Category Archives: prints and drawings

prints and drawings

A New Asiatic Melo Drame, Called The Africans or, The Desolate Island

Perhaps the earliest and most charming image of Richardson’s Theatre at the Bartholomew Fair appeared in Rudolph Ackermann’s Microcosm of London (1808-10), etched and aquatinted by Thomas Rowlandson and Augustus Pugin. (Graphic Arts Collection Oversize Rowlandson 1808.02f).

Led by John Richardson (1767-1827), the outdoor productions at Bartholomew and Greenwich Fairs were said to rivaled those of the London theaters. “Richardson first opened his theatrical production at Bartholomew Fair in 1798 using scenery from Drury Lane. The performances took place in a narrow booth (100 feet by 30 feet), colourful and brightly lit. The show toured, in the London area, to such fairs as Southwark, Brook Green and Greenwich. Over time, Richardson’s booth expanded, and he ran several performances simultaneously, and he could stage over a dozen burlesques and melodramas each day. By 1828, the price of admission was sixpence, and refreshments were another profit source for the troupe. The young Edmund Kean learned his craft here, before moving on to a more respectable theatrical environment. After Richardson’s death, the show was continued until 1853 by Nelson Lee.—Victoria & Albert collection database

According to the British Library, “Bartholomew Fair was under almost constant attack from City authorities during the 18th and 19th centuries for the immorality and drunkenness that was often witnessed there. The salacious theatre productions on show were of particular concern to moral reformers, as was the ability of the fair to keep the working population from their daily employment. Theatrical shows were eventually banned from the site in the 1840s following several public disturbances, and the fair itself was prohibited entirely by the City of London authorities in 1855.”

Thomas Rowlandson, Greenwich Fair with Richardson’s booth [detail]. Pen and brown and grey ink, with grey wash and watercolour. 1811-1816. British Museum. ‘Richardson’s Show’ (part of this composition) was etched by the artist and published in ‘Rowlandson’s World in Miniature’, 1816, pl. 14. Graphic Arts Collection Rowlandson 1816.5

“Richardson’s platform was lined with green baize, festooned with crimson curtains, and lighted with fifteen hundred variegated lamps. His money takers sat in Gothic seats. He had a band of ten beefeaters, and a parade of his dramatic force.”


Thomas Rowlandson, People watching Richardson’s Travelling Theatre on stage. Etching, 1816. Welcome Institute.


”In 1825 William Hone described [Richardson’s] theatre at Bartholomew Fair. Its frontage was a hundred feet wide and thirty feet tall, with a spacious elevated platform, or ‘walk-up’, in front. This was decorated in green baize with fringed crimson curtains and contained two Gothic arches into the theatre behind, where the money takers sat. Fifteen hundred lamps in chandeliers, clusters and festoons illumined the walk-up, where a band of ten played and actors in costume paraded or danced in sets. Charles Dickens described “the company now promenading outside in all the dignity of wigs, spangles, red-ochre, and whitening. See with what a ferocious air the gentlemen who personates the Mexican chief paces up and down and with what an eye of calm dignity the principal tragedian gazes on the crowd below, or converses confidentially with the harlequin!” — Robert Leach, An Illustrated History of British Theatre and Performance (2018).


The Africans or, The Desolate Island [broadside] (London: Hughes, 1800). Graphic Arts Collection GAX 2020- in process

The broadside states: “J. Richardson feels happy that the revolving time gives him an opportunity of once more expressing his heartfelt gratitude to his generous patrons for their former kindness, and assure them, from the close of last season to the present period, his every exertion has been used to render this year’s entertainments worthy that support they have on all occasions honored him with, and which his attention to their convenience and amusements will, he hopes, convince them of, an addition of Twenty New Scenes, by the first artists in London, and a daily change of performances, entirely novel, will still continue him that success is shall at all times be his pride and study to deserve, when will be performed a new Asiatic melo Drame, called The Africans or, The Desolate Island.”


Look inside this cabinet of wonders, a beautiful rarity

Open the cabinet door, inscribed “Schöne rarität, schöne spielewerk” (Beautiful rarity, beautiful game work), and you will see what others are viewing through the peep holes at the sides. This volume has two engraved plates with movable flaps, along with eight others engraved by Christian Friedrich Boetius, Johann Benjamin Brühl, and Georg Paul Busch after designs by David Richter.


Later in the volume, two wide  tables open to let the viewer see inside the two tents, guarded by several antelope.

The stories are credited to Jean Chretien Toucement, the pseudonym for Johann Christian Trömer (1697-1756), a Franco-German dialect poet at the court of Augustus the Strong. The Oxford companion to German literature by Henry and Mary Garland describe the author:


Jean Chretien Toucement des Deutsch Franc̦os schrifften, mit viel schön kuffer stick, kanss complett, mehr besser und kanss viel vermehrt. Leipssigck, Bey die auteur und ock bey Johann Christian Troemer [1736]. Graphic Arts 2020- in process.  Note the date written in a rebus at the bottom of the title page.

Princeton also holds the later 1745 edition, with many plates reprinted.




Trade cards for pianos and organs

The Graphic Arts Collection includes many boxes of chromolithographed trade cards. Here is a section of piano and organ companies, mixed with a few videos so you can hear the sound of the reed instruments. A brief video introducing the Estey Organ Company is at the bottom.

William Gray’s Social Contrasts [of women]

William Gray, Social Contrasts, Portrayed in a series of twenty two coloured lithographic plates from pen and ink sketches (London: William Oliver, 3 Amen Corner, Paternoster Row. And all Booksellers, no date [1865]). Graphic Arts Collection GAX 2020- in process

In Victorian London, women were either good or bad, wealthy or poor, public or private, lucky or out of luck. There was no in-between. While this lovely volume offers charming lithographic plates, it also highlights the lack of options for women at that time. A successful performer is seen “Coming out in the lime light” but at the end of the night “Going Home in the Rain.”

Gray’s work was enthusiastically advertised in the March 31st issue of The Bookseller (1865), which promoted the “magnificently-coloured lithographic plates, copied from the original coloured pen and ink sketches” designed and executed by William Gray. In the same issue, the editor comments,

Mr William Oliver, who has recently commenced business in Amen Corner, Paternoster Row, publishes a volume, which in its way, is the most striking thing we have seen since the appearance of George Cruikshank’s “Bottle”. It is by a new artist, William Gray, and is entitled “Social Contrasts” … All are thoughtful studies, and preach more impressive sermons on a painful subject, than even Mr. Spurgeon [Charles Spurgeon the noted preacher] or the Bishop of Oxford could deliver. Shall we add that like many other erring objects, the pictures in this volume are so pretty, that we look on them with great enjoyment’ (p. 157).

“the most striking thing we have seen since the appearance of Greoge Cruikshank’s Bottle”


George Cruikshank (1792-1878), The Bottle: in eight plates designed and etched by George Cruikshank (London: published for the author by David Bogue; New York: Wiley and Putnam; Sydney, New South Wales: J. Sands, 1847). Graphic Arts Collection Oversize Cruik 1847.6eq

Ida Saint-Elme, the Female Casanova

Ida Saint-Elme on the left, Daumier on the right

Ida Saint-Elme (née Maria Johanna Elselina Versfelt, 1776-1845), La caricature française. Journal sans abonnées et sans collaborateurs [= French Caricature. Journal without subscribers and collaborators] no I-XXV [= all published]. (London: Privately published, 1836). Bound with: Album de la correspondance du prince émigré. Londres, privately published. Imprimerie de Schulze et Cie 1836. Bound with: Portrait d’Alibaud, avec sa défense interrompue par les pairs et des confidences sur sa vie intime, d’une jeune francaise, publié par Mme. Ida St. Elme, 1836. Graphic Arts Collection GAX 2020- in process


The Dutch writer, explorer, and actress Maria Johanna Elselina Versfelt (1778-1845) was also known as Ida Saint-Elme; Elzelina av Aylde Jonghe; and by her pseudonym La Contemporaine. The Getty’s union list of artist names adds: Elzélina van Aylde Jonghe and Elzélina Tolstoy van Aylde-Jonghe.

Her moniker “the Female Casanova” came after she published her eight volume memoir Mémoires d’une contemporaine, 1827-28 [recap 1509.178.7913], which emphasized her romantic adventures. Perhaps to escape this celebrity, she spent the next few years sailing the Nile and exploring Egypt, publishing a six-part travelogue La Contemporaine en Egypt.

Later, while working as a manuscript dealer in London, she also published a satirical magazine modeled after Charles Philipon‘s La caricature, which she called La caricature francaise. Journal sans abonnées et sans collaborateurs. This is possibly the earliest satirical magazine written, illustrated, and published by a woman. However she stole many images directly from Philipon’s magazine, such as her copy of Honoré Daumier’s 1833 lithograph “Ah ! Tu veux te frotter à la presse !” from La Caricature.


“One of the most unusual results of the September Laws was the founding in March 1836 of a French caricature journal in exile, La Caricature Françoise. It was published anonymously (by the Bonapartist intriguer Ida Saint-Elme) in London, in order to escape censorship, at an office it dubbed “The Crowned Pear.” This new extremely rare tabloid-sized weekly, which lasted only six months, consisted of four pages of text and included on the title page a woodcut caricature which was often copied from drawing previously published in Philipon’s journals.” –Robert Justin Goldstein, Censorship of Political Caricature in Nineteenth-century France, 1989.

“The magazine contained letters from the king, whether or not forged, which ridiculed him. In April 1841 this led to a legal process against Versfelt, the so-called “Procès des lettres”. But the court could not prove that the published letters were actually falsified and Versfelt was therefore not convicted. But many English prominent people considered her a forger. After this Versfelt left for Belgium, where she would live until her death in 1845. She died on 19 May 1845, blind and penniless, in a hospice in Brussels. She was buried in an anonymous grave.” ~ Enne Koops

Die Heilige Lanze = The Holy Lance

Johann Friedrich Fleischberger (baptised 1631-buried 1665), Eigentliche Abbildung deẞ Speers mit welchem unsererm Heiland Jesu seine heilige Seite eröffnet worden … J. F. Fleischb[erger] sculp. [Nuremberg], Johann Friedrich Fleischberger [for] W.V., [c. 1660]. Graphic Arts Collection 2020- in process

The Graphic Arts Collection recently acquired a small engraved broadside of the Holy Lance as kept in Nuremberg, surrounded by explanatory calligraphic text and scale measurements. The text that comes with it from the dealer is quoted here:

A rare illustrated broadside which celebrates the Holy Lance not only as a relic and a powerful component of the Imperial Regalia, but also – crucially – points out its historic archaeological importance as an antique weapon. The broadside was commissioned by an as yet unidentified art and armor collector, ‘W.V.’ who asked the Nuremberg engraver J. F. Fleischberger (baptised 1631, buried 1665) to copy it, to scale in reduced form, and adorned its illustration with explanatory text. The text gives a short historical overview about the importance of the Holy Lance, and ends with the note that the broadside was commissioned and paid for by an admirer and collector of old armor, ‘Solchen hat nun ein Liebhaber der Alten Waffen vorstellen lassen nach dem verjüngten Maẞstab’ [= A lover of old weapons has now had such a thing introduced according to the reduced standard’].

The Holy Lance was believed to have been used by the Roman centurion Longinus to probe and pierce the side of Christ when he hung on the cross, to ascertain his death. It is a relic of immense symbolism and power and is considered one the most important pieces of the Imperial Regalia. The Holy Roman Emperors came into possession of the Holy Lance in the 10th century, and in 1424 it was given by Emperor Sigismund to Nuremberg (to be kept there in perpetuity) and was kept there as part of the Imperial Regalia used in subsequent Imperial coronations. It was only moved to Vienna (where it is still kept in the Imperial Treasury) when the French Revolutionary troops threatened Nuremberg in 1796.


In addition, our rare book division acquired an uncommon dissertation by the Nuremberg lawyer Spies (1710-1778) on the importance of the Holy Lance in Nuremberg as part of the Imperial Regalia rather than as a relic. The Praeses, or thesis advisor, was the historian Johann David Köhler (1684-1755), professor in Altdorf since 1711, first of Logic then History, and whose supervised dissertations are regarded as important contributions to scholarly discourse. See below:

Wolfgang Spies. Dissertatio historico-critica de Imperiali Sacra Lancea non inter reliqvias Imperii sed clinodia referenda: cvm problemate de novo S. R. I. officio archi-lanciferatv / Qvam svb moderamine magnifici Academiae Rectoris domini Iohannis Davidis Koeleri P. P. Altdorf, Daniel Meyer, December 1731. Rare Books EX 2020- in process


The Holy Lance, displayed in the Imperial Treasury at the Hofburg Palace in Vienna, Austria.
Die Heilige Lanze = The Holy Lance. Karolingisch, 8. Jahrhundert Stahl, Eisen, Messing, Silber, Gold, Leder 50,7 cm lang. Carolingian, 8th century Steel, iron, brass, silver, gold, leather 50.7 cm long.

See also:


The British Museum has:
“The relics, vestments, and insignia of the Holy Roman Empire; in the centre of the print is the lance of St Maurice with inscription at its top; to the left and right of the spear are other relics in five rows, all accompanied by an inscription. Woodcut with hand-colouring , Nuremberg, 1470-1480. Inscription in six lines, accompanying the lance: “Dz ist dz sper domit xpo sein heilig seite ward auff gethan und der nagel dr xpo in sein rechten hand geschlage ward.”

“The Imperial Regalia and relics repicted in this print were preserved from 1424-1796 in the Heilig-Geist Kirche in Nuremberg, and were exhibited on the Feast of the Holy Lance on the Helitumsstuhl in the marketplace across from the Frauenkirche. Some of the objects were lost in the removal from Nuremberg during French occupation; the others are kept in the Schatzkammer in Vienna. Descriptions of them were printed in book-form in Nuremberg in 1487 and 1493 and it is highly likely that this print was also published in Nuremberg. Apart from the lance of St Maurice, the representations of the objects are stylised and do not resemble their originals.”




The Graphic Arts Collection acquired this collection of 36 caricatures of political and cultural figures including Adolf Hitler, Jean Cocteau, James Joyce, and Boris Pasternack.

The following biography is from Granta’s interview with Adolf Hoffmeister (1902-1973) was a poet, novelist, translator and editor.

He edited one of the main Czech daily newspapers, Lidové noviny [1928-30; AP52 .xL45f] and the main literary paper, Literární noviny [1930-32; *QVA 90-2443]. He was also a talented artist and caricaturist, often illustrating his own work. Hoffmeister set up an anti-fascist magazine, Simplicus, in the 1930s after the German satiric magazine Simplicissimus was banned by the Nazis.

He also wrote the libretto for a children’s opera, Brundibar, with music by the Czech composer Hans Krása in 1938; the opera was performed fifty-five times by children in Terezín concentration camp where Krása was interned. Hoffmeister emigrated to France in 1939, but moved on to Morocco when France fell. There, he was arrested but escaped from an internment camp and arrived in New York via Lisbon and Havana in 1941.

He returned to Czechoslovakia in 1945 and worked for UNESCO. After the Communist coup in February 1948, Hoffmeister was named French ambassador by the new neo-Stalinist regime but was recalled shortly after. He worked then as a lecturer in fine art at the Academy of Applied Arts. After the Soviet invasion of Czechoslovakia, Hoffmeister emigrated to France once again in 1969, but decided to return in 1970. He died three years later in the Orlický mountains, judged by the regime to be a non-person.


“In December 1941, he delivered a lecture entitled “Caricature as a Weapon” at the Workers’ House in New York, and several months later, he launched a “No One Will Win the War for Us” lecture tour across the United States. During this time, Hoffmeister and Pelc participated in several joint exhibitions and created drawings for magazines.” —The Philadelphia Inquirer Public Ledger, 24 Dec 1941: 12




Adolf Hoffmeister, AH34, Visages (Prague: S.V.U. Manes, 1934). Graphic Arts Collection GAX 2020- in process

Otfried Culmann and Franz Kafka


Das Schloss, also spelled Das Schloß (The Castle) was written by Franz Kafka (1883-1924) at the end of his life and published posthumously in 1926. Princeton University Library holds more than 60 editions of the novel or critical essays concerning the text. Its protagonist, known as “K” was the inspiration for this etching by Otfried Culmann titled Das Schloß – F. Kafka [The Castle – F. Kafka] and printed in 1970 in an edition of 50. With sincere thanks to the Ike und Berthold Roland-Stiftung an impression is now part of the Graphic Arts Collection.

The Roland Foundation generously donates art works to museums and libraries around the world, for example to the Goethe Museum in Rome, to the townhall of Capri, the National Library Austria, Vienna, the National Library of Switzerland, Bern, the Bibliothèque Nationale, Paris, and now, Princeton University. Originally owned by Dr. Berthold Roland, former Director of the State Museum of Mainz, Germany, this print is it one of many works on paper by German artists that he collected. We are especially grateful to his son Oliver Roland, Managing Director of the Roland Foundation for this donation.

Otfried H. Culmann (born 1949), Das Schloß – F. Kafka, 1970. Etching. Edition 7/50. Gift from the Ike und Berthold Roland-Foundation. Graphic Arts Collection 2020- in process

Culmann was born in 1949 and studied Academy of Fine Arts in Munich with Mac Zimmermann. This print was probably made while in Stuttgart where he work briefly with Walter Brudi at the State Academy of Fine Arts. In the 1980s, Culmann turned to writing and is known as much for his fantasy fiction as his visual art. The artist has also transformed the house where he was born, a former parsonage, into a fantastical work of architectural imagination, hopefully opening again soon to the public:

Parallèle des édifices anciens et modernes du continent Africain


Pierre Trémaux was a remarkable artist, naturalist, and architectural historian, best remembered for his three part publication on the architecture of Africa and Asia Minor: Voyage au Soudan oriental et dans l’Afrique septentrionale executes de 1847 a 1854; Parallèle des édifices anciens et modernes du continent Africain; and Exploration archéologique en Asia mineur. We are fortunate to be adding the second part to the Graphic Arts Collection, leaving only the third yet to be acquired.

Trémaux meant to document the people and places he saw using the early paper negative process but the quality of the prints was not good. Ultimately, the majority of the published plates are tinted lithographs. In the second volume, he bound the fading salt prints directly opposite a lithograph of the same scene, providing excellent historical comparisons for art and architectural historians. For our purposes here, only single plates are reproduced since photographing two pages in this oblong volume would make them exceptional small.

Now at Princeton: Pierre Trémaux (1818-1895), Voyages au Soudan oriental et dans l’Afrique septentrionale, exécutés de 1847 à 1854: comprenant une exploration dans l’Algérie, le régences de Tunis et de Tripoli, l’Égypte, la Nubie, les déserts, l’île de Méroé, le Sennar, le Fa-Zoglio, et dans les contrées inconnues de la Nigritie; atlas de vues pitoresques, scènes de mœurs, types de végétation remarquables, dessins d’objets éthologiques et scientifiques, panoramas et cartes géographiques (Paris: Borrani, [1852-58]). 37 x 55 cm. Graphic Arts Collection Oversize 2013-0025E. Purchased with funds from the Friends of the Princeton University Library. Fully digitized

Pierre Trémaux (1818-1895), *Parallèles des édifices anciens et modernes du continent africain: dessinés et relevés de 1847 à 1854 dans l’Algérie, les régences de Tunis et de Tripoli, l’Égypte, la Nubie, les déserts, l’Ile de Méroé, le Sennar, la Fa-Zoglo et dans les contrées inconnues de la Nigritie: atlas avec notices (Paris: Librairie L. Hachette et Cie., éditeurs, [between 1854 and 1858?]). 35 x 54 cm. Graphic Arts Collection 2020 in process

*No two extent copies are alike. This copy now at Princeton contains 84 lithographic plates (including title page) and 7 salt prints from paper negatives.

Architect, orientalist and photographer, Pierre Trémaux (1818-1895) made a first naturalist trip in 1847-1848 in Algeria, Tunisia, Upper Egypt, eastern Sudan and Ethiopia; Leaving Alexandria, he sailed up the Nile to Nubia and brought back many drawings. He left in 1853 for a second trip to North Africa and the Mediterranean (Libya, Egypt, Asia Minor, Tunisia, Syria and Greece), from where he brought back this time a precious set of superb photographs, taken on the spot using pioneering techniques for the time, as well as a fascinating travelogue and an interesting collection of natural history.

For this work devoted to the architectural history of Asia Minor and Africa and published in 3 parts over several years (1847-1862), Trémaux drew inspiration from his daguerreotypes, his own sketches and calotypes by the suite to compose the lithographic illustrations. Subsequent issues of his Voyage au Sudan Oriental et dans l’Africa Nord, from 1847 to 1854, contained prints mounted on salted paper which, poorly preserved, had to be replaced by lithographic reproductions.—rough translation from the listing by Pastaud Maison de Ventes aux Enchères

Complete images:

“These luxe publications, produced with the support of the French government, exploit an array of graphic techniques; they combine salted paper prints, engravings, tinted and colour lithographs, photolithographs, and texts in ways never previously attempted. Their examination provides insights into the ways these media interacted, and how comfortably photography in fact sat amongst its predecessors within the long-established context of the travel narrative.” –

Like many pictorial albums, few historians take the time to read Trémaux’s texts but are content to study and enjoy his images. Recently, some scholars have begun to evaluate his racist views on the populations he documented in Africa and later described in Origine et transformations de l’homme et des autres êtres (1865). For a discussion of Trémaux and Darwin, see: Wilkins, John S. and Nelson, Gareth J., “Trémaux on Species: A theory of allopatric speciation (and punctuated equilibrium) before Wagner”, Archives of Philosophy of the Science, University of Pittsburgh, 2008; texte repris dans la revue History and Philosophy of the Life Sciences, 2008, 30, pp 179-206.



This acquisition lives in the Graphic Arts Collection but was made with sincere thanks to Deborah Schlein, Near Eastern Studies Librarian; Alain St. Pierre, Librarian for History, History of Science and African Studies; Holly Hatheway, Head Librarian, and Nicola Shilliam, Western Bibliographer for Marquand Library of Art and Archaeology; and Patty Gaspari-Bridges, Assistant University Librarian for Collection Development.

Over-dressed prints

Dressed prints; Decoupés prints; Adorned prints; Spickelbilder (embroidered pictures); Stoffklebebilder (pasted textile pictures); Tinsel prints (metal); Gusseted pictures

These are just a few of the many terms that have been used to describe the prints collaged with cut pieces of fabric or tin or paper. We have yet to agree on the terminology, perhaps because there are few large collections. Or maybe because they are so odd. Pictured here are four from a small group that recently joined the Graphic Arts Collection.

Our new collection of dressed prints are after Martin de Vos’ Life and Passion of Christ, one signed as engraved by Johann Bussemacher (active 1580-1613), one signed by Johann Christoph Weigel (1654-1726), others all unsigned. Each includes German Bible text at the bottom and are dated ca. 1710.

Alice Dolan wrote: An adorned print: Print culture, female leisure and the dissemination of fashion in France and England, around 1660-1779, RCA/V&A MA in History of Design,-female-leisure-and-the-dissemination-of-fashion-in-france-and-england,-c.-1660-1779/

Prints adorned with fabrics have largely been treated as extensions of the ‘fashion plate’, by historians, but this terminology fails to do justice to their complexity. (1) American museums have favoured the term ‘dressed plates’, but this phrasing too belies the complexity of the object, suggesting only a surface alteration, when, in fact, the majority of the decoration was placed underneath the print. (2) This article will use the terms ‘adorned prints’, ‘modified prints’ and ‘decorated prints’, although like ‘fashion plate’ and ‘dressed plate’, none of these terms were used by contemporaries.

The Morgan Museum and Library’s “twenty-one volumes entitled Engraved British Portraits contain nearly eight thousand prints, most of which date to the eighteenth or early nineteenth century. The collection of fashion prints consists of 391 examples from the seventeenth and eighteenth centuries. Most are mounted, hand-colored extracts from published albums. Thirty-two of the plates are “dressed” or decoupés, created by cutting out portions of the print and facing them from the reverse side with fabric.”

Elsewhere the term Stoffklebebilder or Spickelbilder is used to describe extra-illustrated prints.

Michael Twyman’s Encyclopedia of Ephemera describes the tinsel print as “a hand-coloured print embossed with metallic foil and other materials,” making it one variations of the larger vogue to decorate prints particularly in 17th century France. “Flock and tinsel prints” by Laura Suffield in Grove’s Dictionary of Art, adds limited assistance but has a good bibliography: “Collective term for a type of woodcut to which powdered wool (flock) or tinsel (small fragments of metal) was applied. Such prints are rare. The technique was developed to imitate a patterned velvet in texture and appearance, its French and German names reflecting its appearance: empreinte veloutée, Samt-Teigdrucke.” Bibliography:
W. L. Schreiber: Manuel de la gravure sur bois et sur métal au XVe siècle, 5 vols (Berlin, 1891–1910) [s]
W. L. Schreiber: Die Meister der Metallschneidekunst nebst einem nach Schulen geordneten Katalog ihrer Arbeiten (Strasbourg, 1926)
C. Dodgson: Woodcuts of the XV Century in the Ashmolean Museum (Oxford, 1929)
A. M. Hind: An Introduction to a History of Woodcut, 2 vols (London, 1935, 2/1963)
A. Griffiths: Prints and Printmaking (London, 1980)
J. Hermans and P. Mahoney-Phillips: ‘Paper, Textiles and Tinsel Prints’, Paper and Textiles: The Common Ground: Preprints of the Conference Held at the Burrell Collection, Glasgow, 19–20 Sept 1991, 125–32

Note that ours are both hand colored and dressed with fabric. It is hard to tell if they are finished.