Game of the Great Exhibition of 1851

The Graphic Arts Collection recently acquired this unabashedly politically incorrect board game, in which people from around the world meet in London at the 1851 Great Exhibition. Caricatures of all races, creeds, and occupations are encountered as players make their way around this ‘game of the goose’ published by William Spooner.

For some reason, this game has 76 squares rather than the typical 63. The central winning square is the Crystal Palace itself with international visitors mingling outside the building.

**Note, square 34 representing the Americans holds a gun that can even shoot around corners. This is a reference to the Hartford inventor Samuel Colt (1814-1862), who brought 500 of his new Colt revolvers to display in the Exhibition.

No artist is identified on the board but the figures are redolent of Richard Doyle’s work, such as his comic An Overland Journey to the Great Exhibition, published the same year.

Artistic skits of the Great Exhibition of 1851: There were, doubtless, many of these— separate publications—in addition to the illustrations in Punch and other journals. I can mention two by distinguished men. 1. Overland Journey to the Great Exhibition, showing a few Extra Articles and Visitors, by Richard Doyle. These sketches were in nine panoramic plates in oblong quarto. 2. The Great Exhibition “Wot is to Be “; or, Probable Results of the Industry of All Nations, by George Augustus Sale. This was a folding panorama, eighteen feet in length, the designs, about 350 in number, being coloured, oblong octave. Not very long since I saw a copy of this, priced 385., in a London catalogue of second-hand books.” –Notes and Queries (March 16, 1889): 206.



Comic Game of the Great Exhibition of 1851 (London: William Spooner, 1851). Graphic Arts Collection GAX 2018- in process.

See also: Richard Doyle (1824-1883), An Overland Journey to the Great Exhibition: showing a few extra articles & visitors (London: Chapman and Hall, [1851]) Graphic Arts Collection Oversize NE910.G7 D7 1851q

Hal Siegel

Design for Babylon Revisited painted by Hal Siegel. (c) Charles Scribner’s Sons

The illustrator and designer Hal Siegel (active 1950s-1980s) gained a dedicated following among art directors for his striking book cover designs. Freelancing for various major publishing houses, his commissions grew until the late 1970s, when Siegel became art director for Prentice-Hall in Englewood Cliffs, New Jersey.

One of his most important early commissions came from Charles Scribner’s Sons, where a decision was made to publish a series of paperback editions of F. Scott Fitzgerald’s novels.

The Graphic Arts Collection holds ten paintings by Siegel, oil on board, which served as the basis for ten Fitzgerald book covers, each sporting bright yellow lettering. Here are a few examples.


Design for Tender Is the Night painted by Hal Siegel. (c) Charles Scribner’s Sons

 

Design for The Beautiful and the Damned, painted by Hal Siegel. (c) Charles Scribner’s Sons

 

Design for Flappers and Philosophers painted by Hal Siegel. (c) Charles Scribner’s Sons

 

Design for The Last Tycoon painted by Hal Siegel. (c) Charles Scribner’s Sons

 It is unfortunate that Siegel fails to appear in any American art index or directory, leaving his biography sadly incomplete. Here is a partial list of the books (taken from online sources) with a cover design or art direction by Siegel.

Edouard Glissant, The Ripening (New York: George Braziller, 1959).
Arthur C. Clarke, Tales of Ten Worlds (New York: Harcourt, Brace & World, Inc., 1962).
Bruno Bettelheim, The Empty Fortress: Infantile Autism and the Birth of the Self (New York: Free Press/A Division of the Macmillan Company, 1967).
Ray Birdwhistell, Kinesics and Context: Essays on Body Motion Communication (Philadelphia, PA: University of Pennsylvania Press, 1970).
Maurice Chevalier, I Remember It Well ([New York] The Macmillan Company [1970]).
F. Scott Fitzgerald, This Side of Paradise (New York: Charles Scribner’s Sons, 1970).
Robert Flynn, The Sounds of Rescue, The Signs of Hope (New York: Alfred A. Knopf, 1970).
Pamela Hansford Johnson, The Honours Board (New York: Charles Scribner’s Sons, 1970).
William L. Henderson and Larry C. Ledebur, Economic Disparity: problems and strategies for Black America (New York: Free Press, 1970).
Marshall McLuhan and Wilfred Watson, From Cliche to Archetype (New York: Viking Press, 1970).
Ursule Molinaro, The Borrower, An Alchemical Novel (New York: Harper and Row Publishers, 1970).
Alice Walker, The Third Life of Grange Copeland (New York: Harcourt Brace & Jovanovich, 1970).
David Amram, Vibrations – The Adventures and Musical Times of David Amram (New York: Viking Press, 1971).
Walter Allen (editor), Transatlantic Crossing: American Visitors to Britain and British Visitors to America in the 19th Century (New York: William Morrow, 1971).
Adolph F. Bandelier, The Delight Makers: a novel of prehistoric Pueblo Indians (New York: Harcourt Brace/Harvest, 1971).
Alfred Coppel, Between the Thunder and the Sun (New York: Harcourt, Brace, Jovanovich 1971).
Kenneth W. Grundy, Guerrilla Struggle in Africa: an analysis and preview (New York: Grossman, 1971).
James Henderson, Copperhead (New York: Alfred A. Knopf, 1971).
Stanley Kauffmann, Figures of Light: Film Criticism and Comment (New York: Harper & Row, 1971).
Kenneth Keniston, Youth and Dissent: The Rise of a New Opposition (New York: A Harvest Book/ Harcourt Brace Jovanovich, Inc., 1971).
John Kobler, Capone, The Life & World of Al Capone (New York: Putnam’s, 1971).
Jerzy Kosinski, Being There (New York: Harcourt Brace Jovanovich, 1971).
Patricia Laubger, Of Man and Mouse How House Mice Became Laboratory Mice (New York: Viking Press, 1971).
Tom McHale, Farragan’s Retreat (New York: The Viking Press, 1971).
Nicholas Monsarrat, Breaking in-Breaking Out, An Autobiography (New York: Morrow, 1971).
Augustus J. Rogers, III, Choice: An Introduction to Economics (Englewood Cliffs, NJ: Prentice- Hall, 1971).
Derek Robinson, Goshawk Squadron a Novel (New York: The Viking Press, 1971).
Muriel Spark, Not to Disturb (New York: Viking Press, 1971).
John Stickney, Streets, Actions, Alternatives, Raps (New York: G.P. Putnam’s Sons, 1971).
Ian Wallace, The Pearl and Prince (New York: McCall Books, 1971).
Jay David, (editor), Black Defiance: Black Profiles in Courage (New York: William Morrow, 1972).
Robertson Davies, The Manticore (New York: The Viking Press, 1972).
G. Davis and K. Pedler, Mutant 59: The Plastic Eaters (New York: Viking Penguin, 1972.
F. Scott Fitzgerald, The Great Gatsby (New York: Charles Scribner’s Sons, 1972).
Helen Hayes and Anita Loos, Twice Over Lightly: New York Then and Now (New York: Harcourt Brace Jovanovich, Inc. [1972]).
George V. Higgins, The Friends of Eddie Coyle (New York: Alfred A. Knopf, 1972).
Elizabeth Jane Howard, Odd Girl Out (New York: Viking Press, 1972).
Jeanine Larmoth, Murder on The Menu [Food and Drink in The English Mystery Novel] (New York: Charles Scribner’s Sons [1972]).
David O. Selznick, Memo from David O. Selznick (New York, The Viking Press [1972]).
Arthur C. Clarke, Rendezvous with Rama (New York; Harcourt Brace Jovanovich, 1973).
Spencer Dunmore, The Last Hill (New York: William Morrow, 1973).
Lebar Gerard and Jacques Israel, When Jerusalem Burned (New York: William Morrow, 1973).
Ross MacDonald, Sleeping Beauty (New York: Alfred A. Knopf, 1973).
Arthur Miller, The Creation of the World and Other Business: A Play (New York: Viking Press, 1973).
Jesse Stuart, The Land Beyond the River (New York: McGraw-Hill Book Company, 1973).
I.S. Young, Uncle Herschel, Dr. Padilsky, and the Evil Eye: A Novel of Old Brooklyn (New York: Harcourt Brace Jovanovich, c.1973).
Stanley Ellin, Stronghold (New York: Random House, 1974).
Jess Stearn, A Prophet in His Own Country: The Story of the Young Edgar Cayce (New York: William Morrow & Company, Inc., 1974).
Berkely Mather, With Extreme Prejudice (New York: Charles Scribner’s Sons, 1975).
Rumer Godden, The Peacock Spring (New York: The Viking Press, 1976).
Ross MacDonald, The Blue Hammer (New York: Alfred A. Knopf, 1976).
Maria Rasputin and Patte Barham, Rasputin: The Man Behind the Myth (Englewood Cliffs, N.J.: Prentice-Hall, 1977).
Stephen Marlowe, Translation (New York: W H Allen, 1977).
Robert Westall, The Wind Eye (New York: Greenwillow Books, 1977).
Children’s Toys You Can Build Yourself (Englewood Cliffs: Prentice-Hall Inc [c.1978]).
Cheli Duran, Kindling (New York: Greenwillow, 1979).
Alma J. Koenig, Gudrun (New York, NY: Lothrop, Lee & Shepard, 1979).
Jane Roberts, The Further Education of Oversoul Seven (Englewood Cliffs, N.J.: Prentice-Hall, 1979).
Christiaan Barnard, Good Life Good Death, a Doctor’s Case for Euthanasia & Suicide (Englewood Cliff, N.J.: Prentice-Hall, 1980).
Mary Glatzle with Evelyn Fiore, Muggable Mary: My Life with the Street Crime Unit (Englewood Cliffs, NJ: Prentice-Hall, Inc., 1980).
Maxine Marx, Growing Up with Chico, The Biography of Chico Marx by His Daughter (Englewood Cliffs, N.J.: Prentice-Hall, 1980).
Joel L. Fleishman (Edited by), The Future of American Political Parties – The Challenge of Governance (Englewood Cliffs, NJ: A Spectrum Book/ Prentice-Hall, Inc., 1982).
James Reid Macdonald, The Fossil Collectors’ Handbook: a paleontology field guide (Englewood Cliffs, NJ: Prentice-Hall, 1983).
Lawrence Fawcett, Clear Intent: The Government Coverup of the UFO Experience (Englewood Cliffs, New Jersey: Reward Books, 1984).
David Pepi, Thoreau’s Method: A Handbook for Nature Study (Englewood Cliffs, NJ: Prentice Hall, 1985).
Chet Raymo, Honey from Stone: A Naturalist’s Search for God (New York: Dodd, Mead & Company Inc [1987]).
Lynne Bravo Rosewater, Changing through Therapy: understanding the therapeutic experience (New York: Dodd, Mead, 1987).
Dolores Weeks, The Cape Murders (New York: Dodd, Mead & Company, 1987).

 

The Historiscope

The Historiscope: a Panorama & History of America (Springfield, Mass.: Milton Bradley & Co., [1868?]). Graphic Arts Collection GAX 2018- in process

Lithographer Milton Bradley (1836-1911) marketed his first game “The Checkered Game of Life” in 1860 and went on to produce hundreds of educational toys and books. Princeton is fortunate to own several copies of the Bradley Company’s paper panorama: The Myriopticon: A Historical Panorama of the Rebellion (American Civil War). We now add a new edition of its complement: The Historiscope: A Panorama and History of America (Springfield, Mass.: Milton Bradley & Co., ca. 1868), offering a less elaborate model than Cotsen’s.

Cotsen Library, South East (CTSN) Toys 30665

The chromolithographic scroll is made up of eight conjoined strips resulting in an image measuring 14 x 221 cm ( ~7 1/3 feet long). It rolls across the printed proscenium of a paper theatre box, thanks to a winding mechanism that is cranked by hand. Ours comes with its original crank.

The Historiscope provides a rolling journey through the history of the United States of America, from its discovery by Columbus, through the War of independence and the age of the steam engine. There are twenty-five scenes, including Columbus arriving in America; the Spanish conquest; the baptism of Pocohontus; Pilgrim Fathers; early settlement; treaties with Native Americans; the battle between the English and the French; the American War of Independence; the opening of transcontinental railway celebration; the new Capitol building, Washington D.C.; cotton farming; a steam threshing machine; and several more.

For more, see “The Historiscope and the Milton Bradley Company: Art and Commerce in Nineteenth-Century Aesthetic Education” by Jennifer Lynn Peterson https://www.journals.uchicago.edu/doi/full/10.1086/675800

El Show del Niño Burro

El Show Del Niño Burro: Charles Glaubitz. 5 two-color etchings, each printed from an original drawing directly on the zinc plates (Tijuana, B.C.: La Brigada Ediciones, Agosto 2014). No. 16 of 30. Graphic Arts Collection GAX 2018- in process.

The Graphic Arts Collection is fortunate to have acquired the portfolio El Show Del Niño Burro by the Tijuana-based artist Charles Glaubitz. Quoting from the wonderful dealer’s note:

The niño-burro (boy-donkey) is a California border character par excellence and has a close relationship with the American comics and illustration. Is not an appropriation of the donkey-zebras of Tijuana, but a remake of the same emblem of the city. It is not a harmless animal that pleases the tourist. It is a controversial character: childhood as a symbol of no domestication, of irreverence and, paradoxically, of candor. In addition to traveling back and forth between San Diego and Tijuana for many years, Charles Glaubitz regularly crosses borders and pushes boundaries in his work.

The Tijuana-based painter, illustrator and graphic novelist has a visual style that employs iconic, cartoonish imagery such as Lucha Libre masks and skeleton-faced Mickey Mouse figures, as well as children in spacesuits and Zonkey costumes (Zonkeys are Tijuana Donkeys painted to look like Zebras). ‘During school, I was exposed to Joseph Campbell who is this scholar and academic who talked about world mythologies and focused not on their differences but on their similarities,’ says Glaubitz, referring to his time at the California College of Arts in Oakland.

Books with Tails

The American bibliographer Henry Stevens (1819-1886) graduated at Yale in 1843 and studied at Harvard Law School in 1843–1844 before moving to London to work as a professional collector of Americana. Many collections—public and private, British and American—are rich thanks to his scholarship and perseverance.

In 1873, he made a list of nearly 2,000 Books with Tails or “continuations.” He also calls them incomplete or unfinished periodicals. A few pages from this list are posted here, in honor of the many book dealers, collectors, and bibliographers coming to town in a few days.




Henry Stevens, American books with tails to ’em. A private pocket list of the incomplete or unfinished American periodicals transactions memoirs judicial reports laws journals legislative documents and other continuations and works in progress supplied to the British Museum and other libraries ([London: Stevens’s Bibliographical Nuggetory, 1873]). ReCAP 04041.881

How to make a relief line block and a halftone plate (old school)


Here are our worn but still useful teaching progressives for the making of metal relief line blocks and the making of metal halftone plates. These were done many years ago, when we still brushed on acid without a fume hood. The images are fairly high resolution so you should be able to zoom in but here are also a few details.

 

Rockwell Kent design for an invitation done in two color metal relief, sent to Elmer Adler (who did not drink), 1930.

New Compositions in Human Beauty

 

Nakagawa Shūzō, 人体美の新構成 [Jintaibi no shin kōsei = New Compositions in Human Beauty] (東京 : 太陽社, [1932]). 12 unbound folded sheets with 12 photographs tipped onto the page opposite text. Graphic Arts Collection GAX 2018- in process.

Almost nothing is written, English or Japanese, about this book or the photographer/designer Nakagawa Shūzō, except for entry no. 53 in The Japanese Photobook 1912-1990 ([Göttingen: Steidl, 2017]). Marquand Oversize TR105 .J365 2017q.

If you can tell us more, please write.


La Comédie française 1680-1880

Arsène Houssaye (1815-1896), La Comédie française 1680-1880 ([Paris: L. Baschet, 1880]). 38 portraits, engraved and photogravure. One of 400 copies. ReCAP Oversize 32261.479.3f


Henri Rousselon (1822-1902) joined the Parisian art publishers Goupil & Cie. in 1860 as director of the photographic division, operating from their print “factory” in Asnieres. At first, the company specialized in albumen silver prints, then Woodburytypes, and finally, Rousselon perfected his own unique technique of photogravure, presented to the Société française de photographie in 1872. Within a year, his Goupil-gravures gained international acclaim as the most luxurious of all photomechanical prints, superbly printed in deep, rich blacks with remarkable detail.


The Goupil Company marked the 200th anniversary of the Comédie française with a luxurious volume of full-length portraits, some actors posing in character (deceased members represented from paintings and prints), along with a text written by the theater’s former director Arsène Houssaye (1814-1896).

Included are Molière, Samson, Geffroy, Regnier, Aug. Brohan, Bressant, Talbot, Got, Delaunay, Maubant, Max. Brohan, Marie Favart, Jouassain, Coquelin, Edile Riquier Febvre, Provost-Ponsin, Dinah Félix, Thiron, Reichenberg, Croizette, Mounet-Sully, Laroche, S. Bernhardt, Barré, Barette, Broizat, Worms, Coquelin cadet, Sarnary, Baron, Mlle Clairon, Préville, Mlle David, Mlle Mars, and two company portraits from 1841 and 1863.

To create the photogravures for this compilation, Rousselon used the negatives by five contemporary photographers, the majority of which are by Count Stanislaw Julian Ostrorog (1830-1890) who went by the moniker Walery (also used by his son). A naturalized British citizen, Walery ran a successful portrait business in Paris until 1878, when he returned to work in London. Although his primary studio was on Regents Street as this project was underway, he undoubtedly traveled as demand for his work required.

Only a few portraits in the volume are by the gregarious Étienne Carjat (1828-1906), who learned to use a camera in 1855 and used it to captured hundreds of award-winning portraits of the leading actors, writers, and artists of Paris (all of whom he called his friends). Carjat shot with various size cameras, including large format glass negatives, which were then used to print both Woodburytypes and photogravures, sometimes many years after the initial capture.

Carjat’s friend Paul Nadar (1856-1939) is also represented with a few portraits, as are Ferdinand Mulnier (1817-1891) and the little-known Charles Klary (born 1837).

 

The Civil Rights movement in America

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Here is a small selection from a group of approximately 120 press and wire photographs dating from the early 1960s through 1980, recently acquired by the Graphic Arts Collection with the help of Steven Knowlton, Librarian for History and African American Studies. These heavily used prints all relate to the Civil Rights movement in the United States, documenting protests, marches, sit-ins, and police confrontations in Atlanta, Alabama, Chicago, Louisiana, Massachusetts, Mississippi, and Washington, D.C.

Typed captions provide details of the event, often with names, dates, and other specifics to place the picture in its historical context. Many prints have a clipping from the newspaper where the photograph appeared taped to the back.

These photographs and all our collections are available to researchers, without appointment, Monday to Friday 9-5. Just register here: https://rbsc.princeton.edu/research-account-access

“Selma, Ala., Mar. 12 — The ‘Wall’ is down — Jubilant demonstrators held aloft a rope barricade after it was cut down in Selma, Ala. today [by] public safety director Wilson Baker. The demonstrators had sung [unclear] referring to the barricade as the Berlin wall and Baker unexpectedly walked over and severed it. He said “nothing has changed” and still refused to allow the non-stop demonstrators to march. …1965.”

Read more about 1965 events in Selma: https://www.cnn.com/2013/09/15/us/1965-selma-to-montgomery-march-fast-facts/index.html

“St. Augustine, Fla., June 19 — Up goes the confederate flag at Monsons — Manager James Brock and his daughter Robyn, 13, raise a confederate flag today in front of the Monson Motor Lodge in St. Augustine, Fla. The motel has been a target for several weeks of Negro integrationist. Yesterday they jumped into the pool at the motel… 1964.”

The Monsons responded by pouring acid in the pool: https://www.npr.org/2014/06/13/321380585/remembering-a-civil-rights-swim-in-it-was-a-milestone

Jukhee Kwon

Colleagues from the Art Libraries Association (ARLIS) converge on New York in a few days. Various galleries around town have book themes and one recommended stop on their gallery tour will be Metamorphosis, featuring the work of the South Korean artist Jukhee Kwon at the Ierimonti Gallery on the Lower East Side. Kwon uses discarded books to create word sculpture, installed to simulate a paper forest. Zoom in below ↓


According to the press release “The idiosyncratic social life and energy possessed by each book is returned to its inception as a tree, wherein the spine of the book becomes the root system and each page acts as a branch. Kwon’s creative process deconstructs the book into the set of its meanings, splicing it into each stage of its vital cycle.”