Category Archives: prints and drawings

prints and drawings

Fatigue

Giovanni David (1743-1790), Le Perruquier fatigué, 1785. Etching and aquatint. Graphic Arts collection GC094 Italian Prints Collection

In 1775, the Italian painter and engraver Giovanni David (1743-1790) created a series of 12 prints he called Divers Portraits (Various Portraits). The Graphic Arts Collection holds two prints from the series. Pictured here is no. 12 Le Perruquier fatigué (The Tired Wigmaker), in the second state with aquatint added. Below the title is a line from the satires of Nicolas Boileau-Despréaux (1636-1711), “Il change tous les jours d’esprit, comme de mode.”

See the wigmaker’s tools. Below is our second print from “Various Portraits,” The Woman of Palestrina.

Giovanni David (1743-1790), Femme de Palestrina, (Woman of Palestrina) from the series Divers Portraits [1785]. Etching and aquatint. Graphic Arts collection GC094 Italian Prints

See also: Mary Newcome-Schleier. Giovanni David: pittore e incisore della famiglia Durazzo. Torino: Artema, c2003. Marquand Library (SA) ND623.D3683 N48 2003

Frontispieces by Thomas Cross, the Elder, active 1632-1685

John White (died 1671), A Rich Cabinet, with Variety of Inventions: Unlock’d and Open’d, for the Recreation of Ingenious Spirits at their Vacant Hours. Being Receits and Conceits of Severall Natures, and Fit for Those Who Are Lovers of Natural and Artificial Conclusions . . . [Frontispiece by Thomas Cross, active 1632-1685]. Fourth edition, with many additions (London: printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

First published in 1651, A Rich Cabinet is made up of numerous directions and instructions for the purpose of conducting experiments, satisfying curiosities, solving problems, and much more. Instructions are given in Legerdemain (slight of hand); painting; “how to help deafness and to expel wind from the head;” arithmetic; and manufacturing fireworks. The book went through at least eight editions into the 18th century. The Graphic Arts Collection recently acquired the fourth edition. Here’s a selection:

“Receipt IV. How to make dainty sport with a Cat.
If you will have some sport with a Cat, then get a little Bell, such as the tame Hawkes have at their legs, and tye the Bell something hard at the end of the Cats taile, and let her go, she feeling of her tayl smart, and hearing of the Bell gingle, she will run up and down as if she were mad, flying against the walls and windows: then if she can, she will get into some hole to hide her self, but when she wags her tayl never so little, then out she comes, and is as mad as before, and never will rest in quiet till it be taken off or she can get it off her self.

Another
Some have shod a Cat round, with putting melted Pitch into four Walnut-shels, and placing her feet therein, and she will make pretty sport.

Another
I was told of a merry Fellow that came into an Ale-house in cold weather, and finding but a reasonable Fire, said, He would make the Cat piss it out, and watching his opportunity, he getteth his Hostesses Cat, putting her head betwixt his thighs, and holding her four feet fast in one hand, and with the other hand he’d up her tayl near the fire, and did piss such abundance that she quite quenched the same.”

The unusual frontispiece for A Rich Cabinet was designed by the engraver Thomas Cross or Crosse, Sr., who is credited with over 200 portraits (the National Portrait Gallery, London, lists 165 http://www.npg.org.uk/collections/search/person/mp10604/thomas-cross?role=art) and more than two dozen striking title pages with a similar “cabinet of curiosities” format. Johnson’s A Catalogue of Engraved and etched English title-Pages lists 26. If you know of others, please let me know.

David Papillon, A Practicall Abstract Of the Arts of Fortification and Assailing (London, 1645). Lettered with title, imprint, and, at bottom centre, ‘Tho: Cross fecit’

Francis Quarles, Boanerges and Barnabas, or, Judgment and Mercy for afflicted souls (London, R. Lowndes, 1646). Lettered centre left: ‘T. C. fec.’ Rare books 3902.1.318 1667

John Raymond, Gent. An itinerary contayning a voyage, made through Italy, in the yeare 1646, and 1647. Illustrated with divers figures of antiquities. Never before published. By Jo: Raymond, Gent. Il Mercurio Italico communicating a voyage made through Italy ( London: printed for Humphrey Moseley, 1648). Rare books 1541.751

Temporis Augustiae: stollen houres recreations (1649). Lettered within image “Aetatis Suae 21”, and in lower margin four lines of verse “The pencill can noe more: it does present… The high-flowne vertues that adorne his mind”, and production detail “T. Cross Sculpsit”.

Lilly’s, Merlini Anglici Ephemeris: or, general and monthly predictions upon several eminent conjunctions of the planets, for the year 1650 (London, J. Partridge and H. Blunden, 1650).

Moore’s Arithmetick. “Effigies Jonae Moore.” Lettered with title, date “Ao: Aetat 35. 1649”, and production detail, “H. Stone Pinxit / T. Cross Sculpsit”.

James Primrose, Popular Errours or the Errours of the people in matter of Physick (London, W. Wisson for Nicholas Bourne, 1651). Lettered with title, imprint, and at bottom right ‘T. Cross sculpsit’

Brugis Vade mecum: or, a companion for a chyrurgion (London, 1651). Lettered ‘T. Cross sculpsit’

Walter Blith, fl. 1649. The English improuer improued or the survey of husbandry surueyed discovering the improueableness of all lands… (London” printed for John Wright, at the Kings-head in the Old-Bayley, 1652. An expanded edition of “The English improver”. The engraved title page is signed with a crossed T, i.e. Thomas Cross. Rare books Item 6349912

John Gauden, Hieraspistes: A Defence of the Ministry and Ministers of the Church of England (London, 1653). Lettered with title, imprint, various inscriptions, and at bottom right ‘Tho. Cross Sculpsit’

Petrus Cunaeus, Of the Commonwealth of the Hebrews (London, Will. Lee, [1653]). Bottom left, lettered with a ‘T’ on which a Maltese cross has been superimposed, the mark of Thomas Cross. Rare Books: South East (RB) EX Lapidus 1.03

Procopius of Caesarea, The History of the Warres of the Emperour Justinian, translated by Henry Holcroft (1653). Lettered with title, and at bottom centre ‘T. Cross Sculpsit’. Rare Books: Oversize (Exov) 2749.335.653

Lazarus Riverius’s The Practice of Physick. Lettered with title and “Cross fecit”. Rare books 89541.776

Francis Rous, Treatises and Meditations (London, 1657). Lettered at bottom left: ‘T. Cross sculp’

Renodaeus, His dispensatory containing the whole body of pharmacy, translated by Richard Tomlinson (1657). Lettered with title, captions, and at bottom left: ‘Cross sculpsit’. Hind 1952-64 III.322.131

Natura Prodigiorum: or discourse (1660). Johannes Gadburius. Portrait of the astrologer John Gadbury (1660). Lettered with title and “T. Cross Sculpsit”. This was also used as a frontispiece to Gadbury’s ‘Ephemeris’ (1671).

The Whole Book of Psalms in Meeter (1660). Lower margin “T. Cross Sculpsit”.

The compleat clark, containing the best forms of all sorts of presidents, for conveyances and assurances (London, 1664).

John White. A Rich Cabinet, with Variety of Inventions… (London: Printed for William Whitwood at the sign of the Golden Lion in Duck-Lane near Smith-field, 1668). Graphic Arts Collection GAX 2015- in process

William Leybourn, 1626-1716. The art of measuring, or, The carpenters new rule described and explained… London: Printed for Richard Jones …, 1669. Lettered at bottom: ‘Printed for Rich: Jones. 1669’ and ‘T: Cross sculpsit’

Samuel Sturmy, 1633-1669. The Mariner’s Magazine, or Sturmy’s Mathematicall and Practicall Arts (1669). Rare books EXKA Oversize Americana 1679q Sturmy

Samuel Clarke, A Mirrour or Looking-Glass both for Saints, & Sinners, second volume (London, 1671). Lettered with title, imprint, and at bottom left, ‘Cross sculpsit’

Samuel Sturmy, 1633-1669. The mariner’s magazine: stor’d with these mathematical arts ... engraved by Thomas Cross Rare Books: South East (RB) EXKA Oversize Americana 1679q Sturmy

Hugo Grotius. Of the Rights of Peace and War, translated by William Evats (London, Ralph Smith, 1682). ‘Printed for Ralph Smith under the Piazza of the Royall Exch: in Cornhill.’. Lettered below: ‘T. Cross Senior Sculpsit.’ Rare books Oversize PITN 014.41.1682q

Descrizione del Sacro Monte della Vernia

Unnumbered folio 1: Saint Francis of Assisi three quarter length set within a cartouche surrounded by trophies of arms and heraldic devices by Domenico Falcini after Jacopo Ligozzi

Thanks to the generosity of the Friends of the Princeton University Library, the Graphic Arts Collection has acquired one of the most beautiful Baroque books ever printed. We are sincerely grateful for the continuing support of the Friends and hope all readers consider joining this wonderful organization.

In 1608, Lino Moroni, a member of the Observant Franciscans, was invited to produce a book on Mount Alvernia, the sacred retreat of St. Francis of Assisi and the site where, in 1224, he was believed to have received the stigmata. Together with the Veronese painter Jacopo Ligozzi, Moroni traveled to the Tuscan Appenines and the result is a remarkable travelogue entitled Descrizione del Sacro Monte della Vernia (1612).

Bound in vellum with “Monte di Vernia” inked on the spine, the book contains twenty-six prints with letterpress descriptions accompanying the individual plates. Seven of Ligozzi’s drawings were engraved by another local artist, Raphael Sciaminossi (signed with his monogram); a portrait frontispiece was engraved by Domenico Falcini of Siena; and the other plates were engraved by a yet unidentified artist, possibly Ligozzi himself.

Moroni wrote a dedication, an address to the reader, and keys for the plates, set within elaborate borders of typographical elements.

Flaps closed above, flaps open below

Descrizione is memorable not only for the extravagance of the dizzying vistas it records but also for the movable engraved overlays attached to four of the plates, permitting the reader to “see inside” several of the views. Given the tendency for these little slips to become dislodged, it is rare to obtain a volume, like ours, with them all in place.

Flaps closed above, flaps open below

Marquand Art Librarian Sandra Brooke points out that this is one of the Cicognara books. The Digital Cicognara Library is a collaborative effort to recreate in digital form the famous art historical library of Count Leopoldo Cicognara (1767-1834). Princeton University Library has joined this international effort and is currently scheduled to capture over 1800 books cited in the famous 1821 Cicognara Library catalog, pulling from both Marquand library and Rare Books and Special Collections in Firestone library. The acquisition of Moroni’s Descrizione adds to the success of that project and will assist historians around the world.

Plate A: Description with a title, legend, and fold-out print of three sheets depicting Monte della Vernia from the Road of Casentino, by Schiaminossi. Detail below.

Fra Lino Moroni (active early 17th century), Descrizione del Sacro Monte della Vernia (Description of the Sacred Mount Alvernia). Plates after drawings by Jacopo Ligozzi (1547–1627) and Raffaello Schiaminossi (1572–1622), engraved by Domenico Falcini (1575?–1628) and others. Florence: 1612. First edition. Purchased with funds provided by the Friends of the Princeton University Library. Graphic Arts Collection GAX 2015- in process

This copy has the small embossed stamp of the Italian publisher and bibliophile Giannalisa Feltrinelli (1926-1972) on the front endpaper, indicating that it was, at one time, part of the famous Feltrinelli Library.

Napoleon’s Last Home

Attributed to Lieutenant R. P. Read, This Geographical Plan of the Island & Ports of Saint Helena is Dedicated by Permission to Field Marshal His Rl. Highness, and Strathearn, The Duke of Kent [London: Burgis & Barefoot, October, 1815]. Engraved and hand colored map. Graphic Arts Collection (GAX) 2015- in process.

A contemporary photograph of Jamestown, the capital of rugged and remote St. Helena island, a British protectorate in the South Atlantic, where Napoleon arrived in 1815 to serve out his exile. Credit Kent Kobersteen/National Geographic Society—Corbis

In 1815, Napoleon I, Emperor of France (1769-1821) was forced to abdicate his throne but instead of returning to Elba, where he spent time the previous year, the British government chose to send him to the island of St. Helena in the southern Atlantic.

On October 15, 1815, Napoleon and a few followers landed at the harbor of St. Helena. After a short stay at the house of a wealthy English merchant, they moved to Longwood, originally built for the lieutenant governor. This is where he remained until his death in 1821.

A British map was drawn and engraved to show where the Emperor had been sent. Historians have attributed this map to Robert Read, who between 1811 and 1825 rose from Ensign to Lieutenant and may have been on the ship that delivered Napoleon to the island. A copy was recently acquired by the Graphic Arts Collection in the original slipcase with an image of Napoleon on one side.

For a contemporary description of a trip to St. Helena, see: http://www.nytimes.com/2012/04/01/travel/st-helena-cursed-rock-of-napoleons-exile.html?_r=0

Bartholomew Fair in 1721

Bartholomew’s Fair in 1721, no date (1824). Etching and aquatint designed as a fan. Sold by J.F. Setchel. Graphic Arts Collection GA 2015- in process.

From 1133 to 1855, the citizens of London came together for several days each August to enjoy the pleasures at the Bartholomew Fair. Thanks to this colored aquatint, we can also enjoy the many entertainments offered during the 1721 fair, including a peep-show of The Siege of Gibraltar, Lee and Harper’s presentation of Judith and Holofernes, Faux’s Dexterity of Hand and his Famous posture master. At the top, people are seen riding an “ups and downs,” an early version of the ferris wheel.

“There was once sold in Bartholomew Fair a Fan,” wrote Henry Morley in his Memoirs of Bartholomew Fair, “on which the Fair was represented as it then appeared in the eyes of a Bartholomew artist, who having his own views of perspective, carefully economised the number of his figures, and left out at discretion bodies or legs, in the treatment of which he was embarrassed. A coloured engraving of this picture was issued by Mr. Setchel of Covent Garden, with a brief description commonly assigned to Caulfield, the bookseller, author of four volumes of Remarkable Characters. The date of the Fan is here said to be 1721; but this cannot be right, since it displays, among other things, a puppet show of the Siege of Gibraltar, which occurred in 1727. Almost every great Siege in which England was concerned reappeared on the first occasion in the shows at the Fair.”

A drawing for this scene, owned by the British Museum, was probably made circa 1730 but the fans were likely printed and sold in 1824.
Isaac Fawkes or Faux (1675?–1732) was an English magician and showman. In 1722, he paid for an advertisement that read, “Tricks by Dexterity of Hand, with his Cards, Eggs, Corn, Mice, curious India Birds, and Money . . . Likewize the surprising Activity of Body perform’d by his Little Boy, of 12 Years of Age . . . .” —A Biographical Dictionary of Actors, Volume 5 (Firestone PN 2597 .H5 1973).
Possible portrait of Robert Walpole (1676-1745)

Let not the ballad singer’s shrilling strain
Amid the swarm thy listening ear detain:
Guard well thy pocket, for these syrens stand
To aid the labours of the diving hand;
Confederate in the cheat, they draw the throng,
And Cambric handkerchiefs reward the song.”

–Andrew White Tuer, Old London Street Cries and the Cries of To-day (1885)

Nolli’s Rome

We are preparing for next week’s visit from ART 233 / ARC 233 Renaissance Art and Architecture taught by Carolina Mangone and Carolyn Yerkes. The course is described: “What was the Renaissance? This class explores the major artistic currents that swept northern and southern Europe from the fourteenth through the sixteenth centuries in an attempt to answer that question. In addition to considering key themes such as the revival of antiquity, imitation and license, religious devotion, artistic style, and the art market, we will survey significant works by artists and architects including Donatello, Raphael, Leonardo, Jan van Eyck, Dürer, and Michelangelo. Precepts will focus on direct study of original objects, with visits to Princeton’s collections of paintings, sculpture, prints, drawings, books and maps.”

To this end, we are rolling out the enormous maps of Rome [seen here] in 1748 by Giambattista Nolli (1701-1756) and Venice in 1500 originally published anonymously, now attributed to Jacopo de Barbari (ca. 1460/70-ca. 1516). The latter is Princeton University Library’s facsimile edition of the woodcuts published in 1962 by Officine Grafiche Trevisan, Cassa di Risparmio, Venezia.

Nolli’s map, a stunning original, is titled Alla Santita di Nosto Signore Papa Benedetto XIV la nuova topografia di Roma, ossequiosamente offerisce e dedica l’umilissimo servo Giambattista Nolli Comasco. Composed in 12 sheets, each 42 x 67.5 cm., the complete engraving measures a monumental 174 x 210 cm.

Thanks to our colleagues at Berkeley, a high resolution digital map can be found at:
http://vm136.lib.berkeley.edu/EART/maps/nolli.html

Giovanni Battista Nolli (1701-1756), Alla Santitá di Nosto Signore Papa Benedetto XIV la nuova topografia di Roma, ossequiosamente offerisce e dedica l’umilissimo servo Giambattista Nolli Comasco ([Roma]: Giambattista Nolli, 1748). 1 map on 12 engraved sheets; 174 x 210 cm, Rare Books: Historic Maps Collection (MAP)

The Principles of Static and Friction

Richtige Grund Sätze der Friction Berechnung, Zuweit gewißerer Beurtheilung und Einrichtung aller Machinen überhaupt, aus des Monsr. Amontons und Monsr. Belidors Schrifften, dennen Lieb habern mechanischer Wissenschafften zu gefallen in beliebter kürtze zusammen getragen Andere Tabelle. Sumptibus hæredun Homannianorum Cum Privil. S. C. M. [ca. 1740-6]. Engraving. Graphic Arts Collection GA 2015- in process

The Graphic Arts Collection recently acquired two large 18th-century wall charts outlining the principles of statics and friction. Homann Erben, one of the leading map publishers of the era, produced and published them in Nurnberg, Germany.

In the chart below, five simple machines are depicted demonstrating the concepts of force, equilibrium, and statics. Forty individual illustrations, together with accompanying descriptions and calculations, show a number of gear mechanisms, counterweights and pulleys, explaining ways in which forces combine with each other so as to produce equilibrium. At the top of this post, our second chart represents the “Important Principles of Friction” in sixteen variations using pulleys and hoists.

The principles being described come from two noted scientists: Guillaume Amontons (1663-1705) and Bernard Forest de Bélidor (1697/98-1761). Amontons “produced the first known study on the question of losses caused by friction in machines, and established the laws of proportionality between the friction and the mutual pressure of the bodies in contact.” Bélidor was professor of mathematics at the artillery school at La Fère, who wrote numerous texts on mechanics, including La Science des ingénieurs (1729), Marquand Library SAX NA2510 .B421 and Architecture hydraulique (1737-39) Recap 9166.162.

Homann Erben die Fürhehmsten Grund-Sätze der Static; oder Die Vergleichung der krafft und last an denen fünf einfachen machinen über haupt, bloß nach dem gleich gewichts standt, ohne der in der bewegung darbeis fürfallenden friction, in deutlichen proportions sätzen nach denen reguln der verhältnis in beliebte kürtze gebracht. [Nürnberg]: Herausgegeben von Homoennischen erben mit Kayser aller gn. Privl., [ca. 1740-60]. Engraving. Graphic Arts Collection GA2015- in process

Taking the Company Wagon

The Czech Republic has a number of mineral and thermal springs. Over the years, curative spas and luxury resorts have been built around this area, hosting many famous visitors (I’m told), including Goethe, Beethoven, and Peter the Great. The most eminent are in the West Bohemian spa triangle including two of the largest: Karlovy Vary (Carlsbad) in valley of the River Teplá and Mariánské Lázně (Marienbad), not far from Prague.

In 1830, Gottlieb Unger and Christoph Schäck purchased a carriage, which they called “the company wagon” or Gesellschaftswagen. These entrepreneurs established a bus route between the spa towns of Carlsbad and Marienbad, approximately 32.15 km or 19.98 miles. The estimated driving time given today on google maps is 43 minutes.

This unrecorded broadside advertises their luxury wagon service in a covered but open-side, horse-drawn carriage, which seated eight passengers comfortably. The broadside goes on to offer another smaller carriage for the exclusive use of four people and other options for personal transport throughout the summer months. Longer trips to Leipzig, Dresden or Prague could be arranged.

Gesellschaftswagen broadside ([Carlsbad], 1831). 383 x 233 mm, Graphic Arts collection GAX 2015- in process.

Jean Dupuis’s Parting Words

Jean Dupuis (1799-1888) was a celebrated French athlete, circus performer, and wrestler who would traveled from town to town, performing feats of strength. He would lift a variety of heavy objects and then, challenge the strongest man in the town to a wrestling match, offering prize money to anyone who could defeat him.

He managed to remain undefeated for a number of years, fighting predominantly in Germany but also in Paris, Moscow, Rome, and Warsaw. Finally, on January 22, 1841, Dupuis lost a fight at the Munich Royal Theatre. A rare satirical broadside (above and below) was published celebrating this defeat at the hands of a Munich servant known only as Simon. The charming illustration shows Dupuis as a defeated half naked Hercules collapsed in his chariot as four Munich citizens wave his broadsides at him. These may well be the four men who wished to fight him. Dupuis only agreed to fight two and was defeated in his second bout.

Only one other copy of the Dupuis defeat broadside has been found in the Germanisches Nationalmuseum in Nuremberg and that copy is uncolored.The Stadtgeschichtliches Museum Leipzig (City Museum of Leipzig) has a number of Dupuis wrestling broadsides, although not these two. The distinctive wrestling woodcut at the bottom of this post was owned by Dupuis as it is used in two other broadsides by him.

Abschiedsworte an den geworfenen Herrn Jean Dupuis ersten Herkules von Europa und noch einigen Provinzen. Munich, 22 January 1841. Lithographic broadside with calligraphic title printed in gold. Graphic Arts Collection GAX 2015- in process.

Sonntag den 20. October 1839. Grosses Kampfspiel im Ringen von Jean Dupuis mit einem starken Mann … welcher seine Kraft, heute Sonntag in der Abend-Vorstellung, mit mir messen will. [Leipzig], 1839. Graphic Arts Collection GAX 2015- in process

Holiday Cards Not Sent

Here are some images we did not choose for this year’s holiday card.
John McClellan (1908-1986), Woodstock Christmas, 1936. Lithograph. Graphic Arts Collection GA 2008.00466.

The artists pictured here are John McClellan (back turned to viewer), Emil Ganso (1895-1941), Eugene Speicher (1883-1962), Russell Lee (1903-1986) next to stove, and Doris Lee (1905-1983) on sofa, nursing an infant. From 1906 until 1922, and again after the end of World War II, the Art Students League in New York City operated a summer school of painting at Woodstock, New York. Many artists split their time between Manhattan and Woodstock. Some, like McClellan, made it their permanent home.

Theodore Lane (1800-1828), A Merry Christmas Day, in the Watch House, for Milling the Charlies [beating up a policeman], no date [ca. 1828]. Etching with hand coloring. Graphic Arts Collection GA 2011.00952.

Note from Legal aid: “If you’re in the watch-house and the police won’t give you bail, you have to be taken to court at the earliest possible time. If when you go to court you apply for bail but the court doesn’t give you bail, you’ll go back to jail (first back to the watch-house, and then to a remand centre) until your next court date. You usually won’t stay in the watch-house for more than a few days (but you may stay in a remand centre for much longer).” For the real story of this print, see: https://theprintshopwindow.wordpress.com/2015/11/17/thomas-mcleans-secret-shame/

James N. Rosenberg (1874-1970), A Christmas Card Not Sent, 1929. Lithograph. Graphic Arts Collection GA 2007.02401.

In the upper left side of the print is the inscription, “Dec. 25 1929, Festivities on Wall St.” It reminds us that the American Stock Market crashed in the fall of 1929 and few celebrations were held the following holiday season.

Thomas Rowlandson (1756 or 1757- 1827), The Brilliants, 1801. Hand colored etching. Graphic Arts Collection GA 2014.00777. Gift of Dickson Q. Brown, Class of 1895.

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