Category Archives: photographs

photographs

Jerusalem through the Stereoscope

Wretched Lepers Outside of Jerusalem.

 

The Jews’ Wailing place, Wall of Solomon’s Temple, Jerusalem.

Jerusalem through the Stereoscope (New York: Underwood & Underwood, 1896-1908). 81 albumen silver prints with descriptions in six languages on the verso.

The Graphic Arts Collection has added this group of stereos to our already substantial stereo holdings. These photographs show locations in Jerusalem including the Jaffa Gate, the Valley of Kedron and village of Siloam, the pool of Siloam, the Tombs of the Prophets, the Garden of Gethsemane, the Church of the Holy Sepulchre, the Russian Church of the Magdalene, the Armenian Cathedral of St. James, the Garden Tomb (Golgatha), the interior of the Dome of the Rock, and the minbar in the Al-Aqsa Mosque (Masjid al-Aqṣá), among others.

 

A Greek Priest Blessing the Village Children in Ramah, Palestine [below]

The Beautiful Church of the Armenian Christians, Jerusalem [above]

 

Jerusalem Through the Stereoscope is one part of the series Traveling in the Holy Land sold by Underwood and Underwood. Instructions to canvassers selling the sets insist that workers read the book by Dr. Hurlbut that accompanied the series:

“And this year every agent should possess and study carefully our new book, Traveling in the Holy Land, Through the Stereoscope, by Jesse L. Hurlbut, D.D., which accompanies our new tour of 100 stereographs of Palestine. The attitude which Dr. Hurlbut takes to stereoscopic photographs in this book is of great importance to the work of education in general, and especially of immediate importance to ail our men in their work.

In a word, Dr. Hurlbut holds that the representations of places and objects furnished in the stereoscope are not only life-size–as large as the places or objects would appear on the spot–but that these representations serve, when used aright, as the very places and objects themselves, in their power to teach and affect us. In this book, therefore, Dr. Hurlbut treats the stereographs as actual places.

This is the attitude which every agent should come to have toward stereoscopic photographs, not an attitude assumed just for the purpose of selling more, but an attitude conscientiously arrived at after seeing good reasons for it. Dr. Hurlbut gives some of the reasons for his position in the Introduction to his book. This Introduction should be carried by every agent, read and pondered over a great deal. Its conclusions apply to our stereographs of all countries, not Palestine alone.

. . . Let us consider some of the mistakes men are liable to make: Stereoscopic photographs are especially striking and attractive at the first glance, and can be, to a degree, quickly and easily appreciated by any one. Consequently, agents have found that, because of these qualities alone, stereoscopic views can be sold more easily and extensively than any other article. Therefore, many agents have never found it necessary to make any effort to see whether there are higher considerations which can be made use of in selling stereoscopic views. This has been a great mistake.

These men have depended upon the weaker, less important considerations. the striking, amusing, entertaining qualities, etc., to lead people to buy. The most important considerations have in general, not been made use of. The result is that, although the sales have been enormous, still the possibilities of the sale of stereoscopic views have never yet begun to be realized. This must continue to be the case while most agents and people do not appreciate their higher value, nor even know how to use them to get the most from them.”

Rubáiyát


Over 100 editions of the Rubáiyát of Omar Khayyám (1048–1131) are listed in the Princeton University Library catalogue. Many have special bindings and illustrations. One of the most unusual was published in September 1905 by Dodge Publishing Company with illustrations by the California photographer Adelaide Hanscom (later Leeson, 1876-1932).

In 1903, Hanscom gathered writers and artists to her San Francisco studio and like Julia Margaret Cameron, dressed and posed them in exotic scenes for her book’s illustrations. Joaquin Miller (the pen name of Cincinnatus Heine Miller, 1837-1913), George Sterling (1869-1926) and George Wharton James (1858-1923) are thanked individually. Charles Augustus Keeler (1871-1937) was not, nor were any of the female models.

Hanscom not only took the photographs but also drew the borders. This edition was first announced in the column “Books and Authors” in the New-York Tribune on August 26, 1905:

Omar Khayyam. The Rubáiyát of Omar Khayyám, translated into English verse by Edward FitzGerald; with illustrations by Adelaide Hanscom (New York: Dodge Publishing Company, 1905). “… my gratitude to Joaquin Miller, George Sterling, George W. James, and others who have rendered valuable assistance in posing for these illustrations …” Graphic Arts Collection (GAX) 2003-1063N

 

 
Joaquin Miller

 

 

 

 

George Wharton James

 

 

 

George Sterling

 

 

 
See also
Elizabeth Barrett Browning (1806-1861), Sonnets from the Portuguese with photographic illustrations by Adelaide Hanscom Leeson (New York: Dodge Pub. Co., [1916?]). Marquand Library (SAPH): PR4189 .A1 1916

Adelaide Hanscom Leeson (1876-1932), Adelaide Hanscom Leeson, Pictorialist Photographer, 1876-1932 (Carbondale, Ill.: University Museum, Southern Illinois University at Carbondale, 1981).Marquand Library (SAPH) TR647 .L415 1981

Glyptogravure of the Naver Ceremony

Above: Shapoor N Bhedwar, The Naver Ceremony. The First Ablution. Glyptogravure by Waterlow & Sons Limited. Frontispiece to The Photogram, 1, no.4 (April 1894).

 

Catharine Weed Barnes Ward (1851-1913) and her husband Henry Snowden Ward (1865-1911) founded the monthly magazine, The Photogram in 1894 with the ambitious plan to include a photograph or photomechanical print tipped into each issue. The variety and quality of prints mailed to subscribers that first year is surprising.

The April supplement in particular offers a glyptogravure (meaning engraved on stone, elsewhere called woodbury-gravure) from the postage stamp and certificate engravers Waterlow & Sons.

More on the photographer Shapoor Bhedwar can be found here: http://www.photo-web.com.au/gael/docs/Shapoor-Bhedwar.htm and more on the Naver Ceremony related to the consecration of a priest into the Parsi (Parsee, i.e. Zoroastrian) priesthood can be found here: https://www.zoroastrian.org/articles/The%20Iranian%20and%20Parsi%20Priests.htm

An obituary for Catherine Weed Ward was published in American Photography, 7 (1913), which reads in part:

The brief announcement in our September number of the death of Mrs. H. Snowden Ward, formerly Catherine Weed Barnes, on July 31 at her English home, Golden Green, Hadlow, Kent, England, will, we are sure, be received with regret and sorrow by her numerous American friends, occurring as it did about eighteen months after her husband’s death here in December, 1911.

It was between 1887 and 1888 that Mrs. Ward began the practice of photography. With the aid and advice of a professional photographer at her Albany, N. Y., home, she fitted up there a studio and darkroom facilities for photographic work. She was interested in the Historical Society at Albany, and made many photographs of historical places, buildings, and articles in and about the city. She soon acquired the technique of negative making and became a proficient photographer. Shortly after this she became one of the first women members of the Society of Amateur Photographers of New York, and contributed prints and slides to its exhibitions.

About 1890 for two or three years she was an associate editor with our Mr. Beach, and also at one time with Mr. Alfred Stieglitz, of this magazine, then known as the American Amateur Photographer. In the summer of 1893 she was married to Mr. H. Snowden Ward in Rochester, N. Y., at which time he was editor of an English monthly magazine called the Practical Photographer, published in London. Mrs. Ward then made her home in England, and continued her photographic work there with the same zeal and interest as here. The publication of a new monthly photographic magazine was begun in 1894, called The Photogram, which Mr. Ward edited, assisted by Mrs. Ward in a literary and pictorial way, supplemented by the publication of an annual book entitled “Photograms,” containing superior halftone illustrations of the best work that had been exhibited during the previous year.

With apologies for my camera, here are some of the other prints included in The Photograms of 1894.
Harold Baker (negative), printed by J. Martin & Company on Paget Matt Surface Print Out Paper, An Artist. The Photogram 1, no. 9 (September 1894).

 

The Eastman Company (positive) after W.J. Byrne (negative), A Portrait. Nikko Bromide paper print. The Photogram 1, no.3 (March 1894).

 

Thomas Fall, My Friends. Woodburytype. The Photogram 1, no.2 (February 1984).

 

Erwin Raupp, [Portrait of a Lady], printed on Three Star Brilliant Albumen paper. Albumen silver print. The Photogram 1, no. 6 (June 1894).

 

The London Stereoscopic & Photographic Company, Specimen print on Scholzig’s “Otto” paper. Otto silver print. The Photogram 1, no. 7 (July 1894).

 

Thank you to David Magier, Associate University Librarian for Collection Development, for explaining the Parsi consecration ceremony.

The Photogram (London, 1894-1903). RECAP 4597.7171

 

Mitchell and Abbott

Joseph Mitchell (1908-1996), The Bottom of the Harbor, with photogravures by Berenice Abbott (New York: Limited Editions Club, 1991). “The text was set in Monotype Bell by Michael and Winifred Bixler … Printed at Wild Carrot Letterpress … The photogravure plates were made by Jon Goodman, and were printed by Sara Krohn and Wingate Studio”–Colophon. Copy 89 of 250, signed by the author. Graphic Arts Collection (GAX) in process.

 

The Limited Editions Club was founded by George Macy (1900-1956) in 1929. After his death, his wife, Helen and then, their son Jonathan Macy, ran the organization until 1970. The club went through several new managers and in 1978, Sidney Shiff (1924-2010) took over, reducing the print runs and emphasizing original art by major artists.

Princeton University Library holds over 200 of the illustrated books and we continue to add to the collection. The most recent addition is the last book Berenice Abbott (1898-1991) participated in before her death at the age of 93.

Returning to New York City in 1929, she began documenting both the modern buildings of Manhattan and the remains of the city’s historic past. Thanks to support from the Federal Art Project, Abbott published Changing New York in 1940. Shiff arranged for negatives taken for this earlier project to be transferred to copper plate photogravure by Jon Goodman and printed by Sara Krohn at Wingate Studio in Massachusetts. The result is the perfect accompaniment to Mitchell’s text.

 

 

“To furnish, to lovers of beautiful books, unexcelled editions of their favorite works . . . to place beautifully printed books in the hands of booklovers at commendably low prices . . . to foster in America, a high regard for perfection in bookmaking . . . by publishing for its members twelve books each year, illustrated by the greatest of artists and planned by the greatest of designers . . . this is the purpose of The Limited editions Club.” –The Limited Editions Club ([New York]: The Club, 1929). Graphic Arts Collection 2010-0386n c.2

Thoreau in gravure


In searching for hand-inked, copperplate photogravures recently, these beautiful plates turned up in the two-volume Walden by Henry David Thoreau, with a willow leaf binding design by Sarah Whitman. The negatives were taken by Alfred Winslow Hosmer (also called Fred, 1851-1903).

As the Concord Free Public Library (where his library and archive are housed) notes, Hosmer did not record dates on many of his photographs but since he created gelatin dry-plate glass negatives, we date them from the 1880s. See more: https://concordlibrary.org/special-collections/fin_aids/Hosmer

One gravure is from Benjamin D. Moxham’s 1856 daguerreotype portrait of Thoreau as well as one from Edward S. Dunshee’s 1861 ambrotype.

 

 

Annotated captions for the illustrations note that Ralph Waldo Emerson (1803-1882) owned the land on which the Walden house stood. In a letter to him, January 24, 1843, Thoreau wrote: “I have been your pensioner for nearly two years, and still left free as under the sky. It has been as free a gift as the sun or the summer, though I have sometimes molested you with my mean acceptance of it, –I who have failed to render even those slight services of the hand which would have been for a gift at least: and , by the fault of my nature, have failed of many better and higher services. But I will not trouble you with this, but for once thank you as well as Heaven.”

Above is the house with a profile figure of Emerson. Below is Samuel Staples, Thoreau’s jailer when he was arrested for refusing to pay taxes.

 

 

Above is “Brister’s Spring”. Below “Pines set out by Thoreau on his Beanfield”.

 

 

 

Henry David Thoreau (1817-1862), Walden. With an introduction by Bradford Torrey. Illustrated with photogravures (Boston, New York: Houghton, Mifflin and company, 1897). Firestone Library (F) PS3048 .A1 1897. Princeton also owns Sylvia Beach’s copy of this book.

The Fabric Group


Thanks to Bonnie Yochelson, speaking at the “Rethinking Pictorialism” symposium, we were introduced to “The Fabric Group” series of advertisements by Anton Bruehl (1900-1982) and Ralph Steiner (1899-1986).

A student of Clarence White, Bruehl opened a photography studio in 1926 partnering first with Steiner and later with his older brother, Martin Bruehl. When the Manhattan men’s haberdashers Weber and Heilbroner hired them to prepare an advertising campaign, they invented three paper dolls wearing Fabric Group suits, who appeared weekly from January 1, 1927 to December 29, 1928 in the pages a sophisticated new magazine called The New Yorker.

Writing for the New York Times, Sarah Boxer noted that “Every week . . . the Fabric Group would go ‘abroad’ in their fedoras to have dangerous adventures like deep-sea diving with fish or spelunking with dinosaurs. They weathered all perils with jaunty good humor, while wishing they were back home wearing their Fabric Group suits.”

As much as the weekly articles and reviews, these advertisements built the young magazine’s circulation and its long term success.

Seen above: Anton Bruehl (1900-1982) and Ralph Steiner (1899-1986), Adventures of the Fabric Group no 2 (in art gallery) 1927; Anton Bruehl (1900-1982), The Fabric Group abroad no 4 (arriving at French customs) 1927; Anton Bruehl (1900-1982), The Fabric Group Abroad no 16 (picnic in Germany) 1927; Anton Bruehl (1900-1982), Adventures of The Fabric Group no 21 (beach umbrella) 1927; Anton Bruehl (1900-1982), The Fabric Group Abroad no 31 (Buddha statue) 1928; and Anton Bruehl (1900-1982), The Fabric Group Abroad no 33 (in Australia with sheep) 1928.

The New Yorker (New York: F.R. Publishing Corp., 1925- ) Annex A, Forrestal (TEMP) AP2 .N4992q

Welcome to Rethinking Pictorialism Symposium Visitors

In conjunction with this weekend’s symposium, “Rethinking “Pictorialism”: American Art and Photography from 1895 to 1925” sponsored by the Department of Art and Archaeology at Princeton University, visitors were also introduced to our growing collection of pre-cinema optical devices.

Thank you to those students and scholars who got up extra early to come over to our classroom display.

Organized by Anne McCauley, David Hunter McAlpin Professor of the History of Photography and Modern Art, the two-day conference is being held in conjunction with the exhibition, Clarence H. White and His World: The Art and Craft of Photography, 1895-1925, on display at the Princeton University Art Museum, Princeton, NJ (October 7, 2017–January 7, 2018).

After Princeton, the show travels to the Davis Museum, Wellesley College, Wellesley, MA (February 7, 2018–June 3, 2018); the Portland Museum of Art, Portland, ME (June 22, 2018–September 16, 2018); and the Cleveland Museum of Art, Cleveland, OH (October 21, 2018–January 21, 2019).

For more information about the exhibition and catalogue, see:

http://artmuseum.princeton.edu/story/clarence-h-white-and-his-world-art-and-craft-photography-1895%E2%80%931925

Schiller’s Gedichte

When Lucien Goldschmidt and Weston Naef got to Schiller’s Gedichte, while working on The Truthful Lens, they did not mince words but described it as “the most sumptuous early German book illustrated with photographs.” —The Truthful Lens: a Survey of the Photographically Illustrated Book, 1844-1914 , no. 145 (1980). GARF Oversize TR925 .G73

 

To mark the centenary of Friedrich Schiller’s birth, a Jubiläum (anniversary) edition of his poems was published between 1859 and 1862, decorated with 44 albumen silver prints by Joseph Albert (1825-1886), after drawings by Böcklen, Kirchner, C. Pilothy, F. Pilothy, Ramberg, Schwind, and others. Throughout the text are woodcuts by an unidentified artist after designs by the Nazarene artist Julius Schnorr von Carolsfeld (1794-1872).

The Graphic Arts Collection is fortunate to have acquired this extraordinary book, beautifully bound in beveled-edge wooden boards covered with dark green embossed morocco and brass-corner bosses.

 

Friedrich Schiller (1759-1805), Schiller’s Gedichte, mit Photographieen nach Zeichnungen von Böcklen … [et al.]; und Holzschnitten nach Zeichnungen von Julius Schnorr (Stuttgart: Cotta, 1859-1862). Graphic Arts Collection GAX 2017- in process

 

 

Ode To Joy
Friedrich Schiller, translated by William F. Wertz (first section)

Joy, thou beauteous godly lightning,
Daughter of Elysium,
Fire drunken we are ent’ring
Heavenly, thy holy home!
Thy enchantments bind together,
What did custom stern divide,
Every man becomes a brother,
Where thy gentle wings abide.

Chorus.
Be embrac’d, ye millions yonder!
Take this kiss throughout the world!
Brothers—o’er the stars unfurl’d
Must reside a loving Father.

Who the noble prize achieveth,
Good friend of a friend to be;
Who a lovely wife attaineth,
Join us in his jubilee!
Yes—he too who but one being
On this earth can call his own!
He who ne’er was able, weeping
Stealeth from this league alone!

Chorus.
He who in the great ring dwelleth,
Homage pays to sympathy!
To the stars above leads she,
Where on high the Unknown reigneth.

Joy is drunk by every being
From kind nature’s flowing breasts,
Every evil, every good thing
For her rosy footprint quests.
Gave she us both vines and kisses,
In the face of death a friend,
To the worm were given blisses
And the Cherubs God attend.

Chorus.
Fall before him, all ye millions?
Know’st thou the Creator, world?
Seek above the stars unfurl’d,
Yonder dwells He in the heavens.

 

Americana in Italian

Elio Vittorini (1908-1966), Americana: raccolta di narrator, a cura di Elio Vittorini; con una introduzione di Emilio Cecchi (Milano: Bompiani, 1947). (F) PS519 .V588 1947

 

This fall, 2017, Jhumpa Lahiri, Professor of Creative Writing, and Sara Teardo, Lecturer in French and Italian, will be teaching: “Translation Workshop: To and From Italian,” based on Elio Vittorini’s 1941 anthology Americana.

The book showcases “thirty-three American writers translated for the first time into Italian – transformed the literary consciousness of a nation under fascism.” An instance where “literary translation broke through barriers of parochialism and became a defining cultural phenomenon.” Also included are 100 plates of iconic American photographs.

Their announcement promoted a look at the book that inspired this class.


 

Chiapas Photography Project

It was a relief to hear today that our friends in Chiapas, Mexico, are shaken but safe. We heard “the worst of the damage was in the lowlands, not in the mountains. Fortunately the famous facades of the colonial churches in San Cristobal de Las Casas survived intact as did the major Maya sites.”

Best wishes to these artists and their families.

 

 






Carlota Duarte, Mirror to our world = Un espejo de nuestro mundo (San Cristóbal de las Casa, Chiapas, México: Chiapas Photography Project, 2007).

Limited edition portfolios published to commemorate the achievements of the Maya photographers in the Chiapas Highlands. Artists include: Genaro Sántiz Gómez; Petul Hernández Guzmán; Domingo Pérez Sánchez; Lucía Sántiz Girón; Xunka’ López Díaz; Domingo Sántiz Gómez; Maruch Sántiz Gómez; Emiliano Guzmán Meza; and Juana López López.

In clamshell box, with hand-woven cotton textile slipcase designed after a pirik mochebal of the 1970’s/80’s. Copy no. 5 of 100. Graphic Arts Collection (GAX) Oversize 2008-0459Q