1869 Eclipse Photographed

eclipse 1869John C. Browne (1838-1918), Solar Eclipse Expedition, 1869. print from collodion on glass negative. (c) George Eastman House 75:0130:0071

In June 1869, Edward L. Wilson, editor of The Philadelphia Photographer, was appointed a member of the Solar Eclipse Expedition under the leadership of Prof. Henry Jackson Morton (1836-1902). Throughout the summer, members of the exposition trained in Philadelphia and on August 2, drove to Iowa to observe and hopefully photograph a total eclipse. There were three observation sites in Iowa for the August 7 event. John C. Browne (1838-1918) was at the Ottumwa site and made an exposure of their camp [above].

According to the Reports of Observations of the Total Eclipse of the Sun, August 7 1860, “At Mount Pleasant, Iowa, 28 miles to the westward, on the Burlington and Missouri Railway, were stationed: Prof, James C. Watson, director of Ann Arbor Observatory, University of Michigan, for astronomical observations; Prof J. M, Van Vleck, of the Wesleyan University, Middletown, Conn., for spectroscopic observations; Prof. Henry Morton, Ph.D,, of the Franklin Institutes in Philadelphia, in charge of the photographic party, with Mr. Edward L. Wilson, of Philadelphia, as photographer.”

eclipse 1869bHenry Jackson Morton (1836-1902) and party, “Four Views of the Solar Eclipse, August 1869,” in The Philadelphia Photographer 6, no.69 (September 1869), frontispiece.

In the September issue of The Philadelphia Photographer, Wilson published a composite photograph taken from four negatives made in Iowa only two week earlier. With the albumen silver print, he wrote,

“The late Solar Eclipse was an event which was heralded and predicted many years ago, but during the past year has attracted very great attention. The special attention of photographers has been called to it, as a subject of great interest for the camera, and we are glad to know that good and interesting results followed. The idea of making photographs of the great sources of light himself, particularly when he was partially or totally deprived of his power, had a charm about it which many found it impossible to overcome. …

Our friend Dr. Vogel, whom it will be remembered, secured the best photographs of the 1868 eclipse, awakened a desire in us to emulate him, so we joined Prof. Morton in his plans and efforts to organize a party for the purpose. During the last Session of Congress, an appropriation of five thousand dollars was made for the expenses of photographing and observing the eclipse. This was placed in the hands of Prof. J. H. C. Coffin, head of the Nautical Almanac Office, W.S.N., who taking charge of the Astronomical department himself, authorized Prof. Henry Morton, Ph.D., to make up the photographic branch and take charge of the same. This Prof. Morton undertook. …

Early on Monday morning, August 2d, the entire party started form this city in a handsome new car, fresh from the shops of the Pennsylvania Central Railroad company, at Altoona, which, on the way out was shifted from one road to the other, until our destination was reached … With the University telescope, were Prof. Morton and ourselves, in charge of the instrument, and Messrs. H.M. Clifford. James Cremer and W.V. Ranger, as photographers. We were also joined by Mr. John Carbutt of Chicago as a volunteer, who gave us most efficient aid in our manipulations….

We were now told by the astronomers that the moon would soon reach the sun. Plates were prepared at once ready to get a picture of first contact. Prof. Watson was to signal us by lifting his hand at the moment. Our plate was in the camera and the slide drawn, while we watched for the signal. Up went the hand; click! went the stop and the first exposure was made, the plate showing on development the least contact, looking like the impression made upon an apple by the thumb when testing its ripeness. Negatives were then made at intervals of five to ten minutes until totality took place and after totality until the eclipse was ended and over.”

Additional reports were printed in The Philadelphia Photographer from Henry Morton; Edward Curtis (assistant surgeon U.S. Army); J. H. C. Coffin; John Whipple; and several others. Following the expedition in 1869, Morton received an honorary Ph.D. from Dickinson College and in 1871, Princeton University also recognize Morton’s accomplishments with an honorary degree.

Additional prints from the eclipse are found in: Reports on Observations of the Total Eclipse of the Sun, August, 7, 1869 (Washington, Govʾt print. off., 1870). Lithographs by J. Bien and J. F. Gedney. (GAX) Oversize 2003-0133Q
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Mammoth Double Sheet Pictorial Brother Jonathan now online

brother jonathan website5In the winter of 1860, an advertisement was posted in several urban newspapers: Pictorial Brother Jonathan for Christmas and New Years. The Great Holiday Sheet of Pictures for 1860. The Mammoth Brother Jonathan this year stands Unrivalled! It positively can’t be beat! Price 12 Cents per copy—Ten for One Dollar. The copy continued:

“The Pictorial Double Brother Jonathan for Christmas and New Years was first issued in the year 1840-—just twenty years ago. It was at that time such a novelty that the demand for it continued three or four months, and even then the circulation reached eighty thousand copies. Since that period it has been issued regularly each year, with the avearage [sic] sale of over one hundred thousand copies for every number. Among the Newsvenders, the Brother Jonathan is extremely popular, as they never have a copy of it leftover unsold.

The immense size of the Mammoth Double Brother Jonathan enables us to give in it a profuse amount of reading and still leave room for the great number of Elegant Large Pictures. Altogether, you will find it to be a paper unsurpassed in interest, in point of handsome embellishment and agreeable reading. We give away this elegant Pictorial Paper to every yearly and half-yearly subscriber to the Weekly Brother Jonathan. The Christmas and New Years Pictorial Brother Jonathan will be sent, post-paid, to purchasers at 12 cents per single copy, or ten copies for One Dollar; but if you [subscribe] to the weekly paper, you will get a copy of the pictorial for nothing. Be sure to mention that you want the Pictorial Brother Jonathan, to prevent any mistake. Send cash to B. H. Day, 48 Beekman-Street, New York.”

We are thrilled to announce that Princeton University Library’s rare collection of 23 mammoth issues and 2 prospectuses of the Pictorial Double Brother Jonathan have been cleaned, flattened, repaired, catalogued, digitized, and posted online for the public to read and enjoy.
brother jonathan website3Brother Jonathan [A collection of 25 mammoth double-sheet numbers in its series Pictorial Jubilee] (New York: Wilson & Company, 1845-1860). Permanent Link: http://arks.princeton.edu/ark:/88435/9z903261b
Sizes vary, primarily 81 x 56 cm.
Princeton University Library holdings:
July 4, 1845
July 4, 1846
July 4, 1847
[1847?] An illustrated history of the victories and conquests … (gift of Sinclair Hamilton)
[Dec. 1847] Christmas/New Year
July 4, 1848
March 4, 1849
No. 22 [Dec. 1850] Christmas/New Year (gift of Sinclair Hamilton)
No. 23, July 4, 1851
[1852?] Prospectus or advertising sheet for Christmas and New Year
No. 25 [Dec. 1851] Christmas/New Year 1852 (gift of Sinclair Hamilton)
Vol. 13, no. 28, June 26th, 1852 [4th of July]
[Dec. 1852] Christmas/New Year
July 4, 1853
July 4, 1854
[Dec. 1854] Christmas/New Year (2 copies)
[Dec. 1855] Christmas/New Year
[Dec. 1856] Christmas/New Year
Vol. 18, no. 317, December 12, 1857 Christmas/New Year
Vol. 18, no. 344, June 19 1858, [4th of July]
Vol. 18, no. 369, Dec. 11, 1858, Christmas/New Year
Vol. 19, no. 397, June 25, 1859 [4th of July]
Prospectus or advertising sheet for Christmas and New Year
Vol. 19, no. 421, December 10, 1859, Christmas/New Year
Vol. 20, no. 474, Dec. 15, 1860, Christmas/New Year.

Over the years, these wonderful issues have been called Brother Jonathan Pictorial; Double Sheet Brother Jonathan Pictorial; Jubilee Sheet Brother Jonathan; Jubilee Number Brother Jonathan Pictorial Double; and so on, making them not only difficult to find but hard to describe.
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One of the many benefits to having these mammoth newspapers online is the ability to zoom in and see details. Several of the double-page spreads hold wood engravings 3 feet tall by 4 feet wide. Artists such as Frank Leslie (1821-1880) perfected the technique of dividing a scene between many small woodblocks and then, reassembling the blocks once they are engraved. Even zooming in, it is hard to see evidence of the individual blocks.
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Above is a detail from below.
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The amount of space available on these large sheets allowed for the publishing of entire novels, public orations, and complete essays. Here is a tiny portion of George Van Santvoord’s essay “The Character of Robespierre and the First French Revolution.”brother jonathan website8

 

Thanks to the dozens of staff members who worked on this project, to Sinclair Hamilton who donated the first copies, and Steve Ferguson who brought this extremely rare collection together.
brother jonathan website4Permanent Link: http://arks.princeton.edu/ark:/88435/9z903261b

Nap Poems published by the Letterpress Club

nap poems4Congratulations to the members of the Princeton University Letterpress Club who printed and published their first limited edition, fine press poetry book, entitled Nap Poems. The Graphic Arts Collection is proud to receive copy 5 of 30 for Rare Books and Special Collections, a few pages of which are shown here.

The edition was set at the Typography Studio located in the Lewis Center for the Arts, 185 Nassau Street. Monica Youn, Rowan Ricardo Phillips, Michael Dickman, and Ben Lerner from Creative Writing at the Center graciously donated the poems, which were printed on a Vandercook SP20 proof press using Bixler’s Garamond type.

Members of the Letterpress Club who spent the spring semester producing Nap Poems include Jazmyn Blackburn, Class of 2019; Joyce Lee, Class of 2017; Zachary Liu, Class of 2018; Shefali Nayak, Class of 2018; Duc Nguyen, Class of 2017; Kennedy Poore, Class of 2018; and Jonathan Zong, Class of 2018. Peter Kazantsev was the letterpress studio technician for the Lewis Center.

Here are a few pictures from the Club’s open house last year: http://dailyprincetonian.com/galleries/sports/2015/02/princeton-university-letterpress-club-open-house/
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nap poemsFor more information about classes and events at the Lewis Center, see: http://arts.princeton.edu/
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Stammbaum des Königlichen Hauses Bayern

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ancestry chart4 Stammbaum des Königlichen Hauses Bayern = Family Tree of the Royal House of Bavaria (München: Michael Masson, 1855). Hand colored lithograph in 12 parts (each 550 x 520 mm), mounted on linen, measuring together: 2200 x 1550 mm. Graphic Arts Collection GAX 2006- in process

The Graphic Arts Collection holds several large format family trees, printed in an almost life-size tree. This one depicts the ancestry of the Bavarian Royal House, lithographed by the Wild’sche Firm in Munich.

At the bottom of the trunk is Ernst I, Herzog von Bayern-München (1373-1438) and at the very top of the tree sits Ludwig II (Ludwig Otto Friedrich Wilhelm, 1845-1886), who was King of Bavaria from 1864 until his death in 1886. This was after the printing of our chart and so, Ludwig doesn’t yet have a crown on his name.
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See also: http://blogs.princeton.edu/graphicarts/2009/03/anthony_morris_family_tree.html and
https://graphicarts.princeton.edu/2014/09/05/zuberspoerlin-family-tree/

Five blue devils bearing torches are leading the coffin of Bonaparte towards the jaws of a green dragon vomiting flames, monkeys acting as pall-bearers.

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funeral3Alexander Meyrick Broadley’s Napoleon in Caricature 1795-1821 (Graphic Arts Collection 2012-0647N) is one of the few sources to even mention this extremely rare caricature attributed to George Woodward (ca.1765-1809). Broadley writes:

“A few days later (October 27) W. Holland published Woodward’s “The Funeral Procession of Buonaparte,” a plate nearly two yards in length and containing a large number of figures. Five blue devils bearing torches are leading the coffin of Bonaparte towards the jaws of a green dragon vomiting flames, monkeys acting as pall-bearers. On the coffin-lid are a scimitar and bowl of poison. Death and a Captain of the Consular Guard officiate as chief mourners. Behind the banner of the deceased march four ghosts from the plains of Jaffa. Behind them come groups of merry mourners, headed by Holland and Switzerland; Italy and the Pope playing the cymbals. The Russian bear carries a flag with the legend, “No farder trouble.” The last group consists of a number of British sailors, showing very curiously the transition then taking place in their attire. They bear an effigy of John Bull, with his traditional pewter of stout and joint of beef, shouting the refrain of Rule, Britannia.”

funeral4The date on Woodward’s panoramic print held in the Graphic Arts collection is altered from 1803 to 1813, which could indicate a later reprinting or just a poor colorist who spilled his ink.
funeral7Note that the plates were printed at an angle on four sheets, later attached.
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funeral2George Moutard Woodward (ca. 1760-1809), The Funeral Procession of Buonaparte!!, October 27, 1803 (1813). Hand colored etching. Graphic Arts collection GA 2011.01416. Gift of Dickson Q. Brown, Class of 1895.

The Voyage of the Jamestown on Her Errand of Mercy

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lane frontis3Tucked inside the 1847 volume:

Robert Bennet Forbes (1804-1889), The Voyage of the Jamestown on Her Errand of Mercy (Boston: Eastburn’s Press, 1847). Frontispiece signed: F.H. Lane, del. GAX copy is presentation copy to Honble. Josiah Quincy with inscription by author. Graphic Arts Collection (GAX) ND237.L24 F67

is a rare lithograph drawn by:

Fitz Hugh (or Henry) Lane (1804-1865), Boston, March 28th 1847, Departure of the Jamestown, for Cork, Ireland, R. B. B. Forbes, Commander. Lithograph, printed by Lane & Scott’s Lith, Tremont Temple, Boston, 1847.

Details on the print and the book can be found at:
http://fitzhenrylaneonline.org/catalog/entry.php?id=475&print=true
Fitz Henry Lane Historical Archive, catalogue raisonné, and educational resource; an online project under the direction of the Cape Ann Museum.

 

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Melissa Geisler Trafton writes, “When news of the second year of the devastating Irish potato famine reached Boston in 1846, Bostonians formed a relief committee and began to look for ways to help. Robert Bennet Forbes lobbied the U.S. Navy for use of the “Jamestown,” a sloop that was lying idle in Charlestown Navy Yard. On March 3, 1847, by United States Congressional resolution, R. B. Forbes was authorized to take command of the “Jamestown,” while Captain George Coleman McKay was authorized to command USS “Macedonian,” then at New York Navy Yard. Tons of food and $151,000 were donated and loaded onto the “Jamestown” by the Boston Labourers Society (mostly Irish), free of charge. On March 28, 1847, the “Jamestown” left Boston at 8:30 a.m. under the command of R. B. Forbes, who managed to complete the Atlantic crossing in a record-breaking seventeen days.

Upon his return, Forbes wrote a book about the voyage, Voyage of the Jamestown in Her Errand of Mercy. In 1847 Lane was running his own lithography shop in Boston with his partner John Scott. Lane had already made two lithographs of Forbes’s innovative steam-powered vessels in 1845, Auxiliary Steam Packet Ship Massachusetts (inv. 442) and Steam packet ship Mass., in a Squall, Nov. 10, 1845 (inv. 443). It was natural that, in 1847, Forbes would turn to Lane to make a lithograph for the frontispiece of his book.” –Melissa Geisler Trafton
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Last Photograph of General Grant

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John G. Gilman, of Canajoharie, New York, photographed Ulysses S. Grant (1822-1885) at his summer home at Mount McGregor on July 22, 1885. The photographer came back a few days later, after Grant’s death and photographed Grant’s home inside and out. These photographs were collected and published as Gilman’s Series of Grant Views Taken at Mt. McGregor.  The Graphic Arts Collection owns only one print from the series, labeled Last Photograph of Gen. Grant, Four Days Before Death.

A death mask was made of Grant’s face and Princeton University is fortunate to have one plaster pulled from the mould. https://blogs.princeton.edu/graphicarts/2013/03/grant.html
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general grant3John G. Gilman, Last Photograph of Gen. Grant, 1885. Albumen silver print. Graphic Arts Collection GAX 2009.00835

 

Missing photograph from Willats Album

willats There are several pages in the 19th-century photo-album assembled by the London optician Richard Willats that are missing the photographs. http://arks.princeton.edu/ark:/88435/k930bx11x

It turns out several were removed from the album some years ago (or were already loose) and were matted separately.

salt printThis dark, rich photogram was at the top of p. 45 in the Willats album, clearly indicated by the trimmed corners. A note on the page says “Energiatype by John Croucher” but this is not an iron-based print and the note must refer to the missing photograph at the bottom right. The photographer of this photogram remains unknown.

Portraits of Helen Keller

helen keller5William M. Notman (1857-1913), Helen Keller and Miss Sullivan, 1897. Gelatin silver print. Graphic Arts Collection GA 2009.00892. Gift of Laurence Hutton.

During the two years I spent in New York I had many opportunities to talk with distinguished people whose names I had often heard, but whom I had never expected to meet. Most of them I met first in the house of my good friend, Mr. Laurence Hutton. It was a great privilege to visit him and dear Mrs. Hutton in their lovely home, and see their library and read the beautiful sentiments and bright thoughts gifted friends had written for them. It has been truly said that Mr. Hutton has the faculty of bringing out in every one the best thoughts and kindest sentiments. One does not need to read “A Boy I Knew” to understand him–the most generous, sweet-natured boy I ever knew, a good friend in all sorts of weather, who traces the footprints of love in the life of dogs as well as in that of his fellowmen.

Mrs. Hutton is a true and tried friend. Much that I hold sweetest, much that I hold most precious, I owe to her. She has oftenest advised and helped me in my progress through college. When I find my work particularly difficult and discouraging, she writes me letters that make me feel glad and brave; for she is one of those from whom we learn that one painful duty fulfilled makes the next plainer and easier.

Mr. Hutton introduced me to many of his literary friends, greatest of whom are Mr. William Dean Howells and Mark Twain. –Helen Keller, The Story of My Life, chapter 23

helen keller4Augustus Marshall (died 1916), Helen Keller, no date. Gelatin silver print. Graphic Arts Collection GA 2009.00891. Gift of Laurence Hutton. Blind stamp on mount: “A. Marshall 16 Arlington St. Boston”. Dedication in pencil: “For Mrs. Hutton, With dear love, From, Helen Keller.”
helen keller3Augustus Marshall (died 1916), Helen Keller, no date [ca. 1899]. Gelatin silver print. Graphic Arts Collection GA 2009.00890. Gift of Laurence Hutton. Dedication in pencil: “Your loving friend, Helen Keller, Easter 1899.”
helen keller2Benjamin J. Falk (1853-1925), Helen Keller, no date. Platinum print. Graphic Arts Collection GA 2009.00831. Gift of Laurence Hutton. Dedication in pencil: “Lovingly yours, Helen Keller.” Signed in imprint: “Print in Platinum – Falk, N.Y.”
helen keller1Benjamin J. Falk (1853-1925), Helen Keller and Anne Sullivan, [no date]. Platinum print. Graphic Arts Collection GA 2009.00832. Gift of Laurence Hutton. Signed by sitter in pencil: “Helen and Teacher.” Signed by sitter in ink: “Annie M. Sullivan.”

 

helen keller6Emily Stokes, Helen Keller with Her Terrier, Phiz, 1902. Albumen silver print. Graphic Arts Collection GA 2010.01663. Gift of Laurence Hutton. Dedication in pencil: “To Uncle Laurence, with the dear love of Phiz and his mistress, May 1902, Helen Keller.”

helen keller8Unidentified artist, Helen Keller in Academic Attire, 1903. Gelatin silver print. Signed in negative: “Copyright 1903 by Whitman” Graphic Arts Collection GA 2010.01794. Gift of Laurence Hutton. Signed in pencil: “Helen Keller.”

 

helen keller7Unidentified artist, Helen Keller, no date [ca. 1899]. Albumen silver print. Graphic Arts Collection GA 2010.02226. Gift of Laurence Hutton.

 

Captain Henry Brewster’s Self-Portrait

brewster5Henry Craigie Brewster (1816-1905) was the youngest son of Sir David Brewster (1781-1868). Henry first practiced photography in 1842, while on leave from the 76th “Hindoostan” Regiment of Foot. This might be a self-portrait from around that time, when Henry was 26 years old. It is among the earliest paper photographs.

The digital image at the top is a truer copy of the dark print. The image below has been lightened with PhotoShop to provide a clearer portrait. It is signed on the verso in several places “Capt. Brewster.”

 

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Henry Craigie Brewster (1816-1905), Self Portrait, no date [ca.1842]. Salted paper print. Graphic Arts Collection GC137

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“Another member of the St. Andrews group, Henry Craigie Brewster (1816-1905), was Sir David’s fourth and youngest son. A captain in the 76th Regiment of Foot, he was named an honorary and corresponding member of the Literary and Philosophical Society in November 1840. In a letter written to Talbot in July 1842, Sir David mentions that his youngest son was on leave from his regiment at Newry.  During this leave Henry Brewster participated in the group’s photographic activities; Sir David mentions his work with that of the Adamsons and Major Playfair in an article on photography published in the Edinburgh Review in January 1843. A quarter of a century later, in The Home Life of Sir David Brewster, Mrs. Gordon recalled that her brother practiced photography under his father’s “superintendence” when home on leave, adding that “it was one of his father’s means of relaxation from heavier work to take positives from the negatives of his son and others.” Henry Brewster continued to practice photography after his return to his regiment in October 1842, and in May 1843 Sir David exhibited a group of his calotype portraits at the Literary and Philosophical Society.”– Graham Smith, Disciples of light (Graphic Arts Collection (GA) 2014-0693Q)