Category Archives: prints and drawings

prints and drawings

Mikhail Kotsov’s “Chudak”

Chudak = The Oddball or Poor Guy (Moscow: Ogonek, 1928-1929). Graphic Arts Collection GAX 2019 in process. No. 1 (1928), nos. 2-50 (1929); 23.0 x 30.0 cm; each issue pp. 16.

Together with Thomas Keenan, Slavic East European and Eurasian Studies Librarian, the Graphic Arts collection recently acquired 50 of 56 rare issues of the satirical Soviet magazine Chudak (The Oddball), including the banned and retracted issue no. 36. No other library has these physical volumes, with the exception of two issues at Cambridge University. Issue no. 36 is not held at either the Russian State Library or the Russian National Library.

Given the lack of information on this ephemeral publication, our dealer’s note is quoted at length:

“During its brief and troubled, yet brilliant existence, Chudak brought together the Soviet Union’s sharpest satirical talents, both writers and caricaturists. Its literary staff and contributors included the team Ilf and Petrov, Kataev, Mayakovsky, Zoshchenko, Demyan Bedny, Gorky, Olesha, Svetlov, Arkhangelsky, Volbin, Zabolotsky, Ryklyin, Tvardovsky, and Utkin. Among its illustrators were Deni, Efimov, Bodraty, Kozlinsky, Ratov, Radlov, Malyutin, Deyneka, and the Kukryniksy.

This eminent ensemble was led by editor-in-chief Mikhail Koltsov, one of the foremost Soviet journalists of the 1930s and the inspiration for the character Karkov in Hemingway’s For Whom the Bell Tolls. Like its Leningrad-based contemporary Revizor, Chudak was born of the Central Committee’s April 1927 decree “On Satirical and Humorous Magazines,” which aimed to rein in rogue publications by replacing staff, merging enterprises, or shutting down papers outright.

As a consequence of this campaign, Koltsov inherited editorship of the satirical magazine Smekhach (February 1924–December 1928), which had seen its staff and readership gutted. Together with Ilf and Petrov, Vasily Reginin, Grigory Rylkin, and the others, Koltsov envisioned a complete rebranding of the magazine. He described this new publication in a letter to Maxim Gorky, who would pledge his support and contribute to the first issue:

“We have gathered a good group of writers and artists, and we have decided–whatever it takes–to give our magazine a new identity, completely breaking with faded satirical traditions. We are convinced that, contrary to all the yammering about ’the official seal’, a good satirical journal can exist in the USSR, excoriating bureaucratism, sycophancy, philistinism, duplicity, and active and passive sabotage.

The title Chudak did not come about by accident. We picked up this word as if it were the gauntlet that the average man bewilderedly and aloofly throws when he sees a deviation from himself, from the safe path: “He believes in Socialist Construction? There’s an Oddball!” “He’s subscribed to a bond drive? That’s an Oddball” “He thinks nothing of a good salary? What an Oddball!” We paint this disparaging name in romantic and vivacious colors. Chudak is no voice of acrimonious satire; it is sanguine, healthy, and happy. Neither is Chudak a high-toned abuser; to the contrary, it scrappily defends the many unjustly abused and willingly turns its bristling quill against the juries of skeptics and whiners.

Issue no. 36

Chudak was considered bolder and more literary than its competitors, corresponding with caliber of its contributors. However, it rode the line of political acceptability and eventually overstepped its bounds. The 36th issue (September 1929) incited the Party’s wrath by lampooning the “Leningrad Carousel” of officials in charge of an anti-Trotskyist campaign. This triggered the Central Committee decree of September 20, 1929, “On the Magazine Chudak,” which decried the “blatantly anti-Soviet character” of the material and removed Koltsov from his post. It further “charge[d] the OGPU to urgently investigate the matter of the insertion of these materials into the magazine Chudak and take measures to retract issue No. 36 of the magazine.

Koltsov was forced to issue a groveling apology (not without finger-pointing; he alleged that he had succumbed to hysteria propagated by the general press). While he was reinstated a month later due to the intervention of Kliment Voroshilov and Lazar Kaganovich, this was too little too late. The rival, state sponsored satirical magazine Krokodil had used the intervening time to organize a hostile takeover. Chudak was forcibly merged with Krokodil in February 1930.

Chudak’s literary legacy includes poems by Mayakovsky (“Govoriat” in No. 3, “Mrachnoe o iumoristakh” in No. 5, “Chto takoe” in No. 9, and others) and more than 70 pieces by Ilf and Petrov under their own names or a variety of pseudonyms, such as “F. Tolstoyevsky.” Many unsigned works have also been attributed to the duo.

However, their most important writings were the unfinished, serialized novellas Neobyknovennye istorii iz zhizni goroda Kolokolamska (Unusual Tales from the Life of the City Kolokalamsk) and Tysiacha i odin den’, ili Novaia Shakherezada (A Thousand and One Days, or the New Scheherazade), both of which foreshadowed their classic book Zolotoi telionok (The Little Golden Calf).

See additional information on Koltsov:

Wood engraving via woodpeckers

Carl Browne. Massillon Museum collection

On January 15, 1890, the Los Angeles Herald printed an article on local artist Carl Browne (1849-1914), in the hope that charges of blackmail would be dropped (which they were). The author goes on to describe Browne’s creative wood engraving technique of coating a block design with aromatic herbs and leaving it in a tree, tempting woodpeckers to cut the image with their beaks.

It is hoped [that] the charge of blackmailing against Carl Browne, the illustrious artist, will not be pressed. He may be guilty as charged in the indictment, but a man who has already done as much for art ought not to be required to go to the penitentiary too. Mr. Browne adorns everything that he touches, particularly if it is white; he leaves nothing as he finds it, unless it is very heavy indeed. Before his time art knew nettling of the reversible landscape, the five-legged cow, the stream which runs up hill and the house which has had its haircut.

It was he, too, who invented (under Providence) the new method of wood engraving heretofore described in this paper. The block is smeared with worm oil and the design drawn upon it with ink of [asafoetida]. When the picture is complete the block is hung up in a tree and the woodpeckers, attacking the light parts, leave the dark ones in high relief ready to print them.

Mr. Browne’s perspective has been highly extolled by Professor Davidson, one of the closest observers of earthquake phenomena that we have among us. but it is in his coloring that he comes out really strong. Nothing could be finer than the subtle harmonies which he produces with an arsenic-green sky brooding upon a carmine forest, beyond which a yellow sea rises steeply to the horizon, bearing two or three blue ships—a favorite subject which he has now the skill to paint with his eyes shut. Professor Holden of the Lick observatory said of one of Mr. Browne’s nocturnes, in which a noble range of black-and-tan mountains serves as a background to a constellation of liver-and-white stars, that he never saw anything so strange.

But this artist’s greatest work is doubtless his panorama of “Hamlet’s Soliloquy,” in which the spectator stands in the middle of Hamlet and sees the soliloquy retiring by the country roads toward all the points of the compass, thoroughly beaten and subdued. This painting was at one time exhibited as “The Battle of Gettysburg, ” and was highly commended in art circles in Calistoga. Afterward it was shown as “Penelope at Her Loom,” and is now, I believe, attracting considerable attention in the East as “The Petrified Forest.”

–Morning Press, Volume XXVI, Number 156, 16 January 1890 and Los Angeles Herald, Volume 33, Number 95, 15 January 1890

Although Browne’s various newspapers and lithographs have survived, none of the panoramas are known to exist. If you hear of one, please write.

A Treatise on Female Ruin

The Ladies Petition for Two Husbands, January 1, 1784. Engraving. Published by John Sharpe. British Museum

In 1784, John Sharpe published this satirical print making fun of Martin Madan (1726-1790) and his recent book: Thelyphthora: or, A Treatise on Female Ruin, in its Causes, Effects, Consequences, Prevention, and Remedy: Considered on the Basis of the Divine Law under the Following Heads, viz. Marriage, Whoredom, and Fornication, Adultery, Polygamy, Divorce … (London: Printed for J. Dodsley, 1780-1781). RBSC Miriam Y. Holden Collection HQ19 .M26 []

Dr. Madan, sitting on the right, accepts each woman’s petition for a second husband, “For One alone Cannot our want’s supply. Nor Half our Wishes Gratify.” Madan’s advocacy for polygamy caused such protest that he was forced to resign his chaplaincy of the Lock Hospital.

A number of other satirical prints followed, although Sharpe’s was the only instance of a woman with two husbands, rather than a man with multiple wives.

Edward Williams (1755-1797?) after Thomas Rowlandson (born 1756 or 1757, died 1827), Polygamy, July 1, 1802. Stipple engraving. Graphic Arts Collection GA 2014.00818. Gift of Dickson Q. Brown, Class of 1895.

Note, the wife is the well-dressed woman on the right and the mistress (or second wife) is on the left with the child.


George Moutard Woodward (ca. 1760-1809), Five Wives at a Time or an Irishman Taken In! June 7, 1808. Etching. Bound in Caricature Magazine, volume 1. Graphic Arts Collection Rowlandson 1807.51F. Gift of Dickson W. brown, Class of 1895.

“Why Jack you terrible Turk I could not believe it if I had not seen it – Five Wives at once – why you will get yourself into a pretty scrape! What could induce you to commit such a rash action.”

“Why you must know Uncle, out of so many I was in hopes to have met with a Good one – but by St. Patrick, I have been taken in –!!”

Note: wife number five is reading this book: Mrs. Thomson (active 1788), Excessive Sensibility or, the History of Lady St. Laurence. A novel (London: printed for G. G. J. and J. Robinson, 1787).

A Critical Dictionary of English Literature and British and American Authors (1899) lists four novels by Mrs. Thomson: The Labryrinths of Life, Novel, 12mo. 2. Excessive Sensibility; a Novel, 12mo. 3. Fatal Follies; a Novel, 12mo. 4. The Pride of Ancestry, 1804, 4 vols. 12mo.


See also: Théodore De Bèze, Tractatio de Polygamia in Qva et Ochini Apostatæ Pro Polygamia, et Montanistarvm ac Aliorum Aduersus Repetitas Nuptias Argumenta Refutantur: Addito Veterum Canonum & Quarundam Ciuilium Legum ad Normam Verbi Diuini Examine (Genevæ, 1591). 2 vols.

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A hypochondriac’s choices

Thomas Rowlandson (1757–1827) after James Dunthorne II (ca. 1758–ca. 1792/93), The Hypochondriac, March 1, 1788. Hand-colored etching and aquatint. Graphic Arts collection GA 2014.00796. Gift of Dickson Q. Brown, Class of 1895.

This aquatint of a man suffering from hypochondria, depicts various demons and ghosts flying about his head offering the choice of death by stabbing, shooting, poison, slitting your throat, or a serpent’s bite, among others. Given the complicated lineage of the British artist Dunthorne, this print is often attributed solely to Rowlandson although it clearly lists Dunthorne as the designer.
James Dunthorne I (British painter, 1730-1815)
James Dunthorne II (English portraitist and caricaturist, born ca. 1758, died 1792 or 1793)
John Dunthorne I (British painter, active 2nd half of the 18th century)
John Dunthorne II (British painter, active 1783-1794)
John Dunthorne III (British painter, 1770-1844)
John Dunthorne IV (English painter, 1798-1832)

We agree with the Metropolitan Museum of Art that the artist who collaborated with Rowlandson here was James Dunthorne II, also known as the Colchester Hogarth. Judy Crosby Ivy, writing for the DNB explains:

Two other artists named Dunthorne (mistakenly identified in the Dictionary of National Biography and in the standard references as John) lived and worked in Colchester and may have been distantly related to the East Bergholt Dunthornes. James Dunthorne (c. 1730–1815), portrait and miniature painter and map-maker, was apprenticed to Joshua Kirby in 1745 for £25. He was also possibly the topographer responsible for several drawings of historic Essex buildings and tessellated pavements reproduced in various antiquarian publications in the 1760s and 1770s. James Dunthorne had nonconformist and whig connections and may have been related to John Dunthorne, a dissenting pastor in Colchester. He and his wife Elizabeth had nine children, the eldest of whom, James Dunthorne (c. 1758–c. 1794), painter and surveyor, was known as the Colchester Hogarth and exhibited several genre scenes at the Royal Academy between 1783 and 1792. Works by both father and son are in the Colchester and Essex Museum and in the British Museum, department of prints and drawings. —

See also

Perhaps it was Dunthorne who wrote:
The mind disemper’d – say, what potent charm,
Can Fancy’s spectre-brooding rage disarm?
Physics prescriptive, art assails in vain,
The dreadful phantoms floating cross the brain!
Until with Esculapian skill, the sage M.D.
Finds out at length by self-taught palmistry,
The hopeless case – in the reluctant fee,
Then, not in torture such a wretch to keep
One pitying bolus lays him sound asleep.’

See also: Resumé by Dorothy Parker

Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren’t lawful;
Nooses give;
Gas smells awful;
You might as well live.

The Hanging of Gregory V in Constantinople

When in 1821, the Greeks rose in violent revolution against the rule of the Ottoman Turks, thousands of Greek Christians were raped, murdered, and hanged. In William St. Clair’s history, That Greece Might Still be Free: The Philhellenes in the War of Independence (Firestone DF807 .S25 1972), he chronicles the many Turkish and Greek campaigns:


“The Ottoman Government in Constantinople, faced with violent revolutions in different parts of the Empire, decided to answer terror with terror. A policy of exterminating all Greeks in the Ottoman Empire seems to have been seriously considered, as it had been at earlier periods of Turkish history, but when the Sultan remembered how great a proportion of the imperial revenues was derived from his Christian subjects, he decided upon a more selective policy.

The Patriarch of Constantinople occupied a special place in the administration of the Empire. He was regarded as their leader by all the Greek Orthodox community, but at the same time he was a high Ottoman official responsible to the Government for a wide range of administrative, legal, and educational subjects. . .

On Easter Sunday, the reigning Patriarch, Gregorios, was formally accused of being implicated in the Greek rebellion and was summarily hanged. His body remained for three days suspended form the gate of the Patriarchate, and was then dragged through the streets and thrown into the sea.”


Thanks to a gift of the Program in Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund, the Graphic Arts Collection has a tightly trimmed German print depicting the massacre in Constantinople in April 1821. Ours is a variant of the Greek print in the Athens Gennadios Library, seen on Wikipedia and elsewhere on the internet with the English and Greek title:

“Attrocities committed by Ottoman religious fanatics and Janisaries in Constantinople/Istanbul in the Greek quarter, April 1821” = “Ελληνικά: Βιαιότητες των Τούρκων εναντίον των Ελλήνων στην Κωνσταντινούπολη, μετά την κύρηξη της Επανάστασης του 1821, Απρίλιος 1821”. [A closer translation might be: “Violent acts of the Turks against the Greeks in Constantinople (Istanbul) after the Declaration of the Greek War of Independence (also known as the Greek Revolution) of 1821, April 1821”].


There is no title on our print, only a description in German of the massacre, crediting the German engraver Johann Koch for the scene.


Architectural ‘papier peint’ or wallpaper

One section approximately five feet in length.

Chiaroscuro woodblock printed wallpaper, four sheets of paper pasted together and printed in seven colors, ca. 1830, 570 x 1570 mm. Numbered on verso 481 (or 184 if the 4 is upsidedown). Graphic Arts Collection GAX 2019- in process

A fine large piece of architectural ‘papier peint’ or wallpaper with a block printed design featuring a Neo-classical arcade made up of columns leading into a landscape. It is assumed to be French, probably meant as a frieze or border around a room. This ‘impression â la planche’ used seven separate color blocks, requiring tremendous labor and skill in registration.

‘The design was engraved onto the surface of a rectangular wooden block. Then the block was inked with paint and placed face down on the paper for printing. Polychrome patterns required the use of several blocks – one for every color. Each color was printed separately along the length of the roll, which was then hung up to dry before the next color could be applied. ‘Pitch’ pins on the corners of the blocks helped the printer to line up the design. The process was laborious and required considerable skill’ (V & A website, History of wallpaper

Our sample bears a striking resemblance to another held at the Cooper Hewitt Museum:

Their “Frieze (France),” is dated 1835–45 and was acquired it in 1931. Its medium is block-printed and stenciled on machine-made paper. It is a part of the “Wallcoverings” department.

This deep perspective is rather unusual for a frieze paper and this effect was usually reserved for scenic wallpapers until landscape friezes were popularized in the very late 19th century. This strong perspective draws your eyes into the distance, visually opening up the room and making the space appear larger. The view looks dead on into a colonnaded courtyard or cloister, opening in the distance to a growth of trees. This opens up to a sky that is beautifully shaded from a light terra cotta to a crisp blue. The courtyard is filled with a cast of characters dressed in brightly colored Shakespearean costume as well as a single monk or friar. This is woodblock printed in about 15 colors, not including the sky. Interesting to note is that the large expanses of white and the blue filling the arches have been over painted with brush and stencil.

Everett Opie, 1930-2004

Everett Opie (1930-2004), Oh, drat, I forgot to add sodium propianate to retard spoilage, 1973. Pen and gouache drawing. Graphic Arts Collection.

The Graphic Arts Collection holds a small but significant collection of American drawings for The New Yorker and other magazines, thanks to the gift of Henry Martin, Princeton Class of 1948. This cartoon was published in The New Yorker on December 3, 1973.

Opie was born on Sherwin Avenue in Chicago in 1930 and after time in the army working as an artist, he moved to New York City. He became one of many artists who each week dropped off a pile of original drawings at the New Yorker office, picking up the ones from last week that had been rejected, followed by lunch commiserating with the other artists. This is one of the drawings exchanged with another in the circle, Henry Martin.

See also: Everett Opie, Dress up that line! (Tokyo, Rutland, Vt., C.E. Tuttle Co., 1959).
Everett Opie, Ravioli every morning (Tokyo: Pacific Stars and Stripes, 1957).

The Printing House of Leo Hart

Rockwell Kent, Leo Hart bookplate. See also Later bookplates & marks of Rockwell Kent : with a preface by the artist (New York: Pynson Printers, 1937): 25.


Thanks to Donald Farren, Class of 1958, for introducing several of us to the Rochester Printing House of Leo Hart (1883-1935), a friend and colleague of the former Graphic Arts Curator Elmer Adler (1884-1962).

It is thanks to Adler that the Graphic Arts Collection not only includes many of Hart’s books but correspondence, advertisements, and other material, in particular, concerning Venus and Adonis, which was selected by the American Institute of Graphic Arts (AIGA) as one of the fifty best books of 1931.


William Shakespeare (1564-1616), Venus and Adonis; illustrated by Rockwell Kent (Rochester: The Printing house of Leo Hart, 1931). Graphic Arts Collection Oversize PR2845.A2 K4q. Copy 77 of 1250. Former owner Elmer Adler.


“It was in 1897 that he set up his first makeshift printing outfit, a hand press propped up on a grocery box in a dingy attic room lighted only by an old gas fixture. Working with one or two ordinary fonts of type for a few years in spare time during the evenings and after school, he did many odd jobs, mostly without pay. Then, about 1903, he opened a little shop in the rear room or the Hart family grocery store on North Street, equipped it with a used foot power press and some second-hand type and cases bought from a local printer.”

In 1905, he . . . “established the Hart Brothers Printing Company at No. 452 North Street, next door to the grocery. His brother, Alfred Hart, had become interested … and together they went to the American Type Founders Company, in Buffalo, New York, there buying two Chandler and Price presses, with type, cabinets, a stapling machine and other necessities.”

Over the years their business grew to include over 25 presses, providing all aspects of printing and binding including “a complete color engraving plant on the top floor of the building, under the name of the Franklin Colortype Company…”.

–Winfield Scott Downs “Leo Hart,” Encyclopedia of American Biography: New Series, Vol. 9 (American Historical Society, 1934).

Marco Polo (1254-1323?), The Travels of Marco Polo, the Marsden translation revised & edited with an introduction by Manuel Komroff; decorated by W.A. Dwiggins (Rochester, N.Y.: The Printing House of Leo Hart, 1933). Graphic Arts Collection G370.P9 P6713 1933


The Leo Hart archive:

Vote: No License

“No License. A Question to be Settled in the State of New York, 19th of May, 1846… Citizens of the State of Nfw [sic] York, Look at the Following. Will You Vote License?”

On May 19, 1846, an important vote was to be held throughout New York State, as to whether or not merchants could obtain licenses to sell hard liquor. This “Extra,” printed on cloth and issued by The Journal of the American Temperance Union, urges citizens to vote “No License.”

To make their case, the broadside has four vignettes showing the ill effects caused by drinking. At top it reads:

Benjamin F. Butler, Esq., placed the yearly loss to the United States from the use of ardent spirits at, – – – – $150,000,000. Making a loss to the State of New York of, $18,000,000. What has the income from 20,000 licenses done to compensate for this? Now the rumsellers ask to do the evil to the State, and pay, – NOTHING.

Above and below cropped and photoshopped

An adjacent cartoon [above] shows a farmer carrying his “pauper” and “criminal” taxes while a licensed tavern owner and his clients look on. The farmer says “O these Rum Taxes! Rum Taxes! I can’t stand it. I’ll vote No License. 3d Tuesday in May I’ll go to the polls & vote No License.”

The tavern owner jeers: “At him boys. Ha! …You vote License and maintain my rights and your liberties.”

Other printed vignettes include “The Drunkard’s Home,” “The Liquor Dealer Shown His Victim,” and “The Town Meeting.” This final illustration depicts a dying alcoholic woman who dared to speak out at a town meeting against licenses to sell rum: “I shall soon stand before the Judgment Seat of God—I shall meet you there, you false guides, and be a witness against you all.”

The textile broadside is printed in three columns, with three poems in the center: “Who Will Vote License?” “The Ballot Muster for the 19th of May” (by Rev. P. Clark), and “Song of the Revellers. Old Song—Go Get Your License.”

The concluding words of the broadside extra are a call to action: “As goes New York on the third Tuesday of May, so goes the rest of the Nation. Remember that, temperance men. On the third Tuesday of May, be at your posts.”

Journal of The American Temperance Union, No License. A Question to be Settled in the State of New York, 19th of May, 1846… (New York: Journal of The American Temperance Union, March 25, 1846). [1]p. Illustrated “Extra” textile broadside. 23 x 18½ inches. Graphic Arts Collection GAX 2019- in process

Ye olde London streete

Ye olde London streete ([London], 1884). Peepshow [also called a tunnel book] with 6 watercolored panels. Graphic Arts Collection GAX 2019 in process

Between the Cotsen Children’s Library and the Graphic Arts Collection, Princeton holds a large collection of European and American tunnel books. Here is one of our newest acquisitions.


In this example, the panels are attached to each other with cloth sides, making the whole easily foldable, like an accordion book. It offers a view of an imaginary old London street that was reconstructed at the International Health Exhibition of 1884. The street was made out of real houses, some four or five stories high and was built to give a contrast to the modern sanitary advancements. It proved to be the most visited exhibition.

The artist’s initials “G.C.S.” are struck through in pencil, followed by what we presume to be the owner’s name: Mary Dorothea. The piece is also signed at the back with the initials G.C.S. and manuscript note on the scenery, “Taken from the street in old London shown at the Health Exhibition 1884”.

In 1884 London hosted an International Health Exhibition under the patronage of Queen Victoria and the Prince of Wales, and directed by an Executive Council. The Exhibition was held in South Kensington, on a site between the Royal Albert Hall and the newly-opened Natural History Museum, on land which is now occupied by Imperial College of Science and Technology. Four million people visited the Exhibition between 8 May and 30 October 1884 (

Here are a few more of our peepshows:
1. [Milan Cathedral peepshow]
[S.l. : s.n., 18–]. Graphic Arts Collection » 2007-0615N
2. Optique no. 12 : les Boulevards.
[Paris? : s.n., 18–]. Graphic Arts Collection » 2007-0609N
3. Optique no. 8 : le Parc de Versailles.
[Paris? : s.n., 18–]. Graphic Arts Collection » 2013-0443N
4. [Reims Cathedral peepshow]
[S.l. : s.n., 18–]. Graphic Arts Collection » 2007-1260N
5. Teleorama.
[S.l. : s.n., 18–]. Graphic Arts Collection » 2007-0688N
6. A View of the tunnel under the Thames, as it will appear when completed: the carriage ways will be circular : foot passengers will descent the shafts by stairs : dimensions of the tunnel, length fr…
[London] : Pubd. … by M. Gouyn, August. 1, 1829. Rare Books » 2010-0864N
7. Thames tunnel.
[London? : s.n., 184-?]. Rare Books » Oversize 2007-0169Q
8. A Brief account of the Thames Tunnel.
[London] : Azulay, Thames Tunnel, [1851?]. Rare Books » 2011-0054N
9. Ye Olde London streete.
[London : s.n., 1884?]. Graphic Arts Collection » N-001924
10. Grand théâtre en actions.
Paris : A. Capendu, éditeur, [189-?]. Cotsen Children’s Library » Moveables 19Q 44369
11. [Noah’s Ark] / devised by Jack S. Chambers.
[London : Werner Laurie, (not after 1950)]. Cotsen Children’s Library » Moveables 14964
12. Fünfhundert Jahre Buchdruckerkunst, 1440-1940 : über hundert Jahre Bauersche Giesserei, Frankfurt a.M., gegründet 1837.
[Frankfurt am Main : Bauersche Giesserei, 1940]. Cotsen Children’s Library » Moveables 30196 and Graphic Arts Collection » 2007-0617N
13. Tony Sarg’s treasure book : Rip Van Winkle, Alice in Wonderland, and Treasure Island.
[New York : B.F. Jay], c 1942. South East (CTSN) » Toys 11990