Category Archives: prints and drawings

prints and drawings

Ocherki perom i karandashem iz krugosvi︠e︡tnago plavanīi︠a︡

Aleksei Vysheslavt︠s︡ev (1831-1888), Ocherki perom i karandashem iz krugosvi︠e︡tnago plavanīi︠a︡ v 1857, 1858, 1859 i 1860 [Sketches in Pen and Pencil from a Trip Around the World in the Years 1857, 1858, 1859 and 1860]. 2nd corrected edition (Saint Petersburg: M.O. Wolf, 1867). Graphic Arts Collection GAX 2918- in process.



Illustrated with 24 tinted lithographs (including the title page seen at the top), this Russian travelogue takes the reader around the Cape of Good Hope to Singapore, Hong Kong, Japan, Hawaii, and Tahiti. Vysheslavt︠s︡ev was a doctor sailing around the world from 1857 to 1860, writing and sketching along the way.

He traveled with a military commission inspecting the Russian territories acquired with the Russian-Chinese Treaty of Aigun. The ship returned by way of the Strait of Magellan, Buenos Aires, and Rio de Janeiro.

Vysheslavt︠s︡ev’s “Letters from the Clipper Plastun” appeared from 1858 to 1860 in the Russky Vestnik, later known as the Russian Herald, where Leo Tolstoy and Fyodor Dostoyevsky also published. By 1862, the doctor was back in Saint Petersburg and published his collected letters with lithographs printed from his sketches by from the studio of Paul Petit. This second edition was published five years later by Mauritius Osipovich Wolf (1825-1883) with the same illustrations.


Professor Ella Wiswell notes,

“In Montevideo the Plastun had to undergo some repairs, and the author was transferred to the corvette Novik which was also returning from Japan. The transfer saved Vysheslavtsev’s life because the Plastun was sunk by an explosion just as the two ships were approaching the home port of Kronshatdt in Russia.

Only nine members of the 79-member crew were rescued. The cause of the explosion was never determined, but it was suspected that a fire was started by a sailor resentful of ill treatment by the commanding officer. The final page in the book describes the disaster.”





De la saltation théâtrale

François-Henri-Stanislas de L’Aulnaye (1739-1830), De la Saltation théâtrale, ou Recherches sur l’origine, les progrès et les effets de la pantomime chez les anciens [Theatrical Saltation, or Research on the origin, progress, and effects of pantomime among the ancients] (Paris: Barrois l’aîné, 1790). Graphic Arts Collection 2018- in process


While the text of this volume tracing the history of dance and ancient pantomime might be interesting, the main event happens at the end with nine brightly colored plates after those by the Italian antiquarian and connoisseur Francesco Ficoroni.

See also: Francesco de Ficoroni (1664-1747), Le maschere sceniche e le figure comiche d’antichi Romani, descritte brevemente da Francesco de’ Ficoroni ([Roma: nella stamperia di Antonio de’ Rossi, 1736]). Marquand Library GT1747 .F5.


The plates are:
1. Moriones fire Macci. Ex Museo Florentino, Nos 1 & 2. Saltator believed to be a Luperce.
2. Parody of the Loves of Jupiter and Alcmene, painted on an Etruscan Vase / Socrates sexercant to the saltation, ex Museo Gerlaex.
3. Scene of Etruscan Mimes. Ex Muso Etrusc.
4. Bouffon mime, Parasite.
5. Mime Bouffon.
6. Bouffon mime, Parasite.
7. Mask of Tragic Pantomime. Our 1 & 2.
8. (1) Triple mask of a Woman, a Viellard and a Jester / (2) Mask of Satyr / (3) Double mask of Socrates and Xantippe.
9. Saltator who holds a sort of bagpipe with three mouths.




Tangu et Félime


The writer Jean-François de La Harpe (1739-1803) lived a tumultuous life; orphaned at nine, arrested while still a student, suicide of his first wife, fired from the Mercure, performances that cause scandal, and finally confined to Luxembourg prison where he converted to Christianity. Throughout all this, he wrote plays, literary criticism, poetry, translations, and essays, resulting in nearly 3,000 entries in OCLC.

His poems Tangu et Félime were first published in 1780 by Noël-Jacques Pissot (ca. 1724-1804), with a frontispiece by Clément-Pierre Marillier (1740-1808); and additional engraving by Emmanuel De Ghendt (1738-1815); Jean Dambrun (born 1741); Louis-Michel Halbou (1730-ca. 1809); and Nicolas Ponce (1746-1831) after drawings by Marillier. An English language translation was published in 1928 under the title, Three Gifts. An Arab Love Story, reproducing the same plates

Jean-François de La Harpe (1739-1803), Tangu et Félime: poëme en IV chants. Frontispiece by Clément-Pierre Marillier (1740-1808); and engravings by Emmanuel De Ghendt (1738-1815); Jean Dambrun (born 1741); Louis-Michel Halbou (1730-ca. 1809); Nicolas Ponce (1746-1831) after Marillier. Edited by Noël-Jacques Pissot (ca. 1724-1804) (Paris: Chez Pissot, 1780). Graphic Arts Collection GAX 2018- in process

See: Henri Cohen. Guide de l’amateur de livres a gravures de XVIIIe siecle. Paris, 1912: Marquand Library 0410.261.


The Kittens Are Gone to St. Pauls

Between 1888 and 1896, the Boston-based publisher Joseph Knight (1829-1907) partnered with Ernest Edwards (1837-1903), president of the New York Photogravure Company, to publish a series of small gift books illustrated with photogravures. Most were produced in editions of 500 with similar printed paper covers and horizontal formats, selling for around $2.00.

Chicago photographer Mary Ann (Mrs. N. Gray) Bartlett (1846-1913) made three books with Knight, the first in 1892 entitled Old Friends with New Faces. “The most original and genuinely pictorial product of photography we have seen for a long time,” wrote Edward Wilson. “It is a handsomely arranged series of photogravures of children grouped to illustrate Old Friends, the stories of Mother Goose. The New Faces are evidently good friends of the admirable artist, who so deftly caught them here and there in the garden and by the stairs, and so on, for she has made lovely pictures of them.”

“. . . This is no “hand-camera” or “snap-shot” work, but that of a thoughtful, artistic photographer, able to tackle pictures of a good size, and to make them well. . . . The pictures must be on whole-size plates, and they are, every one, technically excellent.”– Wilson’s Photographic Magazine 30, no. 434 (February 1893).

Born Mary Ann McCune, Bartlett married the chemist N. Gray Bartlett (1840-1917) and together they had four children: Greyson, Bertha Madelon, Allyn, and John. It’s Madelon [seen above] who poses for the frontispiece of “Old Friends” dressed up as Mother Goose with a camera and the verse:
A Curtsy
From many a year of sweet repose,
From work of earlier days,
With youth renewed, I’m roused again
By photographic craze.
With shutter, camera and stop,
And trappings not a few,
I’ve ventured forth, my skill to test,
On faces bright and new.
1892 Mother Goose 1719

Both husband and wife became active in the Chicago photography scene, but it was Mrs. Bartlett who rose to prominence among the amateur practitioners. Posing her children and neighbors in the backyard of their stately red brick home at 44 Ray Street, Bartlett took first prize for platinotypes at the Art Institute of Chicago’s 1888 exhibit. By 1890, she is named Director of the Camera Club of Chicago and illustrating stories in St. Nicolas, Outings, Scribner’s, and other national magazines.

In 1893, when the World’s Columbian Exposition came to Chicago, Bartlett was appointed chairman of the committee of the woman’s department of photography for the world’s congress auxiliary. She prepared a second book with Knight, Mother Goose of ’93, to be exhibited and sold in the Woman’s building, the Children’s building and the State of Illinois building.


She produced only one more book with Knight and the writer Marian L. Wyatt, called A Girl I Know. The entire narrative centers around her daughter Madelon, now a teenager.

Joseph Knight’s photogravure-illustrated books include:

Bits of Nature: Ten Studies in Photo-Gravure ([Troy, N.Y.: Nims & Knight, 1888]. Marquand Library in process

William Cullen Bryant, An Autumn Pastoral, the Death of the Flowers. With 15 illustrations by the Photogravure Co. after original drawings by C.E. Philips (Boston: Nims & Knight, 1888).

Thomas Gray, Gray’s Elegy and Its Author. Gray’s Elegy Written in a Country Churchyard with an Introduction and Illustrations from Original Photographs by Dr. J. L. Williams (Boston: Joseph Knight Company, 1890). 16 photogravures

S. R. Stoddard, Camp Life (Boston: Joseph Knight Company, 1890). 12 Photogravures.

W.G. Mitchell, Afternoon Tea: Photogravures from Original Photographs ([Boston: Joseph Knight Company, publishers, 1891]). 8 photogravures. Cotsen Children’s Library Eng 19Q 74839

Mary A. Bartlett, Old Friends with New Faces. Photographic illustrations by Mrs. N. Gray Bartlett ([Boston, Mass: Joseph Knight Company, 1892]). 10 photogravures. Graphic Arts Collection GAX 2018- in process

Henry Irving, The Drama; Addresses by Henry Irving (Boston: Joseph Knight Company, 1892).

Bits of Nature: Ten Photogravures of American Scenery. no. 2 (Boston: Joseph Knight, 1893).

Mary A. Bartlett, Mother Goose of ’93 ([Boston, Mass: Published by Joseph Knight Company, c1893]). 10 photogravures. A souvenir of the Columbian Exposition of 1893. Cotsen Children’s Library Eng 19Q 30529

Alfred (Lord) Tennyson, Song of the Brook (Boston: Joseph Knight Company, 1893).

William Cullen Bryant, Thanatopsis; and, A Forest Hymn (Boston: Joseph Knight Co., 1893). 13 photogravures.

Washington Irving, Rip Van Winkle (Boston: J. Knight Company, 1894). 24 photogravures

Mary A. Bartlett and Marian L. Wyatt, A Girl I Know ([Boston: Joseph Knight Company, 1894]). Cotsen Children’s Library Eng 19 74822

Mark Twain, The Innocents Abroad; or, The New Pilgrim’s Progress, in two volumes (Boston: Joseph Knight Company, 1895).

Seneca Ray Stoddard, Camp Life: Twelve Photogravures. No. 2 (Boston: Joseph Knight Co., 1895). 12 photogravures

Thomson Willing, Corp Dames of High Degree: being portraits after English masters, with decorations and biographical notes (Boston: Joseph Knight Company, 1896).

See more about Edwards:

Gustaf Nordenskiöld (1868-1895)

Gustaf Nordenskiöld (1868-1895), The Cliff Dwellers of the Mesa Verde, Southwestern Colorado: their pottery and implements ([Chicago: P. A. Norstedt & Söner, 1893]). Western Americana F778.N8q

Gustaf Nordenskiöld (1868-1895), Ruiner af klippboningar i Mesa Verde’s cañons / af G. Nordenskiöld; med talrika illustrationer efter originalfotografier af författaren ([Stockholm: P.A. Norstedt, 1893]). Western Americana 2014-0242Q

In his preface, translated by D. Lloyd Morgan and dated August 14, 1893, Swedish geologist Gustaf Nordenskiöld wrote:

The summer and autumn of 1891 I passed in Colorado, engaged upon investigations of the remarkable cliff-dwellings scattered in the canons of an extensive plateau, the Mesa Verde, in the south-west of the State. The present work is the result of those researches. It contains a description of the ruins, an account of the excavations carried out there and of the objects discovered.

In order to trace as far as possible the development of the cliff-dweller culture, I append a survey of the ruins in the South-western States akin to the cliff-dwellings of the Mesa Verde, a description of the Moki Indians, the descendants of the ancient Pueblo tribes, and an account, based on the relations of the first Spanish explorers, of the manners and customs of the agricultural town-building Indians in the middle of the sixteenth century. A special part of the work is devoted to a description by Prof. G. Retzius of the crania found during the excavations.

In order to give my descriptions of the ruins and of the objects found in them as great objectivity as possible, I have almost exclusively employed in the illustrations direct methods of reproduction. The ruins have been reproduced from my photographs, partly in autotype by Messrs. Angerer & Goschl of Vienna, partly in photogravure at the Librairies-imprimeries Reunies in Paris. The pottery, implements, etc. are heliotyped from photographs of the originals by Mr. Chr. Westphal of Stockholm. 14 August, 1893. G. Nordenskiold.

The photogravures were printed from Nordenskiöld’s own photographs at Librairies-imprimeries réunies. managed by Albert Quantin. The actual printer was probably the heliogravurist Paul Dujardin (1843-1913), who worked for Quantin and other publishers from his shop at 28, rue Vavin.

With thanks to our Lecturer in Visual Arts Fia Backström, here is the translation of the inscription in our volume:
To Gustaf’s teacher,

The assistant at the Royal national archive
Honorary A – Hammarskiöld
with many warm regards
Gustaf’s father

A Nordenskiöld.

‘Go wanderers on the road of life.
Your path ahead with quick steps
and measure your goal not your reasons
don’t measure your famn!’

Unpublished cut for “Tales of the Cordelier Metamorphosed”

George Hibbert (1757-1837), editor, Tales of the Cordelier Metamorphosed, as Narrated in a Manuscript from the Borromeo Collection: and in The Cordelier Cheval of M. Piron. With translations ([London: Printed at the Shakespeare Press by W. Bulmer and W. Nicol, 1821]). Graphic Arts Collection Cruik 1821 Robert. and Graphic Arts Collection 2018- in process.


The Graphic Arts Collection now holds two of the sixty-four copies printed of Tales of the Cordelier Metamorphosed, with illustrations by Robert Cruikshank (1789-1856). Our new volume seen at the top includes an unpublished Cruikshank cut, presumably rejected by George Hibbert (1757-1837) for the title page. This is Hibbert’s own copy where he kept both side by side.

These are first (and only) editions of the publication, printed for Hibbert, who was a wealthy Jamaica merchant, rare book collector, and an early member of the Roxburghe Club. The text consists of two tales, one a prose novella attributed to Michele Colombo and the other a French verse tale by Alexis Piron (1689-1773).

Hibbert writes to Roger Wilbraham:

The Italian Novel, which I believe to be now for the first time printed, existed, in Manuscript, in the Collection of the late Count Borromeo, of Padua; at the sale of which, in 1817, you made some interesting additions to your already valuable store of Italian Literature; and this manuscript, among other trifles, fell to my lot. It stands entitled, in the catalogue of that Sale, no.250. Novella di Gianni andato al Bosco a far legna, &c &c in 4to, MS, indeita, and it is there, upon what authority I know not, attributed, together with some preceding articles of the catalogue, to Michele Colombo.

It attracted my notice, from its close resemblance in the principal incidents of the story, to ‘Le Cordelier Cheval,’ or, as it is sometimes entitled, ‘Le Moine Bride,’ of Alexis Piron, a tale which I have always esteemed as not the least pleasant of that author’s facetious effusions; and suspecting that Piron, like La Fontaine before him, often gathered his subjects from some older record, I have looked in vain among the earlier novelists, for an original hint of this story. Whether the Italian be really such, or merely an imitation, or whether both the narrations be not borrowed from some preceding collection of facetiae, I will not pretend to determine.

According to Lowndes only 64 copies were printed, presumably distributed only to Hibbert’s friends. Hibbert’s copy has the bookplate of ‘Munden’, indicating the Munden estate, Hertfordshire, which he inherited in 1828. When Hibbert moved out of London in 1829, much of his book collection was sold at auction bringing a total of £23,000. This volume stayed in the family into the 20th century.

The Munden bookplate was engraved by Baron Henry John Fanshawe Badeley (1874-1951). The motto above is Respice, adspice, prospice (Look to the past, Look to the present, Look to the future). Below: Animum ipse parabo (I myself will provide courage).


Our first copy was a gift of Richard Waln Meirs, Class of 1888, donated to Princeton University Library in 1913. It has an armorial bookplate of Thomase Gaisford (1779-1855) and a presentation inscription to Philip Bliss (1787-1857) on front free endpaper: “Philip Bliss, British Museum, 1822. Given me by the Translator, George Hibbert, Esq. R. W., to whom Mr. Hibbert inscribes the vol. is Roger Wilbraham.”

Photogravures after Félicien Rops

From his bookshop at Passage Choiseul, 23-33, Alphonse Lemerre (1838-1912) sold this portfolio of ten provocative prints for the 1874 short story collection Les Diaboliques by Jules Amédées Barbey d’Aurevilly (1808-1889). The prints are described on the title-page, and by bibliographer Erastène Ramiro, as etchings but except for the frontispiece (a portrait of the author engraved by Raul Rajon (1843-1888)), they are all photogravures with additional etching after drawings by the Belgian artist Felicien Rops (1833-1898).

The copper plates were printed by Alfred Salmon (1825-ca. 1894), who was at this time in partnership with Adolphe Ardail (1835-1911), trading as Salmon & Ardail.

A second edition of Les Diaboliques was published in 1882 and these plates may have been for a third edition but no bound copy of the text with Rops’s plates is recorded. It is possible the project was never completed and so, the plates were issued separately. The nine Rops plates are Sphinx; Le Rideau Cramoisi; Le plus bel amour de Don Juan; Le dessous de cartes d’une partie de whist; A un diner d’athées; Le bonheur dans le crime; Le vengeance d’une femme; Postface; and Postface.

Félicien Rops (1833-1898), Dix eaux-fortes pour illustrer les diaboliques de J. Barbey D’Aurevilly; dessinèes et gravées par Félicien Rops ([Paris: A. Lemmerre, 1886]). One portfolio of ten etchings. Graphic Arts Collection GAX 2018- in process

See also: Erastène Ramiro, Catalogue descriptif et analytique de l’œuvre gravé de Félicien Rops, précédé d’une notice biographique et critique par Erastène Ramiro; orné d’un frontispice et de gravures d’après des compositions inédites de Félicien Rops et de fleurons et culs-de-lampe d’après F. Rops, Jean La Palette et Louis Legrand (Paris: Librairie Conquet, 1887).

Portrait of Niépce in Heliogravure 1856

For the seminal publication, Traité pratique de gravure héliographique sur acier et sur verre (A Practical Treatise on Photogravure Engraving on Steel and on Glass) by Niépce de Saint-Victor (1805-1870), either he or his publisher commissioned a portrait for the frontispiece.

To further celebrate Niépce’s important discoveries in photographic printing, they made the portrait using his own process: “Gravure héliographique d’après une photographie sur acier selon les procédés de Niépce de Ste Victor” (Photogravure engraving after a photograph on steel, according to the methods of Niépce de Ste Victor).


Claude-Félix-Abel Niépce de Saint-Victor (1805-1870), Traité pratique de gravure héliographique sur acier et sur verre / par M. Niépce de Saint-Victor (Paris: Librairie de V. Masson, 1856). Provenance: C. F. Chandler. Graphic Arts Collection 2006-3213N


Note the photograph was taken by Victor Plumier (1821-1878) and a great deal was made about the fact that he did not retouch his negative. The engraving plate was made by Madame [is it Pauline?] Riffaut and the portrait finished by Adolphe-Pierre Riffaut (1821-1859).

If you use a microscope, you will see the hand engraving on top of the aquatint done, in particular, in the beard. In addition, there are gouache highlights delicately added to the paper print in the hair and the beard.




Welcome to Columbia Students

Founded by an endowment from LeRoy and Janet Neiman, Columbia University’s LeRoy Neiman Center for Print Studies promotes printmaking through education, production and exhibition of prints. Twelve students and their instructor Ben Hagari made the trip south to visit the Graphic Arts Collection of pre-cinema and optical devices on Tuesday.

The class, Print into Motion, encourages undergraduates to “use printmaking techniques to create animation works, optical devices and projections.” The students have already begun creating their own thaumatropes and other phantasmagoria. Future projects will take inspiration from our metamorphosis cards, transformation images, and flap books. Here are a few moments from the class.


Ben Hagari is a New York-based artist, who was born in Tel Aviv, Israel. His work “dissolves the distinction between theatrical facades and backstage by creating spaces where magic, subterfuge, and poetry collide.” Hagari’s solo and group exhibitions include Afterwards, Total Museum of Contemporary Art, Seoul, Korea (2012); Invert, Rosenfeld Gallery, Tel Aviv (2011); The Museum Presents Itself: Israeli, Art from the Museum Collection, Tel Aviv Museum of Art (2011, 2012, 2013, 2014); and in December 2017, 24:7 in New York City’s Time Square.

Autogravures from the Autotype Company

On Tuesday February 25, 1919, Virginia Wolff wrote in her diary:

Of no 23 Cromwell Houses . . . I will only say that it is furnished on the great South Kensington principle of being on the safe side & doing the thing handsomely. Good Mrs. Samuel Bruce went to the Autotype Company & ordered the entire Dutch school to be sent round framed in fumed oak. And so they were; & just covered the staircase walls, leaving an inch or two’s margin in between. –Anne Oliver Bell, The Diary of Virginia Woolf (1980).

Founded in 1868 as the Autotype Printing and Publishing Company, several shops merged and expanded over the next few years before settling as The Autotype Company at 74 New Oxford Street, London. This fashionable address became the place to go in the late 19th and early 20th centuries to buy reproductions of fine art to hang in your home. The managing partners of this enormous operation were John Alexander Spencer (182?-1884), John Robert Mather Sawyer (1828-1881), and Walter Strickland Bird (1828-1912).

Initially, the company purchased Joseph Swan’s copyright on carbon printing and an Autotype, in general, means a carbon print. Eventually the firm added collotypes and photogravure (called Autogravure) to their roster, selling framed prints, portfolios, and bound volumes to the social elite, including some of the most beautiful books of the period.


As the quality of their prints rose to challenge the superiority of the French Goupil Company, the Autotype company advertised their ability to ‘bring Paris to London’ and to prove it, published a portfolio of ten photogravures reproducing etchings by the preeminent French printmaker Charles Meryon (1821-1868).


Charles Méryon (1821-1868), Old Paris. Ten etchings by C. Meryon. Reproduced on copper by the autogravure process and accompanied with preface and illustrative notes by Stopford A. Brooke … ([London: Autotype Co., 1887]). Rare Books and Special Collections Oversize 1514.636e

Peter Henry Emerson (1856-1936) worked with the Autotype company that same year to publish his Idyls of the Norfolk Broads (1887) but was only partially satisfied.

The following year, he was introduced Charles L. Colls at the rival Typographic Etching Company, who printed his negatives for a special edition of The Compleat Angler.

Possibly to compare the talents of the two companies, Emerson had half his negatives for Pictures of East Anglian Life (1888) printed by the Autotype Company and the other half by Type-Etching Company.

Still unsatisfied, Colls taught the photographer to make his own copper plate photogravures and from that time on, Emerson did his own printing.