Audubon has flown

audubon yellow belly

John James Audubon (1785-1851). Yellow-throated Vireo, 1827. Pen and wash drawing. Graphic Arts Collection, Rare Books and Special Collections, Princeton University Library. Gift of John S. Williams, Class of 1924.

Our colleagues Laura Giles, Heather and Paul G. Haaga Jr., Class of 1970, Curator of Prints and Drawings and Karl Kusserow, John Wilmerding Curator of American Art have kindly included a number of works from the graphic arts collection in their beautiful summer exhibition Painting on Paper: American Watercolors at Princeton.

On view at the Princeton University Art Museum until Sunday, August 30, 2015, the show is both sensuous and serious, illuminating the distinct qualities of watercolors “in which color and line combine to produce effects of unparalleled nuance and suppleness.”

As their text explains, the museum collection was assembled initially under the pioneering directorship of Frank Jewett Mather Jr. (1922–46), the collection today offers insight into broad trends in American art across two centuries while also affording a comprehensive overview of the nation’s rich tradition in watercolor painting.

We are thrilled to have our Yellow-Throated Vireo (1827) as one of the first works the audience sees as they enter the galleries. Painted by John James Audubon (1785-1851), this watercolor study was adapted and later engraved by Robert Havell, Jr. (1785-1878) for the monumental publication The Birds of America (Rare Books: South East (RB) Oversize EX 8880.134.11e). Also on loan for the exhibition are works by William Constable; William Glackens; Augustus Koellner; John H. B. Latrobe; and Alfred Jacob Miller.

For more information on the exhibition, see: http://artmuseum.princeton.edu/art/exhibitions/1653

 

audubon signature

 

Étienne Delaune Grotesque

AN00095479_001_l

Étienne Delaune (ca. 1519-1583), [Ornamental grotesque with Diana holding a spear], about 1572-73. Engraving. Graphic Arts Collection GAX 2015- in process

This ornamental grotesque with Diana holding a spear and moon crescent is plate 2 from a set of six works representing Roman deities. Stephanvs was a name used by the Milan-born goldsmith and medallion engraver Étienne Delaune (ca. 1519-1583). The British Museum speculates that the set was engraved before Delaune’s departure from France around 1572 or 1573.

The Graphic Arts Collection has only one print from the set, with Diana, accompanied by two dogs, standing in the middle of a decorative structure inhabited by various creatures and trophies. Others from the series are reproduced below thanks to the British Museum.

AN00095478_001_l                   AN00095481_001_l AN00095482_001_l             AN00095485_001_l AN00095483_001_l

Grotesque is a French term derived from the Italian grottesco. In art the term is often used to describe a type of ornamental print, designed around a central axis with various motifs, including scrollwork, architectural elements, whimsical human figures and fantastic beasts. The closer you look, the more objects you will uncover.

Versailles on Paper closing July 19

20150628_122050_resized

John Vanderlyn (1775-1852), Panoramic View of the Palace and Gardens of Versailles, 1818-1819. Oil on canvas. ©Metropolitan Museum of Art, New York. Gift of the Senate House Association, Kingston, 1952.

20150628_122128_resizedThe exhibition Versailles on Paper at Princeton University is in its final weeks, closing on Sunday, July 19, 2015. Until then, the gallery will be open free of charge, 8:30 to 4:30 Monday to Friday and noon to 5:00 on the weekends.

In addition, you may want to visit the Metropolitan Museum of Art where John Vanderlyn’s painted panorama of the palace and gardens are on view in a specially designed room within the American wing.

Invented in Great Britain in the 1780s, panoramas were displayed within the darkened interior of a cylindrical building or room. According to the Met’s commentary, this 12 x 165 ft. (3.6 x 49.5 m) painting is a rare survivor of a form of public art and entertainment that flourished in the 19th century.

A native of Kingston, New York, Vanderlyn studied historical painting in Paris during the Napoleonic era and conceived his panorama project after seeing the American artist and inventor Robert Fulton establish a panorama theater on the Boulevard Montmartre.

20150628_121946_resizedVanderlyn’s Versailles was drawn between 1814 and 1815, then mounted in 1818 in a building behind the City Hall in lower Manhattan. The scene depicts a sunny afternoon between 4:00 and 5:00 p.m. in September 1814. King Louis XVIII can be seen on the center balcony of the palace.


20150628_121930_resized-1

 John Vanderlyn (1775-1852), Description of the panoramic view of the palace and gardens of Versailles, painted by Mr. Vanderlyn [electronic resource] (New-York: Printed by E. Conrad, 1819). Series:, Early American imprints. Second series ; no. 49975.

The Panoramic view of the palace and gardens of Versailles painted by John Vanderlyn: the original sketches of which were taken at the spot, by him, in the autumn of 1814 (New York: The Metropolitan Museum of Art, 1956). Marquand Library (SA) ND237.V19 P36

Boston Public Library’s Print Collection

7367782656_6a435d5d6d_b“Today, the Boston Public Library announced the results of the Print Department Report, a BPL commissioned year-long external review of the BPL Print Collection. Launched in June 2014 and conducted by Simmons College Professor Dr. Martha Mahard, the four-volume report evaluates inventory control and the current physical arrangement of the collection’s 320,000 items, and makes recommendations on how to improve intellectual control and organization of the Print Department assets moving forward.”

“The report covers the need for improved record keeping, primarily from artwork acquired in the latter half of the last century, when new acquisitions outpaced proper documentation and organization. https://www.bpl.org/press/2015/06/23/boston-public-library-commissioned-report-is-first-phase-of-improved-print-collection-inventory-control/

library-big-8887

Boston Public Library president Amy Ryan (right) spoke to the media after the discovery of the Dürer and Rembrandt prints

“The Print and Special Collections play an essential role in the library fulfilling its mission as a center of knowledge,” said Michael Colford, BPL Director of Library Services. “This Print Department Report gives BPL a detailed look into how the library can be the best steward of these 320,000 works going forward. BPL is already taking steps to act on these recommendations, and will continue to use the report as the blueprint for additional improvements in the Print Department.”

Print Department Report Cover Letter

Print Department Report Volume 1

Print Department Report Volume 2

Print Department Report Volume 3

Print Department Report Volume 4

St. John of Capistrano

kapistran4
kapistran3The Catholic Encyclopedia of Saints lists St. John of Capistrano (1386-1456) as the patron of jurists. He also earned the nickname the soldier saint, leading thousands of soldiers into battle against the invading Ottoman empire. When the Turks captured Constantinople in 1453, the Franciscan priest was commissioned to preach a crusade for the defense of Europe. Gaining little response in Bavaria and Austria, he decided to concentrate his efforts in Hungary and “led the army to Belgrade. Under the great General John Hunyadi, they gained an overwhelming victory, and the siege of Belgrade was lifted.”

The Jewish Encyclopedia gives a somewhat different spin on Saint John. “In Silesia the Franciscan was most zealous in his work. When Capistrano arrived at Breslau, a report was circulated that one Meyer, a wealthy Jew, had bought a host from a peasant and desecrated it. Thereupon the local authorities arrested the representatives of the Breslau Jewish community and confiscated their houses and property for the benefit of the city. The investigation of the so-called blasphemy was conducted by Capistrano himself. By means of tortures he managed to wring from a few of the victims false confessions of the crimes ascribed to them. As a result, more than forty Jews were burned at the stake in Breslau June 2, 1453. Others, fearing torture, committed suicide, a rabbi, Pinheas, hanged himself. The remainder of the Jews were driven out of the city, while their children of tender age were taken from them and baptized by force.” http://www.jewishencyclopedia.com/articles/4004-capistrano-john-of

kapistran

Johann Gottlieb Boettger (1763-1825), Kapistran, zu Breslau im Jahr 1453, 1808. Engraving. Graphic Arts Collection GA2015 in process

 

kapistran5The artist of this print, Johann Gottlieb Boettger (1763-1825), was a German engraver who is credited with a number of frontispieces and book illustrations. He also engraved fine art prints after Angelica Kaufmann, among others.

Not only wrote the book but also designed the cover

k8603

Frank Lloyd Wright (1867-1959) visited Princeton University many times over his long career. The first and perhaps most important visit was in 1930, when Wright accepted the Kahn lectureship and delivered a series of six illustrated lectures in McCormick Hall. Modern Architecture; Being the Kahn Lectures for 1930, was published the following year by Princeton University Press (we hold 6 copies of the original NA680 .W93). Not content to write the book, Wright also designed the book’s cover, which has become iconic with the man and his work.

The Princeton University Weekly Bulletin (May 3, 1930) announced that “starting today and continuing through May 14th, a series of lectures will be presented by Frank Lloyd Wright on the problems of Modern Architecture. . . . . Today he will speak on the topic, ‘Machinery, Materials, and Men,’ following tomorrow with ‘Style in Industry; the War on Styles.’ His lecture Thursday, ‘The Cardboard House,’ gives promise of being most interesting, and his concluding speech of the week, on Friday, ‘The Passing of the Cornice,’ will take up a trend of modern architecture, which is very noticeable in the work being done today. One week from today he will deliver an address on ‘The Tyranny of the Skyscraper,’ ending his series at Princeton with a talk entitled ‘The City.'”

Wright brought with him a group of recent drawings, which were placed on display in the Museum of Historic Art (an early space that included galleries, the art and archaeology department, the fine arts library, and the School of Architecture). The Bulletin claims that “this will be the first time that Mr. Wright’s drawings have been shown to the public, and they will go on a tour after remaining in the Architecture Building for several days.” Simply titled “The Show,” the traveling exhibit included 600 photographs, 1,000 drawings, and four models that were seen in New York City; Chicago; Eugene, Oregon; Seattle, Washington; several European cities; and Milwaukee’s Layton Gallery.

In the spring of 1933, another exhibit to include Wright’s designs was held in McCormick Hall entitled Early Modern Architecture: Chicago 1870-1910. Prepared by the Museum of Modern Art in New York, this show had the extra special feature of wall labels written by Philip Johnson, Chairman of the Museum’s Department of Architecture, and Professor Henry Russell Hitchcock of Wesleyan University.

image002
Wright returned to Princeton in 1947 for a two day conference in connection with the University’s bicentennial celebration. “Planning Man’s Physical Environment” brought together 70 architects, city planners, philosophers and social psychologists under the direction of Arthur C. Holden, Class of 1912.  Wright used his time to plead for the decentralization of American cities, telling the students, “we are educated far beyond our capacity.  We have urbanized urbanism until it is a disease—the city is a vampire, living upon the fresh blood of others, sterilizing humanity.”

In 1955, Wright was invited to be the principal speaker at that year’s Senior Class dinner. He happily agreed but at the last minute asked to have the dinner rescheduled while he attended to construction problems with the Guggenheim Museum building.  The 800 students and their guests didn’t seem to mind and in fact, his talk was so memorable that the class of 1959 invited him back. Unfortunately Wright passed away one month before the Princeton event.

Lorenzo Homar Carvings

homar carved stoneThe Graphic Arts Collection holds nearly 300 drawings, prints, and commercial posters by the Puerto Rican artist Lorenzo Homar (1913-2004). The collection reflects the wide range of work created by this graphic artist and calligrapher including sketchbooks and drawings from his years in the United States Army; designs of Cartier jewelry from his time at the firm; fine art prints; caricatures; and over 90 international posters he created for exhibitions, conferences, and performing arts events.

Beyond the works on paper, we hold a small group of carved woodblocks. Several are meant as matrices for the printing of an image and several meant to be beautiful carved designs on their own.

Homar was a good friend to Princeton University and in 1992, the Program in Latin American Studies commissioned a carved plaque for the La Casas seminar room in the Joseph Henry House. When that room closed and the program moved, the carving was donated to the Graphic Arts Collection. This and two other blocks are shown here.

 

homar carved stone2

homar carved stone4

Lorenzo Homar (1913-2004), Untitled [Alphabet], 1966. Wood carving. GA 2007.04028

homar carved de las casas

Lorenzo Homar (1913-2004), Sala fray Bartolome de Las Casas, 1992. Carved woodblock. GA 2007.04029 Gift of Princeton University’s Program in Latin American Studies.

homar carved de las casas2

homar carved bird2

Lorenzo Homar (1913-2004), Los Renegados: The Birds and the Bats, 1963. Carved woodblock. GA 2007.03846

homar carved bird

Five Days that Changed the World

The choral work, Five Days that Changed the World (2013), is a collaboration between the poet Charles Bennet and the composer Bob Chilcott. It features five historical events: the invention of printing, the abolition of slavery, the first powered flight, the discovery of penicillin, and the first man in space.

This performance of part one, “Thursday 29th March 1455: The Invention of Printing,” was organized by the Associazione Piccoli Cantori di Torino (The Association of the Boys’ Choir of Turin), who are the parents of the girls and boys in the Boys’ Choir of Turin. The Choir performs at the Tallone Printing House in Turin. http://www.talloneeditore.com/index.php?option=com_content&view=category&layout=blog&id=30&Itemid=222

The chorus sings:
The quick brown fox. Quick brown fox.
The quick brown fox jumps over the lazy dog.

I saw them walking like footprints in the snow.
Saw them walking into houses all over the world.
Open the door of the eye and let them in.

I saw each letter. Saw each letter like a person.
Z was lonely and E was everyone’s friend.
I watched them gather together into words.

I knew if I took the letters one by one.
Knew if I held them tight in forty-two lines.
They could speak to everyone everywhere.

In the beginning there were footprints over the page.
The footprints of a fox who jumps.
Into your eye and over the lazy dog.

See also: Alberto Tallone (1898-1968), Manuale tipografico (Alpignano [Torino]: Tallone Editore, 2005-2013). Contents: Vol. 1. Dedicato ai frontespizi e ai tipi maiuscoli tondi & corsivi. 120 numbered copies printed — Vol. 2. Dedicato all’impaginazione, ai caratteri da testo & ai formati. 276 numbered copies printed — Vol. 3. Dedicato alle carte, filigrane & inchiostri. 293 numbered copies printed — Vol. [4]. Complemento al Manuale I, dedicato all’estetica degli indici, colophon e prospetti. 156 numbered copies printed. Graphic Arts Collection (GAX) 2015-0109Q

Artists’ Books

abSarah Bodman, Senior Research Fellow for Artists’ Books/Programme Leader MA Multidisciplinary Printmaking at the Centre for Fine Print Research in Bristol publishes The Book Arts Newsletter every two months. The most recent, no. 98 (July/August 2015), is now ready for download at:
http://www.bookarts.uwe.ac.uk/banlists.htm
It you don’t already subscribe, you might want to sign up to receive an alert when the next one is published.

The cover of this issue is by the artist Hilke Kurzke and the content includes information on national and international exhibitions; courses, conferences, lectures & workshops; book fairs and much more. If you want to submit your own information, the next deadline for copy will be August 13 for the September/October newsletter.

Please note: Their website will be closed for maintenance from 4pm on Friday 3rd July until 8.30am on Monday 6th July, so please download before or after. For more information, see: www.bookarts.uwe.ac.uk

Building Paper

building paper3In the 1860s, paper manufacturing was on the rise in the United States. One area in which paper was making inroads was housing. Innovations were of such interest that the Chicago Tribune reposted the New York Tribune with the following story:

“A man in Des Moines, Iowa, has erected a dwelling house for himself built mostly of paper. The weather-boarding, inside walls, and shingling are of that material known in the West as the “Rock River Company’s Building Paper.” The cost is about two-thirds that of the ordinary materials, and the house, it is said, is much warmer than where plaster and wood are used.” New York Tribune. The building paper referred to in the above article from the New York Tribune is that manufactured by the Rock River Paper Company of this city, and we understand that it is creating a complete revolution in the construction of frame buildings wherever it has been introduced.” Chicago Tribune (1860-1872) [Chicago, Ill] 09 Mar 1869

building paper2
Orson E. Merrill and his partner George Houston ran an iron foundry in Beloit, Wisconsin. His brother, Sereno T. Merrill, ran the Rock River Paper Mill Company and in 1860, convinced Orson to make parts for his paper machine. According to the Beloit Historical Scoiety, “by 1862 Merrill and Houston was producing complete paper machines, building four in that year and several years thereafter, along with water wheels and other iron products.”

building paper

Barrett, Arnold & Kimball, manufacturers of building paper felt, roofing materials, moth-proof carpet lining, etc.: Also, sole agents for the patent aluminous and ornamental building paper and paper carpeting, manufactured by the F.N. Davis Manufacturing Co. of Beloit, Wis. Office and salesroom, 164 Lake St., Chicago, Ill. ([Chicago, Ill.: s.n.], 1870)