NO, IT IS

NO, IT IS, 2012. Triptych of three flipbook films; HD video shown on 3 flat screens. (c) William Kentridge

The South African artist William Kentridge prepared and delivered the Charles Eliot Norton lectures at Harvard University in 2012. They can be seen here: http://mahindrahumanities.fas.harvard.edu/content/norton-lectures His exploration of various ongoing multimedia projects evolved into an exhibition, which just opened at the Marian Goodman Gallery in New York City.
http://vimeo.com/56083100

One segment of the show involves the translation of Kentridge’s 2012 flip book NO, IT IS, into a triptych of flip-book films shown on three flat screens, including Workshop Receipts, The Anatomy of Melancholy, and Practical Enquiries.

The Graphic Arts collection is fortunate to hold one of the sold out copies of NO, IT IS, published by Fourthwall Books, Johannesburg. The Refusal of Time, a documentation of the creative process for the work of the same title, shown at Documenta (13), 2012 and published by Xavier Barral, Paris, is available at Marquand Library (Oversize N7396.K46 A4 2012q).

William Kentridge: No, It Is (Johannesburg: Fourthwall Books, 2012). Graphic Arts Collection GAX 2012- in process

Goethe mixes poetry with visual art

Graphic Arts recently acquired this fragile booklet with six poems by Johann Wolfgang von Goethe (1749-1832) along with six etching after drawings he had made a number of years earlier and chose specifically for this publication. The plates were etched by the theatrical painter Carl Wilhelm Holdermann (active 1820-1840) and by Carl Lieber (active 1820s), a protégé of Goethe and instructor at the Weimar drawing school. The text was printed by Caesar Mazzucchi in Magdeburg, and the portfolio published by Goethe’s friend, Carl August Schwerdgeburth (1784-1878).

The project was described by Goethe himself (translated and printed by Antony Griffiths in German Printmaking in the Age of Goethe 1994):

The undertaking of several worthy artists to edit etched plates after my drawings must be welcome to me in more than one sense. As music is welcome to the poet, whereby the musician brings alive his poem for himself and others, so it is a pleasure to see here old long-faded sheets rescued from the stream of Lethe. On the other hand, I have long thought that in the information and account that I have given of my life, drawing is often mentioned, whereby one might not unreasonably ask why, after repeated effort and continuous enthusiasm, nothing that gives any artistic satisfaction has emerged . . . The finest benefit that an art-lover can get from his unachieved strivings is that the society of the artist remains dear and valuable, supportive and useful to him. And he who is not in a position to create himself, will, if he only knows and judges himself wisely, profit from intercourse with creative men, and, if not on this side, at least from another side form and educate himself.

Radirte Blätter nach Handzeichnungen von Goethe herausgegeben von C.A.Schwerdgeburth (Weimar: Schwerdgeburth, 1821). 6 etchings after drawings by Goethe . Graphic Arts Collection 2013- in process

With the feeling that these sketches that are now laid before the public cannot entirely overcome their inadequacies themselves, I have added a small poem to each, so that their inner meaning can be perceived, and the viewer might be laudibly deceived, as if he saw with his eyes what he feels and thinks, that is a closeness to the state in which the draughtsman found himself when he committed his few lines to paper (Über Kunst und Alterthum, III, part 3, 1822, pp.142-50).

Although Goethe liked to sketch, he noted, “… I was intelligent enough to recognise that I had no talent for the visual arts and that my efforts in this direction were misplaced. In my drawing I lacked sufficient feeling for substantiality. I had a certain fear of letting the objects make their full impact on me; on the contrary, it was the insubstantial and unemphatic elements that appealed to me . . . Nor without constant practice did I ever make any progress; and I always had to start again from the beginning if I had ever dropped my drawing for a while.”

Emil Rudolf Weiss

Gerald Cinamon, E R Weiss: the Typography of an Artist: Emil Rudolf Weiss: a Monograph (Oldham [England]: Incline Press, 2012. One of 250 copies. Graphic Arts Collection GAX 2013- in process

Graham Moss of Incline Press issued a wonderful survey of work of the German type designer Emil Rudolf Weiß (1875–1942) with a text by Gerald Cinamon. According to the prospectus, when Cinamon was approached to write about Weiss, he was provided with two suitcases full of research material and examples of Weiss’s work, all in German. The folio volume includes numerous tipped in facsimiles along with two small supplements: The Anagnostakis Pocket Guide to Austrian German and Swiss Antiquarian Bookdealers Terminology and E.R. Weiss In Memorium.

Weiss created Art Nouveau designs for books, textiles and furniture, theater sets and costumes, stained glass, and much more. His work came to prominence in 1895 when it was included in Pan magazine (SAX Oversize N3 .P25q) when he also began publishing small editions of his poetry, such as Die blassen Cantilenen (Recap 3496.23.396).

In 1913, Bauersche Giesserei commissioned a font that became Weiss-Fraktur, which was published in a luxurious specimen book (GA Oversize 2006-0820Q). Two other fonts were designed and cast in metal type.

In the 1920s, Weiss was one of the designers selected by Stanley Morison for the binding and endpaper design of The Fleuron: a Journal of Typography (Weiss: no. 5; GAX Oversize Z119 .F62q).

Before

The moving of the Graphic Arts Collection, September 2013.

Wish us luck.

Parrish comes home

When is a desk more than just a desk? When it belonged to Morris Longstreth Parrish (1867-1944), Class of 1888, extraordinary collector of Victorian literature.

Assistant University Librarian Alexander Wainwright (1918-2000) wrote a wonderful essay about the man and his collection, which was bequeathed to Princeton in 1944 along with the library furniture from Mr. Parrish’s home, Dormy House, in Pine Valley, New Jersey. http://libweb2.princeton.edu/rbsc2/libraryhistory/195-_ADW_on_Parrish.pdf

I learned today that over the years, several of the taller librarians at Firestone Library complained that the desk was uncomfortable because it allowed for so little “leg room.” After floating around from office to office, it ended up with our colleagues in the Mendel Museum Library. Happily, the desk came back to Firestone today and will reside in the new/temporary graphic arts collection space being organized behind the circulation desk.

I will let you know if I find a Lewis Carroll or an Anthony Trollope in the bottom drawer.

Extraordinary Women in Science & Medicine

Last night, our friends and colleagues Ronald K. Smeltzer (director of the Princeton Bibliophiles and Collectors); Paulette Rose; and Robert J. Ruben, Princeton Class of 1955, opened a groundbreaking exhibition entitled Extraordinary Women in Science & Medicine: Four Centuries of Achievement. The show is open to the public free of charge 18 September to 23 November 2013 at the Grolier Club in New York City. Take your daughters.

Extraordinary Women explores the legacy of thirty-two remarkable women whose accomplishments in physics, chemistry, astronomy, mathematics, computing, and medicine changed science.

Did Marie Curie refuse to wear this academic cap? See the show

As noted in the press release, of particular interest will be Emilie Du Châtelet’s 1759 translation of Newton’s Principia with the bookplate of Talleyrand; copies of all of her other scientific publications; a mathematics workbook and a letter, both in her hand; and materials about her fourteen-year relationship with Voltaire, including a book she co-authored—although without her name on the title page. A scientific breakthrough in genetics written on a brown paper bag is displayed.

A number of events are being held in conjunction with the exhibition including a collectors’ forum on Thursday, 3 October 2013 hosted by Rose, Ruben, and Smeltzer.

On Saturday, 26 October 2013, there will be a half-day symposium featuring Dava Sobel, historian, author of Gallileo’s Daughter and other popular expositions of scientific topics; Sharon Bertsch McGrayne, author of critically-acclaimed books about scientific discoveries and the scientists who make them; Professor Paola Bertucci, Assistant Professor of History and in the History of Medicine at the Yale School of Medicine; Professor Sandra K. Masur, Professor of Ophthalmology, Associate Professor of Structural and Chemical Biology at Mount Sinai Hospital, New York.

For more information, see http://www.grolierclub.org/

Pochoir Progressive

In the 1920s, Thomas Maitland Cleland (1880-1964) was a premier graphic designer, whose career culminated with the cover design for the new Fortune Magazine in 1930. He also created this image of an advertising man and gave Elmer Adler one of a series of progressive pochoir or stencil colored plates to show how the print was made. The cutouts used in making this stencil print are in the collection of the Metropolitan Museum of Art, New York. There is at least one other copy recorded at the Library of Congress.

Here are the pochoir plates for The Advertising Man, 1929? Stencil progressive. GC032 T.M. Cleland Collection. “Presented to the Princeton Print Club by E.A. July, 1942”.

“The Princeton Print Club announces an exhibition of the paintings, prints, books, and other work of Mr. Thomas M. Cleland. This is the first exhibit of Mr. Cleland’s work in more than forty years. 36 University Place, Gallery B. 2:00 to 4:30 p.m.”– Princeton University Weekly Bulletin, 37, no. 9 (8 November 1947).

See also T. M. (Thomas Maitland) Cleland (1880-1964), The Decorative Work of T.M. Cleland: a Record and Review, with a biographical and critical introduction by Alfred E. Hamill and a portrait lithograph by Rockwell Kent (New York: The Pynson printers, 1929). Graphic Arts Collection (GAX) Oversize NE539.C57 A3 1929q

“How the White Man Trades in the Congo”

Frederic de Haenen (1853-1928), How the White Man Trades in the Congo, Bringing in Rubber and Hostages, 1906. Gouache and ink wash. Graphic Arts Collection GAX 2013-

Frederic de Haenen (1853-1928), The Chicotte (The Whipping), January 1906. Gouache and ink wash. Graphic Arts Collection GAX 2013-

In the January 1906 supplement to The Graphic: An Illustrated Weekly Newspaper, a special series of illustrations was published documenting the treatment of Africans by European traders. The article was entitled “Dark Deeds in Darkest Africa: Scenes and Tales of Cruelty in the Congo Free State” by the Rev. J.H. Harris, of the “Regions Beyond” Missionary Union.

“As our readers are well aware,” writes the editor, “The Graphic is not given in the publication of sensational illustrations. In view, however, of the great and historic importance of the terrible events which have taken place in the Congo Free State, the conductors of this journal have thought it only right to depart from their usual rule, and publish the sketches and photographs contained in this supplement—the accuracy of which are absolutely vouched for by Mr. Harris, who was present at the committee of inquiry.”

The Graphic Arts Collection recently acquired two original drawing for The Graphic. One of them depicts a brutal flogging of a slave with a chicotte, a heavy whip made of animal hide used in this region. The image was made after a photograph and drawn in high contrast to aid in reproduction. The artist, Frederic de Haenen, was one of many illustrators who worked for The Graphic and The Illustrated London News.

A second drawing, titled “How a White man trades in the Congo,” is believed to also be from a 1906 issue of The Graphic. It comes with a caption glued to the bottom, which reads in part, “The natives are required to bring in their toll of rubber every fortnight or twenty days, according to the wish of the individual agent. The sentries are sent out to bring in the rubber workers. In the event of the rubber being either short or not good enough in quality, these sentries also bring in a number of “hostages” which the white man holds and forces to work on his “factorie” [sic] until the relatives bring in extra quantity to redeem them.”

The Sword of William of Orange, Prince of Nassau

The sword is mounted against a mirror so you can see both sides of the blade.

Thanks to the generous gift of Carl Otto Kretzschmar von Kienbusch, Class of 1906 (1884-1976) Princeton University is the proud owner of the hunting sword owned and used by William of Orange, Prince of Nassau, after whom Nassau Hall was named. The blade bears on each side the initials P.V.O. (Prince of Orange), the Prince’s Arms, the Motto of the Order of the Garter, and his personal motto. We recently moved the sword out of Nassau Hall and into the Department of Rare Books and Special Collections.

William III of England (1650-1702), also known as William III of Orange, was King of England and King of Ireland from February 13, 1689, and King of Scotland from April 11, 1689, until his death in 1702. To watch a series of videos about his life, see the BBC site: http://www.bbc.co.uk/history/people/william_iii_of_orange#p00vp2kx

The rest of the Von Kienbusch collection of Arms and Armor found its way to the Philadelphia Museum of Art. Their records note the following: “Born in 1884, Carl Otto Kretzschmar von Kienbusch lived his entire 91 years at 12 East 74th Street in New York City. By the early 1970s, von Kienbusch devoted the entire second floor of his residence to house his collection of medieval arms and armor, which was comprised of more than 1100 objects, including 35 full suits of armor, and more than 135 swords and 80 helmets.”

“Von Kienbusch graduated from Princeton University in 1906 and spent most of his life working in the tobacco industry. His family made their fortune in leaf tobacco. One of his earliest jobs, however, was with Bashford Dean, who at the time he hired von Kienbusch in 1912 was the curator of armor for the Metropolitan Museum of Art. Von Kienbusch represented Dean at armor auctions since the latter’s presence at such events often caused prices to rise.”

“Although von Kienbusch was completely blind the last 12 years of his life, he continued to add to his collection with the assistance of Harvey Murton, one of the last armorers, who also worked in that capacity for 43 years in the Metropolitan Museum’s Arms and Armor Department. Prior to his death in 1976, von Kienbusch bequeathed his collection to the Philadelphia Museum of Art, as well as his related library. Princeton University received his collection of rare books on angling and certain paintings, manuscripts and objects, as well as funding for men’s and women’s athletics, student aid, the library, and art museum.”

The Track of Youth to the Land of Knowledge

Allegorical Map of the Track of Youth, to the Land of Knowledge (London: John Wallis, no. 16 Ludgate Street, June 25, 1796). Engraved by Vincent Woodthorpe (ca.1764-1822) with hand coloring, wood ribs, brass pin and ivory washer. Purchased with funds from the Historic Map Collection and Graphic Arts Collection.

http://libweb5.princeton.edu/visual_materials/maps/globes-objects/hmc05.html

Thanks to the shrewd collecting of John Delaney, Curator of The Historic Maps Collection, our two collections have partnered to acquire this allegorical map on a fan.

The map takes the viewer from youth, where they are in a state of darkness, to the final lights of Reason and Religion where Content[ment] and Happiness can be found. The voyage may take you through such places as the Great Ocean of Experience, the Rocks of Obstinacy and Idleness, the Coast of Ignorance or the Coast of Hardship. Along the way, you can check the compass for directions to Folly, Misery, Wisdom, and Reason.

The link above will lead you to this and other cartographic treasures including globes, scientific instruments, and much more.

The map was engraved by Vincent Woodthorpe (c.1764-1822) of Fetter Lane, London, who engraved maps for Faden and Laurie & Whittle as well as Wallis. Woodthorpe also engraved Robert Woolsey’s Celestial Companion: Projections, in Plano of the Starry Heavens (1802).

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