1596 Good Samaritan

maarten-de-vos-samaritanThe Dutch printmaker Crispijn de Passe, the elder (ca.1565-1637) engraved a series of Christian parables under the series title Parabolarum Evangelicarum Typi Elegantissimi A Crispiano Passaeo Designati Et Expressi (Gospel Parables Elegantly Reproduced by Crispijn de Passe). The sheet above recounts the lesson of the good Samaritan from the book of Luke, chapter 10, Love your neighbor as yourself.

Flemish artist Maarten de Vos (1532-1603), whose wife was de Passes’s wife’s aunt, drew the original designs including a title page and nine circular plates (Hollstein 93-104). A Latin verse surrounds each scene, for example the title page text comes from Matthew, chapter four: Qui respondens dixit: Scriptum est: Non in solo pane vivit homo, sed in omni verbo, quod procedit de ore Dei. (But he answered and said, It is written, Not in bread alone doth man live, but by every word that proceedeth out of the mouth of God.)AN00123517_001_l

Created over a number of years, the series was finally published by de Passe in Cologne, where his family settled after being expelled from Antwerp. It’s unfortunate this came less than a year after the death of de Vos. He also published series of engraved roundels for The Twelve Months, The Ages of Man, The Muses, and several others.

Title page (c) British Museum

 

Crispijn de Passe, the elder (ca.1565-1637) after artist Maarten de Vos (1532-1603), [The Good Samaritan] in Parabolarum Evangelicarum Typi Elegantissimi A Crispiano Passaeo Designati Et Expressi (Gospel Parables Elegantly Reproduced by Crispijn de Passe). 1596-1604. Engraving. Graphic Arts Collection Flemish prints.

 

 

 

Prise de la Bastille

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prise de la bastilleIn a few weeks, we will celebrate Bastille Day or La Fête Nationale, commemorating the storming of the Bastille on July 14, 1789. This print depicts the French guard firing their cannons, although one soldier seems to be daydreaming at the far right.

Governor de Launay (1740-1789) is being taken prisoner as his house is set on fire. Within a few hours, he will be killed and his head carried through the streets on a pike.

Unidentified artist, Prise de la Bastille par les bourgeois et les braves Gardes françaises de la bonne ville de Paris, le 14 juillet 1789 (Storming of the Bastille by the bourgeoisie and the brave French Guards of the good city of Paris, July 14, 1789), no date. Engraving. Graphic Arts Collection GA 2012.01153.

 

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Rockwell Kent tells Princeton students, “I’m not a communist.”

kent exNot long after Elmer Adler came to Princeton and established the Princeton Print Club, he hung a Rockwell Kent exhibit from his personal collection. “This exhibition consists of original woodcuts, lithographs and pen-and-ink drawings in the woodcut manner, as well as an original lithograph stone,” announced the Daily Princetonian. “In collaboration with Mr. Adler’s exhibit, the Treasure Room of the Princeton University Library has an additional display of books illustrated by Mr. Kent. —Daily Princetonian Alumni Special, v. 66, no. 23 (22 February 1941).

Adler invited Kent (1882-1971), who had just published his memoir This is My Own (Graphic Arts Collection (GAX) NC1075 .K43), to speak with his students. A few days passed before Eugene Holland Jr., Class of 1944, finished his review with the headline, “Rockwell Kent Not a Red but Thinks Everyone Ought to Study Communism.”

“‘I am not a Communist, but I am very interested in Communism and think that it is a very successful system of government which should be studied by everyone,’ stated Rockwell Kent, famous American artist, author and political crusader in an interview in the home of Elmer Adler, 40 Mercer St., last Tuesday.”

kent ex3“Mr. Kent has just returned from a tour of the state of Michigan where he gave a number of speeches on the Civil Liberties movement which he is sponsoring. During this trip a Detroit newspaper called him a Fascist, Communist and Father Coughlinite and condemned the movement he was supporting. This insult aroused his fighting spirit and “ended in a profit able law suit.” He added that there was nothing he liked better to do than to participate in a crusade or a fight such as the movement he is now supporting “because when I confine all my fighting to this sort of thing,” he said smiling at his attractive wife, “I’m much pleasanter when I’m at home.”

“. . . Mr. Kent turns to the working class for the preservation of democracy in America, and condemns organizations like the Dies Committee for classifying the American Youth Congress and all other groups that are ‘trying to save democracy’ as Communistic. He added that it is futile to try to save the democratic way of life if, at every election, the people allow political machines to exercise control over the result of the voting. He further warned against laws that prevent strikes or in any way curtail our civil liberties, saying that they would make the working class powerless under the control of big business.

“‘Our generation,’ concluded Mr. Kent, ‘has made a rotten mess of the world, and now we’re about to turn over the responsibility of governing this world to the unprepared and inexperienced younger generation. The future of this younger generation is being determined in Congress at the present time and the opinions of the youth of the country are being totally ignored.’ To remedy this weakness he suggested that young people be allowed to start taking over control from their elders much earlier than they do at present and above all that they should avoid being escapists in any way. In response to the query, ‘What is your philosophy of life?’ he answered, ‘I get away with everything I possibly can.'” —Daily Princetonian, v.66, no. 34 (7 March 1941).

kent ex2From the Princeton Print Club scrapbook, v.1 1940-1945. Graphic Arts Collection.

 

 

Louis XIV visits the Royal Academy of Sciences

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In this fictitious scene, Louis XIV is visiting the Royal Academy of Sciences, where a group of academicians are gathered to watch the dissection of a fox.

The engraving is posted in conjunction with an exhibition being organized for the main gallery of Firestone Library, Princeton University, to coincides with the tercentenary of the death of Louis XIV (1638-1715). Versailles on Paper: A Graphic Panorama of the Palace and Gardens of Louis XIV opens on February 13 and runs through July 19, 2015.

perrault memoires4 Sébastien Leclerc (1637-1714), [Louis XIV Visiting the Royal Academy of Sciences], engraved frontispiece in Claude Perrault (1613-1688), Memoires pour servir a l’Histoire Naturelle des Animaux (Paris: Sébastien Mabre-Cramoisy for the Imprimerie royale, 1671-1676).
Rare Books Ex Oversize 8807.707e

perrault memoires3 “In 1671 and 1676,” writes Anita Guerrini, “the royal printing office in Paris published two volumes of a sumptuous elephant folio titled Mémoires pour servir à l’histoire naturelle des animaux. Emblazoned with a large royal emblem encompassing a crown, scallop shells, and fleurs-de-lis proclaiming the volumes to be a product of royal patronage, the 1671 title page named no author, although the 1676 volume did name the physician and architect Claude Perrault as ‘compiler.’ The books were printed on fine paper and were illustrated with numerous engravings by Sébastien LeClerc, one of the best known of Louis XIV’s stable of court artists and engravers.”

“…The volumes were obviously meant to showcase Louis XIV’s patronage of the sciences and perhaps also to guarantee its continuation; the front matter included an illustration of a visit of the king to the Paris Academy of Sciences—a visit that had not yet taken place at the time of publication.”

“The project was one of several of the Paris Academy of Sciences, founded in 1666 by Louis XIV’s minister Jean-Baptiste Colbert and supported by the crown. Early in 1667, Claude Perrault announced a project of “anatomical observation” at one of the first meetings of the academy.”–Anita Guerrini, “The ‘Virtual Menagerie’: The Histoire des animaux Project,” Configurations 14, no. 1-2 (winter/spring 2006): 29-41 (Firestone PN55 .C66)

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The Golden Book of Portuguese Tinned Fish

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When the Instituto Português de Conservas de Peixe (Portuguese Institute of Canned Fish) was established in Lisbon, a search was made for an ingenious writer/artist to convey the beauty and drama of tinned fish.

The Portuguese writer, painter, and film director José Leitão de Barros (1896-1967) took on the project organizing and directing an ensemble of visual artists including photographer Manuel Alves San Payo (1890-1974), painter José de Bragança, as well as Raúl Reis, Mário Novais, Raimundo Vaissier, Ferreira da Cunha e Almeida Graça and many others.

Leitão de Barros was a talented film director and designer, whose work began in 1918 with LeitMal de Espanha; O Homem dos Olhos Tortos; and Malmequer (1918); followed by Nazaré, Praia de Pescadores (1929); Festas da Curia (1927); Lisboa (1930); Maria do Mar (1930) and dozens of others. He also published and illustrated a variety of newspapers and magazines under another career as a photojournalist.

In 1940, he was named the Secretary General of the Exposição do Mundo Português (The Portuguese World Exhibition) held in Lisbon under President Oliveira Salazar. Three years later, he was chiefly responsible for the government supported “Peoples Fair” and went on to become director of the National Society of Fine Arts.

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golden book of 3José Leitão de Barros (1896-1967), compiler, The Golden Book of Portuguese Tinned Fish (Lisbon: Instituto Português de Conservas de Peixe, 1938. Graphic Arts Collection GAX in process
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Several of Leitão de Barros’s films are available online. Here is a sample:

The Club of Printing Women of New York

printing women clubThanks to the kind donation of Gloria Jean Landolfi, in honor of Camille Sellito Langsdorf, the Graphic Arts Collection has several important publications and artifacts from the Club of Printing Women. In particular, we have the pin only worn by members of the Club, previously own by Ms. Langsdorf’s aunt Camille, who was a member of the New York branch and a working printer.

outWe also received a copy of the book: Antique, Modern, & Swash: A Brief History of Women in Printing (1955, RCPXG-6960832), along with the 50th Anniversary keepsake from The Club of Printing Women of New York, their 1971 Membership Directory, 25th Anniversary Dinner roster, as well as newspaper clippings and personal photographs of members.

For more information, see the website for Rebecca W. Davidson’s  exhibition “Unseen Hands”: http://libweb2.princeton.edu/rbsc2/ga/unseenhands/

women in printing2A page from Antique, Modern, & Swash: A Brief History of Women in Printing

Edward Lear’s Turtle

lear's turtle

Edward Lear (1812-1888), Turtle, Sept. 15, 1860. Pencil on paper. Graphic Arts Collection GA 2006.02052

Down the slippery slopes of Myrtle,
Where the early pumpkins blow,
To the calm and silent sea
Fled the Yonghy-Bonghy-Bo.
There, beyond the Bay of Gurtle,
Lay a large and lively Turtle.
“You’re the Cove,” he said, “for me;
On your back beyond the sea,
Turtle, you shall carry me!”
Said the Yonghy-Bonghy-Bo,
Said the Yonghy-Bonghy-Bo.

Through the silent-roaring ocean
Did the Turtle swiftly go;
Holding fast upon his shell
Rode the Yonghy-Bonghy-Bo.
With a sad primeval motion
Towards the sunset isles of Boshen
Still the Turtle bore him well.
Holding fast upon his shell,
“Lady Jingly Jones, farewell!”
Sang the Yonghy-Bonghy-Bo,
Sang the Yonghy-Bonghy-Bo.

–Excerpt from The Courtship of the Yonghy-Bonghy-Bo by Edward Lear (1812 – 1888)

See also: James de Carle Sowerby (1787-1871), Tortoises, terrapins, and turtles drawn from life, by James de Carle Sowerby … and Edward Lear (London, Paris, and Frankfort: H. Sotheran, J. Baer & co., 1872). Rare Books (Ex)Oversize 88783.867q

Alexander and Hephaistion Visit the Family of Darius

famillia de darius2Gérard Edelinck (1640–1707) after Charles le Brun (1619-1690), Alexander and Hephaistion Visit the Family of Darius in their Tent after the Battle of Issus, 1661. Diptych engraving. Graphic Arts Collection GA Flemish prints. *The date indicates the year le Brun finished his painting for Louis XIV, now in the Musée du Château, Versailles.

famillia de DariusIn 333 BC Alexander defeated Darius III, the last king of the Achaemenid Empire, at the Battle of Issus. Darius escaped capture, but his wife Statira, his mother, Sisgambis, and his daughters Statira and Drypetis were taken by Alexander.

“The picture tells a famous story of Alexander’s generosity. After the flight of the defeated Persian king Darius, Alexander visited his wife, mother and the other women of the family. As he entered the tent, Darius’s mother mistakenly prostrated herself before Alexander’s companion Hephaestion; but instead of flying into the sort of murderous rage that might be expected of a slighted oriental despot, Alexander dismissed this error as of no importance and extended his protection to the royal family. All the figures in the composition were carefully devised by Le Brun to respond to this event with a range of expressions from fear or wonder to admiration.”–Christopher Allen The Australian January 19, 2013

Edelinck engraved le Brun’s painting in two prints, printed with an irregular dividing line so that the break will disappear when they are framed together. We have left a slight space between the two sheets in this image.

 

The private tears of Bartholomeus Spranger

privatas sacrymat2Christina Müller was the beloved wife of the Mannerist painter Bartholomeus Spranger. When she died, he painted an allegory in her memory and had it engraved by his friend and colleague Aegidius Sadeler. The elaborate print shows Spranger, surrounded by the personifications of the visual arts. He is pointing to his wife on the right, who is also admired by a putto holding a scull, with one foot on an overturned hourglass. Spranger is ready to follow her but just as Death is about to spear him, Time steps forward to show that the painter’s hourglass is not yet empty.

Inscribed at the bottom of the plate: Priuatas lacrymas Bart. Sprangeri Egid. Sadeler miratus artem et amantem redamans, publicas fecit: et eidem promutua beneuolentia dedicauit. Pragae Anno Seculari [The private tears of Bartholomeus Spranger are made public by Aegidius Sadeler, who admired his art and his marriage; and dedicates the print to him with sincere affection. At Prague in the centennial year.]

privatas sacrymatAegidius Sadeler, the younger (ca. 1570-1629) after Bartholomeus Spranger (1546–1611), Portrait of Bartholomeus Spranger with an Allegory of the Death of his Wife, Christina Müller, 1600. Engraving. Graphic Arts Collection GAX Flemish prints

 

 

Edelinck’s copy of Rubens’ copy of Leonardo’s lost painting

flemish4Leonardo finished a large cartoon in 1504 depicting the Battle of Anghiari to hang opposite Michelangelo’s Battle of Cascina. Besides the preliminary drawing, we have Leonardo’s words stating, “First of all, the smoke of the artillery must be rendered, mingled in the air with the dust thrown up by the cavalry and the combatants… The air must seem full of streaks of fire like lightning flashes… You must show the victors running with wild hair tossed, like their draperies, by the wind, with wrinkled faces and swollen knitted brows.” The final work was either lost or destroyed.

flemish3Rubens made a sketch in 1603, based on an engraving, and in turn, Edelinck made an engraving after Rubens’ sketch. Born in Antwerp, Gérard Edelinck became a naturalized French citizen in 1675, however, this print is thought to have been finished before that date and is classed with Flemish prints.

From 1666 until his death, Edelinck worked in Paris. On the recommendation of Charles Le Brun, royal painter and director of the Gobelins factory, Edelinck was hired as an instructor for the tapestry workers. Under he direction, several of Edelinck’s earlier designs found their way into the woven designs.

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flemish drawer Gérard Edelinch (1640-1707) after Peter Paul Rubens (1577-1640) after Leonardo da Vinci (1452-1519), The Battle of Anghiari (The Battle of Four Horsemen), ca. 1657-1666. Engraving. Graphic Arts Collection GA 2014 Flemish prints

louvre-990_49648_600x450Sketch by Rubens. (c) Louvre, Paris, France