Category Archives: prints and drawings

prints and drawings

Hans Burgkmair’s woodcuts reused in “Le relationi universali”

Lengthy essays have been written about Giovanni Botero’s Universal relations but for the Graphic Arts Collection, it is the book’s Aggiunta (supplement) added by publisher Alessandro Vecchi with 33 woodcuts from 32 blocks that must be the primary focus of this rare publication. Vecchi knew the power of pictures.

Now attributed to the Renaissance genius Hans Burgkmair (1473-1531), the 30 full-page and 2 half-page woodcuts fall into two sections: the first group depict semi-human monsters and the remainder represent natives of India, Guinea, and East Africa. Walter Oakeshott’s 1960 study claims this was “the first serious study of native life and dress made for publication in a European travel book.”

Thanks to funds provided by the estate of Gillett G. Griffin, the copy recently acquired by the Graphic Arts Collection comes from the collection of Count Wolfgang Engelbert von Auersperg (1641-1709). The volume also holds a 19th-century bookplate of the Auersperg princely library in Laybach (Ljubljana), along with a label of Helmut N. Friedlaender.

Hans Burgkmair the Elder was the foremost Augsburg designer of woodcuts of his time, and together with Hans Holbein the Elder, the most important painter of the early sixteenth century in the city. The British Museum notes that the artist:

“Trained with his father, the painter Thoman Burgkmair (q.v), and from 1488 to 1490, was apprenticed to Martin Schongauer in Colmar. Designed woodcuts for the leading presses in Augsburg throughout his career. He became a master in 1498, and had a short stay in Italy during 1507. Worked primarily for the emperor Maximilian from c.1508 to 1519, for whom he designed the Genealogy of the Habsburgs of 1509-11, Der Weisskunig of 1514-16, Der Theuerdank of 1517 and the Triumphal Procession of 1516-18. …Between 1508 and 1512, [Burgkmair] played a leading role, together with the printer Jost de Negker, in the development of printing in colour. He was particularly influential in the introduction of Italian Renaissance forms into Augsburg.

The first of Burgkmair’s 15 woodcuts in the Aggiunta show mythological semi-human monsters, including a centaur, a dog-headed man, and others reminiscent of the border cuts in Schedel’s Nuremberg Chronicle.

The remaining 17 cuts depict real men and women, in attire and appearance exotic to European readers, 8 of which form part of a panorama that was cut up into single vignettes. The British Museum owns a rare portion of this procession of the King of Cochin, noting:

“These three blocks come from a set of eight, which was originally printed in the format of a frieze … and was based on a short report by Balthasar Springer published in 1508 of the first voyage made by German traders in 1505-6 to Africa, Arabia and the East Indies.”

The Princeton University Art Museum owns a single section (seen below).

Burgkmair’s original woodcuts must have been known, as they were copied throughout the 16th century, but the blocks themselves were not published until the 1618 edition of Le relationi universali. For the 1622 edition now at Princeton, Vecchi added a title illustration and improved the layout, using a larger type fount.

Giovanni Botero (1544-1617). Le relationi vniversali … diuise in sette parti… In oltre vi s’ aggiunge … un breve racconto di Mostri, & Usanze di quelle Indie, con le sue Figure al naturale d’ Alessandro de Vecchi … Quinta impressione stampata & ricorrette (Venice: Alessandro Vecchi, 1622-1623). Eight parts, numbered to six: with the Aggiunta to Part 4, and Part 6 in two parts, separately titled and paginated. Graphic Arts Collection GAX 2018- in process

See also:
Hartmann Schedel (1440-1514), Das Buch der Croniken und Geschichten (Liber chronicarum) (Nuremberg, Anton Koberger, 23 Dec. 1493). Rare Books and Special Collections EXI Oversize 1016.816.11f

Walter Oakeshott (1903-1987), Some woodcuts by Hans Burgkmair : printed as an appendix to the fourth part of Le relationi universali di Giovanni Botero, 1618 (Oxford: Printed for presentation to the members of the Roxburghe Club, 1960). Graphic Arts Collection 2009-0966N

Hans, the elder Burgkmair (1473–1531), The Savages of Calicutt woodcut; watermark: HG? Block. Princeton University Art Museum. Gift of Professor Robert A. Koch, Graduate Class of 1954 x1983-159

Fairburn’s Dreams

This preliminary design by George Cruikshank (1792-1878) from the Graphic Arts Collection does not seem to have ever been realized in print. While trying to connect it to one of the many publications Cruikshank illustrated for John Fairburn (active 1789-1840), we looked at all the books in our own collection, in the British Museum printroom, and elsewhere.

Our colleagues with the Mortimer Rare Book Collection at Smith College hold the only copy of Fairburn’s Fashionable Dream Book, which seemed like a good bet. Unfortunately, that volume has only one plate and the image is not the same as our drawing.

John Fairburn (active 1819-1843), Fairburn’s Fashionable Dream Book, or, Dreamer’s Oracle: clearly showing how all things past, present, and to come may be ascertained by dreams on the following subjects: acquaintance … winds &c. &c. : to which are added, remarks on moles, and their signification, either in men or women (London : Printed and published by J. Fairburn, 110, Minories, 1819-1843?). Illustrated with one plate by George Cruikshank. SC Rare Book Room Stacks 398.5 F159

Bishopsgate Library, London, did a lovely online exhibition of other Fairburn publications, with additional biographical information. Sadly no Fairburn Dreams there either.
https://www.bishopsgate.org.uk/gallery_album.aspx?albumid=34

Let us know if you have more luck finding this.

Written in pencil: Fairburns. The Dream of Love. [bottom] Dreamers. Golden. Magnet.

Toyohara Kunichika

(detail)

Thanks to funds provided by the estate of Gillett G. Griffin (1928-2016), the Graphic Arts Collection has acquired a unique album of 56 superb color woodblock prints by Toyohara Kunichika 豊原国周 (1835-1900). A theater bill has been placed at the front of the album, in which the actors of these portraits are listed in the manner of sumo contestants, followed by the sequence of color woodblock prints. Blockcutters include Katada Horichô, Uta Hori, and Hori Ei; and printers Yamamotoya, Kagaya, Kyu, Kinjudô, Kineidô, and Koeidô. The portraits are chiefly the male actors of the Kabuki theater, many of whom were known personally by the artist.

Toyohara Kunichika (1835–1900), First two (left and center) of triptych: A Shuihuzhuan of Beautiful and Brave Women (Kayûjo Suikoden): Actors Bandô Hikosaburô V, Onoe Kikugorô V, Sawamura Tosshô II (R), Ôtani Tomoemon V, Sawamura Tanosuke III, Iwai Shijaku II, Nakamura Shikan IV (C), Kawarazaki Gonnosuke VII, Bandô Mitsugorô V = 「花勇女水滸傳」　五代目坂東彦三郎、五代目尾上菊五郎、二代目沢村訥升　　五代目大谷友右衛門、三代目沢村田之助、二代目岩井紫若、四代目中村芝翫　　七代目河原崎権之助、六代目坂東三津五郎、三代目市川九蔵, 1869 (Meiji 2). Publisher Gusokuya Kahei, Blockcutter Ôta Masukichi (Hori Masu). Color woodblock print.

A complete list of the 56 prints with English translations is in process and will be posted in the future.

Kunichika was apprenticed to Utagawa Kunisada at thirteen having previously worked in the studio of the artist Toyohara Chikanobu (not his more famous contemporary of the same name) – his artist’s name being a composite of his two teachers as was the custom. His first confirmed print is from 1854 but his mature works begin in the early 1860’s. Kunichika was above everything an artist of the theatre. The vast majority of his output was concerned with actor portraits – as demonstrated in his great series 100 Roles of Ichikura Danjuro, in depictions of kabuki performances or scenes from well known plays. Despite his obsessive interest in kabuki, some of his best work remains the non-theatrical series, notably 36 Good and Evil Beauties.

–The Toshidama Gallery, where you can also find an 1898 interview with the artist transcribed and translated, http://www.kunichika.net/

Japanese print collectors will recognize many of the actors found in this album from facial features, even without the extensive cartouches, which also provide details on of the plays in which they were appearing. Among them are contemporary stars such as Nakamura Shikan IV (part of an acting dynasty tracing its lineage from 1818 to the twenty-first century), and Ichikawa Sadanji I (1842-1904), one of the leading Kabuki actors of the Meiji period, alongside Ichikawa Danjuro and Onoe Kikugorô.

Toyohara Kunichika, [Woodblock prints of Kabuki actors]. [Tokyo], Meiji 2-Meiji 7 [1869 -74]. Folio album (380 × 254 mm) containing 56 prints. French cloth binding, ca. 1900 with onlaid suminagashi marbled paper. Purchased with funds provided by the estate of Gillett G. Griffin. Graphic Arts Collection GAX 2018- in process.

By one report, Toyohara Kunichika changed residences over 110 times while changing wives 40 times. He once boasted, “Although I can’t equal Hokusai in art, I beat him in the number of times I’ve moved.” He spent money as in the saying, “A true Tokyoite doesn’t save a penny even for one night” and although he was a heavy drinker, he possessed fine manners. Indeed, Kunichika’s life is full of colorful anecdotes. Kunichika was known as one of “The Three Greats of Meiji Ukiyo-e”, along with Yoshitoshi Tsukioka (1839-1892) and Kiyochika Kobayashi (1847-1915), and received praise as the “Meiji Sharaku”, a reference to the Edo period Ukiyo-e artist, Sharaku.

Source: Database on Yakusha-e Prints from the Ohe Naokichi Collection of Toyohara Kunichika’s Ukiyo-e Prints, Kyoto University Art and Design http://kensaku.kyoto-art.ac.jp/ukiyoe/kuni_e.html and Time Present and Time Past: Images of a Forgotten Master: Toyohara Kunichika (1835-1900) by Amy Reigle Newland (1999)

(detail)

How Long Is Your Family Tree?

The Graphic Arts Collection recently acquired a bound volume holding seven engraved chronologies produced and published by Louis-Joseph Mondhare (1734-1799), each folded in half vertically and mounted on a stub:

1. Chronologie figurée pour l’intelligence de l’histoire des revolutions monarchiques … Inventé et dessiné par Mrs Mazaroz. A Paris chez Mondhare … [after 1774].
2. Chronologie de France appliquée a la généologie des rois et des princes du sang qui ont eu part au domaine de cet état … Inventé et dessiné par Mazazarot [sic]. A Paris chez Mondhare … [after 1774].
3. Chronologie figurée de l’Empire d ’Allemagne ou table de toutes les revolutions des differents etats d’Allemagne. Par Mr Moreau … A Paris chez Mondhare et Jean … [after 1780].
4. Chronologie figurée de l’Italie ou tableau de toutes les révolutions des differents états de l’Italie a ppliqué à l’histoire sacrée et profane, depuis J. C. jusqu’à nos jours … A Paris chez Mondhare et Jean … [after 1783].
5. Chronologie d’Espagne et de Portugal depuis l’invasion des goths vers l’an 370 avec toutes les revolutions arrivée dans ces roy aumes … A Paris chez Mondhare et Jean … [after 1780].
6. Chronologie d’Angleterre appliquée a la Généalogie des Rois Princes et Princesses qui ont eu des pretentions sur cette Couronne … A Paris chez Mondhare … Mararoz inv. [presumably 1780s].
7. Chronologie figurée des etats du Nord et de la Hollande ou tableau de toutes les revolutions des differents etats du Nord … A Paris chez Mondhare et Jean … [after 1788].

These still-growing trees represent the royal lineage of France; Germany; Italy; Spain and Portugal; England; States of the North and Holland; along with the “history of monarchical revolutions.” Genealogical trees are the most common visualization of family lineage and the Graphic Arts Collection hold a number of others, including this and this and this.

According to the Bnf, Mondare (or Mondard) was an engraver, publisher, and dealer of prints and maps. A native of Bougy (Calvados), Mondhare was active in Paris from 1759 until his death in August 1799. His son Pierre Jean (1754-1829) succeeded him. The British Museum lists his address as Rue St Jacques, à l’Hôtel Saumur.

Although these are European histories, the United States turns up on the far side of the chronology of England, as one of several “conquests and losses” along with Normandy, Ireland, various French provinces, and Scotland.

Unidentified pickpocket

Detail

This pen and ink and watercolor drawing by George Cruikshank (1792-1878) in the Graphic Arts Collection has been mislabeled for a number of years. In trying to attribute it to the correction book or print a number of other pickpocket scenes were consulted, along with Rictor Norton’s text on Georgian raggamuffins and thieves. http://rictornorton.co.uk/gu11.htm

Richard Newton after Thomas Rowlandson, A Frenchman Plundered, 1792. Etching.

Isaac Robert Cruikshank, Dandy Pickpockets, Diving, December 2, 1818. Etching

Henry Heath, The Rule of Three, 1827. Etching.

Butler Clowes after John Collet, Female Bruisers, 1770. Mezzotint.

In 1820, Cruikshank was working out the plates for Pierce Egan’s Life in London, featuring the adventures of protagonists Tom, Jerry and Logic, three men about town. Although these figures are not as elegant as the published versions, it may be this watercolor was an early attempt to work out a scene never included in the final book. See more: https://www.bl.uk/romantics-and-victorians/articles/tom-and-jerry-life-in-london

Pierce Egan (1772-1849), Life in London; or, The day and night scenes of Jerry Hawthorne, esq., and his elegant friend Corinthian Tom, accompanied by Bob Logic, the Oxonian, in their rambles and sprees through the metropolis. By Pierce Egan … Embellished with thirty-six scenes from real life, designed and etched by I. R. & G. Cruikshank; and enriched also with numerous original designs on wood, by the same artists (London: Printed for Sherwood, Neely, and Jones, 1821). Graphic Arts Collection Cruik 1821

Do you have another theory?

“Destined for an audience of connoisseurs”

If you are a Friend of the Princeton University Library, you should be patting yourself on the back for your connoisseurship and good judgement in providing the funds for the purchase of this amazing new volume of satirical engravings. Congratulations.

Thanks to the generosity of the Friends, the Graphic Arts Collection has acquired a rare set of Dutch satirical engravings under the title (in English): Rome Perturbed or the Catholic Church in an uproar, presented in ten emblems showing how the papacy, but especially the monks, trespass against the Ten commandments… The volume holds eleven engravings with accompanying verses in Dutch. The imprint is false, ascribed tentatively to the publisher Carel Allard, Amsterdam. The author is identified on the title page by initials only “L.V.J.” for Liefhebber van Jansenius (an anonymous friend of Jansenius).

In his study Graphic Satire and Religious Change: The Dutch Republic, 1676-1707, Joke Spaans notes that Roma Perturbata was part of a media offensive against the Catholic Church, culminating in the schism between the Curia and the Dutch diocese in 1723. Apparently the book became something of a bestseller although copies are now extremely rare. This group of elaborate satirical prints focuses on Clement XI’s response to Jansenism in the Netherlands, with particular attention to Pieter Codde and his replacement Theodore de Coc.

The collected engravings went through two editions, one in 1706 consisting of eleven plates [now at Princeton], and an expanded edition with thirteen plates in 1707. Spaans writes

These ‘editions’ are not the fixed entities suggested by this term: the individual plates exist in several versions and the extant copies of the series show some variation in composition. This means that individual plates circulated independently before the series was conceived. The Allard firm collected these prints, altered them as and where they saw fit, and fleshed out the collection with other suitable material they had at hand.

They added a title page, on the reverse side of which they printed ten four-line stanzas that provide the reader with what amounts to a reasoned table of contents. This rhymed table interprets each of the emblems in turn within the wider context of the justification of Codde, the praise of the States of Holland for their support of the Clergy, and the vilification of DeCock, the Jesuits and the Pope and loosely connects them with the Ten Commandments, as referred to in the title of the series.

Spaans also notes that while there were many satirical pamphlets and broadside at this time of dubious quality, “all those in Roma Perturbata were intelligently made, and seem to have been destined for an audience of connoisseurs.”

Roma perturbata, ofte ‘t Beroerde Romen, vertoond door x zinnebeelden, toegepast op de x Geboden, door die van ‘t Pausdom … doorgaans meest overtreeden, gelijk nu in de historien van P. Codde, en T. de Kok; waar in de hoogmoedigheid van de Paus … en zyn onmacht om ‘t gewaande recht uit te voeren … voor oogen gesteld worden. By een gesteld door L.V.J. en zijn medehelpers, etc. (Loven [Amsterdam?]: gedrukt ten koste van de Groote Compagnie [Carel Allard?], 1706).

Small folio, 314 x 185 mm, bound in contemporary Dutch speckled calf. Provenance: Bibliotheca Abbatiae Vallis-Dei (Abbot of Gottesthal?), with their ex-libris on front pastedown and stamp of same on front and rear endpaper verso. Purchased with funds donated by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2018- in process

Given the rarity and uniqueness of each copy, the potential for new research is enormous. OCLC lists only six complete paper copies of the 1706 Roma Perturbata in public collections and none in North America. With current online records and limited published research, it is impossible to know which copies differ and to what extent. Since many of these prints are altered from the original, if in fact an original is known, the study of each impression is not only valuable but essential.

In his catalogue raisonné, Frederik Muller lists the plates of the 1707 publication under numbers 3410 a and b, 1-13, as follows:
Title page: letterpress, kept with the present print
Plate 1: Three medallions, Chronogram 1705
Plate 2: “De niewe Roomse kerktrophee”, Chronogram 1705
Plate 3: “Door Munneke jagt, wordt Babel verkracht”, Chronogram 1705
Plate 4: “Zinnebeeldig pourtret v.d. Ew.Hr. Theodorus de Coc”, Chronogram 1705
Plate 5: “Jansenisten en Munneken zeef”, Chronogram 1705
Plate 6: “Coddige droom van de smalle en brede weg”, Chronogram 1705
Plate 7: “Een Jansenist smeedt met zijn knapen…”, Chronogram 1705
Plate 8: “‘t Rooms Hollands Recht”, Chronogram 1705
Plate 9: “De Rooms Hollandse Tongeslijper”, Chronogram 1705
Plate 10: “‘t Roomse Rad van Avontuur”, Chronogram 1706
Plate 11: “Coddig nachtgezicht”
Plate 12: “De Roomse Kerken-Visiteerder of de Ridder…” Chronogram 1706
Plate 13: “Sic itur ad astra scilicet”; “Rooms Cocceaans Munnike…”

However, these titles vary from the collection catalogue of the British Museum, which also gives lengthy visual descriptions of each plate, suggesting earlier versions and or variations on each theme. Until a compendium of all the extent copies can be attempted, each rare copy of Roma Perturbata in a public collection adds to the scholarship not only of the individual engravings but also to the publication history of the set.

St. Catherine / Mt. Sinai paper icon, 1759

In anticipation of the 40th anniversary of Hellenic Studies at Princeton University, 2019-2020, the Graphic Arts Collection is honored and delighted to receive the gift of this wonderful paper icon of St. Catherine/Mt. Sinai, published in Vienna, 1759 (59 x 72.5 cm). The engraving is a perfect complement to earlier gifts of Mt. Sinai paper icons https://catalog.princeton.edu/catalog/10650622 and https://catalog.princeton.edu/catalog/10668428.

Our sincere thanks go to the Program in Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund and matching funds provided by a gift of The Orpheus Trust to the Seeger Center for Hellenic Studies, in honor of the 40th anniversary of Hellenic Studies at Princeton University.

In addition, I would be remiss not to single out Dimitri H. Gondicas, Stanley J. Seeger ’52 Director, Seeger Center for Hellenic Studies / Lecturer in the Council of the Humanities and Hellenic Studies, ’78, who was instrumental in making these gifts possible.

The inscription at the top of this view reads: “Eleō theou Archiepiskopos tou hagiou kai theovadistou horous [sic] Sina Kōnstantios.” Our thanks to Kalliopi Balatsouka, Modern Greek Archivist for Special Collections, who worked on the icon’s description and the transcription of the Greek text (which also appears in Latin and Slavonic).

The main composition is divided into two symmetrical parts by the scene of the crucified Christ under a cloud in the top middle of the image. To the upper left, predominates a scene of the Old Testament where Moses [seen above], according to the Book of Exodus, ascended Mount Sinai to receive the Tables of Law from the hand of God, who offers to Moses two pieces of stone inscribed “ho dekalogos” (the Ten Commandments).

To the upper right, a scene of the New Testament, shows winged angels transporting the relic of the Great Martyr Saint Catherine from Alexandria, Egypt to the highest mountain, now called Mt. Saint Catherine, next to Mount Sinai. A Greek inscription, next to this scene, from the megalynarion of St. Catherine reads: “Echei to son pneuma, ho houranos, sōma de to theion / tethēsauritai en Sina haima martyriou, / en alexandrou polei sophē Haikaterina [sic] / skepe tous doulous sou.”

Inscription in the top left corner in Latin reads: “… Sacri Montis Sinai in Arabia Archiepiscopus… Illustrisse D.D.V.V. … Hieromonachum nostrum Mercurium humillime presentatur.”

The print is rich with history and iconography. To the left and right of the central composition there are two explanatory numbered lists, 62 in total (30+32) about the events taking place in the picture, such as: “Hē proypantēsis tou archiepiskopou,” “to perivoli,” “to koimētērio tōn paterōn,” “to monastērion,” “hoi araves lamvanoun trophēn,” “to mega orama tou prophētou mōyseōs,” hē anodos tou orous,” “hē thyra tēs exomologēseōs,” “Monē tou prophētou Ēliou,” “ho Mōysēs hopou elave tas plakas tou nomou,” “ai pyramēdes,” “aphanismos tou pharaōn,” “hē skēnē tou martyriou,” “Hē phylakē tou klēmakos,” “Hoi hagioi saranta martyres,” “hoi angeloi pherousi tēs hagias to leipsanon apo tēn alexandreian to sineian oros,” and “hē erythra thalasa.”

At the foot of Mount Sinai is depicting Saint Catherine’s monastery and next to it the image of the Virgin Mary as “The Burning Bush.” At the entrance of the monastery, monks welcome an archbishop.

Text below the main scene in two columns both in Greek and in Slavonic refers among other things, to the restoration of the print:

“Ou monon ō eusevē anagnōsta en diaphorois pote kairois ho theos edoxase to entautha schediasthen hagion oros tou sina, phainomenos eis auto kai homilōn / meta mōyseōs, kai Hēliou tōn prophētōn tën martyrian tēs hagias Graphēs, alla kai metepeita di’angelōn metakonisas apo Alexandreias eis auto / to oros to leipsanon tēs hagias parthenomartyros Aikaterinēs …. Anekainisthē ho parōn Typos eulogia men, kai protropē tou panierōtatou Archiepiskopou Karlovitzas k[yriou] k[yriou] Paulou / Nenadovik syndromē de kai epimeleia tou panosiötatou Prōtosyngelou sinaitou kyriou Iōannikiou kai dapanē ton timiōtatōn kai philochristōn pragmateōtōn tou te markou pouliou tou ek siatistēs, kai tou kyriou Kyrou Dēmou tou ek naousēs, etei 1759. en viennē.”

Note, this print is not listed in the Papastratou catalogue, but might be a revised or updated version of no. 385.

More celebrations to come in 2019-2020. Watch for upcoming events here: https://hellenic.princeton.edu/events

W.I. Swain’s Jesse James

The American outlaw Jesse James (1847-1882) robbed banks, stagecoaches, and trains until he was shot in 1882 by Robert Ford. Like Buffalo Bill Cody and Annie Oakley, James was celebrated as a legendary figure of the Wild West with multiple productions that traveled throughout the United States.

The W. I. Swain Jesse James show was one of the largest productions and at their height in the first decade of the 20th century. A recent reading room request brought out several lithographic posters held in the Graphic Arts Collection, announcing the variety of stories included in Swain’s three-hour production.

It is surprising to see black and white actors, male and female, together as members of the James gang, as well as Native Americans, Mexican Americans, Asian Americans, professional cowboys, ranchers, and clowns in the company. No race or occupation was exempt from exaggerated caricature and burlesque.

**Note, some of the images are openly racist and offensive.**

Similar stories ran in local newspapers to advertise Swain’s “one night only” productions, such as:

“JESSE JAMES. The Little Rock (Ark) Daily Democrat has this to say about the W.I. Swain Jesse James show that is to appear here Wednesday, April 10 [1906]: The citizens of Little Rock were royally entertained with a new form of amusement last night. The W.I. Swain Jesse James company presented a three hour show last night and it is safe to say that never in the history of Little Rock did so many people gather together to see a show except to the biggest of the big circuses. The entertainment was of the western character, portraying the James boys during their famous career covering the time from the war to the death of Jesse.

The show was moral, and of a much different character than one is led to believe before seeing the show. Instead of all shooting and dime novel play, it teaches a grand lesson, showing the hardships and deprivations of the outlaw and the sufferings of a man after becoming an outcast. Perhaps the happiest character in the production is Lige, the old negro, who follows “Marse Jesse” through thick and thin. However, the sleeping Indian caused Lige no little concern, until she succeeded in dispatching Mr. Injun to his happy hunting ground with the [ever] trusty razor. The tent, which is a huge one, was tested to its utmost capacity, many being turned away. The Swain company gives a good show and if they ever return to Little Rock they will be greeted by a big crowd.”

“The Plot of this Sensational and Instructive Production is based upon the life of the Most Interesting Character American History has Furnished.”

Lasting Impressions

http://artmuseum.princeton.edu/object-package/lasting-impressions-world-war-i-and-graphic-arts/147257

If you are on campus this weekend, do go to the Princeton University Art Museum where Laura Giles, Heather and Paul G. Haaga Jr., Class of 1970, Curator of Prints and Drawings, mounted a group of prints and posters to commemorate the end of World War I. She kindly included several items from the Graphic Arts Collection and it looks wonderful.

The title is “Lasting Impressions: World War I and the Graphic Arts” with the epigram: “These prints were made from the indelible impressions of war. They are not imaginary. I saw them.”–—Kerr Eby, 1934

Their text panel reads in part,

“November 11, 2018, marks the one-hundredth anniversary of the signing of the armistice that ended World War I. Detonated in the summer of 1914, this prolonged global conflict took a devastating toll on millions of soldiers and civilians while setting the stage for widespread political and social upheaval that would have lasting consequences. Although photography and film played an important role in chronicling what was soon called the “Great War,” the graphic arts also had a visual impact on large audiences, by means of inexpensive print portfolios and mass-produced posters—facilitated by the same modern technology that fueled the military’s weapons of mass destruction.”

Laura notes, “This selection of works on paper reveals a wide spectrum of responses to the war—stemming from actual battlefield experiences and home front reactions—created by artists from France, Germany, Great Britain, and the United States who employed a rich variety of printmaking techniques.”

It is just one of many great shows currently on view: http://artmuseum.princeton.edu/art/exhibitions

Gerstner’s Vienna

Joseph Vincenz Degen [Johann Pezzl], Grundriss und Beschreibung der Haupt- und Residenzstadt Wien. [Floor plan and description of the capital and residence city of Vienna] = Description et plan de la Ville de Vienne [Description and plan of the City of Vienna] (Vienna: bey J.V. Degen, 1802). Map, guidebook, and slipcase. Graphic Arts Collection GAX 2018- in process

When we first received this enormous four-part map of Vienna, engraved by Joseph Gerstner (1768-1813), it was folded into tiny chunks and stuffed inside the original paper slipcase (120 x 85 x 40 mm), together with the palm-size guidebook. Once its various parts were separated, rare book conservator Mick LeTourneaux decided not to return them to the original format but flatten the maps and conserve the slipcase individually.

A foam insert was prepared for the book and slipcase, exactly the size of the maps so that the whole object could be housed together in a light-weight four-flap folder. In this way, the material is protected but also available to researchers for daily use.

The four sheets of Gerstner’s plan of Vienna fit together to form a map approximately three feet square. His detailed plan was based upon Maximilian von Grimm’s monumental map to the Greater Vienna and the first scientific survey of the city, published in 1799. Gerstner includes the old city ‘Innere Stadt’ within the castellated medieval walls and the fast-growing suburbs that surrounded the center in all directions. Every street is precisely delineated and labeled.

The text for this first edition was written by Johann Pezzl (1756-1823), who frequented the Greinerschen Salon, in the circle around Caroline Pichler. The guidebook became so popular that it was re-issued many times up until 1809. After this date, the elaborate parts of this publication were discontinued and only the plan was published.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: