The 1928 Summer Olympics, officially known as the Games of the IX Olympiad, held July 28-August 12, 1928, in Amsterdam.

Gold: William Nicholson (1872-1949), British. Un Almanach de douze Sports (Paris Société Française d’Edition, 1898).

Silver: Carl Moos (1878-1959), Swiss. Miscellaneous posters

Bronze: Max Feldbauer (1869-1948), German. Viererzug (Four-in-Hand)

The 1932 Summer Olympics, officially known as the Games of the X Olympiad, held July 30-August 14, 1932, in Los Angeles.

Gold: Joseph Golinkin (1896-1977), American. Leg Scissors, lithograph, 1932?

Silver: Janina Konarska (1900-1975), Polish. Narciarze (Skier), woodcut.

Bronze: Joachim Karsch (1897-1945), German. Stabwechsel

The 1936 Summer Olympics, officially known as the Games of the XI Olympiad, held August 1-16, 1936 in Berlin.

Gold: Alex Diggelmann (1902-1987), Swiss. Arosa I Placard

Silver: Alfred Hierl (1910-1950), German. Internationales Avusrennen (International Avus Race)

Bronze: Stanisław Ostoja-Chrostowski (1900-1947), Polish. Yachting Club Certificate

The 1948 Summer Olympics, officially known as the Games of the XIV Olympiad, held July 29-August 14, 1948 in London.

Gold: none awarded

Silver: Alex Diggelmann (1902-1987), Swiss. World Championship for Cycling Poster

Bronze: Alex Diggelmann (1902-1987), Swiss. World Championship for Ice Hockey Poster

The Caricature Magazine Or Hudibrastic Mirror. By G.M. Woodward. Etchings by Thomas Rowlandson, Isaac Cruikshank, and Charles Williams, after George Moutard Woodward, published by Thomas Tegg. 1807-09.

Volume 1. September 1, 1807. Quid rides? Mutato nomine et de te fabula narrator = Why do you laugh? Change only the name and this story is about you.–Horace, Satires 1. 1. 68–72. Front cover above, back cover (tail piece) below.

Volume 1, tailpiece.

Between September 1807 and November 1809, George Moutard Woodward’s humorous designs were etched and hand colored by Isaac Cruikshank, Charles Williams, Thomas Rowlandson, and others, then published by Thomas Tegg as The Caricature Magazine, or, Hudibrastic Mirror. Each plate was reissued several times and the serial run reissued in 1821. Because of the multiple versions, it has been difficult to conclusively describe this serial. In addition, it is often mixed up with The caricature Magazine by Thomas Rowlandson. Princeton owns 4 bound volumes of Tegg’s magazine published from No. 111 Cheapside, between 1807 and 1809. Dorothy George agreed that the original series included only 4 volumes.

Volume 2. On the left. are Whimsical Characters ascending to the Temple of Fame. On the left. is A Grotesque Deputation from the Temple of Momus – returnig [sic] thanks for past favors and soliciting future patronage.

Front cover above, back cover below. Volume 2. July 2, 1808. Between the two processions and forming a tail-piece is ‘The Genius of Caricature,’

Volume 3. Front cover above, back cover below. 1809. Tail Piece offers a street scene showing Tegg’s printshop, the Apollo Library at 111 Cheapside, with signs above its windows reading “Libraries purchased or exchanged,” and advertisements: ‘Spirit of fresh wit / Spirit of English wit / Marmion travestee / The whale / An auction at eight precisely.” Below the image is a quotation from Pope: “Eye Natures walks, shoot Folly as it flies. / And catch the manners living as they rise.”

Volume 4. Before November 1809. Missing the back cover.

Not to be confused with a separate, vertical run titled The Caricature Magazine or Mirror of Mirth... by Thomas Rowlandson, 1809?

For the July 3, 1886, issue of The Reflector, an Illustrated Journal devoted to the Interests of Labor & Capital VS. Monopoly, the  double-page centerfold is captioned “The Day of Rejoicing for Monopoly! Over the ever-increasing Dependence of the Sovereign People,” and signed by both members of the publication’s art department, Peter Kraemer (1823-1907) and Conrad Rossi-Diehl (also known as Curt Rossi, 1842-1926).

“The Day of Rejoicing for Monopoly! Over the ever-increasing Dependence of the Sovereign People.” in The Reflector, an Illustrated Journal devoted to the Interests of Labor & Capital VS. Monopoly 1, no. 7 (July 3, 1886). Photographed from the New-York Historical Society Library.

The description of the cartoon reads:

“Our double page cartoon represents “The day we celebrate.” Columbia weeps; her proud bird is sad, and the ghosts of Washington and other founders of our Great Republic which float above the scene are amazed to find : that only the ‘favored few’ enjoy the fruits of the ‘Declaration of Independence’, whilst the masses have been reduced to a state of abject Dependence.– Even Uncle Sam must ‘doff’ his hat before the crowned Heads of the land.”

Together with editorial manager John Fredericks, Kraemer and Rossi produced this spectacular and little appreciated illustrated weekly in an attempt to overtake Puck and Judge with decidedly liberal politics and an anti-corporate point of view. Although not directly connected, the Knights of Labor are regularly quoted and supported in many issues. From May 22 to November 6, 1886, these three men wrote, drew, and lithographed their colorful publication that sold for six cents (or an optimistic $3.00 annually). The Reflector Publishing Company was based at 58 & 60 Fulton Street, with the printing done by the “power press printers” Eckstein & Porr in the same building.

Their mission is defined in the second issue: “As labor alone creates capital, and capital—when properly employed—in turn increases the productively of labor, it will be the sole endeavor of this journal to combat monopoly, the evil which grows and thrives in proportion as it flourishes and fans the fratricidal feud between those agents of human progress and prosperity. Monopoly paralyzes the arm of the small capitalist and prostrates the wag-workers . unless labor and capital unite their strength in joint effort to check the sway of monopoly, disruptions and dismemberment will be imminent or the doom of a return to abject dependence—worse than feudal thraldom [sic]—is sealed.”

Both Kraemer and Rossi were trained in Munich, with long resumes that included book and commercial illustration. When the illustrated weekly closed, Rossi-Diehl joined John Ward Stimson (1850-1930) to establish the Artist Artisan Institute also called the New-York Institute for Artist-Artisans, on West 23rd street. See more: https://graphicarts.princeton.edu/2021/05/20/conrad-rossi-diehl/

On the cover of the July 3 issue is a cartoon titled “Sunday in our Free Country,” objecting to the growing temperance movement and prohibition of alcohol, stating: “On the title page we show the manner in which the ‘hand of the law’ lays hold of the offe[n]der against the dictates of Intolerance in our Land of Liberty. Supporting the ability of a citizen to partake in a humanizing beverage.”

In the early issues of The Reflector, the artists chose not to sign their lithographs, noting: “The editor of the new have workmen seems to take exception to the modesty which our artists have shown by withholding their signatures from the illustrations. They simply proposed to let the work stand on its merits—name of no name. the coat you wear is not a whit better or worse though it bear the names of a dozen tailors. Not all men seek notoriety.” In later issues, Kraemer signs the front and back cover illustrations and both Kraemer and Rossi sign the centerfold.

Giuseppe Niccolò Rossigliani, called Niccolò Vicentino (active about 1510–1550) after a drawing by Parmigianino (Girolamo Francesco Maria Mazzola, 1503–1540), The Adoration of the Magi, [between 1540 and 1560]. Chiaroscuro woodcut from three blocks. Bartsch XII.029.2, ii/ii. Graphic Arts Collection GC094

This is the final state of Vicentino’s print, with the publisher Andrea Andreani’s monogram AA MDCv. Although Andreani was also an artist, he did not carve or print this woodcut. The first state has the letters FP for “Franciscus Parmensis” in the same position.

The print reproduces a drawing in the Louvre by Parmigianion:

Parmigianino (1503-1540), L’Adoration des mages, no date. Pen and ink, brush drawing. Musée du Louvre INV 6377

One of the nicest aspects of the chiaroscuro print is the simplicity of the camel, drawn in tone with the animal’s long neck accented in a single black line. Many artists included camels in their Adoration scenes but often used a horse as the model with limited success in its appearance.

http://www.larsdatter.com/camels.htm offers a wonderful set of links to various camels throughout the medieval and renaissance periods. A few have been included below.

El Greco (1541–1614), Adoración de los Reyes Magos known in English as Adoration of the Magi with Camels, between 1568 and 1569. Oil on panel. Museo Soumaya at Plaza Carso

Giotto (active 1295-1337), Adorazione dei Magi, ca.1304-1306. Portion of frescoe in the Arena Chapel, Padua, Italy.

One of the most charming of all the camels can be found at the Morgan Library, in a Persian manuscript:

Ibn Bakhtīshū (died 1058), Camel. Manāfi˓-i ḥayavān (The Benefits of Animals), in Persian, for Shams al-Dīn Ibn Ẓiyā˒ al-Dīn al-Zūshkī, between 1297 and 1300. Morgan Museum and Library MS M.500, fol. 16v

Larry Rivers (1923-2002), Beyond Camel, 1980. Acrylic on canvas. Privately owned.

Robert “Bobby” Penn (Wichapi Cik’ala, or Little Star, 1946-1999), Butterfly, 1994. Etching. Graphic Arts Collection GA 2008.00897

Robert “Bobby” Penn (Wichapi Cik’ala, or Little Star, 1946-1999), Singer, 1994. Etching. Graphic Arts Collection GA 2008.00899.

In an attempt to solve one unidentified work each week, these three etchings have been attributed to South Dakota painter Robert Penn, known to his friends as Bobby and who signed them B. Penn. Born in Omaha, Nebraska, Penn taught art at his alma mater the University of South Dakota until 1986 when he quit to pursue his art full time.

Penn was a protégé of the late Oscar Howe, and at one time, he was a work-study assistant for the internationally known Sioux artist. However, Penn’s style was uniquely his own as he explored the art world with varied media and styles. The Akta Lakota Museum site includes a quote from the artist:

“Abstraction of symbols and themes can re-interpret and integrate the modern world as seen from an Indian viewpoint without strict adherence to traditional art forms and can transcend both worlds to become contemporary modern art as well as a cultural statement. I am constantly aware of the danger of being typecast as far as subject matter goes; there is far more to my vision than just recreating pictures of the past. Art has always been my central issue … it is also my biggest prayer,” Penn once said.

http://aktalakota.stjo.org/site/PageServer?pagename=alm_homepage

Robert “Bobby” Penn (Wichapi Cik’ala, or Little Star, 1946-1999), Red road, 1994. Etching. Graphic Arts Collection GA 2008.00898.

Penn designed several murals, including one at Springfield College, Springfield, MA and one commissioned by the Hennepin County (Minneapolis) Medical Center. It is not clear which master printer helped the artist created these etchings.

Francesco Villamena (ca. 1565–1624), Geminian ‘Caldarostaro’ [the Roast Chestnut Seller from a series of six Street Traders and Mendicant Friars], 1597-1601. Engraving. Graphic Arts Collection GA Italian prints, GC094/Box 02. *note, his name has been corrected here to reflect the printing on the engraving, although it is written with various spellings on the internet.

Inscription: Io son quel Geminian caldarostaro / Che voglio l nome mio far noto al mondo. / E perchè nel gridar, non trovo paro, / Con mia voce conquasso a Pluto il fondo. // O fusto ben compito, a me si caro / Ritratto sol per farmi piu giocondo / Ch’ essendo hoggi da molti riguardato / Mi glorio sol del mio felice stato.
[= I am Geminian, the roast chestnut seller, / who wants to make my name known to the world. / And why not, in shouting I have no equal, / With my voice I make hell tremble. // O well-done barrel [belly], so dear to me / Portrayed only to make me more joyful / Being seen today by so many / I glory only in my happy state.]

Text from Michael Bury, The Print in Italy 1550-1620, British Museum 2001 cat.116: “One of what are incorrectly called The Six Cries of Rome (see also V.10-53). Although some of these figures appear to be real individuals, familiar to Villamena and to those to whom he dedicated the prints, the tradition out of which they come is that of representations of trades. There are Flemish engravings that could have had an influence, for example the interesting series of Four Elements of 1597, which figured trades by Claesz Jansz. (Hollstein nos.12-15).”

This is not to be confused with a later 1760 engraving of Jean Ramponneau (1724-1802), a Parisian wine seller, clearly traced from Villamena and printed laterally reversed:

Portrait de Mr Ramponneau, Cabartier de la basse Courtille en bonnet de nu[it] (A Paris chez Charpentier rue Saint Jacques au Coq, March 13, 1760).  http://catalogue.bnf.fr/ark:/12148/cb41512534v

According to the British Museum, Ramponneau (or Ramponeau) was “A celebrated innkeeper; born in Vignol (Nièvre), died in Paris; he moved to Paris in c. 1740 as a wine merchant, and set up a tavern between the rues de l’Oreillon and de Saint-Maur, the ‘cabaret des Marronniers’. The word ‘Ramponneau’ was integrated into French culture and used as a descriptive word (see the Encyclopédie méthodique des Arts et Métiers, 1790 and Larousse du XIXe siècle, 1875, under ‘ramponneau’).”