Category Archives: Acquisitions

new acquisitions

A bill for your dinner in the 1780s

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english-bills6Princeton’s Graphic Arts Collection holds a lovely collection of colorful printed menus from the nineteenth and twentieth centuries (https://graphicarts.princeton.edu/2016/06/01/decorative-menus/), along with a substantial collection of engraved change packets from nineteenth-century British shops (https://blogs.princeton.edu/graphicarts/2012/04/change_packets.html). Adding to this wealth, we recently acquired a group of 20 printed and handwritten bills from inns dating 1780 to 1830.

The businesses include: Foster, Loughborough [c.1780]; Charles McDonald, Blue-Bell, Belford [1787]; Charles McDonald, Belford [1789]; Mark Tool, Chelsea [c.1790]; Charles McDonald, Belford [1794]; George Nelson, Queen’s Head, Morpeth [1801]; Robert Coupland at the York Tavern & New Inn [1803]; David Winn, George Inn, York [1806]; Willm. Carver, The New Inn Easingwold [1809]; Richard Brown, King’s Arms, Temple-Sowerby, [printed by] John Ware, printer, Whitehaven [1813]; John Barnes, Lion and Lamb Inn, Carlile [printed by] Jollie, printer, Carlisle [c.1815]; Geo.r. Tyson, George & Dragon Inn, Penrith. [1815]; J. Broadbent, White Bear Inn, Barnsely. [c.1818]; George and Dragon, Sykes, Wakefield [c.1820]; H.C. Sharpin, Ripon [1822]; S. Twaite’s, Swan Inn Ferry-Bridge [1824]; Salkeld’s, Green Dragon, Workington. [1824]; Harrison, King’s Head Inn Barnard Castle. [1824]; T. Ferguson, George Inn, Catterick-Bridge [c.1825]; Matthew Bell, Fish Inn, Penrith. [1830].

 

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Not only are the letterhead engravings of interest as printed ephemera but these records of food, drink, and other services offered to travelers at the end of the Georgian era are of value to researchers in many disciplines.

It is curious that the bills are often pre-printed with a list of drinks and services. The waiter simply checked off what each patron ordered and added up the total. Note the food for the horses and servants is included on each bill along with tobacco and postage.

A variety of long-forgotten drinks such as “negus” (concocted from a mixture of port, hot water and spices) and bumbo (a mixture of rum, water, sugar and nutmeg) are listed on these bills. The food is rarely described more than simply “eating.”

 

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The Ten Birth Tales and the Legend of Phra Malai

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The Graphic Arts Collection is fortunate to have acquired a mid-nineteenth century illustrated folding Funeral Book/Book of Merit containing a collection of Buddhist texts in Pali and Thai languages, in Khmer (Cambodian) script. Executed in watercolor, gilt, and ink, the stories include the legend of Phra Mali and the Ten Birth Tales. Although it is not dated, this wonderful volume is likely from Central Thailand between 1850 and  1900.

 

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This large folding leporello of heavy paper (probably made from mulberry bark) is comprised of 48 leaves penned in a single neat hand in Khmer script and completed on both recto and verso. The work includes 17 paintings: 8 pairs of vibrant watercolors, several embellished with gilt, and one full double-page panel depicting scenes in Hell.

 

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The British Library online notes: “The production of illustrated folding books ranks as one of Thailand’s greatest cultural achievements. They were produced for different purposes in Buddhist monasteries and at the royal and local courts, as well. First of all, such books served as teaching material and handbooks for Buddhist monks and novices. Classical Buddhist literature, prayers (Sutras) and moral teachings were also read to the lay people during religious ceremonies. The production of folding books-–and even sponsoring their production–was regarded as a great act of merit making. Therefore, folding books quite often are a kind of “Festschrift” in honour of a deceased person.”

http://www.bl.uk/onlinegallery/onlineex/remarkmanu/thai/index.html

 

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Thanks to the assistance of Deborah Cotham and Dr Jana Igunma at the British library, we believe that the present example is one such funeral book, most probably completed by one scribe in Khmer script, though the language of the text is a mixture of Pali and Thai. I quote their notes in full:

The first part of the manuscript refers to the ten qualities of the Buddha, which are usually illustrated by the Buddha’s last Ten Birth Tales (Thai thotsachat). This section would be written in Pali, the language of the Buddhist canon. Funeral books were often commissioned by family members in order to make merit on behalf of the deceased person and to ensure that their family would not end up in hell, but be reborn in one of the Buddhist heavens. Thus the manuscript also includes the legend of Phra Malai, the famous Buddhist Saint, who traveled to the Buddhist heavens and hells.

During his visits to hell (naraka), Phra Malai was said to bestow mercy on the creatures suffering there, and who implore him to warn their relatives on earth of the horrors of hell and how they can escape it through making merit on behalf of the deceased, meditation and by following Buddhist precepts. Indeed, one of the most striking of the illustrations found in the present example, is the double-page depiction of the horrors of hell. Most of the text is in black ink on thick paper, most probably made from the bark of the khoi tree (streblus asper).

The first part in particular, has been accurately and quite beautifully penned and with great care taken, suggesting the work of a skilled scribe. It is impossible to say whether he also illustrated the work, although academics believe that they were more often the work of a different artist. A number of the vibrant illustrations have been embellished with in gilt, which further added value and prestige to such manuscripts, and a way of earning further merit on behalf of the deceased. In this instance, some of the images appear to have been influenced by Western painting techniques, suggesting that the painter may have been a student experimenting with new styles and techniques.

The legend of Phra Malai, a Buddhist monk of the Theravada tradition said to have attained supernatural powers through his accumulated merit and meditation, is the main text in a nineteenth-century Thai folding books (samut khoi). He figures prominently in Thai art, religious treatises, and rituals associated with the afterlife, and the story is one of the most popular subjects of nineteenth-century illustrated Thai manuscripts.

 

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Thanks to Martin Heijdra, Ph. D. 何義壯, Director, East Asian Library, for his help with this acquisition.

For further information see Henry Ginsburg, Thai Art and Culture. Historic manuscripts from Western Collections (London: British Library, 2000).
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Princess Louise Scottish Hospital for Limbless Sailors & Soldiers

james-annanJames Craig Annan, John Reid, George Eyre-Todd, and William Guy, The Princess Louise Scottish Hospital for Limbless Sailors & Soldiers at Erskine House (Glasgow: Printed for Private Circulation [by] James MacLehose and Sons … 1917). 38 photogravures by Annan. Graphic Arts Collection GAX 2016- in process

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While Thomas Annan is remembered for documenting the slums of Glasgow in the mid-nineteenth century, his son James Craig Annan also used his camera to record daily life and social reforms in Scotland well into the twentieth century.

The Erskine mansion and its gardens above the Clyde River were purchased by John Reid on behalf of the Scottish people and opened as a rehabilitation hospital on June 6, 1917. This sumptuous work, printed on the occasion of the formal opening, documents the mansion and its various workshops devoted to limb making, wood carving, and basket making.

 

 

james-annan8James Craig Annan (1864–1946), is not mentioned anywhere in the book except in Reid’s acknowledgements, seen here. Annan learned to make photogravures in Vienna, where he traveled with his father in 1883. Together, they bought the rights for Great Britain and Ireland, and practiced the craft in the family’s photography studio, which continues to flourish in Glasgow.

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Erskine is still the charity that looks after injured servicemen in Scotland but now there is a new hospital in the grounds of the old one. To learn more about the hospital, see: https://www.erskine.org.uk/

To stay in the old mansion, now a hotel, see: http://www.clydewaterfront.com/clyde-heritage/erskine/erskine-house

Inauguration of Charles VI

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Relation de l’inauguration solemnelle de sa sacrée majesté imperiale et catholique, Charles VI., Empereur des Romains, toujours auguste, et troisiéme du nom, Roy des Espagnes, comme Comte de Flandres, celebrée à Gand, ville capitale de la province, le XVIII. octobre 1717 (Gand [Ghent]: Augustin Graet, 1719). Purchased with funds from the Rare Book Division and the Graphic Arts Collection 2016- in process

The monumental engravings in this recently acquired festival book celebrate the investiture of Emperor Charles VI as Count of Flanders on October 18, 1717. The ceremonial stage in the Place au Vendredy, Ghent; multiple firework displays; and events at the grand Theatre are among the scenes documented.

A fusion of Flemish, Dutch, Belgian, and French artists were involved in the publication’s seven plates, including engravers Michael Heylbrouck, Jan-Baptiste Berterham, and Jacobus Harrewijn, working after designs by Jean-Baptiste Van Volsom, Jacques Colin, and Karel Eykens.

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Peregrinations of French Types

argetsingerMark Argetsinger, Peregrinations of French Types in the Sixteenth Century: Printing of Robert Bellarmine’s ‘Disputationes’ in Southern Germany. A Bibliographical Analysis of the Second Ingolstadt Edition Printed by David Sartorius, with Leaves Incorporated from Volume II, ‘De sacramentis’ 1591 (Union Springs, New York: Press of Robert LaMascolo, 2016). Copy 183 of 200. Graphic Arts Collection 2016- in process

 

Nicolas Barker once wrote, “Mark Argetsinger is one of the very few typographical book designers in the world. That is, he thinks in terms of type, not graphical layout. He handles printers’ flowers with the bravura and assurance of Frederic Warde, and can achieve that rarity, optically spaced capitals, with apparent ease….” And so, when Argetsinger writes about typography and book design, it is important that we read and listen.

 

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The Graphic Arts Collection is fortunate to have acquired one of Argetsinger’s limited edition Peregrinations of French Types in the Sixteenth Century. The foreword, written by Herbert H. Johnson, begins “This splendid book–the culmination of a long-time wish of mine to publish a series of ‘Leaf Books’ dedicated to the works of famous printers and type designers–has its genesis during my undergraduate days at the Rochester Institute of Technology….” Limited to 200 numbered copies, each book includes two original leaves from Disputationes, printed in 1591.

For more on the LoMascolo Press, see: https://sk-sk.facebook.com/rlpress/. For more on Argetsinger, see: http://argetsingerbooks.com/

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Memorials of the Old College of Glasgow

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annan-memorial2Thomas Annan and others. Memorials of the Old College of Glasgow (Glasgow: Thomas Annan, Photographer, 202 Hope Street. James Maclehose, Publisher and Bookseller to the University, 61 St. Vincent Street. MDCCCLXXI [1871]). 41 albumen silver prints. Graphic Arts Collection 2016- in process

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“On July 28, 1870, the Senate of the University of Glasgow met for the last time in the Old College Buildings to confer degrees to outgoing students. The following year the ceremony was moved to the New Buildings.

Annan conceived the present volume as a both a memorial to the 450-year history of the university and as a record of the ‘venerable structure before it underwent any change’. Consequently he here presents fifteen interior and external views of the buildings with various aspects of the Inner and Outer Courts, the Professor’s Court and the Hunterian Museum.

Three professors, Dr. Weir, Professor Veitch and Professor Cowan, agreed to contribute texts in which they record the history and work of the individual faculties. To their notes Annan added twenty-six portrait photographs of members of the Senate at the time of its removal to the New Buildings.”

This is the eleventh album of photographs by Annan acquired by Princeton University Library, in an attempt to document this man’s work in its entirety. Whether in portraiture, landscape, or architectural photography, Annan remains one of the most accomplished artists of his time.

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New Henry Martin Scrapbooks

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To help us through the end of a sad week, here are some cartoons from the recently aquired scrapbooks of Henry Martin, Princeton University Class of 1948. Although Martin’s work for the New Yorker magazine is best remembered, these albums document his published work for the Harvard Business Review, Parade, Good Housekeeping, Audubon, Writers Digest, Better Homes and Gardens, National Law Review, Johns Hopkins Magazine, Applause, Rotarian, and many other journals.

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Erigeron Philadelphicum and other Medical Flora

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Constantine S. Rafinesque (1783-1840), Medical Flora; or, Manual of the Medical Botany of The United States of North America (Philadelphia: Printed and published by Atkinson & Alexander, 1828/1830). Two volumes. 100 plates printed in green. Graphic Arts Collection GAX 2016- in process.

 

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Constantine Samuel Rafinesque was a botanist and professor. Originally born in Turkey, he came to Philadelphia in 1802. He met Thomas Jefferson in July 1804 while traveling through Maryland, Virginia and the District of Columbia to study the local flora. Although this was their only meeting, they corresponded sporadically for the next twenty years. During their first bout of correspondence, Rafinesque expressed keen interest in the Lewis and Clark Expedition. Jefferson suggested that he might prove useful in a proposed expedition along the Red River. Rafinesque did not join this expedition, having left the country for Italy before receiving the letter. He remained there for the next ten years.

Rafinesque returned to the U.S. in 1815, and accepted a position as a botany professor at Transylvania University in 1819. Rafinesque wrote to Jefferson after a silence of nearly fifteen years to inquire after a professorship at the University of Virginia. Jefferson promised to “lay [his] letter before the board in due time.” Rafinesque was ultimately unsuccessful in securing a position at the new university, despite applying to Jefferson several more times over the next few years.Rafinesque remained at Transylvania University and did extensive archaeological and linguistic work on the early people in the Ohio Valley. In 1826, he moved to Philadelphia where he continued to write until his death by cancer.” –The Thomas Jefferson Encyclopedia: https://www.monticello.org/site/house-and-gardens/rafinesque-constantine-samuel

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Rafinesque opens volume one with 74 main points, beginning:
1. THE Science of Botany was at all times intimately connected with medical knowledge.
2. Several ancient nations, such as the Grecians, Romans, Hindoos, Chinese, &c. considered Medical Botany as equivalent to both botanical and medical knowledge.
3. Medicine was then, and is still among rude nations, nothing more than the application of an empirical knowledge of vegetable substances.
4. Thence the usual vulgar division of Plants, into the five great Classes of ALIMENTS, SIMPLES, POISONS, FLOWERS and WEEDS, or alimentary, medical, poisonous, ornamental and useless plants.
5. At the revival of learning in Europe, this notion being general, the first works on Botany, were of course mere sketches of Medical Botany, and comments on Grecian or Roman writers.
6. When Tournefort and Linnaeus, about a century ago, became botanical reformers, and made Botany a separate Science, their efforts and improvements were resisted by those who at all times contend against useful innovations.
7. Linnaeus in his Materia Medica, gave a model of systematical Medical Botany, equally concise, perspicuous and accurate; but destitute of the help of figures. . .

He ends with 12 concluding remarks:
1. Physicians do not agree on the mode of action of the properties, nor the proximate and intricate operation of remedies; but the ultimate effects and results being ascertained, they are sufficient for practical use.
2. Drugs are Vegetable substances prepared for use, and kept for sale by Druggists or Pharmacians.
3. Those which are imported, are often adulterated, or inferior kinds are substituted; for instance Peruvian Bark or CINCHONA, and Saffron or CROCUS, are hardly to be met with in the U. S.—Caribean bark or PORTLANDIA, and Bastard Saffron or CARTHAMUS, are usually sold instead, which are very weak substitutes.
4. This arises from a want of medical inspections and officinal knowledge: the results are, that prescriptions fail, physicians are disappointed, and patients suffer.
5. To avoid in part these evils, it is desirable to employ our own genuine medical substances, whenever they afford sufficient remedies and suitable equivalents.
6. Medical substances being often impaired by age, it is desirable to obtain them fresh, or in yearly rotation.
7. Fresh and genuine substances can only be obtained at all times from medical gardens, or honest dealers.
8. The best medical gardens in the United States are those established by the Communities of SHAKERS, or modern Essenians, who cultivate or collect about one hundred and fifty kinds of medical plants.
9. They sell them cheap, fresh and genuine, in a compact and portable form. Pharmacians would do well to supply themselves with them, or to imitate their useful industry.
10. Several of our medical plants and drugs are already an object of trade to Europe and elsewhere. Many more may become in demand, when their valuable properties will be better known.
11. A new branch of trade may thus be opened, which it is our duty to encourage, by collecting and cultivating our medical plants.
12. Herbalists and Collectors are often ignorant and deceitful. The best way to prevent their frauds and correct their blunders is, by enlightening them, adopting botanical names, and refusing spurious drugs.
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Inspiration for orators, poets, painters, architects, and sculptors

emblem5This difficult to read title page translates roughly: A Lot of Useful and Artistic Imagery, or, Hieroglyphic Images of the Virtues, Vices, Emotions, the Arts, and the Sciences: where by Orators, Poets, Painters, Architects, Sculptors, Designers, and others pursue their ideas, Or, in the case of a blocked period, provide inspiration so that one  will not be troubled for a long time.

canvas-2Johann Christoph Weigel created 300 emblems to represent, as the title indicates, virtues, vices, emotions, and other curiosities, then described each one in German, Latin, and French.

The engraver and his older, better-known brother Christoph Weigel (1654-1725) worked closely with the most prominent of the Nuremburg map publishers J.B. Homann and the printer, Kohler. Following the death of the older Weigel in 1725, control of the firm passed to his widow, who published a number of Weigel’s maps and atlases posthumously.

It has been speculated that this emblem book was published by one of the Weigel wives after Johann’s death in 1726. emblem3

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Johann Christoph Weigel (1661?-1726), Viel nutzende und Erfindungen reichende Sinnbild-Kunst, oder, Hieroglijphische Bilder, vorstellung [sic] der Tugenden, Laster, Gemuts-Bewegungen, Künste und Wissenschafften: wodurch Rednern, Poeten, Mahlern, Bauverständigen, Bildhauern, durch Zeichnungen und einer Kurtzen Beschreibung Ansatz ihre Gedancken ferner auszuüben gegeben ferner aus zu üben gegeben oder beij gäh verfallenden gelegenkeiten ihne gnugsame Materi vor Augene gelegt wird, damit sie sich nicht lang besinnen dörffen (Nürnberg: Verlegt und zu finden beij Johann Christoph Weigel …, [1730?]). Graphic Arts Collection GAX 2016- in process

The paper of the text and plates are watermarked with a bishop above NMH. This watermark is not recorded in Heawood, but is known to be used for other publications by Weigel all dated ca. 1730. See also: John Landwehr, German Emblem Books 1531-1888. A bibliography (Utrecht: Haentjens Dekker & Gumbert; Leiden, Sijthoff [1972]). Marquand Library (SA) Z1021.3 .L35J: 306, 641.

COOP

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We are pleased to have acquired Princeton Lecturer in Visual Arts Fia Backström’s newest book COOP, which documents the Swedish artist’s performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance.

“Backström’s work focuses on the fabric of our co-existence with and construction of subjectivity through the social life of images. Backström works with structures of political address, corporate logic, and pedagogical methods , destabilizing authorship and the semiotics of images. She uses exhibition as a format for these structures, while turning social situations into operative displays where methods and media are chosen according to the situation and theme. Her work unfolds via a wide range of media including language, marketing, propaganda, typography, broadsides, objects, and performance. Her environments, live events and projects challenge our habitual notions of what constitutes an exhibition – its institutional context, its dialogue with the audience, and even the works of art that are presented. Frequently works by other artists are incorporated, as well as peers, visitors and institutional staff alike, while she fluidly reworks the terms of engagement.”–Lewis Center for the Arts, Princeton University

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Backström came to Princeton in the spring semester of 2010. Apart form teaching at Princeton, Backström also teaches at the Columbia University MFA Graduate Department since 2008, and co-chairs the Milton Avery Bard MFA photography department. She has lectured widely on her work and been a visiting artist in schools such as NYU, Yale University, Rhode Island School of Design, PennU and MICA.

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