Category Archives: prints and drawings

prints and drawings

Revillon Frères Portfolios

Portfolio of eight pochoir prints from Revillon Frères (Revillon Brothers), 1929-1930. Graphic Arts Collection GAX Oversize 2003-0052F

Portfolio of four pochoir prints from Revillon Frères (Revillon Brothers), 1927-1928. Graphic Arts Collection GAX Oversize 2003-0051F

Portfolio of six photogravure prints from Revillon Frères (Revillon Brothers), ca. 1923-1924. Graphic Arts Collection GAX Oversize 2007-0027E.

The French fur company, Revillon Frères, promoted their firm with annual portfolios of fine art prints. Many featured pochoir fashion plates but in the early 1920s, the company prepared a series of six photogravures from photographs by Robert J. Flaherty (1884-1951). Revillon Frères owned the copyright to all Flaherty’s work, having sponsored the Canadian expedition that resulted in the film Nanook of the North (1922). A total of eighteen photogravures were printed, from which six were chosen for the annual portfolio (ca. 1923-1924). The remaining twelve photogravures could be purchased from G. P. Putnam’s Sons, New York.

 

In 1925, the Revillon company wrote to V. Lansing Collins, reference librarian, preceptor, and Secretary of Princeton University, about the possible sale of their merchandise in Princeton. The following month, the company began advertising in the Daily Princetonian and as a thank you for Collins’s assistance, sent the Princeton University Library their untitled portfolio of six Flaherty prints.

In 1945, a second, also untitled portfolio with all 18 photogravures was donated to the Library in memory of Martin V. Bergen, Jr., Princeton Class of 1892 [Ex Oversize 2007-0026E].

[below] Advertisement. Daily Princetonian, 46, Number 109 (24 October 1925)

“In New York Flaherty had become friendly with a Thierry Mallet, a senior officer of Revillon Frères, a French fur trading company that was the main competitor in Canada of the Hudson’s Bay Company. Mallet was in the audience at a private screening of Flaherty’s surviving Baffin Island print sometime in early 1920 and it gave him an idea.

. . . Mallet persuaded the directors of Revillon Frères to sponsor Flaherty’s return to the north to make another film featuring the company for showing in their anniversary year.

. . . For twelve months, from August 1920 to August 1921, he based himself at the Revillon Frères post at Port Harrison, now Inukjuak, on the eastern shore of Hudson Bay, a little south of Cape Dufferin.” — Jeremy Murray-Brown, “Robert Flaherty: the Old Longing” (Boston University)

 


 
Robert Joseph Flaherty (1884-1951), [Robert Flaherty photogravures] (New York: Revillon Frères, [ca. 1925]. Gift of the publisher. Graphic Arts Collection Oversize 2007-0027E.

Includes printed text: “The six copper-plate engravings contained herein are reproductions of photographs of the inhabitants of the sub-arctic part of Eastern Canada. These six photographs, chosen from a collection of eighteen, were made during a series of five expeditions covering a period of eleven years. They were taken on behalf of our company by Robert J. Flaherty, F.R.G.S., around Cape Dufferin and Belcher Islands on the Northeast coast of Hudson Bay, in the Peninsula of Ungava, in the Hudson Strait, and on the coast of Baffin Land.”

The complete set of 18 photogravures: Allegoo (Shining Water) Sikoslingmuit Eskimo Woman, Southern Baffin Land — Nascaupie Indian Chief, Northern Labrador — Cunayou (The Sculpin) Sikoslingmuit Eskimo Girl, Southern Baffin Land — Tooktoo (The Deer) Chief of Sikoslingmuit Eskimos, Southern Baffin Land — SAPA, Sikoslingmuit Eskimo of Southern Baffin Land — A Labrador Cree (Indian), Northern Labrador — The Harpooner — Youthful Hunter — The Hunter, Eskimo in the rough ice-fields at sea — Summer (August), Eskimo Kayak in Northeastern Hudson Bay — Nyla and child, Eteeveemuit Eskimo of Cape Dufferin, Northwest Ungava — The Huskie (The Wolf Dog of the Eskimos) — Eskimo Omiak in the Spring — The Barren Lands, Northern Ungava — The Gramophone — Abandoned Eskimo Village, Ungava Coast of Hudson Bay — The Walrus Hunter — Eskimo Fisherman in his Kayak.

See also: Revillon Frères, Igloo life; a brief account of a primitive Arctic tribe living near one of the most northern trading posts of Revillon Frères (New York: Privately printed, 1923). ReCAP 998 R326


Re-creating Delaunay’s “La Prose du Transsibérien”

In 2008, the Beinecke Rare Book and Manuscript Library published a facsimile of La Prose du Transsibérien (Prose on the Trans-Siberian Railway) by Blaise Cendrars and Sonia Delaunay. The full-size color reproduction was even folded like the original. The only problem was it couldn’t represent the pochoir (stencil) printing of the original.

Now, Kitty Maryatt, Director Emerita of the Scripps College Press, has re-created La Prose in the same size, same color, same folding, but this time with the original letterpress text and hand-painted pochoir color.

Maryatt and her assistant Chris Yuengling-Niles finished the first copies in France, where they spent almost two months working daily with Christine Menguy at Atelier Coloris to fine-tuned their skills in the pochoir process. The edition of 150 copies is published by Two Hands Press and the Graphic Arts Collection recently acquired a copy.

All the specifications can be found at http://laprosepochoir.blogspot.com but here are some details.

The type for the book was printed in June of 2017 by printer Richard Siebert in San Francisco. Two Hands Press licensed a high-resolution scan of La Prose from The Palace of the Legion of Honor in San Francisco. Richard removed the surrounding pochoir colors from the Blaise Cendrars poem and then went through the whole text for weeks, cleaning up nearly every letter. Sixteen photo-polymer plates were needed to print the four 16 x 23 inch pages, with each one printed in four colors: orange, ruby red, green and blue. Each of the 1000 sheets was printed four times on his Heidelberg letterpress.

The gouache color for Delaunay’s imagery is hand-applied using thin metal stencils. There are about 25 aluminum stencils for each of the four sheets, totaling 100 in all. The 50 or so colors have been selected with great care to match the originals.

La Prose was first produced in Paris in 1913 and published by Cendrars’s own self-financed publishing house, Éditions des Hommes Nouveaux (New Man Publishing). The text and artwork were printed onto the same sheet, which was folded accordion-style to form the twenty-two panels. Unfolded the book is approximately 199 x 36 cm.

Listen to an audio recording of the text approved by Blaise Cendrars, read by Jacques-Henry Levesque with score by Frederic Ramsey Jr. (Folkways Records, 1967) thanks to the Museum of Modern Art’s Inventing Abstraction website: https://www.moma.org/explore/multimedia/audios/341/4333

Cendrars’s story describes a railway trip taken by a poet and a young girl named after Joan of Arc, from Moscow to Paris, via China and the North Pole.

One of the rarest festival books of the 16th century

Detail

Hanns Wagner (1522-1590). Kurtze doch gegründte beschreibung des Durchleuchtigen… Fürsten… Wilhalmen Pfaltzgraven bey Rhein Hertzogen inn Obern und Nidern Bairen Und derselben geliebsten Gemahel der… Fürstin… Renata gebornne Hertzogin zu Lottringen… gehalten Hochzeitlichen Ehren Fests… Auch welcher gestalt die darauff geladnen Potentaten und Fürsten Personlich oder durch ire abgesandte Potschafften erschinen. Und dann was für Herrliche Ritterspil zu Ross und Fuess mit Thurnieren Rennen und Stechen. Neben andern vil ehrlichen kurtzweilen mit grossen freuden Triumph und kostlichkait in der Fürstlichen Haubtstat München gehalten worden sein den zwenundzwaintzigisten und nachvolgende tag Februarii Im 1568 Jar 1568. Munich: Adam Berg, 1568. Purchased with funds provided by the Rare Books Division, Marquand Art and Archeology, and the Graphic Arts Collection. Rare Books (EX) 2017- in process


This remarkable Bavarian fête book, considered to be one of the rarest, most significant, and most lavish festival books of the sixteenth-century, has been acquired by Rare Books and Special Collection at Princeton University Library.

The fourteen hand-colored engravings were designed by Nicolaus Solis (1542-1584), most signed with his monogram. “Il paraît certains que l’N et l’S entrelacés donnent le monogramme, non pas de Nicolas Schinagel, comme quelques-uns le croient, mais de Nicolas Solis, frère [sic] de célèbre Virgile Solis; et ce qui semble le confirmer, c’est que cet artiste travaillait à la cour de Guillaume V de Bavière” (Vinet 705). The artist was only twenty-six when he undertook the commission.

A facsimile of the beginning folding plate is included with this volume. Only five copies in the world have that engraving and it has been noted that finding a complete copy is near impossible: “C’est un des plus rares, et l’un de ceux qui peuvent le mieux servir à vous donner l’idée des coutumes et des plaisirs de Allemagne princière au XVIe Siècle” (Vinet 705). Three of the tournament engravings were supplied from another copy.

Solis’s enormous folding plates record festival scenes at the Court of Wilhelm V, Duke of Bavaria (1548-1626) staged for his marriage to Renée, Duchess of Lorraine (1544-1602) in February 1568. The celebration lasted eighteen days with performances, games, and tournaments said to include approximately 5,000 riders. Music was composed by Orlande de Lassus. The book was completed with remarkable speed, finished before the end of the year.

Detail



Provenance: “Georgius Wager, Consiliarigae Secretarig. Ag. 1675” inscribed in brown ink at foot of title; Pierre Berès, his sale, Paris; Pierre Bergé, 16 December 2005, lot 263.

References: Lipperheide 2553. Ruggieri 933-4. Vinet 705. Cicognara 1380 (“Questo è il più raro epiù prezioso libro che conosciamo, specialmente in quel secolo, in material di feste” in 1821). Andresen II, 90-94, No. 31-45.

Hayakawa Ayunosuke

Detail of Hayakawa Ayunosuke’s tattooed back and arms

Utagawa Kuniyoshi 歌川国芳 (1797-1861), Hayakawa Ayunosuke 早川鮎之助 from the series Honcho Suikoden goyu happyakunin no hitori 本朝水滸傳豪傑八百人一個 (One of the Eight Hundred Heroes of the Water Margin of Japan), 1830-32. Color woodblock print. Oban tate-e. Graphic Arts Collection GAX 2017- in process

According to Sarah Thompson’s new book Tattoos in Japanese Prints, “the first Japanese translation of Water Margin (known as Suikoden) was published in parts from 1757 to 1790 and inspired several versions of the story set in Japan. Kuniyoshi’s prints of the late 1820s, however, were based on a more recent work, a new translation by the best-selling writer Kyotutei Bakin (1767-1849).” [Princeton has Suiko gaden (Tōkyō: Yūhōdō, Taishō 6 [1917]). Annex A, Forrestal J5880/4790 v.103-106.]

Utagawa Kuniyoshi added to the four heroes described in the book with tattoos and created eleven additional tattooed heroes. Thompson notes “The great success of Kuniyoshi’s first Water Margin series not only inspired tattoo artists but also made the genre of warrior prints, formerly a minor theme, one of the major categories of subject matter for print designers.”

One of these heroes is Hayakawa Ayunosuke, seen here damming the Ayukawa River in order to catch fish. He was one of the Ten Brave Retainers of Amago, who worked to restore the fortunes of the Amago clan after the civil wars of the 16th century.

This is an early edition of the print, with the seal of Kagaya Kichibei of Ryōgoku at the bottom, left of center. Popular demand led to many later editions.

Sarah Thompson is the assistant curator of Japanese prints at the Museum of Fine Arts, Boston.

Save the date for Thompson’s visit to Princeton University on Friday afternoon, April 6, 2018, when she will deliver the second Gillett G. Griffin Memorial Lecture.

Joel Shapiro and Hart Crane

In 1916, Hamilton Easter Field (1872-1922) expanded the Ardsley School of Graphic Arts to include three buildings, 106-110 Columbia Heights, at the base of the Brooklyn Bridge. Many artists and writers were invited to stay with the Fields over the years and even when Hamilton died suddenly in 1922, many of the rooms continued to be used for temporary housing. Hart Crane (1899-1932) stayed there in the 1920s and was inspired by his view of the bridge. The rest is history. https://graphicarts.princeton.edu/2017/01/16/ardsley-studios/

Now eighty-seven years after Crane’s poem “The Bridge” was first published, Arion Press released a new edition with seven woodblock prints by sculptor Joel Shapiro. The Graphic Arts Collection received its copy today. It is an ambitious and innovative project, so I will quote from their prospectus, which can be read in full here: http://www.arionpress.com/catalog/images/110/Bridge-Prospectus.pdf

The edition also includes a specially commissioned essay on the poem by Langdon Hammer, Niel Gray, Jr. Professor of English & Department Chair, Yale University, in a separate bound volume. An article adapted from this essay can be read in The New York Review of Books: http://www.nybooks.com/daily/2017/11/24/hart-cranes-view-from-the-bridge/

The publisher, Andrew Hoyem, conceived of a scroll format for “The Bridge” while he and senior editor Diana Ketcham were on a two-week tour of China in April 2017 organized by the Grolier Club, an association of bibliophiles in New York City. The theme of the trip was the history of paper, type, printing, binding, and the collecting of books, both private and institutional, in China.

During the first week they visited the Red Star Paper Company in Wuxi, Anhui Province. The Chinese government has recently sought to revive and support traditional crafts. Red Star is the fore-most producer of handmade paper in the nation, using ancient methods and many plant fibers in exacting proportions to make sheets of beautiful thin paper, used mainly for calligraphy and ink and watercolor painting.

In Beijing they visited the most important book collector in China, who showed them an unmounted scroll from the eighth century. Hoyem was inspired to order handmade paper from the mill and to make “The Bridge” in a single-spool scroll format. The book is 13½ inches tall and over 50 feet long, made up of joined sheets measuring 13½ by 25 inches.

Our book is no. 117 of 300. It is interesting to note that Hoyem handset the long poem himself because typesetters on staff were busy with other projects.

“The type he chose is French Elzevir, 16-point for the text, 24-point for titles, and 10-point for subsidiary material. It is based on a modernized French oldstyle, cast by American Typefounders in the early twentieth century, purchased by the San Francisco printer John Henry Nash as new, and then acquired by the Grabhorn Press in the 1930s when Nash went out of business, then inherited by Hoyem in 1973.”

Hart Crane (1899-1923), The Bridge. Woodblock prints by Joel Shapiro, essay by Langdon Hammer, photographs by Michael Kenna (San Francisco: The Arion Press, 2017). “Scroll format, 13-1/2″ x 50′, set by hand and printed by letterpress in black on handmade Chinese paper, with 7 images bound in, presented in a box along with a separate volume containing the introduction.”–Publisher’s website. Graphic Arts Collection GAX 2017- in process

Grids, using straight lines, not-straight lines & broken lines in all their possible combinations

With sincere thanks to the Laura P. Hall Memorial Fund and the Hall Fund committee through the Department of Art & Archaeology, the Graphic Arts Collection has acquired this rare bound collection of etchings by Sol LeWitt (1928-2007).

The Museum of Modern Art digitized the entire volume here,  but the beauty of the ink on paper can really only be appreciated with the original. We anticipate this volume will be on exhibit in the Princeton University Art Museum during 2018. More information on that coming.


Sol LeWitt, Grids, Using Straight, Not-Straight, and Broken Lines in All Vertical & Horizontal Combinations (New York: Parasol Press, 1973). 28 etchings, bound as a book, with slipcase. Image Size:10⅝ x 10⅝ inches (27.0 x 27.0 cm); Paper Size:11 x 11 inches (28.0 x 28.0 cm). Edition of 25. Printed by Kathan Brown at Crown Point Press, Oakland, California. Catalogue raisonné 1973.03. Purchased with funds provided by the Hall Fund. Graphic Arts Collection GAX 2017- in process.
1. Straight/Straight
2. Straight/Not-straight
3. Straight/Broken
4. Straight/Straight, Not-straight
5. Straight/Straight, Broken
6. Straight/Not-straight, Broken
7. Straight/Straight, Not-straight, Broken
8. Not-straight/Not-straight
9. Not-straight/Broken
10. Not-straight/Straight, Not-straight
11. Not-straight/Straight, Broken
12. Not-straight/Not-straight, Broken
13. Not-straight/Straight, Not-straight, Broken
14. Broken/Broken
15. Broken/Straight, Not-straight
16. Broken/Straight, Broken
17. Broken/Not Straight, Broken
18. Broken/Straight, Not-straight, Broken
19. Straight, Not-straight/Straight, Not-straight
20. Straight, Not-straight/Straight, Broken
21. Straight, Not-straight/Not-straight, Broken
22. Straight, Not-straight/Straight, Not-straight, Broken
23. Straight, Broken/Straight, Broken
24. Straight, Broken/Not-straight, Broken
25. Straight, Broken/Straight, Not-straight, Broken
26. Not-straight, Broken/Not-straight, Broken
27. Not-straight, Broken/Straight, Not-straight, Broken
28. Straight, Not-straight, Broken/Straight, Not-straight, Broken

Holiday Feasting

One hundred and ninety-three years ago, Charles Williams (active 1797-1850) etched a set of four caricatures called Feasting or Feasting Scraps ridiculing December holiday dinner parties. The set was published by S.W. Fores on December 15, 1824 but still seems timely.

In the print titled “A Pic Nic,” a family gnaws bare bones at a table covered with a ragged cloth.  Note the stand-off between the starving cat and dog. The poem reads:
On meagre fare the humble Curate’s fed;
Severe his labour—dearly earned his bread.
Tho all the duty on his shoulders fall
A paltry Thirty Pounds a Year his all.

 

“A Tuck Out” features a well-fed family attended by three liveried footmen, feasting on a sucking-pig, possibly a pheasant, and other dishes. Dorothy George was able to identify the picture on the wall as “Balthezar’s [sic] Feast”. This poem reads:
But see the bloated Vicars gaudy state,
Profusion surfiets, pamper ‘d menials wait;
Preaches Humility, his practice pride
Lived like an Infidel, and so he died.

 

At the dinner for “A Burster”, we can spot a large tureen of soup, pheasant, hare, pig, sausages, wine, and a painting of a frog looking at an ox. The poem reads:
A greasy chin the Aldermans delight
Their stomachs quite prepaid since yesternight
Anticipating, Turtle, Venison, Jellies,
To Cram, to Gorge nay e’en to burst their Bellies.

 


The final scene, “A Gorge” shows seven fox hunters (their caps are hung on the antler coatrack) drunk and partying. The two servants can barely keep up and their hounds are already falling asleep. Their poems reads:
See l’Esquire seated, at the festive board,
His Tenants squeez’d to satiate their lord,
Who squanders all in riot and excess,
His Family leaves in Want and deep distress.

**Williams also drew under the pseudonyms Argus; C. Lamb; Ansell; Tom Truelove; Timothy Squib and others. He should not to be confused with the American caricaturist William Charles.

View of the World from Nassau Street


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In his “Rally ‘Round the Cannon” column published January 19, 2010, Gregg Lange ’70 recounts how two students produced one of Princeton Alumni Weekly’s most memorable covers. Now thanks to Colleen Finnegan at the PAW, the Graphic Arts Collection acquired a copy of this homage to Saul Steinberg (1914-1999) and his iconic March 29, 1976 design for The New Yorker, known as “View of the World from 9th Avenue.” Only five years later, Rob Smiley ’80 and Jim Ryan ’82 re-imagined a “View of the World from Nassau Street,” for the pre-reunion May 4, 1981 issue of the Princeton Alumni Weekly.

 

Reproduced as a 23 x 30 inch full color poster, Smiley’s design highlights various Princeton clubs across the country along with Mount Princeton in the Sawatch Range of the Rocky Mountains southwest of the Town of Buena Vista in Chaffee County, Colorado. The Garden Theater, Princeton Historical Society, and local pancake house are a few of the landmarks seen on Nassau Street.

 

In 2005, Steinberg’s cover design was voted no. 4 by the American Society of Magazine Editors’ list of the 40 greatest magazine covers of the last 40 years. See all 40 at: http://www.magazine.org/asme/magazine-cover-contests/asmes-top-40-magazine-covers-last-40-years

 

“La Sainte Bible” wants to have it all

James Tissot (1836-1902), La Sainte Bible (Ancien Testament) (Paris: M. de Brunoff, 1904). 2 v.: 400 illus.  “… deux états de tous les sujets horstexte, dont l’un en héliogravure … l’autre en couleur.” Rare Books: William H. Scheide Library (WHS) 199.2. Copy 374 of 560.

Late in 1882, James Tissot had a vision while praying in the church of St-Sulpice. “This prompted him to renounce formally all things secular and to devote his time to illustrating episodes drawn from Holy Scripture. In order to gather material he travelled to Palestine in 1886 and again in 1889.” (Benezit, Dictionary of Artists).

The resultant volume, The Life of Our Lord Jesus Christ (commonly known as Tissot’s Bible) includes reproductions of 250 watercolors and was so successful, Tissot joined Samuel Sidney McClure to form a publishing house to market the bible exclusively.

 

James Tissot (1836-1902), The Life of Our Saviour Jesus Christ; three hundred and sixty-five compositions from the four Gospels (New York: McClure-Tissot Co., 1899). Firestone Oversize ND553.T52 A3 1899q

Tissot worked from 1896 to 1902 on a companion volume of Old Testament stories. Hundreds of watercolors were planned but only a few were completed before Tissot died. His assistants painted and printed most of the scenes under the direction of his French publisher Maurice de Brunhoff (1861-1937).

Two years after Tissot’s death, La Sainte Bible was published with 400 reproductions in two ostentatious volumes. The images are heavy-handed and dull, 360 of them crowded into elaborate text pages and the other 40 printed as separate full-page plates. What’s more, each plate was printed twice: once in photogravure and once in color halftone.

Twenty copies of the “Imperial Memorial Edition” sold for $5,000 and 560 others sold for much less. Discount offers began appearing, with one 1907 sale offering both volumes for $16. Jacob Schiff (1847-1920) purchased the watercolors and donated them to the New York Public Library.


 


Actor Mezzotints

The Princeton theater collection holds many 18th-century British mezzotints of actors and actresses in some of their most popular roles. Below is a portrait of Frances Kemble (1759-1822), the younger sister of Sarah Siddons, who married Shakespearean scholar Francis Twiss. It is an early proof before the engraved lettering was added.

 

John Jones (ca. 1745-1797) after Joshua Reynolds (1723-1792), Miss Kemble, 1784. Mezzotint. Graphic Arts Collection GA 2013.00395

 

 

Edward Fisher (1722-1785) after John Berridge (1740-active 1804), Miss Rose in the Character of Tom Thumb. Act II. Scene II, August 30, 1770. Mezzotint. Graphic Arts Collection GA 2013.00396.  Inscribed “Ha! Dogs, Arrest my Friend before my Face!… Tom Thumb shall shew his Anger by his Sword / Kills the Bailliff and his Followers…”.

Andrew Miller (active 1739-1763) after Thomas Blisse (active 1740), Mr. Turbutt in the Character of Sosia in Amphitryon, ca. 1740. Mezzotint. Graphic Arts Collection GA 2013.00401.

Portrait of Robert Turbutt (died 1746) as Sosia.

 

 

William Lawrenson (active 1765-1780), Mr. Smith in the Character of Iachimo, in Cymbaline. Act II. Scene III, November 10, 1772. Mezzotint. 1st state. Graphic Arts Collection GA 2013.00400.

Portrait of William Smith (1730-1819) playing the role of Iachimo in Cymbaline by William Shakespeare (1564-1616).

 

 

Giuseppe Marchi (ca.1735-1808) after Johan Joseph Zoffany (1733-1810), Mr. Moody in the Character of Foiguard, ca. 1769-1771. Mezzotint. Graphic Arts Collection GA 2013.00399.

This is a portrait of John Moody (born John Cochran, 1727-1812) as the Irish priest Foigard in George Farquhar’s The Beaux Stratagem.