The most extensive rolling press manual ever published

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The Graphic Arts collection recently acquired the 1st edition, 1st issue and the 1st edition, 2nd issue of the most extensive rolling press manual ever published:

Berthiau (later Berthiaud) and Pierre Boitard (1789?–1859), Manuels-Roret. Nouveau manuel complet de l’imprimeur en taille-douce. Par MM. Berthiau et Boitard. Ouvrage orné de planches. Enrichi de notes et d’un appendice renfermant tous les nouveaux procédés, les découvertes, méthodes et inventions nouvelles appliquées ou applicables a cet art, par plusieurs imprimeurs de la capital.

The first: Paris: A la Librairie Encyclopédique de Roret rue Hautefeuille, 12 [no date] (Colophon: Toul, imprimerie de Ve Bastien), [1836?].

The second: Paris: A la Librairie Encyclopédique de Roret rue Hautefeuille, No 10 bis (Colophon: Toul, imprimerie de Ve Bastien), 1837.manuel de l'imprimeur5

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Book historian Roger Gaskell has done an exdended description of these volumes and with his permission, I will repeat it here for the benefit of others.

The first edition, first issue has the half-title is headed Encyclopédie-Roret and has an Avis on the verso with authenticating facsimile signature; the titlepage is undated, headed ManuelsRoret and Berthiau is so spelled. Copies with this state of the half-title and title were re-issued with advertisements dated 1880 and 1885.

In the second issue the first bifolium is re-set, and among other differences there is no mention of the Manuels Roret, the verso of the half-title is blank, the titlepage is dated 1837, and the author spelled Berthiaud. Bigmore and Wyman I, p. 52; Stijnman 029.1, both describing the issue dated 1837.

This is the most extensive rolling press manual ever published and the first original manual since Bosse (1645). Pierre Boitard explains in his Avertissement that he took the part of an editor for material supplied by Berthiau, an experienced copper-plate printer. Both wooden and iron presses are described and illustrated, making this the first published account of the iron rolling-press and its operation.

It is the first manual to discuss the use of intaglio illustrations in printed books. Berthiau travelled to England to investigate copper-plate printing in London, where plates for books were apparently much better printed than in Paris.manuel de l'imprimeur6Boitard attributes this to the higher price of books in London. In his long Appendice de l’éditeur, he makes proposals for the improvements in the economy of copper-plate printing. Many of the Manuels Roret were first published as Manuels with revised editions as Nouveu Manuels, but there seems to have been no earlier edition of this manual.

This issue, which I take to be the first, is undated but Boitard says that Bosse’s Traité was published 193 years ago in 1643, giving a date of 1836 (actually the Traité was published in 1645; Boitard repeats his error on the following page).manuel de l'imprimeur3

The priority of this undated issue seems to be confirmed by the fact that the author’s name is here consistently spelled Berthiau (on the titlepage and on pp. 4 and 5) while in the 1837 dated issue it is Berthiaud on the titlepage but unchanged in the text which is printed from the same setting of type (presumably from stereotype plates).

If the OCLC holdings are to be believed, this original issue is much rarer than the later issues, with copies at the V&A and University of Virginia only; compared with 8 copies in North America of the 1837 issue and 4 undated but with 1880 advertisements.

In the first edition, second issue, the first bifolium is re-set, omitting any mention of the Manuels Roret. The verso of the half-title is blank, the titlepage is dated 1837 and the author spelled Berthiaud. (In the first issue the half-title is headed EncyclopédieRoret and has an Avis on the verso with authenticating facsimile signature; the titlepage is undated, headed ManuelsRoret and Berthiau is so spelled – see above). Bigmore and Wyman I, p. 52; Stijnman 029.1, both describing this issue.

In this issue the relationship between author, Berthiaud, and editor, Boitard, is spelled out on the titlepage and plusieurs imprimeurs de la capitale whose improvements are reported are now identified as, MM Finot, Pointot and Rémond and other printers of the capital.

This copy belonged to a practicing copper-plate printer. Adolfo Ruperez was the leading printer of artists’ prints in Spain in the first half of the twentieth century; he learned his craft in Paris. OCLC locates copies of this issue at Getty, LC, Newberry, University of Illinois, Brandeis, Columbia, Harvard and NYPL.manuel de l'imprimeur7

Gilding the Gallery, Preparing for Louis XIV

versailles on paper2We are getting ready for the opening of the exhibition Versailles on Paper: A Graphic Panorama of the Palace and Gardens of Louis XIV at the end of the week.
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Our website is now live at: http://rbsc.princeton.edu/versailles. Ian Thompson, author of The Sun King’s Garden, will present the opening lecture in 101 McCormick Hall at 3:00 on Saturday, February 14, 2015.

A reception will follow in the Firestone Library gallery, seen here. These events are sponsored by the Friends of the Princeton University Library and the Department of French & Italian.
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Hope we finish. Hope you can make it to the festivities on Saturday.

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John Girtin’s copper plates stolen

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Maria Hadfield Cosway (1759-1838), Progress of female dissipation, engraved by A. Cardon (title leaf by John Girtin) (London: R. Ackermann’s Repository of Arts, 1800). Graphic Arts Collection (GA) Oversize 2005-0257Q

Recorded in the Proceedings of the Old Bailey, 1674-1913, copper plates belonging to the engraver John Girtin were stolen on December 8, 1807 by Richard Wells. The following is a transcription of the trial:

JOHN GIRTIN. Q. What are you. – A. I am an engraver and printer.
Q. On the day of the indictment, did you employ your boy to bring some copper plates from the City to your house. – A. Yes, to No. 8, Charles-street, Middlesex hospital; it was on the 8th of December.

JOHN BANYARD. Q. Are you errand boy to the prosecutor. – A. I am. On the 8th of December, I went in the city to get some plates to carry to my master’s house; I got thirteen plates in the City, about six o’clock in the evening; when I got into Holborn, just by Red Lion-street, the prisoner asked me which was Oxford-road; I told him I was going to Oxford-road, I would shew him; he asked me to let him carry the plates; I delivered them to him; as soon as we got a little way up Holborn, I asked him where the plates were; he said he had got them under his coat; I asked him to give them to me, he said he would not, he would carry them a little farther for me; when I came to Southampton-street, I told him I was going up that way; he said, so am I; as soon as we got up a few doors in Southampton-street, he said, there are your plates, he fell down then he got up and ran away.

Q. Were your plates on the ground. – A. No; I cried stop thief, he was pursued and taken by Mr. Carpmeal; I never lost sight of him from the time he stumbled till the time he was taken; I was close to his heels. There was no plates found on him. There was a man walking close by the side of the prisoner as we were going up Holborn; I lost sight of that man.

Q. Had you an opportunity of seeing whether the prisoner gave the plates to any body. – A. No, the plates have never been found.
Court. When you gave him the plates how did he carry them. – A. Under his arm. I missed them from under his arm; then he said he had got them under his coat.

Q. Have you any doubt the prisoner at the bar is the man. – A. I am sure he is the man.

JAMES CARPMEAL. Q. In consequence of hearing the cry of Stop Thief, did you apprehend the prisoner. A. I assisted; he was running; I apprehended him two doors from Little Queen-street, Holborn; the boy was close to his heels. There was nothing found upon him but three pair of upper leathers, belonging to some shoemaker.
THOMAS FOSSIT. Q. Did you assist in stopping the prisoner. – A. I stopped him; the boy was close to his heels.
The prisoner left his defence to his counsel; called two witnesses, who gave him a good character.
GUILTY, aged 29. Transported for Seven Years.

Versailles on Paper exhibition website is now live

versailles press9The exhibition website for
Versailles on Paper: A Graphic Panorama of the Palace and Gardens of Louis XIV
is now live at: http://rbsc.princeton.edu/versailles. The show will be mounted in the main gallery, Rare Books and Special Collection, Firestone Library, Princeton University from February 13 to July 19, 2015.

Ian Thompson, author of The Sun King’s Garden, will present the opening lecture in 101 McCormick Hall at 3:00 on Saturday, February 14, 2015. A reception will follow in the Firestone Library gallery. These events are sponsored by the Friends of the Princeton University Library and the Department of French & Italian.

The Firestone Library gallery is open to the public, free of charge, Monday to Friday: 9:00 to 5:00 and Saturday to Sunday: 12:00 noon to 5:00.

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[Details from corner ornaments in the Salon of War and the Salon of Peace]

 

 

See the printing of French copper plate engravings

Treize Mille cuivres, la chalcographie du musée du Louvre (english subtitles)
This extraordinary video describes the workshop of La Chalcographie de la Réunion des musées nationaux, where a collection of 13,000 engraved copper plates are printed on demand for the general public. The word chalcography comes from the Greek Khalkos meaning: copper and graphein meaning: to write. These are the original copper plates produced by some of the finest artists since XVIth century, owned by the Musée du Louvre, Département des Arts Graphiques. Running just over 17 minutes, it is worth watching the entire piece and then, getting on their website to place an order.

Jamaica Rebellion broadside

gordon and eyre broadsideIn 1976, the Bank of Jamaica issued a new $10 note featuring George William Gordon (1820-1865) on the bill. Gordon, who was hanged following the October 11, 1865 insurrection known as the Morant Bay Rebellion, was finally being recognized as a patriot and a national hero.

Many appreciated his work at the time. On December 26, 1865 The New York Daily Tribune ran the headline “George William Gordon, the Jamaica Martyr.” The article began, “In the person of the late George William Gordon, Jamaica has just added another name to the list of those who have sealed their devotion to liberty with their lives; another victim to the accursed spirit of negro Slavery.”

Gordon was the son of a Scottish plantation owner and one of his slaves. The self-educated businessman joined the Jamaica House of Assembly and became an advocate for social reform in Jamaica. Although not directly involved in the Morant Bay events, Gordon was arrested and convicted of inciting the riot. He was hanged on October 23 of that year.

Edward John Eyre (1815-1901) was an English land owner and the Governor of Jamaica who called for Gordon’s arrest. Eyre was himself later tried for his part in the rebellion and subsequent murders.

This enormous broadside, 139 x 109 cm (4’ 7” x 3’ 7”) denouncing Eyre was issued in 1866 by the Committee of the British and Foreign anti-Slavery Society and printed in Birmingham, England, by E.C. Osborne. It reads:

“Gordon and Eyre. The committee of the British and Foreign Anti-Slavery Society have received the following communication from Jamaica. “In a dispatch from Mr. Eyre to Mr. Cardwell, dated January, 1866, the following paragraph appears. ‘It is also well known out here, that Mr. Gordon was universally regarded as a bad man in very sense of the word. Reported to be grossly immoral and an adulterer, a liar, a swindler, dishonest, cruel, vindictive, and a hypocrite; such are the term applied to the late G. W. Gordon, and I believe abundant proof might be adduced of all these traits.’ We the undersigned having resided in the island for many years, and having had very considerable opportunities of knowing and forming an estimate of the late Mr. Gordon’s character in his various relations in life, do hereby protest against the foregoing allegations as made by Mr. Eyre, and declare them to be utterly without foundation …” [followed by the names and residences of 12 respectable citizens of Jamaica].

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This is the only recorded copy of the broadside in the United States. For a photographic record of the Jamaica rebellion, see: http://pudl.princeton.edu/objects/736664580

Thomas Nast’s Passport

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Passport no.7365 belonging to Thomas Nast (1840-1902), 17 x 10 ½”, signed by G[eorge] M. Dallas, and issued to “Monsieur Thomas Nast” by the “Légation des Etas Unis d’Amérique”, granting him permission to travel “allant en France et partout le Continent.” London, 17 May 1860. Graphic Arts Collection GA2015- in process

The American artist Thomas Nast was nineteen years old when he was issued this passport, signed by former United States Senator and former Vice-President, George M. Dallas (1792-1864), then serving as Minister to the Court of St. James. At that time, passports included a physical description of the passport holder since no photograph was yet attached. Nast is described as a diminutive lad, 5’5” tall, with a round body, a round face, brown eyes, small chin, straight nose, brown complexion, and black hair.

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Our thanks go to the antiquarian dealer Rusty Mott, who somehow read through the entire document, which is covered with stamps and signatures on both sides. Mott records authorizations for travel to Great Britain, France, Germany, and Italy, including stops in London, Genoa, Turin, Florence, Naples, Palermo, Rome, and Trapani, Sicily. Besides Dallas, the American officials represented by their signatures and stamps include Alexander Hammett of Maryland, who for 52 years, from 1809 to 1861, represented the United States in Naples; W. L. Patterson, American consul at Genoa; and Henry H. Barstow (1823-1875), at Palermo.

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In 1859, Nast was hired by the New York Illustrated News but this passport was issued on 17 May 1860 so he could travel to Sicily representing The Illustrated London News and report on Giuseppe Garaibaldi’s military campaign to unify Italy. Mott notes that “Nast had not been paid by his employer, and had no money to make his Italian trip until Heenan, the American pugilist, lent him the necessary funds. Nast followed Garibaldi from Sicily to Naples, right through the battle of Volturno, October 1-2, and his articles and illustrations covering the war captured the American imagination.”

“He left Italy on Friday, November 30, 1860, making his way north to Germany, with stops in Florence, Milan, Genoa, on through Switzerland, to his boyhood home in Bavaria (hence the November and December authorizations), then back to London. He sailed for New York on January 19, 1861.”

For the Graphic Arts Collection of Thomas Nast prints and drawings, see http://pudl.princeton.edu/collections/pudl0039

Apotheosis in graphic arts

pellerin willseyThe Graphic Arts Collection has received a promised gift of 31 large format, pochoir colored woodcuts from the Pellerin firm in Epinal, France. Designed by François Georgin (1801-1863) between 1820 and 1839, each of the plates shows one event from the celebrated life of Napoleon.

pellerin willsey2We are very grateful to Bruce Willsie, Class of 1986, for this amazing discovery and gift.

The new collection got us to thinking about other ‘apotheosis’ prints (those that elevate someone to divine status) that might be found within the Graphic Arts Collection. It turns out there are many but here is a sampling.

 

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James Gillray (1757-1815), The Apotheosis of Hoche, November 1798. Etching. Gift of Dickson Q. Brown, Class of 1895. Graphic Arts Collection GA 2006.01538

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Baricou Montbrun, L’Apotre de la liberte immortalize (The Apostle of Freedom Immortalized or The Apotheosis of Benjamin Franklin), [Paris: Montbrun, ca. 1790]. Stipple engraving. Graphic Arts Collection GA 2012.01431

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Gilbert Randon (1814-1884), after Abraham Girardet (1764-1823). Apotheose de J. J. Rousseau, sa translation au Pantheon (11 octobre 1794) (Apotheosis of J. J. Rousseau, His Translation to the Pantheon (October 11, 1794), no date [1847-1854]. Engraving. Graphic Arts Collection GA 2012.00846

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George Moutard Woodward (ca. 1760-1809), Napoleon’s Apotheosis Anticipated or the Wise Men of Leipsic Sending Boney to Heaven Before His Time!!!, [September 15, 1805?]. Hand colored etching. Gift of Dickson Q. Brown, Class of 1895. Graphic Arts Collection GA 2006.01538

 

“They have the luster that lasts.”

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“German Process Cigar Bands. THEY HAVE THE ‘LUSTER THAT LASTS.’ The Book contains an issue of original designs in a variety of colors, and every one perfect and superior to most imported bands. They are sold at a price that will save you money and yet give the most satisfactory results. Attractive designs that are characteristic and highly embossed. German Process Cigar Bands are the Best. Write Now — Made only by Wm. Steiner, Sons & Company, Lithographers. Steiner Building 257-265 W. 17th Street, New York.” –advertisement in Tobacco World, 1911.

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William Steiner and Isaac Rosenthal founded a lithographic printing company in 1884 to produce cigar bands exclusively. The New York company grew quickly and in 1905, Steiner constructed his own building on West 17th Street in midtown Manhattan. Today the Steiner building has been converted to condominiums and the Graphic Arts Collection hold one of their sample books, pictured here.

cigar bands3German Process Cigar Bands (New York: Steiner Company, ca. 1911). Embossed chromolithography. Graphic Arts Collection Ephemera.

Jan van der Heyden and his firefighting book

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In 1690, the Dutch painter Jan van der Heyden (1637–1712) and his son, also Jan, published a volume of engravings depicting various Amsterdam fires and the machinery van der Heyden invented to fight them. The Description of the Newly Discovered and Patented Hose Fire Engine and Its Way of Extinguishing Fires is called the first firefighting manual. Certainly it is the most beautiful. Some of the plates were engraved by van der Heyden himself and at least one is attributed to Romeyn de Hooghe (1645-1708).
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heyden, brandspuiten boek4The first edition of van der Heyden’s book included nineteen plates. Seven additional prints were added when a second edition was published after his death in 1735. The copy in the Graphic Arts Collection has unfortunately been unbound and its eighteen plates (1652-1684) matted separately.

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Jan van der Heyden (1637-1712), Beschryving der nieuwlyks uitgevonden en geoctrojeerde slang-brand-spuiten en haare wyze van brand-blussen (Description of the Newly Discovered and Patented Hose Fire Engine and Its Way of Extinguishing Fires) (Amsterdam: Jan Rieuwertsz, 1690).