with different title (Jeu des Alpinistes. Nouveau Jeu très Amusant) also published by Simonin-Cuny.

The firm of Mauclair-Dacier, located on 5 rue Haudriette in Paris (with a factory on 148 avenue Daumesnil), specialized in manufacturing and selling toys and games. It was active from the 1880s until it was acquired by the firm of Les Jeux Réunis in 1904. Visit the Mauclair-Dacier game factory: http://www.jeuxanciensdecollection.com/article-visite-de-l-usine-modele-mauclair-dacier-121197715.html

 

 

 

Illustrations from Henriette de Beaumont d’Angeville (1794-1871), My ascent of Mont Blanc; with a preface by Dervla Murphy ; translated from the French by Jennifer Barnes (London: HarperCollins, 1991). ReCAP, GV199.92.A54 A3 1991.

The Mountaineers game, exclusively designed around male climbers, reminds us of Henriette d’Angeville (1794–1871), “reported to have been the first woman to climb Mont Blanc, the highest mountain in the French Alps. True, Marie Paradis, a local peasant, driven by the lure of financial gain and encouraged by fellow adventurers, had gone to the top in 1808. But unlike her, d’Angeville made the decision to attempt the feat without the encouragement of others, preparing and paying for the trip herself. Her success earned her recognition as the first climber of the “weaker sex” to reach the summit of Mont Blanc. Surprisingly, the feat received little commentary, except in books on the history of mountaineering where a few scattered passages mentioned her – sometimes in disparaging terms.”–Women in Trousers: Henriette d’Angeville, a French Pioneer? By Pascale Gorguet Ballesteros. 04 Nov 2016 https://doi.org/10.1080/17569370.2016.1215112

Less distinguished but equally ambitious was Helen Henderson Chain, wife of James A. Chain. Both were artists and avid climbers as seen in the photographs of their 1888 trip to Germany, Switzerland, and Italy. https://wp.me/p3KgmJ-4Wu

Helen Henderson Chain and James A. Chain, The Chain Gang Abroad: Around Europe with a Camera [photography album], 1888. Some photography by Helen Henderson Chain ( 1848-1892). Graphic Arts Collection (GAX) Oversize 2008-0001E

 

Women’s Army Corps (WAC) Album

With war looming, U.S. Rep. Edith Nourse Rogers of Massachusetts introduced a bill for the creation of the Women’s Army Auxiliary Corps in May 1941. Having been a witness to the status of women in World War I, Rogers vowed that if American women served in support of the Army, they would do so with all the rights and benefits afforded to Soldiers. Spurred on by the attack on Pearl Harbor on Dec. 7, 1941, Congress approved the creation of WAAC on May 14, 1942. President Franklin D. Roosevelt signed the bill into law on May 15, and on May 16, Oveta Culp Hobby was sworn in as the first director. –from “Creation of the Women’s Army Corps, Women’s Army Auxiliary Corps (WAAC)” https://www.army.mil/women/history/wac.html

Hobby immediately began organizing the WAAC recruiting drive and training centers. Fort Des Moines, Iowa, was selected as the site of the first WAAC Training Center. Over 35,000 women from all over the country applied for less than 1,000 anticipated positions. The first women arrived at the first WAAC Training Center at Fort Des Moines on July 20, 1942. Among them were 125 enlisted women and 440 officer candidates (40 of whom were black), who had been selected to attend the WAAC Officer Candidate School, or OCS.

In January 1943, U.S. Rep. Edith Nourse Rogers of Massachusetts introduced identical bills in both houses of Congress to permit the enlistment and commissioning of women in the Army of the United States, or Reserve forces, as opposed to regular enlistments in the U.S. Army. This would drop the “auxiliary” status of the WAAC and allow women to serve overseas and “free a man to fight.” President Franklin D. Roosevelt signed the legislation on July 1, 1943, which changed the name of the Corps to the Women’s Army Corps (WAC) and made it part of the Army of the United States. This gave women all of the rank, privileges, and benefits of their male counterparts.


Janet Angwin’s Women’s Army Corps Album with 330 photographs and over 130 other items, 1944-46. Graphic Arts Collection. GAX 2021- in process

The Graphic Arts Collection holds a scrapbook documenting Janet Angwin’s service in the Women’s Army Corps or WAC, beginning with the order calling her up to active duty November 11, 1944, and her trip to Fort Des Moines. The album provides a personal account of the her experience in the WAC, along with detailed information on women serving in the United States Army. Included are WAC recruitment and informational pamphlets, city guides for enlisted men and women, official army memos (some mentioning Angwin by name), and the news briefs and humorous publications of the various forts where she was stationed.

Angwin was working at the Alameda Naval Air Station when she was called to active duty. At the Fort Des Moines training center she became certified to drive cargo trucks and vehicles, and was stationed in South Carolina, the Seattle Port of Embarkation, and finally Fort Lawton in Washington.

Some of the publications collected in the album are: Facts you want to know about the WAC; WAC Handbook; the “Re Port” for the Special Service Branch Charleston Port of Embarkation; Daily News Summary editions for the Charleston; and Glamour magazine pamphlet “Mustering-out Wardrobe for Servicewomen” showing what they could buy with their wardrobe allowance of $200.


Typographic necrology

Necrology Series (2017) by Ken Lum in “New Grit” at the Philadelphia Museum of Art, 2021.

Friday evening on April 14, 1865, at Ford’s Theatre in Washington D.C. President Abraham Lincoln was shot by John Wilkes Booth. He was carried to a boarding house across the street and died the next morning. News reached the Philadelphia Inquirer offices after midnight on April 15, when they printed a preliminary account of Lincoln’s death.

https://www-proquest-com.ezproxy.princeton.edu/pagelevelimagepdf/1825252346/pagelevelImagePDF/6CF198E61FB14B76PQ/1?accountid=13314&t:lb=t

(c) Ken Lum

Ken Lum on the steps of Weightman Hall at the University of Pennsylvania, September 2015. Photo: Stephanie Noritz.

Writing for Border Crossings Magazine, Lum comments:

In 2015, on the sesquicentennial of Abraham Lincoln’s death, the Philadelphia Inquirer reprinted its front page as it had appeared on April 15, 1865, a day after the American president’s assassination. I was struck by the appearance of the page, how differently it looked from today, with what seemed like illogical spacing, kerning, eclectic use of fonts, all encapsulated in a highly florid language. Running down the entirety of the left-hand column was a series of what appeared as mini-headlines, each announcing a significant moment in Lincoln’s life, from birth to death . . .

My series titled “Necrology” was impelled by the idea of text as an image machine . . . . In fact, the Lincoln page taught me that pictorialism begins with the unit of the alphabetic letter itself, well before its amalgamation into text. . . . Each work tells of a possible life lived . . . Each of the lives depicted in this series is neither fact nor fiction; they are amalgamations from various collected obituaries as well as personal recollections of dead relatives and friends.

[The] works chronicle lives of people such as an African-American woman of faith who led a decent lower-middle-class life as a keypunch operator; or a mysterious tattooed lady found dead and identified only by chance through Facebook; or Yasir Khorshed, who fought on behalf of garment workers’ rights only to die at an early age of benzene poisoning, at one time a not uncommon cause of death for garment workers.–https://bordercrossingsmag.com/article/necrology-series

“New Grit: Art & Philly Now” through August 22, 2021. https://philamuseum.org/calendar/exhibition/new-grit-art-philly-now

19th-century German scrapbook needs research


Here are a few images from a recently acquired scrapbook that contains wonderful prints, cut and pasted without any additional captions by the owner. The material is primarily German, primarily late 18th and early 19th century on themes of women’s life and fashion. There are a total of 89 prints on 28 leaves, all in good condition. The image on the front cover has been identified as Seidel quarry at Rochlitz with a view of Hartenstein castle on the back cover.

This would make an interesting study in itself or part of a larger project on domestic print collecting by women. Requests for free digitization can be made here: https://library.princeton.edu/special-collections/ask-us

Decorative Fireboards

The Graphic Arts Collection is the fortunate new owner of two decorative fireboards with color woodblock prints from Zuber & cie. A fireboard or chimney board is a panel designed to cover a fireplace during the warm months of the year. Neither of these sheets are titled or dated and since the Zuber artisans preserve their woodblocks for continued use, it is difficult know where or when they were made. The blocks were likely carved in the early 19th century, while the sheets may be 20th century.

If the scenes look familiar, the design of the fireboard was often a repetition of the wallpaper and/or other design elements in the room. There are many definitions online, but most are similar:

In warm weather, a fireboard effectively reduced the number of mosquitoes and other insects, or even birds, that might enter a house through an open, damperless chimney. The board or shutterlike contrivance typically of wood or cast of sheet metal frequently decorated with painting and stencilling. Some fireboards have notches cut out of the lowest edge to accommodate andirons.

Fireboards are also called: chimney boards, chimney pieces, chimney stops, fire boards, summer boards. Store-bought chimney board papers and panels of wallpaper custom cut to match the paper chosen for walls received similar treatment. Pasted to heavy paper or canvas nailed over the edges of the frame, they were less durable than wood fireboards and therefore less popular.

 

See other Zuber designs here:  https://www.zuber.fr/en/scenic-wallpapers?p=1

Conrad Rossi-Diehl


Artist and art educator Conrad Rossi-Diehl (1842-1926) was brought to the United States from Rhenish, Bavaria, as a child and spent his early years in various mid-west cities before his artistic talent became evident. When offered the chance to study in Europe, Rossi-Diehl chose to go to Munich to study under Wilhelm von Kaulbach (1805-1874), concentrating on fresco painting and elements of design. This led to various teaching positions with St. Louis Art Society, the Chicago Academy of Design and the Missouri State University, where he lasted until the spring of 1885. It was time to move to New York City.

 

Rossi-Diehl found work at the Hebrew Technical Institute, while organizing a weekly journal, entitled The Reflector: an Illustrated Journal Devoted to the Interests of Labor & Capital VS Monopoly. This often overlooked publication, filled with bright chromolithographs and articles about the Knights of Labor and early craft unions, only lasted from May to November 1886 but its emphasis on craft and artisan training led directly to his next venture [The Reflector is available at the Library Company and New-York Historical Society].

A plate from The Reflector reproduced in black and white in Quarter of a Millennium: The Library Company of Philadelphia, 1731-1981

 

At this point, Rossi-Diehl joins John Ward Stimson (1850-1930) to establish the Artist Artisan Institute also called the New-York Institute for Artist-Artisans, on West 23rd street. Stimson had been lecturing in art at Princeton College before being named Director of Art Education at the Metropolitan Museum of Art but resigned to lead his own school focused on practical art training. Both Stimson and Rossi-Diehl believed that America needed to improve the artistic nature of its manufactured products like wallpaper, book covers, and stained glass windows. Rossi-Diehl directed the drawing and design classes, emphasizing form, ornamentation, anatomy, and perspectives. Unlike his previous schools, he taught craft as art and in doing so, sought improve Americans homes and cities.

 

The New York Times said “Mr. Stimson’s idea in the establishment of the institute was…teaching principles instead of mere imitation, and developing the democratic American idea that art is not necessarily the mere foible of the foolish, the fad of new fashionables, or the monopoly of the speculator.” By 1890 the The Artisan-Artist Institute had 250 students with classes in painting, sculpture, architecture, illustration, etching, stain glass, ceramics, carving, metal working jewelry, interior decoration and plastic modeling. They became known as  “the most promising among the art educational institutions of the country” and 23rd Street became the center of art instruction in New York. Students included T. M. Cleland (1880-1964) and Henry McBride (1867-1962).

Meanwhile Rossi-Diehl published a variety of anatomy manuals and design books, while also writing passionate editorials for the Times and other journals. Below is a small section from “The Training of Teachers: A Review of an Argument in The Times Concerning Frederic Burk’s Book” by Rossi-Diehl, New York Times 13 Oct 1897: 6.

 

The Graphic Arts Collection recently acquired a small group of drawings by Rossi-Diehl, about whom little has been written. A short biography can be found by William Richard Cutter (1847-1918) in American biography; a new cyclopedia, and there is a brief piece in Scannell’s New Jersey First Citizens: biographies and portraits of the notable living men and women of New Jersey with informing glimpses into the state’s history and affairs (Patterson, N.J. : J.J. Scannell, 1917/1918-).

 

 

 

Vinita Jha’s “Unlimited Responsibilities of Women during Covid-19”

We have a new addition to our South Asian painting collection, documenting the effect of the coronavirus in that region. In 2020, the artist Vinita Jha created “Unlimited responsibilities of women during COVID-19,” along with a short story narrating the vignettes throughout her work. Vinita’s entire text will be archived with her painting but here is a short section:

This corona epidemic changed our society and social life completely. Covid-19 on the one hand wrapped the whole world in its clutches, on the other hand it also provided employment opportunities to the skilled people. Through this real story, I have tried to tell that the participation of women in the Corona-period played an important role and how did they worked very hard from day-to-night-to bring their family’s happiness back. Whether it is from rural environment or urban environment, women of both classes try their best and they become successful, too.

This is the story of a rural woman, whose name is Laliya. She is not educated but knows how to deal family, business and relationship well-being, She leaves no stone unturned to pursue higher education for her children, even though she belongs to a poor working class. Before the Corona epidemic and lock-down she would go home and clean the dishes and do the cleaning. But after the arrival of this epidemic, she lost that job/employment and became unemployed. They don’t have enough food to spend their life anymore, because they were daily wage worker in their earlier life. Laliya was in very deep sorrow. Now she started living day and night in deep concern about employment and income, and started thinking what to do now ??

Laliya also has two children Muniya (daughter) and Ugna (son). Due to government order in the pandemic, the school of their children has also started teaching online. Since Laliya has only one smartphone in her house and there are two children, both children have their own separate online classes. There is always an atmosphere of war between brother and sister about this smartphone. And sometimes it happens that if the class of both of the children were online together, then the class of both of them would miss or sometimes the class of one child would be missed.

Both Laliya and her husband Bhola are extremely worried about these things and they decided to buy one more smartphone, so that the online class of both their children could be ensured and they could study well. But this dream of Laliya started to look incomplete as they were unable to buy it due to the smartphone being so very expensive. They cannot afford to buy it.

Images and words posted with permission of the artist.
https://vimeo.com/471389158

Our sympathies to all those affected by the cyclone and heavy rains this week, on top of the continuing struggles with the huge caseloads of Covid-19 infections. Accept our sincere wishes for a better future.

The Princeton Print Club webinar, save the date

Harry Shokler (1896-1978), Triple Arch Connecting Reunion and West College, 1945. Serigraph. Fifth print issued by the Princeton Print Club.


In 1940, Elmer Adler was invited to Princeton University for 3 years and stayed for 12 in an “experiment in the study of printing and the graphic arts.” He filled the 12 rooms at 40 Mercer Street with permanent displays of fine printing along with rotating exhibitions managed by undergraduates and supervised by Adler, who was called the Prince of Prints. They formed the Princeton Print Club to not only engage the students with a print lending library, but reach a broad community of artists, printers, and collectors.

The Princeton Print Club will be the focus of a free webinar at 2:00 edt on Friday, May 28, 2021. Julie Mellby will present an illustrated history of the organization, joined by Marilyn Kushner, New York Historical Society, who will talk about the explosion of interest in printing and print collecting at that time, and by Alexandra Letvin, from the Allen Memorial Art Museum, Oberlin College, where they continue to circulate fine art prints to the students each semester as part of their Art Rental program. Registration: HERE

John Taylor Arms demonstrating intaglio printing


On lending day, the boys lined up before breakfast in order to be first to see the print selection. By noon, 400 or more framed works had been circulated.

The initial idea was for Adler, with his large collection of books, plates and prints, to give informal courses in the graphic arts that would serve to stimulate the cultural interests of Princeton undergraduates. A group of students decided to go further by forming an organization whose activities would revolve around 40 Mercer (later 36 University Place) and so it was that the Princeton Print Club came into existence.

With a regular membership fee of $5 a year, the club rapidly gained support among undergraduates, faculty, and alumni until enrollment hit 100. Each member received an annual fine art print depicting the Princeton campus, as well as invitations to lectures, demonstrations, and an annual print sale. Proceeds were used to establish a circulating collection of prints and photographs lent to students at the beginning of each semester. That collection forms the basis of the current Graphic Arts Collection, now part of Firestone Library’s Special Collections.

Louis L. Novak (1903-1988), Joline-Campbell Hall from Blair Court, 1943. Linocut. Third print issued by the Princeton Print Club

 

 

Please join us at 2:00 edt on Friday, May 28, 2021. The event is free but you must register for the zoom link: HERE. For more information, please contact jmellby@princeton.edu

 

The debilitated situation of France VS the flourishing condition of the United States, 1836

Conflict and contrast form the basis for this lithograph, on deposit with the Graphic Arts Collection thanks to Bruce C. Willsie, ’86. With France on the left and the United States on the right, the print even has two distinct titles, taken from separate captions on the left and right. Beneath King Louis Philippe (1773-1850) is written: “The debilitated situation of a monarchical Government when puffed up by pride and self-importance, whose resources must be wrung from the people’s hands. The difficulties to which such a State must ever be exposed.” Beneath Andrew Jackson (1767-1845) is the text: “The flourishing condition of a well-formed industrious Republic. The willingness displayed by the citizen of a free state to serve his country with his blood and fortune.” The debilitated situation of France VS the flourishing condition of the United States.

 

Printed in 1836 by an anonymous artist, possibly in Philadelphia, the scene presents the American superiority following the Treaty of 1831, in which France agreed to pay claims for Napoleonic depredations on American shipping (specifically, France agreed to pay 25 million francs, and in return, the United States paid a small sum to extinguish French claims against the American government and reduced the duties on French wines).

On the American right side a trunk is filled with bags of money while on the left, the French trunk is overturned with bills spilling out on the ground. The officers on the right are proud and sure of themselves while on the French left the men are unsure, fighting amongst themselves. Between them lies an ocean with an equal number of battle ships ready for war.

 

 

A center medallion includes lines from Byron’s Childe Harold’s Pilgrimage, slightly altering the beginning:

Can [tyrants but by tyrants conquer’d be,
And] Freedom find no champion and no child
Such as Columbia saw arise when she
Sprung forth a Pallas, arm’d and undefiled?
Or must such minds be nourish’d in the wild,
Deep in the unpruned forest, ‘midst the roar
Of cataracts, where nursing Nature smiled
On infant Washington? Has Earth no more
Such seeds within her breast, or Europe no such shore?