39th annual Thomas Edison Black Maria Film Festival now screening online

New York City Sketchbook by Willy Hartland of Brooklyn, NY, is only one of the 151 films included in the 39th annual Thomas Edison Black Maria Film festival, now screening online at: https://blackmariafilmfestival.org/page.php?content=content-home-virtualfestival, thanks to the partnership with the Lewis Center for the Arts at Princeton University, the Hoboken Historical Museum, and many other New Jersey organizations. https://arts.princeton.edu/

Here is the program booklet, which can be downloaded or read online: https://blackmariafilmfestival.org/ProgramBooklet.php?Document=2020 and/or https://www.yumpu.com/en/document/read/63039703/2020-39th-season-black-maria-film-festival-program

You can watch each film separately or watch one of the five  ‘curated’ programs of films provided by the festival. To make choosing easier, films have been broken into categories such as animation, documentary, experimental, narrative, and so on.

A call for 2021 entries is already posted. “The Black Maria Film Festival seeks diverse, expressive, and passionate short films and videos by independent makers. The Festival is known for its support of spirited, cutting edge, and otherwise singular films. The Black Maria Film Festival is committed to works that explore the potential of the medium to illuminate, provoke, enrich, and engage viewers. Imaginative and revelatory films are sought including work that provides insight into the human condition and political, social, and environmental issues, and work that addresses the lives of people with disabilities.”

Earlier in the year, the Black Maria Film Festival kicked off its 39th annual season with two special screening events at Princeton University including filmmakers Su Friedrich, Edith Goldenhar, Emily Hubley, and Lynne Sachs discussing their work and participating in an audience Q&A with Festival Director Jane Steuerwald in an evening of “Women in Film.” There was also a screening of five top prize-winning films with filmmaker/photographer/author Eugene Richards, winner of the Festival’s Stellar Award for Documentary. If you join the mailing list, you will receive announcements and not miss any 2021 events. https://arts.princeton.edu/events/virtual-event-black-maria-film-festival/

Reminder of digital graphic arts collections

Over the years a number of materials in the Graphic Arts Collection have been digitized. Some are connected to the online catalogue and some are not. Some are in the newer site DPUL and some in the older PUDL and some just online somewhere. Here is a list of the ones I can confirm, in case they are helpful to your research:

Antonio Martorell. Las Antillas Letradas https://dpul.princeton.edu/wa/catalog/nz8063470

Brother Jonathan Jubilee Pictorial newspapers http://pudl.princeton.edu/objects/9z903261b

Early Soviet Illustrated Sheet Music https://dpul.princeton.edu/catalog?f%5Breadonly_collections_ssim%5D%5B%5D=Early+Soviet+Illustrated+Sheet+Music&q=+Early+Soviet+Illustrated+Sheet+Music&search_field=all_fields

Franklin McMahon. Signing the Israeli/Egyptian Peace Accord, 17 September 1978 https://dpul.princeton.edu/wa/catalog/5138jj65g

Franz Freiherr von Wertheim’s Manuel de l’outillage des arts et métiers http://pudl.princeton.edu/objects/qr46r156v

Franz Hogenberg Engravings http://pudl.princeton.edu/collections/pudl0051

George Humphrey’s The Attorney-General’s Charges Against the Late Queen (50 caricatures) http://arks.princeton.edu/ark:/88435/dj52w599c

Gillett G. Griffin Japanese Woodblock Prints http://pudl.princeton.edu/collections/pudl0026

Giovanni Ottaviani after frescoes designed by Raphael. Loggie di Rafaele nel Vaticano https://dpul.princeton.edu/wa/catalog/5d86p388v

James Gillray Caricatures http://pudl.princeton.edu/collections/pudl0015

Jie zi yuan hua zhuan (Mustard Seed Garden Manual of Painting): http://arks.princeton.edu/ark:/88435/9z9031252
http://arks.princeton.edu/ark:/88435/kh04dr094
http://arks.princeton.edu/ark:/88435/fq977w17w

John Baptist Jackson Chiaroscuro Woodcuts http://pudl.princeton.edu/collections/pudl0031

Lorenzo Homar prints, drawings, and blocks http://pudl.princeton.edu/collections/pudl0033

Middle Eastern Film Posters http://pudl.princeton.edu/collections/pudl0100

Pathé Baby French silent movies https://library.princeton.edu/pathebaby/films

Photography album documenting the Morant Bay Rebellion in Jamaica (1865), the Indian Northwest Frontier Hazara Campaign (1867-1870), views of Malta, etc., 1860-1880 https://catalog.princeton.edu/catalog/5954033#view

Pencil of Nature by William Henry Fox Talbot https://catalog.princeton.edu/catalog/3696558#view

Princeton Print Club scrapbooks http://pudl.princeton.edu/objects/td96k526s

Richard Willats early photography album http://pudl.princeton.edu/objects/k930bx11x

Robert Nanteuil Engravings http://pudl.princeton.edu/collections/pudl0010

Sinclair Hamilton Collection of American Illustrated Books miniatures (1/4 done) https://dpul.princeton.edu/ga_treasures/catalog/v979v657w And other titles

Société Engelmann père et fils (3 vols. Chromolithography). http://pudl.princeton.edu/objects/3484zk471

Specimens of paper with different water marks, 1377-1840 http://pudl.princeton.edu/objects/k930bz393

Taller de Gráfica Popular http://pudl.princeton.edu/collections/pudl0012

Thomas Nast drawings and wood engravings http://pudl.princeton.edu/collections/pudl0039

Thomas Rowlandson prints and drawings http://pudl.princeton.edu/collections/pudl0130

Treasures of the Graphic Arts Collection  https://dpul.princeton.edu/ga_treasures

Versailles on Paper, Books and Engravings
http://pudl.princeton.edu/collections/pudl0083
http://pudl.princeton.edu/collections/versailles2
http://pudl.princeton.edu/collections/versailles3

The Zamorano 80

The Zamorano 80: a selection of distinguished California books made by members of the Zamorano Club (Los Angeles: Zamorano Club, 1945). Copy 215 of 500. Former owner Elmer Adler. Graphic Arts Collection 2004-2534N

 

The question was asked today whether the Graphic Arts Collection had the complete Zamorano 80? …What is the Zamorano 80?

The Zamorano Club was formed in 1928 by a small group of Los Angeles bibliophiles–men only–who were interested in books and fine printing (women were finally invited to be members in 1990). They named the club after Agustin Vicente Zamorano (1798-1842), who imported the first printing press to be set up west of the Rocky Mountains in 1826.

From 1826 to 1831, Zamorano created letterheads from woodblocks and type, pounding proofs without a press. With the acquisition of a press in 1834, Zamorano issued eleven broadsides, six books, and six miscellaneous works before departing California in 1838. His first book was included in the list of 80: José Figueroa (1792-1835), Manifiesto a la República Mejicana: que hace el General de brigada, José Figueroa, Comandante general y cefe politico de la alta California sobre su conducta y la de los señores D. José María de Hijar y D. José María Padrés, como directores de colonizacion en 1834 y 1835 (Monterrey: Impr. del C. Agustin V. Zamorano, 1835).

Princeton has access to a digital copy but not Zamorano’s original edition answering the question: we don’t have a complete Zamorano 80. However, we do have quite a few.


“The seeds of what was to become the Zamorano Club of Los Angeles were first planted at a dinner held on 19 October 1927, in the University Club, then located at 614 South Hope Street. The minutes of that pioneer gathering listed the following attendees: A. Gaylord Beaman (insurance), Garner A. Beckett (cement manufacturer), William W. Clary (attorney), Arthur M. Ellis (attorney), and W. Irving Way (bookman). The latter was the catalytic agent, a fact which has been well established.”

A longer history of the club can be found at their website: http://www.zamoranoclubla.org/zam80/

 

The majority of the Zamorano 80 are available in full texts online. A complete list can be found on the club’s website, but here are the first 20 with links:

    1. Gertrude Atherton, THE SPLENDID IDLE FORTIES: STORIES OF OLD CALIFORNIA. New York: Macmillan, 1902. Digital text.
    2. Mary Austin, THE LAND OF LITTLE RAIN. Boston: Houghton, Mifflin, 1903. Digital texts 1, 2, 3.
    3. Hubert Howe Bancroft, WORKS. San Francisco: A.L. Bancroft & Co., 1882-1890.
    4. Frederick William Beechey, NARRATIVE OF A VOYAGE TO THE PACIFIC AND BEERING’S STRAIT. London: Henry Colburn & Richard Bentley, 1831. Digital texts 1, 2.
    5. Horace Bell, REMINISCENCES OF A RANGER. Los Angeles: Yarnell, Caystile & Mathes, 1881. Digital texts 1, 2.
    6. Anthony J. Bledsoe, INDIAN WARS OF THE NORTHWEST: A CALIFORNIA BOOK. San Francisco: Bacon & Company, 1885. Digital text.
    7. Herbert Eugene Bolton, ANZA’S CALIFORNIA EXPEDITIONS. Berkeley: University of California Press, 1930. Digital text.
    8. John David Borthwick, THREE YEARS IN CALIFORNIA. Edinburgh: W. Blackwood & Sons, 1857. Digital texts 1, 2.
    9. William Henry Brewer, UP AND DOWN CALIFORNIA IN 1860-1864: THE JOURNAL OF WILLIAM H. BREWER. New Haven: Yale University Press, 1930. Digital text.
    10. John Henry Brown, REMINISCENCES AND INCIDENTS OF EARLY DAYS OF SAN FRANCISCO (1845-1850). San Francisco: Mission Journal Publishing Company, [1886]. Digital text.
    11. John Ross Brown, REPORT OF THE DEBATES IN THE CONVENTION OF CALIFORNIA. Washington, DC: John T. Towers, 1850. Digital text.
    12. Edwin Bryant, WHAT I SAW IN CALIFORNIA. New York: D. Appleton & Co., 1849. Digital texts 1, 2.
    13. Peter Hardeman Burnett, RECOLLECTIONS AND OPINIONS OF AN OLD PIONEER. New York: D. Appleton & Co., 1880. Digital texts 1, 2.
    14. CALIFORNIA AND NEW MEXICO: MESSAGE FROM THE PRESIDENT OF THE UNITED STATES. Washington, DC, 1850. Digital text.
    15. Carlos Antonio Carrillo, EXPOSICIÓN DIRIGIDA A LA CÁMARA DE DIPUTADOS DEL CONGRESSO … Mexico: Imprenta del C. Alejandro Valdés, 1831.
    16. James H. Carson, EARLY RECOLLECTIONS OF THE MINES, AND A DESCRIPTION OF THE GREAT TULARE VALLEY. Stockton: San Joaquin Republican, 1852. Digital text.
    17. Samuel Clemens [Mark Twain], THE CELEBRATED JUMPING FROG OF CALAVERAS COUNTY AND OTHER SKETCHES. New York: C.H. Webb, 1867. Digital text (one among many).
    18. Samuel Clemens [Mark Twain], ROUGHING IT. Hartford: American Publishing Company, 1872. Digital texts 1, 2, 3 et al.
    19. James Clyman, JAMES CLYMAN, AMERICAN FRONTIERSMAN, 1792-1881: THE ADVENTURES OF A TRAPPER AND COVERED WAGON EMIGRANT AS TOLD IN HIS OWN REMINISCENCES AND DIARIES. San Francisco: California Historical Society, 1928.
    20. Walter Colton, THREE YEARS IN CALIFORNIA. New York: A.S. Barnes & Co., 1850. Digital texts 1, 2.

 

 

Need a Project, no. 9? Money

Questions:
1. Whose portrait is hidden in the $20 note?
2. How many number 5’s are on the $5 note?
3. Which bill cannot be redesigned, thanks to a recurring provision in the annual Financial Services and General Government Appropriations Act?
4. Which denomination came first?
5. What happened to the Harriet Tubman $20?

https://www.uscurrency.gov/denominations/5

Since 1929, United States has attempted to standardize the design of its paper currency while still allowing denominations to have their own icons, portraits, and security features as well as a distinct character in colors, textures, and watermarks.

Did you know there are two sides to the Great Seal on the $1 note? One side, the reverse, features the pyramid and the floating eye, called the Eye of Providence. This design is located on the left of the banknote. The other side of the Great Seal features the bald eagle holding the olive branch and exactly 13 arrows. And there are thirteen vertical stripes on the shield and thirteen stars in the constellation above the eagle. President Franklin D. Roosevelt switched the placement of elements, so he is responsible for putting the unfinished pyramid (with 13 steps) on the left side of the banknote.

© =Federal law permits color illustrations of U.S. currency only under the following conditions:
The illustration is of a size less than three-fourths or more than one and one-half, in linear dimension, of each part of the item illustrated; the illustration is one-sided; and all negatives, plates, etc. are destroyed and/or deleted after their final use.

The phrase Novus ordo seclorum (= New order of the ages) is the second of two mottos that appear on the reverse of the Great Seal of the United States. The first motto is Annuit cœptis (= Providence favors our undertakings or Providence has favored our undertakings)

 



 


Answers:
No. 1: In 2003, the $20 note was redesigned to include an embedded security thread that glows green when illuminated by UV light. In addition, a portrait watermark of President Jackson is visible from both sides of the note. Finally, the note includes a color-shifting numeral 20 in the lower right corner of the note. An Alexander Hamilton portrait watermark is visible on the $10 note. The portrait of Lincoln was removed from the watermark of the $5 note.

No. 2: Not counting digits in the changing serial numbers, there are 10. Be sure to count the three 5’s watermarked in a vertical pattern on the left and one large 5 embedded in the paper on the right.

No. 3: The $1 note remains the same since the note was issued in 1963. “The United States government redesigns Federal Reserve notes primarily for security reasons: to stay ahead of counterfeiting threats and keep counterfeiting levels low. Because the $1 note is infrequently counterfeited, the government has no plans to redesign this note. In addition, there is a recurring provision in the annual Financial Services and General Government Appropriations Act that prohibits the redesign of the $1 note.”

No. 4: On June 25, 1776, the Continental Congress authorized issuance of the $2 denominations in “bills of credit” for the defense of America.

No. 5: All plans are on hold. Read the whole story here: https://www.thedailybeast.com/what-happened-to-the-plan-to-put-harriet-tubman-on-the-dollar20-bill

See also $100 note: https://graphicarts.princeton.edu/2013/10/08/100/

Something that will not “blow over.”

When the Irish Protestant Orange Day parade kicked off on July 12, 1871, in New York City, artist Thomas Nast was one of 5,000 National Guardsmen called out to protect the marchers from hundreds of Irish Catholic protestors. Shots were fired and the resulting Orange Day Riots left 60 civilians and three guardsmen dead, along with many others wounded. Nast recorded a first-hand account in a double-page wood engraving published July 29, 1871 in Harper’s Weekly.

Although Harper’s printed two texts presenting the two sides to the Protestant/Catholic debate, Nast’s depiction is clearly anti-Catholic, showing the protestors as apes and thugs connected to Boss Tweed who Nast was in the midst of overthrowing. Nast titled his print “Something That Will Not ‘Blow Over’” alluding to the words used by Mayor Abraham Oakey Hall when he dismissed the allegations of Tweed’s corruption, claiming they would soon “blow over.”

At the center of Nast’s design is a globe-like vignette; Washington at the top, California on one side and New York on the other. It is named “The Promised Land. U.S.A.” with an upside-down flag on the left, with the words embedded: “The land of the free, home of the brave.”  Mixed in with the Orange Day rioters below, several figures have been identified as (left to right) Queen Victoria, John Bull, King Victor Emanuel of Italy, Emperor Franz Josef of Austria, and Tsar Alexander II of Russia, along with Uncle Sam at the center. On the left, a lynched black man and the burning Colored Orphan Asylum are references to the 1863 Civil War Draft Riots in New York City.

Thomas Nast (1840-1902), Something that will not “blow over.”–July 11 and July 12, 1871 (New York: [Harper’s Weekly], July 29, 1871). Wood engraving. Graphic Arts GA 2008.01711. http://arks.princeton.edu/ark:/88435/qv33rw804

 

Below the central panel we see Boss Tweed with his crew being asked the question, “Well What Are You Going To Do About It?”–a question famously posed by Tweed during the corruption trials.

Nast’s work drew such attention that a New York Times editorial was printed, urging readers to see the Harper’s Weekly issue. “Everybody should see, and seeing, retain Nast’s great ‘Riot Cartoons’ on the New Number of Harper’s Weekly.

See more: https://www.harpweek.com/09Cartoon/BrowseByDateCartoon.asp?Month=July&Date=29

https://archive.nytimes.com/www.nytimes.com/learning/general/onthisday/harp/0729.html

 

 

Illustrious Providences and Other 1684 Stories

Increase Mather (1639-1723), An essay for the recording of illustrious providences: wherein, an account is given of many remarkable and very memorable events, which have happened in this last age; especially in New-England. By Increase Mather, teacher of a church at Boston in New-England (Boston in New-England: Printed by Samuel Green for Joseph Browning and are to be sold at his shop …, 1684). William H. Scheide Library 100.9. Reproduction here from the University of Michigan’s copy.

This collection of spellbinding and miraculous stories was published in 1684 by Increase Mather (1639-1723) under the title: An essay for the recording of illustrious providences: wherein, an account is given of many remarkable and very memorable events, which have happened in this last age; especially in New-England. Several digital copies are available, highly recommended as bedtime reading. The stories include shipwrecks, witches and demons, pirates, earthquakes, and many other miraculous events. Here is one (images added here not in the book):

In the Year 1616. A Fleming whose name was Pickman, coming from Norway in a Vessel loaden with Boards, was overtaken by a Calm, during which the Current carried him upon a Rock or little Island towards the extremities of Scotland To avoid a Wreck he commanded some of his Men to go into the Shallop, and to Tow the Ship. They having done so, would needs go up into a certain Rock to look for Birds Eggs: But as soon as they were got up into it, they at some distance perceived a Man, whence they imagined that there were others lurking thereabouts, and that this man had made his escape thither from some Pyrates, who, if not prevented, might surprize their Ship: and therefore they made all the hast they could to their Shallop, and so returned to their Ship. But the Calm continuing, and the Current of the Sea still driving them upon the Island, they were forced to get into the Long-boat, and to Tow her off again. The Man whom they had seen before-was in the meantime come to the brink of the Island, and made signs with his hands lifted up, and sometimes falling on his knees, and joyning his hands together, begging and crying to them for relief.

At first they made some difficulty to get to him, but at last, being overcome by his lamentable signs, they went nearer the Island, where they saw something that was more like a Ghost than a living Person; a Body stark naked, black and hairy, a meagre and deformed Countenance, with hollow and distorted eyes; which raised such compassion in them, that they essayed to take him into the Boat: but the Rock was so steepy thereabouts, that it was impossible for them to land: whereupon they went about the Island, and came at last to a flat shore, where they took the Man abroad. They found nothing at all in the Island, neither Grass nor Tree, nor ought else from which a man could procure any subsistence, nor any shelter, but the ruins of a Boat, wherewith he had made a kind of a Hutt, under which he might lie down and shelter himself, against the injuries of Wind and Weather. No sooner were they gotten to the Ship, but there arose a Wind, that drave them off from the Island: observing this Providence, they were the more inquisitive to know of this Man, what he was, and by what means he came unto that uninhabitable place?

Hereunto the Man Answered;
I am an English Man, that about a Year ago, was to pass in the Ordinary Passage. Boat from England to Dublin in Ireland; but by the way we were taken by a French Pirate, who being immediately forced by a Tempest, which presently arose, to let our Boat go; we were three of us in it, left to the mercy of the Wind and Waves, which carried us between Ireland and Scotland, into the main Sea: In the mean time we had neither Food nor Drink, but only some Sugar in the Boat; upon this we lived, and drank our own Urine, till our bodies were so dried up, that we could make no more: whereupon one of our Company being quite spent, died; whom we heaved overboard: and a while after a second was grown so feeble, that he had laid himself along in the Boat, ready to give up the Ghost: But in this extremity it pleased God that I kenned this Island afar off, and thereupon encouraged the dying man to rouse up himself, with hopes of life: and accordingly, upon this good news, he raised himself up, and by and by our Boat was cast upon this Island, and split against a Rock.

Now we were in a more wretched condition than if we had been swallowed up by the Sea, for then we had been delivered out of the Extremities we were now in for want of Meat and Drink; yet the Lord was pleased to make some provision for us: for on the Island we took some Sea-mews, which we did eat raw: We found also in the holes of the Rocks, upon the Sea-side, some Eggs; and thus had we through Gods good Providence wherewithal to subsist, as much as would keep as from starving: but what we thought most unsupportable, was thirst, in regard that the place afforded no fresh Water but what fell from the Clouds, and was left in certain Pits, which time had made in the Rock. Neither could we have this at all seasons, by reason that the Rock being small, and lying low, in stormy Weather the Waves dashed over it, and filled the Pits with Salt Water.
When they came first upon the Island about the midst of it, they found two long Stones pitched in the Ground, and a third laid upon them, like a Table; which they judged to have been so placed by some Fishermen to dry their Fish upon; and under this they lay in the nights, till with some Boards of their Boat, they made a kind of an Hutt to be a shelter for them. In this condition they lived together, for the space of about six Weeks, comforting one another, and finding some ease in their common calamity: till at last one of them being left alone, the burden became almost insupportable: For one day, awaking in the Morning he missed his Fellow, and getting up, he went calling and seeking all the island about for him, but when he could by no means find him, he fell into such despair, that he often resolved to have cast, himself down into the Sea, and so to put a final Period to that affliction, whereof he had endured but the one half, whilst he had a Friend that divided it with him. What became of his Comrade he could not guess, whether despair forced him to that extremity, or whether getting up in the night, not fully awake, he fell from the Rock, as he was looking for Birds Eggs: for he had discovered no distraction in him, neither could imagine that he could on a sudden fall into that despair, against which he had so fortified himself by frequent and fervent Prayer. And his loss did so affect the Surviver, that he often took his beer, with a purpose to have leaped from the Rocks into the Sea, yet still his Conscience stopped him, suggesting to him, that if he did it, he would be utterly damned for his self-Murther.

Another Affliction also befel him, which was this; his only Knife wherewith he cut up the Sea-Dogs and Sea-Mews, having a bloody cloth about it, was carried away (as he thought) by some fowl of Prey; so that, not being able to kill any more, he was reduced to this extremity, with much difficulty to get out of the Boards of his Hutt, a great Nail, which he made shift so to sharpen upon the Stones, that it served him instead of a Knife. When Winter came on, he endured the greatest misery imaginable: for many times the Rock and his Hutt were so covered with Snow, that it was not possible for him to go abroad to provide his Food; which extremity put him upon this Invention: he put out a little stick at the crevice of his Hutt, and baiting it with a little Sea-Dogs fat, by that means he got some Sea-Mews, which he took with his hand from under the Snow, and so kept himself from starving. In this sad and solitary condition, he lived for about eleven Months, expecting therein to end his dayes, Gods gracious providence sent this Ship thither, which delivered him out of the greatest misery that ever man was in. The Master of the Ship commiserating his deplorable condition, treated him so well, that within a few dayes he was quite another creature; and afterwards he set him a shore at Derry in Ireland; and sometimes after he saw him at Dublin: where such as heard what had hapned unto him, gave him Money, wherewithal to return into his Native Countrey of England. —http://name.umdl.umich.edu/N00296.0001.001

Writing for the Guardian, William Skidelsky listed his favorite books with vivid accounts of being marooned in literature:

Robinson Crusoe by Daniel Defoe (1719)
The Rime of the Ancient Mariner by Samuel Coleridge (1798)
The Swiss Family Robinson by Johann David Wyss (1812)
And Then There Were None by Agatha Christie (1939)
Lord of the Flies by William Golding (1954)
Concrete Island by JG Ballard (1974)
Life of Pi by Yann Martel (2002)
The Road by Cormac McCarthy (2006)
Zeitoun by Dave Eggers (2009)
The Thousand Autumns of Jacob de Zoet by David Mitchell (2010)

 

Note, the book is listed as available at Walmart: https://www.walmart.com/ip/MatherS-An-The-Pamphlet-Massachusetts-Boston-Essay-Cleric-Mather-1639-1723-For-Title-Page-Increase-Namerican-Edition-Providen-Witch-Hunt-1684-Of-Illu/290607773

“The Doctor Too Many For Death” and “Death Too Many For The Doctor”


Walker’s Hibernian Magazine, or Compendium of Entertaining Knowledge, published in Dublin monthly from February 1771 to July 1812 is available at Princeton University Library by interlibrary loan, microfilm, and Hathi Trust digital images. Unfortunately, the prints bound into each issue digitized by the New York Public Library were never unfolded and so, only the text is available.

A rare sequence of two drawings by Samuel Collings were etched by Thomas Rowlandson for the December 1, 1788 and January 1, 1789 issues of the Hibernian but it is difficult to know how they relate to the few extent loose prints. In the first plate [left], a doctor at a sick man’s bedside fires a full syringe or clyster or enema into the face of Death represented as a skeleton.

Thomas Rowlandson (1757–1827) after Samuel Collings (active 1784-89, died 1810), The Doctor Dismissing Death (also called The Doctor Too Many For Death). Frontispiece: Hibernian Magazine: or Compendium of Entertaining Knowledge, December 1788. Etching.

Hibernian Magazine: or Compendium of Entertaining Knowledge, for December 1788. The Doctor Dismissing Death. (Engraved from an original Design of the celebrated Rowlandson). Yes—Doctors will differ,–that’s as just an adage as ever fell from the lips of man; though people might suppose, indeed, that they should in the general agree in opinion; yet the contrary is evident in the various modes of cure used every day by the faculty; –and it is but just it should be so, as we shall prove by experience. Had inoculation never been brought into repute, and the improvement on it too by Lady Wortley Montague, Dimmesdale, or Sutton. (for people might as well have taken it naturally, and died a natural death at once, as to die by an infection poured copiously into an aperture dug in the flesh for the purpose of containing it, after the poor patient had been almost starved to death) what an abominable ugly set of animals would most of us be at this time; seamed, blind, disfigured, and featureless…

Two earlier impressions, 1786 and 1787, were etched by N.C. Goodnight for John Smith, 35 Cheapside, with the slightly different title but assumed to be the same image, given the elaborate description in the December issue. Thomas Rowlandson was commissioned to re-engrave Collings’ drawing in 1788 and presumably also 1789.

In the second plate, the Doctor is overwhelmed by death as a group of skeletons, variously labeled “Luxury,” “Apoplexy,” “Fever,” “L’Amour Omnia Vincit Amor,” “Mania,” “Despair,” “Cold,” and “Vapour.” Attributed to Thomas Rowlandson (1757–1827) after Samuel Collings (active 1784-89, died 1810), Death Too Many For the Doctor. Frontispiece: Hibernian Magazine: or Compendium of Entertaining Knowledge, January 1789. Etching.

Death too many for the Doctor. Embellished with a humorous print (from an original design) by Collins [sic]. In a late publication “The Doctor dismissing death” (see our Magazine for December last) the artist has whimsically represented the emaciated patient retired to a country village, where the grim tyrant pursues him; –however, in this salubrious retreat, the valetudinarian sets him at defiance, whilst the doctor at his back, like Sterne’s sentinel on Pont-neuf, puts on a formidable countenance, and levels his harquebus in the firm of a huge syringe at the impertinent intruder. Who retires from the window, into which he first peeped, with a sarcastic grin at his medical adversary. In the present scene, however, Death is too many for the Doctor, the patient is represented as returned to his town residence, and forgetful of his late wonderful escape, relapses into his former course of dissipation, in consequence of which, notwithstanding his friend the Doctor (armed with a clyster-pipe, and a magazine of nostrums at his back) has victoriously triumphed over cold and vapours; death attacks him with a host of foes. …

The second print was also aquatinted by Francis Jukes (1747-1812) dated in various collections from 1786 to 1803, each on a mat that might not be contemporary with the print

“May-Day in London” by William Blake

William Blake (1757-1827) after Samuel Collings (active 1784-1795), May-Day in London. Folding frontispiece to the v.1, May 1, 1784 issue of Wit’s Magazine (London, 1784). Etching. Also published as an individual print dated June 1, 1784 by Harrison and Company, London.


Happy May Day.

One of the best-loved prints to celebrate this festive day is William Blake’s etching “May-Day in London” commissioned for the frontispiece in the May 1, 1784 issue of The Wit’s Magazine; or, Library of Momus. Being a compleat repository of mirth, humour, and entertainment… , edited by Thomas Holcroft (London, Printed for Harrison and Co., 1784-84). Rare Books 0901.981 v.1-2.

There are numerous folding plates throughout the magazine’s run, five etched by Blake; one after a design by Thomas Stothard and four after designs by Samuel Collings. The print is announced on the title page: “with a large quarto engraving representing a curious description of May-Day in London, as mentioned in Sammy Sarcasm’s Epistle to his Aunt; designed by Mr S. Collings and engraved by Mr. W. Blake purposely for this work.

While Princeton University Library has a beautiful set of Wit’s Magazine with all the original Blakes bound in, there is no access to the paper issue this week. Several digital surrogates are offered by our online catalogue but they present the reader with this unfortunate image [below], not much good for study or entertainment. The digital image at the top is from the National Gallery of Art.

https://access-newspaperarchive-com.ezproxy.princeton.edu/uk/middlesex/london/wits-magazine/

Blake’s prints appear in successive issues from February to May 1784 and show an uncharacteristic side of the artist’s talent. In the study “Puzzling the Reader,” Gregg Hecimovich points out that,

The Wit’s Magazine represents the first known contact between [Thomas] Holcroft and Blake, and it was from about this time that Blake began to move in the circle of radicals, including Godwin, Wollstonecraft, and Horne Tooke, in which Holcroft figured so prominently. Although Blake had been employed to engrave illustrations for publications such as the Novelist’s Magazine, it seems clear that his connection with the Wit’s Magazine was through Holcroft. Blake’s friend Thomas Stothard designed the illustration for the first issue but, despite the replacement of Stothard with Samuel Collings, Blake stayed on as engraver until just after Holcroft resigned as editor in May 1784. For Blake, who had recently married and established a household independent of his father, such commissions provided much-needed income, but he probably also felt the attraction of working with the dynamic and provocative Holcroft.” –Gregg A. Hecimovich, Puzzling the Reader: Riddles in Nineteenth-century British Literature (2008): 32.

This frontispiece (often rebound next to the poem in section two) presents a busy London street on May-Day with milkmaids, chimney sweepers, a violinist, and others. Notice that the violinist has a wooden leg. Unlike many pastoral scenes, Collings’ design and Blake’s rendering feature an underprivileged population of London rather than the beautiful people.

Hecimovich calls this the most powerful of all Blake’s contributions to Wit’s Magazine. He writes, “…the traditional May-Day festivities are inverted into a sordid anti-pastoral. Beneath a maypole hung not with flowers but with dirty pots and pans, a crippled one-eyed fiddler plays for drunken clergymen, lascivious milkmaids, child-age chimney sweeps, and assorted other street people.”

He goes on to question whether or not there was a direct influence on later Blake poems such as The Chimney Sweep and London, commenting that this is “perhaps the earliest instance of Blake’s exploring and depicting through the new verbal and pictorial mediums the degeneracy of urban London life.”

 

Blake aside, Samuel Collings was a interesting amateur draughtsman, caricaturist, and genre painter who remains understudied by art historians. He  mainly worked in London, exhibiting at the Royal Academy in 1784-89. He received commissions from The Bon-Ton Magazine in the 1790s as well as The Wit’s Magazine and others. Collings may have used the pseudonym Annibal Scratch and others, leaving good work without attribution. Princeton holds a unique portfolio of Thomas Rowlandson etchings after drawings by Collings, commissioned by the Marylebone publisher E. Jackson to illustrate Boswell’s Tour to the Hebrides. See more: https://www.princeton.edu/~graphicarts/2012/09/the_journey_of_dr_johnson_and.html

Bard of the Barges, Garbageman Poet

John Herman Kepecs (May 20, 1897-December 21, 1981) arrived in the United States in 1922 from Pécs, Hungary. The trained sailor found work with the New York City Department of Sanitation first as a Captain on a garbage scow and eventually Deputy Inspector of the entire fleet. He also wrote poetry under the pen name John Cabbage, chosen because his Hungarian name sounded like ‘cabbage’ when New Yorkers tried to pronounce it.

 

“Garbage Scow Sailor Bursts Out Into Verse” announced the New York Sun March 13, 1932:

Meet John Cabbage, garbage scow sailor and poet, author of more than 1,000 verses and of a new volume, just published called “8 Bells.” Mr. Cabbage goes down to the sea in the scows that bury New York’s waste beneath the clean waters of the Atlantic. When that task is accomplished, Mr. Cabbage sits on the stern with ruled notepaper and a pencil, and meditates upon life. One of his effusions goes like this: Mr. Cabbage’s most persistent resolution is to save enough money to fit out a schooner and go to the south seas where he can sit on a beach instead of a scow, and listen to the wild waves. The sailor-poet’s latest book is dedicated “to ships and shipmates who rest in the deep, and woman whose love I could not keep.”

Three volumes of Cabbage’s poetry were printed and published by the Greenwich Village bohemian Lew Ney (Luther E. Widen, 1886-1963) at his Parnassus press on 15th Street (later Brooklyn Heights) including 8 Bells (1932); Down the Dock (1937); and Time and Tide (1938). Lew Ney was the first to draw national attention to Cabbage in 1927 through his weekly column “Greenwich Village As IZ” in Variety, proclaiming that Cabbage would be internationally famous in twenty years.

Cabbage was an original member of the Raven Poetry Circle when it was formed in May 1933 (see the film Joe Gould’s Secret for a typical meeting). The group is remembered for their annual spring exhibition of handwritten poems mounted to the fence around Washington Square Park and Cabbage was often highlighted because of his unusual occupation. “Mere rhymers, wise-cracking doggereleers and other nuts are positively not welcome, and our only word to them is ‘Scram!'”

On the left, we see Cabbage with his work against the Judson Church building across from the park. His poems also appeared in the Raven Anthology 1933-1947, a quarterly magazine of members. “Poets of Village Get Day in the Sun,” announced the New York Times May 22, 1933:

Beneath a benign, approving sun the poets of Greenwich village flooded into a half-block of Washington square south yesterday, tacked their work upon a board fence and invited the passing public to read and buy. A good deal of reading and some buying was in progress until the sun disappeared. It was the beginning of poetry week, and it probably will go down in the village’s history, if and when written, as the first sidewalk poetry show.

From its beggining, Chumley’s restaurant, a Greenwich Village icon, featured book jackets for publications by local authors. They describe the series: “The authors ranged from Theodore Dreiser to John Cabbage, the poet of the garbage scow.”

In 1937, possibly inspired by Francis Alexander Durivage’s novel Mike Martin or, The last of the highwaymen. A romance of reality (1845), Cabbage traveled to California to sell his novel, also titled “Mike Martin” to Hollywood. The press loved the story of a garbage poet hoping for fame in the movies and the story appeared in newspapers across the country.

“John Cabbage the ‘Bard of the Barges’ today offered to sell the movies a story that reaches its climax with the boy and girl honeymooning on a garbage scow. Cabbage, deputy inspector of the department of sanitation dumps in New York, is on 90 days leave from his job of supervising the loading of the garbage fleet.

“Mike Martin” that’s the novel he is peddling to movie producers –is his third volume. He published two books of verse. Let the other poets write of lilies of the valley. Cabbage born John Koppecs 38 years ago in Hungary, take his themes from a discarded top hat, banana peels, coffee ground, an old dance slipper. He imagines perhaps the hat and slipper danced together. ‘Go’ he says ‘go get your song where life and love are cheap. I shall wait till they reach the heap.”

 


“You may not believe it, but his name is John Cabbage. He works on a garbage scow—and writes poetry. John is ‘captain’ of Scow F of the Street Cleaning department of the city of New York He likes his unlovely but necessary job because it provides him with more leisure and privacy to write than he used to experience on freighters. Every afternoon at a time which varies according to the tide John makes his scow shipshape at the city dump in the shadow of the Brooklyn Bridge. …The trip is a long, slow one. When darkness comes a blog of light appears on the end of each scow and three highpoints glow in the shape of a cross on the tug ahead. If the water is rough when the open ocean is reached there may be hard work in keeping the tow intact. Otherwise there is little to do but watch the receding harbor “with a thousand little stars abreast” as John puts it.– “Men, Things, and Places: In the Mud and Scum of Things” The New York Sun, February 21, 1930.

 

The never realized Litho-Graphic Arts Industrial Center


On September 30, 1962, a letter from President John F. Kennedy appeared in the New York Times. He wrote “Your two great New York ALA building projects, Litho Central City and Litho-Graphic Arts Industrial Center, are concepts which express my own philosophy that urban redevelopment must be motivated out of respect for the essential values of human betterment—education, art and brotherhood. I congratulate you, Eddie Swayduck, as president of a great union that is recognizing its responsibilities to the social community.”

Mayor Robert F. Wagner added “I congratulate your organization on its wonderful history of public service, Eddie. You can count on my enthusiastic cooperation in the development of the exciting building project, Litho Central City, sponsored by ALA Local I, and the proposed Litho-Graphic Arts Industrial Center.”

The Wall Street Journal commented “This is a union that not only accepts labor-saving devices but actually pours funds into promoting their use. This magnificent dream is actually coming true in the lithographic industry”

 

The 28-page special supplement was published in the New York Times by ALA Local 1, the labor union of the Amalgamated Lithographers of America to promote the building of two enormous complexes in Manhattan: “The litho-graphic art center of the world and scene of a great renaissance in the graphic arts.” Bold letters proclaimed “Art Is Not an End In Itself, But a Means of Addressing Humanity.” ‎  Following an extended history of lithography, page 24 notes, “Today, Litho Central City, now in the advanced stages of planning–and the proposed Litho-Graphic Arts Industrial Center …–are potent evidence of the power for progress that can be generated by a far-thinking craft union in a great industry.”

Scheduled for completion in 1967, neither the Litho Central City or the Litho-Graphic Arts Industrial Center were built. Instead the property at Pier 25 was used for Borough of Manhattan Community College and the Westside lots became the Riverside Park South. Project designer Paul Rudolph’s webpage continues to note:

“The proposals for the Graphic Arts Center are based on the concept of the megastructure, or the idea that many functions can be served in a single large building complex. In this case there are facilities for industry (lithography, legal and financial printers); office space; 4,000 apartments of varying kinds; elementary schools, kindergartens; play spaces at grade, as well as on platforms in the sky; community center; restaurants; commercial shopping; gardens and recreational space; and parking-trucking access incorporating portions of the West Side Highway. In other words, it is a city within a city. The idea of a megastructure is different from the idea of building an apartment house, industrial and office space, schools and restaurants. Rather, it is the intent to build all of these multiple functions in one complex. https://www.paulrudolphheritagefoundation.org/196701-graphic-arts-center

This special section is not available from the New York Times digital site or from Proquest, except for the single page 2 with a letter from Edward Swayduck, ALA local 1 president, who wrote “Today we’re at the beginning of a great renaissance in the graphic arts. Business management can now tap the entire treasury of classic art or commission the finest work of living artists, photographers and designers, with a finally developed process which can bring to millions all the world’s beautify and richness with an economy only dreamed of a short lifetime ago. It’s a New York story. And I think you’ll find it interesting … and perhaps profitable!”


The majority of the NYTimes supplement provides a history of lithography “from the Stone Age of art to the Space Age of communications…” along with a history of the ALA union.  It seems a beer and crabcake outing of the Romar Fishing Club was held on Sunday April 23, 1882. The Club’s five members were lithographers by trade and that afternoon their fishing club became “the first craft union in a hungry but hopeful new industry.” The Amalgamated Lithographers of America (ALA) posts a timeline of its labor union that begins:

April 1882: Romar Fishing Club is organized.
June 10, 1882: Romar Fishing Club becomes Hudson Assembly 1971, which was part of the Knights of Labor.
1886: First general lithographers’ strike to reduce the workweek to 54 hours. Romar Fishing Club becomes the Hudson Lithographic Association and then develops into the Lithographers’ International Protective and Benevolent Association (LIP&BA). Withdrawal from Knights of Labor.
1892: Organization of the Artists, Engravers and Designers League.
1906: General strike for the 48-hour/6-day workweek. (The strike was so successful that by
1912: The Artists, Engravers and Designers League develops into the International Union of Lithographic Workmen.
1915: Amalgamated Lithographers of America is formed.
…1958: ALA withdraws from the American Federation of Labor and Congress of Industrial Organizations (AFL-CIO)
Labor Day 1964: the Amalgamated Lithographers of America merges with the International Photoengravers Union (IPEU; founded in 1900) to form the new Lithographers and Photoengravers International Union (LPIU). Membership total reaches 60,000.

Swayduck later published Lithopinion, the journal of ALA local 1 from 1965 to 1975. There is a run in Firestone Library: Oversize NE2250 .A414q and Graphic Arts Collection Oversize 2006-0364Q (1975 only),See also: www.local1.org/ and https://prudolph.lib.umassd.edu/node/4548