Scenes from Byron’s Life

byron2Princeton University Library has a number of books with fore-edge paintings. The Graphic Arts Collection recently acquired two more. The books are bound in mid-19th century full navy morocco with elaborately gilt and blind stamped covers. The name “Violet” is gilt stamped on both front covers.

Each volume also has a lovely early fore-edge painting, presenting scenes with Byron associations. One is a city view of Harrow-on-the Hill where Byron went to school [below] and the second a view of Athens, Greece [above]. blood byron

Inside are the Byron poems you would expect in various editions, including Lara (4th ed.); Hebrew Melodies (1st ed., without ad leaf); The Siege of Corinth (2nd ed.); Ode to Napoleon Buonaparte (12th ed.); Poems (2nd ed.); Manfred (2nd ed.); Beppo (7th ed.); and Childe Harold’s Pilgrimage, Canto the Fourth (1st ed., 2nd issue).

Lord Byron (1788-1824), The Works (London: Printed for John Murray, 1814-1824). 2 of 12 volumes. Rebound with fore-edge paintings added.  Graphic Arts Collection 2014- in process

[left] T. Blood, (active 19th century) after Richard Westall (1765-1836), Lord Byron, 1814. Stipple engraving. Graphic Arts Collection GA 2005.02041

 

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David Davidson, Maryland 7th Regiment

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Unidentified photographer, Sergeant David Davidson, ca. 1862. Hand painted tintype. Graphic Arts Collection 2014 in process. Gift of Russell Marks, Class of 1954.

Thanks to the generous donation of Russell Marks, Class of 1954, the Graphic Arts Collection has a new full-plate hand-painted tintype from the 1860s. The photograph shows Union Army Sergeant David Davidson, great grandfather of Mr. Marks, and a member of Maryland’s 7th Regiment during the American Civil War.

7th Regiment Infantry was organized at Baltimore, Md., August and September 1862 and moved to the Antietam September 18, 1862. According to the U.S. National Homes for Disabled Volunteer Soldiers, Sergeant Davidson (born 1838) was admitted in 1907 at the age of 69. (microfilm M388 roll 3).

Marks and his wife Tricia (formerly editor of the Princeton University Library Chronicle) lived in Latin America for fifteen years. His business career included managing a sugar and paper complex in Peru as well as the presidency of Phelps Dodge International Corporation and of the Americas Society.  The couple is now happily living in Princeton once again.

 

 

Nancy Holt, 1938-2014

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holt ransack4American Land Art artist Nancy Holt, recently celebrated in the Princeton University Art Museum’s exhibition New Jersey as Non-Site, died Saturday, February 8, 2014, at the age of 75. Holt delivered a keynote lecture at Princeton last October, speaking about the site-specific work she created in New Jersey both alone and alongside her late husband Robert Smithson.

Holt was born in Massachusetts but spent much of her childhood in Clifton, N.J. In recent years, she has lived in Galisteo, New Mexico. Her work was the subject of a retrospective, Nancy Holt: Sightlines, organized by Columbia University in 2011, which traveled to the Santa Fe Arts Institute, the Utah Museum of Fine Arts and her alma mater, Tufts University, among other venues.

In a 2012 interview with Alastair Sooke, Holt spoke of visiting the American West for the first time with Smithson and the artist Michael Heizer. “I got off the plane in Las Vegas – the airport was out in the desert – and I remember feeling that my inner world and the outer world were one,” said Holt. “It was very powerful. I just felt connected to the place – as if the desert had been within me right along.”

When asked if she would call the experience an epiphany, she replied, “I don’t like that word, but it was a moment that changed me. I never was the same again. And my work evolved out of this central experience.”

The Graphic Arts Collection holds one of her early artists’ books, which was a remembrance of her Aunt Ethel. Nancy Holt (1938-2014), Ransacked: Aunt Ethel: an ending (New York: J: N. Jacobson & Son, Inc, 1980). Graphic Arts Collection (GAX) Oversize 2006-0095Q

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The Hippodrome

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From 1905 to 1939, the largest theater in the United States was the Hippodrome, built on Sixth Avenue just off Times Square. Designed in the Beaux-Arts style, the auditorium had a seating capacity of 5,200. Its stage was twelve times larger than the Broadway theaters nearby and ticket prices cheap enough for the general public to attend the spectacles, which might include as many as 1,000 performers at a time, or a full-sized circus with elephants and horses.circus 9

When the final structure of the Hippodrome was demolished in 2005, Christopher Gray wrote in the New York Times, “The Hippodrome was the creation of Frederic Thompson and Elmer Dundy, who had attained fantastic success with their Luna Park entertainment center in Coney Island. Thompson was only in his 30’s when he conceived Luna Park, a 22-acre assembly of thrilling rides, canals, towers, dance halls and sideshows that opened in 1903 (and that stayed around until the mid-40’s).

In 1904, Thompson began work on an even more ambitious project, the Hippodrome, named for the open-air arenas in ancient Greece and Rome where chariot races were held. The theater was credited to the architect Jay H. Morgan, but he is otherwise known largely for stables and tenements, so it’s reasonable to assume that the physical appearance was mostly Thompson’s work.”

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“. . . Giant banded columns flanked the main doorway, which had a keystone formed by a relief sculpture of a huge elephant’s head. The auditorium, 160 by 160 feet, included a promenade consisting of glass cases holding live wild animals. It also had a great water tank, 14 feet deep, within the 200-foot-wide stage. The 1904 permit for the building said its construction cost would be $400,000.

The Hippodrome opened in April 1905 with A Yankee Circus on Mars, an improbable drama-ballet-circus-opera in which the King of Mars buys a bankrupt New England circus. Another first-night offering (the evening lasted about four hours) was a Civil War drama, Andersonville, in which opposing cavalry members fought a battle across a mountain torrent running under a 30-foot bridge. The evening’s cast was reported to have included 280 chorus girls and 480 “soldiers.” Those attending included Frederick Vanderbilt, Harry Payne Whitney and the architect Stanford White.”

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sells brothers circus 7These are just a few of the enormous posters included in Princeton’s collections of circus memorabilia.

Actors’ Order of Friendship Resolution

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When the American actor William Conlin (1831-1891) died, the New York Times published an obituary under his stage name William J. Florence. The headline read: Florence passes away; the peaceful death of the distinguished actor. The end came at 8:20 o’clock last night while he was sleeping — the body to be brought to New-York to-day. 

actors certificate3“William J. Florence, the distinguished actor, died at 8:20 this evening in his room at the Continental Hotel, to which he had been confined since last Saturday night. Death came so peacefully that Mrs. Barney Williams and Mrs. Wyard, his sisters-in-law, and Dr. J.S. Donellan, who were by the bedside, did not know he was dead until he had ceased breathing several minutes.” (NYT November 20, 1891)

Benjamin Edward Woolf wrote The Mighty Dollar for Florence and his wife, Malvina Pray. They performed the play over 2,500 times until his death in a Philadelphia hotel. The local chapter of the Actors’ Order of Friendship, a fraternal organization, met two days later and prepared a certificate with the following resolution, “Whereas, it has pleased the Supreme Power before whom we reverently and humbly bow to call from the active scenes of life our beloved brother, fellow artist and co-worker in the Fraternity of Honor, Union and Justice, . . . therefore Resolved, that we in common with all lovers of art and true manhood deeply mourn the loss of our departed brother and sincerely condole with the bereaved wife, the sorrowing family and friends…”

Florence was not only an active member of the Actors’ Order of Friendship, founded in 1846, but also co-founder in 1867 with Walter M. Fleming of another fraternal organization, the Shriners.

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Florence dressed for a performance of The Mighty Dollar

Panoramic cameras

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In the early 20th century, panoramic or pantoscopic cameras were all the rage. All kinds of clubs, companies, school classes, orchestras, and other large assemblages posed for a group picture. Here are a few in the Graphic Arts Collection.

The Mile High Photo Company, based in Denver, was probably responsible for the two photographs of Broadway touring companies.

The first company was presenting Clarence by Booth Tarkington (1869-1946). The play was first performed in 1921 and published by Samuel French the same year (Firestone Library PS2971 1931 v.1)

The second photograph shows Otis Skinner (1858-1942) who was featured in a production of The Honor of the Family from a story by Balzac. The Honor of the Family first opened at the Booth Theatre in 1926 and traveled to Denver in May of 1927.

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panorama photo9The Lambs Club is America’s first professional theatrical club. Organized in 1874 by a group of actors and enthusiasts, they took their name from a similar group in London, which flourished from 1869-1879 under the name of drama critic and essayist Charles Lamb.

Since the club’s founding, there have been more than 6,000 Lambs, with an elite roster reading like a Who’s Who of American theater and film: Maurice, Lionel and John Barrymore, Irving Berlin, Cecil B. DeMille, David Belasco, Charlie Chaplin, George M. Cohan, and Douglas Fairbanks among many others. The West Virginia club can be seen posing here in 1914, photographed by S.R. McCoy of Wheeling.

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Monuments Men

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Please . . . Get there and back! 1943. Graphic Arts Collection GC156 World War Posters Collection

In conjunction with Brett Tomlinson’s wonderful PAW post on Princeton’s Monuments Men: http://blogs.princeton.edu/paw/2014/01/throwbackthursd_16.html#.UvPbfrS0R8E, here are a few books you might want to read after seeing the movie.

Akinsha, Konstantin. Beautiful loot: the Soviet plunder of Europe’s art treasures. New York: Random House, c1995. Firestone Library (F) N8795.3.G3 A39 1995
Allied Military Government. Division of Monuments, Fine Arts and Archives. Collection of German letters and memoranda pertaining to confiscation of European art treasures, secured by 1st Lt. James J. Rorimer, G-5 Monuments, Fine Arts and Archives Officer, Seventh Army, from Dr. Schiedlausky and Bruno Lohse …. [n.p.] 1945. RECAP: Marquand Lib. use only. N6750 .A42
Allied Military Government. Division of Monuments, Fine Arts and Archives. Final report[s] …[n.p.] 1945-46. RECAP: Marquand Lib. use only. Oversize N81 .A43q
Brey, Ilaria Dagnini, 1955- The Venus fixers: the remarkable story of the Allied soldiers who saved Italy’s art during World War II. New York: Farrar, Straus and Giroux, 2009. Firestone Library (F) N6911 .B74 2009
Edsel, Robert M. Saving Italy: the race to rescue a nation’s treasures from the Nazis. New York: W. W. Norton & Company, c2013. Firestone Library (F) D810.A7 E234 2013
Harclerode, Peter, 1947- The lost masters: the looting of Europe’s treasure houses. London: Gollancz, 1999. Annex A, Forrestal: N9160 .H37 1999
Howe, Thomas Carr, 1904- Salt mines and castles; the discovery and restitution of looted European art. Indianapolis, New York, The Bobbs-Merrill Company [1946] Annex A, Forrestal: N6750 .H83
Rousseau, Theodore, 1912-1973. The Goering collection. [Washington, D.C.]: U.S. Army, Office of Strategic Services, Art Looting Investigation Unit, 1945. Marquand Library (SA) Oversize Oversize N6750 .U59q
Schnabel, Gunnar, 1962- The story of Street scene: restitution on Nazi looted art: case and controversy. Berlin: Proprietas, 2008. Firestone Library (F) ND588.K4 A76 2008
The recovery of stolen art: a collection of essays / edited by Norman Palmer. London: Kluwer Law International, c1998. Marquand Library (SA) KD1225 .R43 1998
Yeide, Nancy H., 1959- Beyond the dreams of avarice: the Hermann Goering collection. Dallas, Tex.: Laurel Publishing, 2009. Marquand Library (SA) N5267.G67 Y45 2009
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Stevan Dohanos (1907-1994), Award for careless talk. Don’t discuss troop movements, ship sailings, equipment, 1944. Graphic Arts Collection GC156 World War Posters Collection

Roget’s other work

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language of mathematics1John Lewis Roget (1828-1908), Familiar Illustrations of the Language of Mathematics or a New
Picture-Alphabet for Well-Behaved Undergraduates; Wherein a Ray to Illuminate their Path is Transmitted through Nine Plates of a Rare Medium by Means of the Eccentrical Pencil of W.A.G. [pseud.] (London: Ackermann, 1850). Bound together with Cambridge Customs and Costumes (London: Ackermann and Company, 1851). Graphic Arts Collection GAX 2014- in process
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John Roget was the only son of Peter Mark Roget (1779-1869), the lexicographer best known for publishing the Thesaurus of English Words and Phrases (Roget’s Thesaurus) in 1852. Although John trained for the bar and worked together with his father on editions of the Thesaurus, his aptitude for painting and drawing was the primary focus of his life.

He become the Historian of the Royal Society of Painters and Watercolours and published several volumes of humorous sketches with academic puns. Two of these have recently been acquired by the Graphic Arts Collection.

Roget was joined in these publications by the very young Arthur George Witherby, a journalist, editor and part-time caricaturist who used the pen name W.A.G. and later drew for Vanity Fair.
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Beyond the sketches themselves, these volumes present some of the earliest examples of anastastic printing, a technique often used to reproduce drawings and fine art etchings. By the mid-19th century, Rudolph Ackermann and many British publishers had their illustrative plates printed by Rudolph Appel & Company’s Anastastic Press in Ipswich.

language of mathematics6This was a metal (usually zinc) relief process probably developed by Charles d’Aiguebelle who earned a silver medal at the Exposition of 1834 for his “transports sur pierre d’impression anciennes.”

Luis Nadeau speculates that the first book with anastatic illustrations may be Sketches Printed at the Second Hampstead Conversazione February 2nd, 1846. Princeton University Library’s earliest example is John William Hewett’s 1849 Early Wood Carving . . . printed at Appel’s Anastatic Press (Marquand NK9744.E97 H48 1849). The books drawn by John Roget follow closely in 1850 and 1851, with excellent examples of anastatic printing to reproduce pen drawings.

See also: John Lewis Roget (1828-1908), A History of the ’Old Water-Colour’ Society (London, New York: Longmans, Green and co., 1891). Graphic Arts Collection (GA) Rowlandson 887
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Handmade art

Hands_5-2mbhttp://www.olafureliasson.de/index.html

Sharing Olafur Eliasson’s recently posted GIF

 

The Second Royal Exchange

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bartolozzi view of the insideFrancesco Bartolozzi (1727-1815), after Philip James de Loutherbourg (1740-1812) and John Chapman (active 1792-1823), View of the inside of the Royal Exchange in London, 1788. Etching and engraving with hand coloring. GC094 Italian Prints Collection. Gift of William Thorpe, Class of 1969.

In 1777, several drawings were made of the interior and exterior of the second Royal Exchange, built in 1674 by Edward Jarman after the Great Fire of 1666. The drawings were engraved by Francesco Bartolozzi and published on August 12, 1788 in both colored and uncolored versions. The Graphic Arts Collection has the interior scene with a tower rising above the arcade on the left.

We use the title View of the Inside of the Royal Exchange but the complete inscription reads: “To the Right Honorable William Pitt, first Lord Commissioner of the Treasury, principal secretary of state, and Chancellor of the Exchequer, this accurate perspective View of the inside of the Royal Exchange, in London, is by permission humbly dedicated, by his most Grateful, Obedient and most Obliged humble Servant.”

Chapman and Loutherbourg worked together on this scene, with Chapman concentrating on the buildings and Loutherbourg on the pedestrian traffic. Unfortunately, this building was also destroyed by a fire in 1838 and rebuilt for a third time, opening in 1844.