Emanoel Araujo: My Collages, My Black Poets

My collages / My black poets

Emanoel Araujo (born 1940), Emanoel Araujo: 10 colagens serigrafadas e Meus poetas negros; introdução Oswaldo de Camargo (São Paulo: Museu Afro Brasil; Papel Assinado, 2020). Portfolio 570 x 400 mm; 10 screen prints. Edition: 80 copies numbered and signed by the artist. Graphic Arts Collection GAX 2021- in process

 

A brief biography of Emanoel Araujo is found at the Museu Afro Brasil, in São Paulo, which was founded by Araujo:

In the 90s he led the restructuring of Pinacoteca do Estado de São Paulo, transforming the building into one of the greatest museums in the country, making it eligible to receive national and international exhibitions. In 2004, he was invited by the Mayor of São Paulo city to be the Secretary of Culture and founded Afro Brasil Museum, where he is currently the Curator – Director.

In 2007 he was honored by the Instituto Tomie Ohtake by the exhibition Autobiografia do Gesto, which gathered art works of his 45-year career.


Ulysses Ab Ex

James Joyce (1882-1941) and Robert Motherwell (1915-1991), Ulysses; Etchings by Robert Motherwell for Ulysses by James Joyce (San Francisco: Arion Press, 1988). 835 pages, 40 unnumbered leaves of etchings. Copy 142 of 150. Graphic Arts Collection GAX 2021- in process

“An edition of 150 copies for sale and 25 copies hors commerce, with 40 etchings by Robert Motherwell”–Limitation notice, p. [3]./ “Designed by Andrew Hoyem … ten extra printer’s copies are without illustrations and bear modified limitation and title pages”–Colophon./ Forty of the copies for sale and ten of the copies hors commerce are accompanied by an extra suite of twenty-two prints, numbered and signed by the artist. These are contained in a portfolio box (36 cm.)–with a title/limitation leaf: Etchings by Robert Motherwell for Ulysses by James Joyce./ The forty leaves of plates are joined as twenty pairs, tipped together at the fore-edge.

https://vimeo.com/490241884

 


The artist said, “I found Ulysses at a time when I was searching for the key to a vaguely perceived modernist aesthetic that I knew I had to make my own. Joyce served my purposes then and now. If you have taken on the adventure of modernism as I have – and the history of it – there have to be a few prophets to help you when you get discouraged. You go back to them for reinforcement Joyce is permanently on my mind.”

Motherwell’s obsession with Joyce began with a painting titled Ulysses, which dates from the time he was living in East Hampton, New York. It is painted on a piece of cardboard attached to part of a wooden crate.

“The painting is named after James Joyce’s famous modernist novel Ulysses (1922) which Motherwell first read while travelling through Europe in 1935. Joyce’s style of writing, in particular his use of the technique known as ‘stream of consciousness’, had a profound effect on Motherwell, who believed that art should be an expression of the innermost thoughts and feelings of the artist. The art historian Dore Ashton has written: ‘It is no exaggeration to say that [Motherwell’s] discovery of Joyce was as important as his study of Picasso and Matisse, for Joyce revealed to him the infinite potential of free association’ (Dore Ashton, Robert Motherwell, exhibition catalogue, Padiglione d’arte contemporanea, Milan 1989, p.11). https://www.tate.org.uk/art/artworks/motherwell-ulysses-t07137

Robert Motherwell (1915–1991), Ulysses, 1947. Oil paint on cardboard on wood. Tate Modern, London.

National Convention of the Moorish Science Temple of America

This panoramic photograph, approximately 3 feet wide, captured the 400 men, women, and children attending the tenth annual convention of the Moorish Science Temple of America in 1937. Members traveled from Illinois, New York, Wisconsin, Indiana, Connecticut, Michigan, New Jersey, Pennsylvania, and Ohio.

 

10th Annual National Convention of The Moorish Science Temple of America Incorporated. September 18th, 1937. Prophet Noble Drew Ali founder (Chicago: Photograph taken by Burke & Koretke, 1937). Gelatin silver print. Graphic Arts Collection GAX 2021- in process

 

The Moorish Science Temple http://msta1913.org/ was founded and developed by Noble Drew Ali between 1913 and 1925, combining Islamic tenets and elements from other major religious and spiritual traditions to provide inspiration to the African-American communities in the United States. Ali argued that Black people were descended from the Moabites, were thus Moorish, and also “Asiatic,” a term Ali used to describe all people of color to distinguish them from Europeans.

The organization was based in Chicago, where they held the first annual convention in 1928. The convention pictured above in 1937 also took place in Chicago. The closest Temple to Princeton is located in Newark: https://moorishsciencetempleofamerica.org/ . They hold an institutional archive and open one item each month online: https://moorishsciencetempleofamerica.org/archives/

Wikipedia offers an earlier conference, without credit

The Moorish Science Temple of America (a religious corporation) was founded by our Divine Prophet Noble Drew Ali in 1913 A.D. We have consistently demonstrated plans for the betterment of mankind, teaching those things that make our people better citizens. In our missionary work, we encourage those through example that our social, moral and economic condition can be better.We are Moslems who have accepted the religion of our Ancient forefathers (Islamism). Our nationality is Moorish American, and our Divine and National Principles are Love, Truth, Peace, Freedom and Justice. By proclaiming our nationality and divine creed we have met the constitutional standards of law of the United States of America, therefore having and enjoying a political status in our Government. https://moorishsciencetempleofamerica.org/about/

April 16, 2021

 

 

Paris Calligrammes


The film Paris Calligrammes was completed in December 2019 and scheduled to be released in New York City in March 2020. Happily, a virtual re-release begins this Friday April 23, 2021 in Film Forum’s Virtual Cinema (possibly other virtual cinemas). https://filmforum.org/film/paris-calligrammes The film is written, directed and photographed by Ulrike Ottinger, who writes, “I was 20 years young, and I’d come to Paris to become an important young artist. In my euphoria, I wanted to convert all of my experiences into art … How could I make a film from the perspective of the very young artist I remember with the experience of the older artist I am today?”

“In Paris Calligrammes, the artist Ulrike Ottinger casts a highly personal and subjective gaze back to the twentieth century. At the heart of her film is Paris: its protagonist is the city itself, its streets, neighborhoods, bookstores, cinemas, but also its artists, authors, and intellectuals. It is a place of magical appeal, an artistic biotope, but also a place where the demons of the twentieth century still confront us.” – Bernd Scherer

From the Librairie Calligrammes, a meeting place of exiled German intellectuals, to the Cinémathèque française, which sparked her love of film, she charts a city and its utopias.

Richard Brody wrote in the February 25, 2020 New Yorker, “The film is an extraordinary sort of aesthetico-political nonfiction bildungsroman, in which Ottinger fuses her self-portraiture and her reminiscences with the life of the city and the ideas of the times, as she encountered them. She retraces the personal and intellectual influences that formed her artistry and her personality—starting with her childhood in Konstanz, which was occupied by France in the wake of the Second World War, allowing her to see a steady run of already classic French movies that were screened there for the troops and staff.” https://www.newyorker.com/culture/the-front-row/paris-calligrammes-the-berlin-premiere-of-ulrike-ottingers-personal-and-political-masterwork

German avant-garde filmmaker Ulrike Ottinger immerses us in her Paris of the 1960s – a vibrant community of European artists, writers, philosophers, and activists (Max Ernst, Marcel Marceau, Paul Célan, Walter Mehring, Hans Arp, Jean Genet, Camus, Juliet Greco, et alia), and the constellation of sites where they converged: Franz Picard’s eponymous antiquarian bookstore, Johnny Friedlaender’s atelier de gravure, fashion photographer Willy Maywald’s studio, Henri Langlois & Lotte Eisner’s Cinémathèque Française, Brasserie Lipp.

Presented with support from the Roy Lichtenstein Foundation Fund, and the Helen Frankenthaler Endowed Fund for Films on Art. 2019 129 mins. Germany / France in German with English subtitles Icarus films Virtual Cinema program supported by the Robert Gore Rifkind Foundation. Trailer courtesy of Icarus Films.

Geddes “Paul” Hyslop’s photography album

Paul Hyslop and Raymond Mortimer

 

Architect Charles Geddes Clarkson Hyslop (1901-1988) and his companion, journalist and critic Raymond Mortimer (1895-1980) lived for most of their 40 year relationship in a restored 18th-century home at 5 Canonbury Place, Islington, London. For business, Hyslop signed his drawings “Geddes Hyslop,” but to his friends he was simply known as Paul.

The Graphic Arts Collection recently acquired an album owned by Hyslop, including 111 photographs documenting his life from childhood to old age, ending a few years before Mortimer’s death.  Princeton already holds a rich collection of material by Raymond Mortimer C0271, including correspondence, notebooks, photographs and albums. Perhaps the dearth of material concerning Hyslop stems from the fact that they were together for so long, there was no need to correspond on paper. Regardless, this new album will add significantly to the story of their lives, their friends, and their homes.

 

E. S.W. (Eddy Sackville-West), Knole, 1927(?)

 Many photographs were made at Knole, home of the Sackville family, now part of the National Trust: https://www.nationaltrust.org.uk/knole

“Knole has many strong and significant literary links, starting with Thomas Sackville who bought Knole at the beginning of the 17th century (a well-respected poet, playwright and linguist as well as lawyer and courtier). Thomas arranged the marriage between his grandson (Richard, 3rd Earl of Dorset) to Lady Anne Clifford – it was not to be a happy union, and Lady Anne went on to document her deteriorating relationship with her unfaithful husband and vivid descriptions of life at Knole in her surviving diary.

Charles Sackville (6th Earl of Dorset) patronised many significant literary figures of his day such as Alexander Pope, John Dryden and Matthew Prior. The latter was to prove fertile historical fodder for Knole’s most famous literary link: Orlando (1928) was written by Virginia Woolf about her lover, Vita Sackville-West, and Vita’s love for her childhood home. Her inability to inherit Knole due to the law of primogeniture saw the house passing to her cousin, Eddy Sackville-West, whose novel ‘The Ruin’ is similarly set at a fictional house based on Knole called Vair.”

P.13 Eddy (Sackville-West), Raymond (Mortimer), Clive (Bell)’; Eddy (Sackville­ West) c.1924

 

Both Mortimer and Hyslop maintained a close association with a circle of artists and literary figures known as the “Bloomsbury Group,” and Hyslop’s album includes photographs of Lytton Strachey, Dadie Rylands, Adrian Stokes, Basil Long, Eddy Sackville-West, Tom Lowinsky, Clive Bell, Gerald Haxton, Valerie Taylor, Anna May Wong, John Banting, William Somerset Maugham, William Hayter, General Paget, Roger Senhouse and of course, many of Mortimer.

During World War II Major Hyslop saw service in North Africa, where he headed up the Antiquities Department of British forces in 1944–45. For more information on this, see The Monuments Men Foundation https://www.monumentsmenfoundation.org/hyslop-capt-paul

For more about the Mortimer collection read Maria DiBattista, “Mortimer and Company: Virginia Woolf, Nancy Mitford, and Other Moderns in the Raymond Mortimer Collection,” The Princeton University Library Chronicle 67, no. 1 (Autumn 2005): 60-67.

Joy and Geddes and Doctor’s Children c.1908

 

‘1917’ (Paul Hyslop with his parents)

 

 

Paul Hyslop and Raymond Mortimer 1970

 

Note, this album will require extensive conservation before it can be digitized.

 

Albert M. Cohn’s album of Cruikshank sketches

George Cruikshank (1792-1878 ), Album of Original Drawings, Sketches and Manuscript. Graphic Arts Collection GAX 2021 – in process. Provenance: Albert M. Cohn. Acquired in honor of Henry Martin, Class of 1948

 


First deposited at the Princeton University Library in 1913, the Richard W. Meirs, Class of 1888, Collection of George Cruikshank, comprises one of the finest Cruikshank collections in the United States. About 1000 volumes, many separate prints, as well as drawings, finished oil paintings, oil sketches, “panorama” prints on rollers, etched plates, broadsides, bound manuscripts, autograph letters, and Cruikshank correspondence can be found in Princeton stacks.

Meirs used the Cruikshank bibliography prepared by Albert M. Cohn in his collecting and the library did the same in organizing the collection in our vaults. Throughout the 20th and 21st centuries, we have continued to expand on the Meirs gift, most recently with a unique scrapbook owned by Cohn containing Cruikshank sketches, letters, and other miscellany. This acquisition is made in honor of the artist and friend of this collection in particular, Henry Martin, Class of 1948.

 

This substantial album contains original sketches and manuscripts from the Cohn’s collection and confirms that Cruikshank drew or wrote on anything, here using letters, lists, envelopes and assorted ephemera. Of particular interest is an invoice from Draper Charles Coleing, Commercial House, an invitation from the Council of the Photographic Society and on a printed letter from the British Institution for Promoting The Fine Arts in the United Kingdom.

There is a letter to English artist Andrew William Delamotte, 1775-1863, in which Cruikshank notes his prolific output: “I cannot give any idea of the number of drawings and etchings I have made – somewhere about a cart load – of rubbish with a few tolerable specimens here & there.” Among the sketches are many curious notes, such as the comment on a sketch of a fisherman coming home: “I wonder why the fish don’t bite, if they were as hungry as I am they would bite fast enough.”

 


Additional information of Cruikshank at Princeton (compiled by Steve Ferguson):

A list of Library holdings as of 1920 appears in the Princeton University Classed List, (Special Collections) vol. 6 (Princeton, 1920) pp. 3565-3583 [(ExB) 0639.7373.5], published after the major deposit of Cruikshank material by Mr. Meirs. A large portion of the collection is found at http://catalog.princeton.edu

The Cohn Cruikshank bibliography (covering illustrated books and separate prints) has been checked (recording call numbers) for the Library’s holdings. For particulars refer to: Albert M. Cohn. George Cruikshank, a catalogue raisonné of the work executed during the years 1806-1877. (London, 1924) [(GARF) NC1479.C9 C72q, copy 2)

An important article about how and why Americans collected Cruikshankiana was published in 1916 by Arthur Bartlett Maurice, Class of 1894. See A. B. Maurice, “Cruikshank in America”, in The Bookman November 1916.  Maurice was editor of The Bookman from 1899 to 1916. This article has many particulars about the Meirs collection.


See also: Howard S. Leach “Cruikshank’s Illustrations of Shakespeare in the Meirs Collection, Princeton University Library” in the Princeton Alumni Weekly (13 December 1916, p 259-262). An editorial note on the same page as this article states “Alumni visiting Princeton may spend a very entertaining and profitable afternoon in looking over this collection, which is in the exhibition room of the Library.”

Also see: F.J. Mather “Rowandson and Cruikshank” in the Princeton Alumni Weekly (4 March 1932); Frank Jewett Mather, “A Statistical Survey of the Meirs Cruikshank Collection” in the Princeton University Library Chronicle IV, 2-3 (February-April, 1943) pp. 50-52; E.D.H. Johnson. George Cruikshank: the Collection at Princeton (Princeton, 1973) [(Cruik) 747] which is the offprint of: E.D.H. Johnson, “The George Cruikshank Collection at Princeton” in Princeton University Library Chronicle XXXV, 1 (Autumn and Winter, 1973-74) pp. 1-33.

 

Buy the Book Painted or Unpainted


If you are on the West Coast, Hauser & Wirth gallery is now open with an exhibition of books by Richard Jackson. https://www.hauserwirth.com/hauser-wirth-exhibitions/31718-richard-jacksonworks-with-books?modal=media-player&mediaType=film&mediaId=31739. The gallery text notes: “Beginning in the early 1970s, lifelong Californian Richard Jackson’s Wall Paintings, Stacks, and Room-themed installations gave rise to a series of landmark innovations in painting, sculpture, performance, installation, and the relations between them. Jackson’s interest in the larger possibilities of artmaking and how it can be done extends to books, as well.”

In 2020, a monograph on Jackson’s life and work was published by Hauser & Wirth, written by John C. Welchman and Dagny Janss Corcoran, which can be purchased from various art book stores. Or you could purchase a painted copy like the one presented in this film “Painted Monograph.” Princeton University Library owns an unpainted copy.

Produced by Dagny Corcoran. Directed by Derek Kinzel. Edited by Zack Campbell.

“On the occasion of ‘Richard Jackson: Works With Books,’ Dagny Corcoran produced a film of Richard Jackson creating a new artwork for the presentation. In ‘Painted Monograph,’ Jackson painted all 480 pages of ‘Richard Jackson,’ the monograph authored by John C. Welchman and with a chronology by Corcoran, released by Hauser & Wirth Publishers in 2020. During the creation of this work, which is itself related an idea Jackson initially conceived in 1977—‘Paint every page of each book, / while still wet stack the books filling a room, / wall to wall, floor to ceiling’—Jackson discusses with Corcoran his philosophies on art, life, and book-making as they relate to the books and printed matter on display.”

 

 

John C. Welchman, Richard Jackson ([Zürich]: Hauser & Wirth Publishers, [2020]). Marquand Library use only N6537.J313 W45 2020. Unpainted copy.

 

Strödda handteckningar

Ludwig Fehr after drawings by Pehr Nordqvist (1771–1805), Strödda handteckningar … Efter originalernacopierade och utgifne i stentryck … [Scattered drawings…after the originals, copied and published in lithography] (Gothenburg: Ludwig Fehr, 1822). 48 lithographs. Graphic Arts Collection GA2021- in process

This rare book of Swedish caricatures lithographed by Ludwig Fehr revived the popular art of Pehr Nordqvist, who died at the young age of 34. Fehr might have chosen these simple line drawings as a way to introduce his newly established lithographic press in Gothenburg. He and his son had already established lithographic printing in Copenhagen and Stockholm, and would soon do the same in Oslo. This volume is one of the only surviving documents from their Gothenburg venture.

According to Norsk Biografisk Leksikon

“In 1816, Fehr was called to Copenhagen to work in a lithographic workshop that had been started by Carl Lose and Heinrich Wenzler a few years earlier. But already the following year he left Copenhagen and went to Stockholm. Together with his son Gottlieb Louis Fehr (1800–55) and printer Johan C. Müller, he applied for permission to live and work in Sweden. The application was granted, and in the spring of 1818, the printing house Fehr & Müller was established. However, the company had difficulties with its operations and in 1819 Fehr withdrew from the business. In the following years, he had Copenhagen as his main base, interrupted by some stays in Germany and Sweden.

…L. Fehr & Søn quickly established its business in Christiania. As early as November 1822, they announced their first print, Professor Hansteen’s Portrait in Steentryck. Portraits of contemporary famous men also continued to be part of their product range. This also gave Fehr the opportunity to use his skills as a portraitist. The company could also offer lithographed landscape photos and flower photos. Some of these were produced as pre-prints for use by Fehr’s drawing and painting students.”

Anyone with Swedish willing to translate the joke?




Anatomy for Painters

Gilles Demarteau (1722-1776) after Charles Monnet (1732-1809), Etudes d’anatomie a l’usage des peintres [= Anatomical studies for Painters] ([Paris]: Rue de la Pelterie, à la cloche, 177_?). 42 leaves of crayon manner etchings and engravings, printed in sanguine ink. Graphic Arts Collection GAX 2021- in process

 

 

During the 18th century, soft chalk or crayon drawings came into vogue, not as studies for paintings but as final works in themselves. Gilles Demarteau was one of several master printers credited with inventing a process to translate these drawings into etchings, in order to sell multiple copies and promote the artist’s work. The process is called crayon manner etching and to further replicate the drawings, the copper plates were printed using colored inks, especially sanguine or red. Americans will sometimes use the French words, ‘en sanguine’, to describe these prints but it simply means printed with rose colored ink.

 

After a rich and venerated career as a painter and illustrator, Charles Monnet spent his last years as a drawing master in Saint-Cyr. For his students, he made a series of delicate anatomical studies, completed in red crayon and reproduced inexpensively by Demarteau in the new crayon manner, so that each student could own a study copy.

Leaf 2: “Cette suite est divisée en sept cahiers pour faciliter aux jeunes gens les moyens de l’acquerir; et se vend à Paris ches Demarteau, graveur et pensionnaire du roi, rue de la Pelterie à la Cloche”= “This suite is divided into seven fascicles to make it easier for young people to acquire it; and is sold in Paris by Mr Demarteau, engraver and scholar of the king, rue de la Pelterie, at the sign of the bell.”

 
It is curious that so many plates were printed crooked on the paper but perhaps what is a result of the inexpensiveness of the project or the youthful indifference of its audience. Regardless, the book is a welcome addition to the Graphic Arts Collection.

See more: Duval & Cuyer. Anatomie plastique, p. 214-216; Choulant, History and bibliography of anatomic illustration, p. 352; for variant imprint, cf. Wellcome Catalogue of Printed Books. IV, p. 155.

April is for the Birds. Save the Date.

April is for the Birds:
From Audubon’s Extraordinary Birds of America to the Indispensable Pocket Field Guides

Grab your binoculars and join us on Friday, April 30, 2021, at 2:00 p.m. for an hour of virtual birding, as we turn the pages of John James Audubon’s gigantic, hand painted Birds of America (1827-38). Rarely does the public have the opportunity to see this amazing four-volume work and when they do, it is usually only one plate through a sealed case. As we have done for our students, we will page through multiple volumes so you can experience the colossal scale of Audubon’s birds, painted life-size and then transferred to copper plates for the printing and painting of the published ‘double-elephant’ volumes.

Introducing us to Audubon’s remarkable work will be Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art, Professor of Art and Archaeology and American Studies, and the current Chair of the Department of Art and Archaeology at Princeton University. Julie Mellby, Graphic Arts Curator, will focus on master printer Robert Havell, Jr. who took Audubon’s paintings and transformed them into 435 aquatints. We will follow the trail that brought four tons of copper printing plates across the Atlantic and left several at Princeton University Library, where they remain today.

Next we will be joined by Robert Kirk, Publisher, Princeton Nature, with Princeton University Press who will bring us up to date with the field guides used by birders, from the amateur to the professional. Kirk not only acquires a broad range of nature reference titles, but he also works on a select number of fully interactive apps and will show some of their of the most recent titles. While Audubon’s oversize originals are rarely viewed, many of these authoritative guides are indispensable resources found in the pockets of conservation professionals worldwide.

This webinar is free and open to the general public, but we ask you to register:HERE

Recordings for previous webinar in the Special Collections Highlights Series can be viewed here. To request disability-related accommodations for this event, please contact pulcomm@princeton.edu at least 3 working days in advance.