Printing in Offenbach: the Art of a Craft and the Craft in the Art


Reminder: Registration is open for the Association of European Printing Museums (AEPM)’s annual conference 2021: https://www.aepm.eu/aepm-2021/: Printing in Offenbach: the Art of a Craft and the Craft in the Art, a free, online conference 20-22 May 2021.

AEPM is an international printing heritage network that shares knowledge, experience, initiatives, and resources in all fields of the graphic arts as they have been practiced from the time of Gutenberg until the present day.

See the full program here: https://www.aepm.eu/aepm-2021/programme/
The speakers:
Joseph Belletante, curator of the Museum of printing and graphic communication, Lyon, France // Françoise and Johannes Despalles-Strugalla, Despalles éditions, Paris (France) and Mainz (Germany) // Dr Eva Hanebutt-Benz, former director of the Gutenberg Museum, Mainz, Germany // Martyn Kramek, Book Art Museum, Łódź, Poland // Walter Raffaelli, Raffaelli editore, Rimini, Italy // Stefan Soltek, director of the Klingspor Museum, Offenbach, Germany // Christina Wildgrube, visual artist, printer, Leipzig, Germany

The event is being hosted by the Klingspor Museum and the Offenbach Local History Museum (Haus der Stadtgeschichte). Exceptionally this year it is being offered as a Zoom conference. The talks will be live streamed from Offenbach, complemented by various recorded visits to local places of printing and heritage interest. Participation is free of charge, though a donation to the host museums to help defray costs will be gladly accepted.

One special event is the presentation of Jean Miró’s Macimono (1955), a transverse scroll, ten meters long, created by the Spanish artist Joan Miró. Executed as a lithograph, with individual passages added in woodcut, the extreme format offered Miró a unique terrain for unfolding the quasi-metabolic features of his language of form and color in never-ending imaginative abundance. On the occasion of the AEPM conference, the roll will be given to the Klingspor Museum by its owner as a permanent loan.

The conference also wants to set an example by looking at how the City of Offenbach am Main is redefining itself as a place of printing on the basis of its long tradition in the field of the graphic arts, and at how local citizens and cultural policy-makers have come to see illustrious printing personalities such as Johann André and Alois Senefelder (lithography) on the one hand and Karl Klingspor (type founding) on the other as two complementary facets of a single historical narrative – that of the City’s contribution to the development of visual communication.

Discussions will turn around two main themes this year:
The first is the technology of the printing press, which will be encountered first hand in the form of the reconstruction of Senefelder’s original ‘pole press’ for lithographic printing which is conserved in the Haus der Stadtgeschichte, and the Manroland presses built in Offenbach that have had a significant influence on sheet-fed offset printing worldwide.
The second theme is that of the artists working in print media and the important patrons and producers who have promoted the work of these artists. Both themes will be displayed and discussed at the conference with speakers from Poland, Italy, France and Germany evoking a wide variety of related topics.

On Saturday Uta Schneider and Ulrike Stoltz, the two artists who co-founded Unicat T and later USUS, along with Dominik Gussmann the workshop manager, will take us away from the lectern of the previous day’s talks and into the Museums’ new printing workshop. They are among the most important personalities working across the entire diversity of printing in and outside the book, and can report on this field on the basis of the many talks which they have given at universities, the Stiftung Buchkunst (Book Arts Foundation), etc.

The Association of European Printing Museums (AEPM) was founded in Grevenmacher (Luxembourg) in February 2003 with the aim of encouraging co-operation among European printing museums and promoting printing heritage as an important part of European cultural heritage. It was originally an informal group formed around a project entitled “Preservation of historical printing skills”, whose purpose was to bring together museum specialists with a view to preserving traditional printing skills and techniques.

Membership in AEPM is open to all print-related museums, heritage workshops and collectors actively involved in preserving the heritage of the printing industry. Don’t forget the AEPM’s wonderful museum finder, which includes Princeton’s Graphic Arts Collection: https://www.aepm.eu/museum-finder/

What did W. C. Handy and ‘The New Cow of Greenwich Village’ have in common? Robert Clairmont

‘Father of the Blues’ William C. Handy (1873-1958) was introduced to a scruffy Greenwich Village poet named Robert Clairmont (1902-1971) in the spring of 1828. Handy had given a mutual friend, Abraham Brown, a tour of Harlem nightlife and Clairmont was hoping for a similar adventure. A few nights later, Clairmont returned the favor by taking Handy to see some of his favorite downtown spots and the two quickly became good friends.

One day Clairmont suggested Handy and his orchestra play a concert at Carnegie Hall, asking what he thought it might cost. Handy said an event like that might cost $3,000 and to his surprise, Clairmont returned the following day with a certified check for $5,000 to fund the concert. On April 27, 1928, the Handy Orchestra became the first Black band to perform at Carnegie Hall.

Many friends and colleagues were asked to play, including Fats Waller who performed “Beale Street Blues” on a pipe organ with a thirty-piece orchestra, directed by Handy himself. The high point came when Katherine Handy, his daughter, sang his best-known composition “St. Louis Blues.” The evening was a tremendous success, but while it cost around $3,800 to stage, they only grossed around $3,000. Clairmont never asked for anything in return.

[Program for the 1938 concert to celebrate Handy’s birthday]


[Above] Dan Morgenstern remembers Robert Clairmont, his friendship with Handy, and the parties he gave each month. (recorded April 20, 2017). [Below] The apartment where Clairmont’s parties were held on West 4th Street, just off Washington Square Park in Greenwich Village.

Their friendship continued over the next year, until the fall of 1929 when the stock market crashed. Clairmont lost $986,000 in a single day. This time it was Handy’s turn to help his friend, who he tracked down in a lower east side boarding house. Clairmont was taken home with Handy for a warm meal and they remained close until the composer’s death in 1958.

 

 

Only a millionaire for a brief time in the 1920s, Clairmont spent the money as quickly as it came. While working as a lifeguard one summer, he saved a wealthy businessman from drowning and was rewarded with $350,000 from the man’s will. This was soon doubled and then tripled in the stock market, leaving Clairmont the ‘millionaire playboy’ of Greenwich Village. He ran with a small group who called themselves the Greta Garbo Fan Club, publishing poetry journals during the day and discovering the latest speakeasy each night.

Clairmont was one of several writers published in the single issue of The New Cow of Greenwich Village, which he also funded, along with the poetry journal Pegasus, and several later compilations. The book Millionaire Playboy by Tom Boggs is a fictionalized account of his life.

 

William Christopher Handy (1873-1958), Father of the Blues: an Autobiography; edited by Arna Bontemps; with a foreword by Abbe Niles (New York : Macmillan Co., 1941). Ex ML410.H18 A3. Presentation copy to Miriam Holden with inscription by James H. Hubert.

Clairmont also published regularly with his friend Lew Ney (Luther E. Widen), the ‘Mayor of Greenwich Village’.


Cara a Cara. Visiones de lo cotidiano.


Cara a Cara: Visiones de lo cotidiano = Face to Face: Views of the Everyday (Oaxaca, Mexico: Irving Herrera/Bautistaivan, 2013). Edition of 35. Graphic Arts Collection GA2021- in process

The artists “facing off” between the DF and OAX printshops include Edgar Allan, Javier Arjona, Ivan Bautista, Raul Cadena, Gilberto Delgado, Maria Luisa Estrada, Oscar de las Flores, Irving Herrera, Vicente Jurado Manuel Solis, Baltazar Melo, Jorge Noguez, Pavel Scarubi, Sergio Vargas, Albert Vargas, and Yescka.

Oaxaca is one of the 31 states which make up the 32 federative entities of Mexico. Located in the southwest of the country, Oaxaca is celebrated for its indigenous artists working in dozens of printshops and collectives, specializing in stencil and relief printing. Their voices are as diverse as the 16 spoken languages in Oaxaca.

https://oaxacaculture.com/ The Oaxaca cultural navigator is one of several sites that help to identify these many cultural resources.

Takahashi Hakusen 高橋白扇

Takahashi Hakusen 高橋白扇, Chikusa ちくさ, Showa era, 1927 (Showa 2). 5 v. with 20 pochoir plates. Graphic Arts Collection GAX 2021- in process

We recently acquired this complete set of textile designs in pochoir from the Japanese artist Takahashi Hakusen 高橋白扇. While it has not yet been fully translated, here are a few of the wonderful patterns merging East and West in 1920s art deco.

The saint of all flower growers

José de Nava (1735-1815), [Vida de Santa Rosa de Viterbo] ([Puebla de Zaragoza: s.n., 1763-1807?]). 33 engraved plates (one facsimile). Graphic Arts Collection GAX 2021- in process

 

According to the Catholic calendar, September 4 is the feast day of Saint Rose of Viterbo (1235-1252), who was canonized by Pope Innocent IV. She is the patron saint of florists and all flower growers.

Born in Viterbo (present day Italy), Rose joined the Third Order of St. Francis (T.O.S.F.) at the age of 10 but never officially joined a convent (lacking the dowry). According to the legend, “on December 5, 1250, she foretold the death of the emperor which was fulfilled 8 days later on December 13. Rose went to the city of Vitorchiano, which was possessed by a sorceress and secured the conversion of all, even of the sorceress, reportedly by standing unscathed for three hours in the flames of a burning pyre.”


The Graphic Arts Collection recently acquired a rare volume of engravings based on Rose’s life story, drawn and printed by the Mexican artist José de Nava (1743-1807). Although there isn’t much information on Nava, Dorothy Tanck de Estrada’s article “Imágenes infantiles en los años de la insurgencia. El grabado popular, la educación y la cultura política de los niños,” from: Historia Mexicana 59, no. 1 (July/September 2009) https://www.jstor.org/stable/40285231 is a good source. This is a poor translation of a section:

“José de Nava, active since 1748, is considered “the best known and most famous of the Puebla engravers.” He was possibly born around 1728 and died in 1817 at 89 years of age. Both he and [Miguel Jerónimo] Zendejas made works of art in the same year of his death. However, some of Nava’s creations were printed until after his death. According to Manuel Romero de Terreros, [Nava] devoted his entire life to his art and produced excellent prints, most of them dealing with religious matters. He worked with such rapidity that after the viceroy Marqués de las Amarillas entered Mexico on November 10, 1755, the following December Nava had already recorded and dedicated his excellent plan of New Spain to the viceroy.”

Francisco Perez Salazar noted that “Nava had the custom of signing almost all of his engravings and of stating the date of his work on many plates, in such a way that we can know with certainty when they were made. It was extremely fruitful.”

Nava lived in a two-story house on Calle de Chito Cohetero (now Calle 6 norte 400) in the city of Puebla. He produced almost all of his engravings in that city … at the printers of the College of San Ignacio de los Jesuitas and, after the expulsion of the Comparila de Jesus, in the same printing house then called the Palafoxian Seminary and in the printing house of Pedro de la Rosa. It should be noted that the most outstanding work of Nava was a set of 33 plates of the life of Santa Rosa de Viterbo.”

 


Macy’s Sells “Birds of America”

 

In 1902 R.H. Macy’ & Co. already known simply as Macy’s, moved their flagship store to Broadway and 34th street where they hoped to become the largest department store in the world. Ten years later an art gallery was added on the 6th floor, advertising in the New York Times “Choice Paintings” for half price.

Throughout the 1920s monthly art exhibitions were mounted and advertised alongside the prestigious Madison Avenue galleries, including lithographs by Henri Matisse, woodcuts by Rockwell Kent and Wanda Gag, and Bartolozzi engravings after Hans Holbein.

Beginning on May 18, 1931, Macy’s staged an advertising campaign that would last over ten years. The store would sell all 435 hand colored, aquatinted and engraved plates from a copy of John James Audubon’s four-volume double-elephant Birds of America, which they cut apart for this event. According to the New York Herald Tribune, “The New Macy Galleries Announce a unique and spectacular purchase—The Birds of America from original drawings (1827-1838) by John James Audubon.” Although some sources report that the store broke up three copies of the Havell/Audubon volumes, it may have only seemed that way because it took so long to sell the plates.

The rarity of these enormous volumes was used to promoted the sale: “Once, every four or five years, a complete set of Audubon’s Elephant folio volumes reaches the public. We are able to present this rare collection of 435 copper plate engravings in complete form. This folio was published by Audubon in four volumes; it was engraved by Robert Havell Jr., colored by hand from Audubon’s drawings. Audubon’s son, according to one statement declared that only 175 sets of the folio were ever printed. The prints will be sold individually—they range in price from $4.96 to $224.00. Some of the most famous plates are Canvasback Duck with view of the city of Baltimore $174.00. Mallard Duck $112.00. American Hen and Young $104.00”

 

Eighteen months later, on December 17, 1933 the Tribune advertised a special Christmas sale of “all original copper-plate engravings of great brilliance and connoisseurs will appreciate this—the first ten plats are engravings by Lizars; and many of the first plates are colored by Robert Havell, Sr. There are very few like these in existence.” But so important was the physical exhibition of the plates that Macy’s asked “our customers to let us exhibit these plates for two days after sale that others may have the opportunity of seeing them. No mail or phone orders.” Now 104 plates were priced under $10; 199 plates $12.89 to $24.39; 120 plates $29.75 to $99.75; and 12 plates from $124 to $594 (the most expensive being the “Wild Turkey”).

On April 26, 1935, in commemoration of the 150th birthday of Audubon, a lecture on “Birds” was delivered by Warren F. Eaton, President of the Montclair Bird Club. This accompanied the continuing “Unique Exhibition and Sale of The Birds of America published from original drawings 1827-1838. Once in a great, great while a complete set of Audubon’s Elephant folio turns up. We deem it a rare event to be able to offer the 435 copper plate engravings in complete form on this occasion and at these low individual prices. …On sale today! $4.96 to $394.00. No mail, telephone, or telegraph orders!”

The “rare event” of the Audubon print sale was advertised again on October 2, 1938 in both the Tribune and the New York Times, followed by more announcements until finally on March 16, 1941, the Times informed its readers that only 106 Audubon prints were still for sale at Macy’s, beginning at $13.97 (usually $18.74).

A “Picture Clearance” sale was held at Macy’s on April 18, 1943, in which Audubon prints are sold at $4.97, while sporting prints by Robert Havell Jr. are going for almost $20.

Happily, no such stunt has been tried lately.

Picturing the Press that Printed the Picture

Gustave Baumann (1881-1971), The Print Shop, from In the Hills o’ Brown, 1910. One of 12 color woodcuts on ivory Japanese paper. Edition: 100. Graphic Arts Collection GC024 Baumann

Gustave Baumann spent much of his childhood in Chicago but in 1909 he and other members of the Palette and Chisel Club discovered Brown County, Indiana. “[By] saving up $100.00 he could spend three months in Brown County, sketching and painting. In 1910 he produced a portfolio of small format color woodcuts entitled In the Hills of Brown and then produced some of the largest woodcuts of the time. His color woodcuts were selected for inclusion in the 1915 Panama Pacific International Exposition where he won the Gold Medal for Prints and an Honorable Mention for his Exhibit of Color Woodcuts. In the summer and fall of 1917, Baumann visited Wyoming, New York; Manhattan; and Provincetown, Massachusetts.” https://www.annexgalleries.com/artists/biography/140/Baumann/Gustave

Although the plan was to only stay a short time, Baumann loved Brown County, its people, the hilly scenery, and isolated location. He lived there six and a half years, often using the location as his primary subject matter. Thanks to Baumann’s friend, Elmer Adler,  the Graphic Arts Collection has an original 1910 edition of this rare portfolio, rather than the later 1914 reprinting.

Within the series of four color woodblock prints, is a depiction of the shop where Baumann did his printing, the commercial press of Alonzo Allison (1851-1926). Allison was the editor and publisher of the Brown County Democrat and this print shows him and his staff (which included his daughters) at work getting out the newspaper. Allison was a local celebrity and the subject of this profile in The Inland Printer, 56 (1916), “Alonzo Allison, Editor And Publisher Brown County Democrat by Albert G. Brenton.

In Nashville, the county-seat of Brown County, Indiana, lives a figure unique in newspaperdom of the State. The man is Alonzo Allison, editor and publisher of the Brown County Democrat, an eight-page weekly with a healthy circulation of 1,800. His claim to fame is fourfold: First, his publication is the only county-seat paper in the State still printed on a Washington hand press. Second, he is believed to be the youngest veteran of the Civil War and the oldest printer in point of service in Indiana. Third, his father was a printer before him and he has an uncle, four brothers, three sisters, four cousins, five sons and two granddaughters who are working at the case. Fourth, he is said to hold the state record for fast composition, setting 2,250 ems, eight-point, in an hour on a sheriff’s bill.

Surely a character of some distinction in printerdom! Little wonder that beaten paths are made to his door or that his quaint print-shop should be made the subject of an appropriate wood-block picture in three tones by Gustave Baumann, a noted young German artists. Baumann’s engraving entitled “Press Day,” is shown herewith. It gives the artist’s impression of the Democrat office in the midst of edition-day activities. Alonzo Allison is shown performing the functions of the mailing force, while his sons, T.H. and C.A. Allison, are operating the “muscle developer.”

Considering Mr. Allison’s claim to fame, it would seem that a reproduction of his print-shop in any other medium than that chosen by Baumann would grate on artistic sensibilities. The whole atmosphere of the subject is rare with a spirit of antiquity that indeed is refreshing in contrast to linotypes, offset presses, modern high-speed efficiency, and the like.

Probably no duplication of Allison or his print-shop could exist in another part of Indiana, and it would be disappointing to one who knows Brown County or Nashville to have a printery of any other sort there. Brown County is Indiana’s Switzerland. Only a few years ago the first railroad crossed its boundaries. As late as the past autumn, steps were taken to establish the first electric light plant within its confines.

… Allison is sixty-four years of age and has been in the printing business for fifty-seven years, having set his first type when seven years old. He has been in active newspaper work continuously since his beginning, with the exception of eighteen months spent in the Union army in the Civil War. His printing-office is the only one in Brown County, although his father at one time successfully operated a Republican paper in competition. At the age of twelve, Allison and his mother went to Nashville, Tennessee, to visit his father, who was quartermaster of the Seventeenth Indiana regiment, then in camp at Nashville. Allison, though only twelve years old, begged so hard to remain with the regiment that his father and mother consented, and the lad donned a soldier’s uniform, the legs of the trousers being cut off and the coat made to fit him.

He spent eighteen months in the army, much of the time being under heavy fire and in the thick of important battles. At the close of the war he went with his father to Columbus, Indiana, where they published the Dollar Weekly Union. In the fall of 1870 the Allisons went to Nashville, Brown County and established the Jacksonian.

In December, 1884, Alonzo Allison purchased the Brown County Democrat. For lack of means he was compelled to do all the work himself, and for several years he got the copy, set the type, made up the paper, rolled the forms and pulled the lever on a Washington hand press, which he uses in printing the Democrat to-day. Allison calls his press his “muscle developer.” Although he is near the three-score-and ten limit, Allison is still “some speed artist” at the case, sticking up 1,500 ems an hour. He holds a record of setting 2,250 ems, eight-point, in an hour on a sheriff’s bill. When he was employed in an office at Columbus at one time his employer wanted to pay him by the thousand ems. The first week Allison made $39.50. The next week the arrangement was changed.”

As an added bonus, here is a Ground Hog day card to Adler:

Taller Movimiento Gráfiko Mayahuel

Gráfica Palabra Zapatista (México: Movimiento Gráfico Mayahuel y Libertad Bajo Palabra, 2019). Book divided into 2 parts, text and plates, bound dos à dos. A second copy of each print is loose in the chipboard box 34 x 53 x 10 cm along with a handkerchief and 1 corked glass bottle. Graphic Arts Collection GAX 2021- in process

 

Prints: Libertad by Agüita Gómez del Payán; linografía — La lucha inconclusa by Amarildo Olmedo; xilografía — Zapata 100 años by Ana Lilia Viveros Cázares; grabado en pvc espumado — La tierra es quien la trabaja by Ana Rojas; linografía — ¿Por qué la lucha sigue? by Brigada Cultural Subversiva; linografía — Somos el mañana by Eduardo Palma Santiago; xilografía — Tierra, corazón e historia by Eduardo Robledo Romero; relieve en pvc espumado — A cien años by Eric Pozos Vázquez; linografía — La luz de la flama by Gabino Morales; xilografía — La autonomía by Gera Cristobal; linografía — El Atila del Sur by Iván Míchel Franco; xilografía — [untitled] by Mario Martínez; serigrafía — Sólo la muerte nos hará libres by Nahual Grafico; litografía y linografía — Cien años by Orquidea 5 Vocales; linografía y relieve en pvc espumado — Zapatero, la lucha sigue! by Zamer Zamer; linografía — Tenemos la fierza de un volcán by Zum; linograbado y stencil — Nuestra lucha es por la vida by Movimiento Gráfiko Mayahuel; linografía

Read more from the Taller Movimiento Gráfiko Mayahuel, https://www.picuki.com/tag/movimientograficomayahuel

 

 

La Création. Bound by Marie-Jose Guian-Milliaud for her personal library.

La Création. Les trois premiers livres de la Genèse suivis de la généalogie adamique. Traduction littérale des textes sémitiques par M. le docteur J.-C. Mardrus (Paris: Schmied, 1928). Designed and illustrated by François-Louis Schmied. Graphic Arts Collection GAX 2021- in process

 


It is, perhaps, not surprising that French master binder Marie-Jose Guian-Milliaud chose this edition of Genesis, illustrated by François-Louis Schmied (1873-1941), to bind for her personal library. Her full brown calf binding with ivory-toned calf complements the artist by reproducing his plate XII of the biblical family tree on her cover [see plate below].

Schmied’s 42 beautiful color wood engravings are printed on Arches wove paper, many highlighted with gold and/or silver. The copy now at Princeton includes an additional suite of plates in black, bound at the back of the volume.

 

 

Born in Cairo, the translator Joseph Charles Mardrus (1848–1949) was also responsible for an important French translation of Les Mille et Une Nuits (Thousand and One Nights, 1899–1904) based primarily on the 1835 Egyptian edition of The Arabian Nights by Boulak. Writing for the Oxford Companion to Fairy Tales, Anne Duggan notes:

“Mardrus studied classics and Arabic literature in Beirut, and went on to receive a doctorate in medicine at the Sorbonne in 1895. While working as a doctor on shipping lines, which took him from the Middle East to South-East Asia, he began to translate and publish Les Mille et Une Nuits, the revenues from which allowed him to settle permanently in Paris by 1899. Within Parisian literary circles, Mardrus frequented Stéphane Mallarmé, Paul Valéry, Maurice Maeterlinck, André Gide, and Marcel Schwob, and dedicated to each of them a volume of his 16-volume work. Mardrus’s translation became the object of critical debate, which opposed the partisans of Antoine Galland, who claimed the superiority of the latter’s classical style, to those who favoured Mardrus’s more sensual, unexpurgated version. Unlike Galland, Mardrus did not Frenchify the Arabian tales but retained much of their cultural specificity.”

 

 
When the California book collector Ward Ritchie gave up the study of law to become a printer, he traveled to Paris hoping for an apprenticeship with Schmied. This led to his establishment of the Ward Ritchie Press in 1932. Later, Ward wrote the following description of his personal copy of Création:

“[This book is] a daring and innovative design with the copy of the first two books set in capital letters in narrow columns with decorative bars to fill out the lines where necessary. The small illustrations in the columns are brilliant in color. Dominating full-page illustrations break the continuity of the text. The format is completely changed in Book Three with a wider measure of type and the illustrations integrated with the text.”

 

 

 

 

April is for the Birds. Please join us Friday.

April is for the Birds:
From Audubon’s Extraordinary Birds of America to the Indispensable Pocket Field Guides.
A free webinar but we ask you to register: HERE

 

Grab your binoculars and join us on Friday, April 30, 2021, at 2:00 p.m. for an hour of virtual birding, as we turn the pages of John James Audubon’s gigantic, hand painted Birds of America (1827-38). Rarely does the public have the opportunity to see this amazing four-volume work and when they do, it is usually only one plate through a sealed case. As we have done for our students, we will page through multiple volumes so you can experience the colossal scale of Audubon’s birds, painted life-size and then transferred to copper plates for the printing and painting of the published ‘double-elephant’ volumes.

Introducing us to Audubon’s remarkable work will be Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art, Professor of Art and Archaeology and American Studies, and the current Chair of the Department of Art and Archaeology at Princeton University. Julie Mellby, Graphic Arts Curator, will focus on master printer Robert Havell, Jr. who took Audubon’s paintings and transformed them into 435 aquatints. We will follow the trail that brought four tons of copper printing plates across the Atlantic and left several at Princeton University Library, where they remain today.

Next we will be joined by Robert Kirk, Publisher, Princeton Nature, with Princeton University Press who will bring us up to date with the field guides used by birders, from the amateur to the professional. Kirk not only acquires a broad range of nature reference titles, but he also works on a select number of fully interactive apps and will show some of their of the most recent titles. While Audubon’s oversize originals are rarely viewed, many of these authoritative guides are indispensable resources found in the pockets of conservation professionals worldwide.

This webinar is free and open to the general public, but we ask you to register:HERE

Recordings for previous webinar in the Special Collections Highlights Series can be viewed here. To request disability-related accommodations for this event, please contact pulcomm@princeton.edu at least 3 working days in advance.