The English droll mezzotint (also pictured https://graphicarts.princeton.edu/2014/06/27/how-dye-like-me-a-droll-mezzotint/) was typically 14 x 10 inches (35.56 x 25.4 cm.). However, the popularity of the satirical images was so great, that variations were produced both with and without the artists’ knowledge.

The Graphic Arts Collection recently acquired a group of drolls in odd sizes, some with rather garish hand coloring. Two are published by the artist John Fairburn (active 1793-1843). The rest are printed anonymously for Bowles & Carver, Laurie & Whittle, and a few of the earliest for Carington Bowles (1724-1793). The Catalogue of 18th-Century British Mezzotint Satires in North American Collections describes the various shops as follows: “Robert Sayer became active as a printseller in his twenties as early as the late 1740s. Over the decades he built up his stock of copper plates by taking over others’ inventories, first Philip Overton, then James McArdell when he died in 1765. He formed a brief partnership with John Bennett from around 1774 to 1785, then operated alone again through 1793. At his death in February 1794 the firm and Sayer’s stock of plates were taken over by Laurie & Whittle. The Bowles family had been printsellers since the late 1600s with Carington Bowles representing the third generation. He worked with his father John Bowles (1701-1779) until 1763 when he took over the firm vacated by his aging uncle, Thomas Bowles (1695-1767), which he lead for thirty years. At his death in 1793, Carington Bowles’ business passed to his son under a partnership, Bowles & Carver.” http://legacy.lclark.edu/~jhart/home.html#home.html

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For more about the print and book sellers, see, www.bbti.bham.ac.uk

Giuseppe Maria Mitelli (1634?-1718), Sangue de poveri cavato per mano degli Arabi moderni [Blood of the poor gouged by the hands of modern Arabs], 1699. Etching. Graphic Arts Collection GA2014-in process

In this Italian satire, Arabian doctors are performing a bleeding on poor Italians but instead of blood, it is money that they are collecting. Mitelli made a number of satirical prints but unfortunately, he is not as well known in the United States as English or French caricaturists. This is the first print by Mitelli to enter the Graphic Arts Collection and the only other example of the artist’s work on campus is the 1690 print in the Cotsen Library “Gioco della pontica assediata da smaniosi gatti [Game of the castle besieged by cats]” (Item no 6526643).

Sotto questa inhumana cerusia / L’afflitta povertà languisce e suiene, / Volendo i Professor d’Arte siria / D’altrui sangue arrichir le proprie uene

 

Archive of Proofs and Samples from the Société Engelmann père et fils, ca. 1839. 3 vols. Chromolithography. Purchased with funds from the Graphic Arts Collection and Rare Books. 2014- in process

Princeton recently acquired a set of three elephant folios, which Michael Twyman calls, “the most interesting collection of its kind that I have ever come across.” These albums hold hundreds of specimens of early chromolithography from Godefroy Engelmann (1788-1839) and his Société Engelmann père et fils.

The provenance of the albums is not clear though Twyman states that they probably came into the market within the last ten years from the Engelmann descendants. They turned up, not surprisingly, in Paris. Here are ten sample pages:

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What is clear is that the 250 leaves hold an unprecedented archive of printing samples, many still uncut, from the Engelmann company under both the father and son, beginning with a complete copy of The Album Chromolithographique (1837). Other proofs range from ephemeral playing cards and labels to the most elaborate chromolithographic broadsides and publications.

Other highlights include:
Large trade card dated 1839 (280 x 120 mm), reads as follows: “Engelmann, Pere & Fils à Mulhouse – J. Engelmann, Cité Bergere Paris. Chromolithographie ou impression lithographique en couleurs.”

Female portrait. “Premier essay du procédé chromo-lithographique de Mr. Engelmann par E. Viennot” (for approval of the Société d’Encouragement in Jan. 1837). And a similar male portrait without caption.

Uncut sheets with playing cards for different games (Loto graphique, Rebus, Jeu de la Mythologie, Jeu de cartes syllabaire Européen, and Jeu de cartes de l’histoire de France par un professeur d’histoire).

Jean Landais, printer in Rennes, announcement of the reopening of his business and starting with lithographic color printing of all kinds in Rennes, 25 June 1840.

Jean Engelmann, announcement of the invention of chromolithography and the opening of his press in Paris, 1 January, 1838.

Many uncut glazed paper sheets with pages from missals and other religious texts in the style of mediaeval manuscripts (‘Paroissiens’).

Many examples of book illustrations, book covers, trade cards, posters, window displays, carte-de-visites, tobacco labels, cigar bands, illustrated writing papers, paper toys, religious cards, etc. etc.

Godefroy Engelmann (1788-1839), biographic details from the British Museum: “Lithographic printer, famed ‘Körner’ (grinder) for crayon-lithographs and patentee of chromolithography. Originally from Colmar; trained in Munich; set up press in Paris in June 1816. He improved lithography, particularly by developing lithographic wash in 1819. In 1825 he created a new company in association with Jérémie Graf and Pierre Thierry and named ‘Société Engelmann et Cie’. In 1826 an annex company is founded in London and named ‘Société Engelmann, Graf, Coindet et Cie’, which was dissolved in 1833. Then Engelmann returned to Mulhouse and created the company ‘Société Engelmann, père et fils’.