Graphic Arts

C.F. Bridgman, Monumenta (Lewes, ca. 1880). Red and black ink and watercolor wash. Graphic Arts GA2010- in process

This pattern book for Victorian grave stone designs and stone roundels for grave ornaments contains eighty miniture designs with twelve large relief roundels. According to the antiquarian dealer Charles Wood, C.F. Bridgman was a well-known firm. Mr. Wood found this entry for them: http://www.rootschat.com/history/hastings/content/view/78/29/

The records of C.F.Bridgman, a firm of Stonemasons (formerly Parsons) based in Lewes from the early 18th century, were deposited in the East Sussex Records Office in 1965 by Hillman Sons, Vinall and Carter, Solicitors of Lewes, and consists of some 98 volumes of Ledgers, Day Books, Letter Books, Wage and Cash Books together with Classified Accounts which cover the period 1834-1959…

Connections between Herman Melville (1819-1891) and Princeton University began in the eighteenth century, with his grandfather Major Thomas Melvill (1751-1832) graduating with Princeton class of 1769. His uncle Peter Gansevoort (1788-1876) followed in the class of 1808. To celebrate the centenary of Moby Dick in 1951, Firestone Library mounted a Melville extravaganza featuring dozens of the significant holdings, detailed in a catalogue compiled by Howard C. Rice, Jr., Alexander D. Wainwright, Julie Hudson, and Alexander P. Clark. http://libweb5.princeton.edu/visual_materials/pulc/pulc_v_13_n_2.pdf

Melville and Moby Dick continue to make connections with our students, as AMS 353/ENG 355 “Moby-Dick Unbound” taught by Professor William Howarth begins this week. It is a good excuse to post a few of the dozens of editions available to researchers through rare books and special collections.

Princeton University’s science historian and an editor at Cabinet magazine, Professor D. Graham Burnett will be part of a panel entitled “The Art of Hypochondria” along with Brian Dillon and Marina van Zuylen on Tuesday, 9 February 2010, from 7:00 to 9:00 p.m. at The Kitchen, 512 West 19th Street, New York City. In honor of their talk, here are a few of our own hypochondriacs:

Thomas Rowlandson (1756-1827), The Hypochondriac, 1788. Etching. Graphic arts, GC112, Rowlandson Collection. Gift of Dickson Q. Brown, class of 1895. Inscribed: ‘The mind disemper’d - say, what potent charm, // Can Fancy’s spectre-brooding rage disarm? // Physics prescriptive, art assails in vain, // The dreadful phantoms floating cross the brain! - Until with Esculapian skill, the sage M.D. // Finds out at length by self-taught palmistry, // The hopeless case - in the reluctant fee, // Then, not in torture such a wretch to keep // One pitying bolus lays him sound asleep.’

Anonymous, The Cramers or Political Quacks, ca. 1762. Etching. Graphic arts, GC021 British Cartoons and Caricatures Collection. Gift of Dickson Q. Brown, class of 1895. “Britannia tormented with discord and Strife … For Poison lurks their and deconstruction ensues”.

Thomas Rowlandson (1756-1827), after a design by George Moutard Woodward (ca. 1760-1809), A Visit to the Doctor, no date. Etching. Graphic arts, GC112 Thomas Rowlandson Collection. Gift of Dickson Q. Brown, class of 1895.

Thomas Rowlandson (1756-1827), Wonderfully Mended. Should’t Have Known You Again!!, 1808. Etching. Graphic arts, GC112 Thomas Rowlandson Collection. Gift of Dickson Q. Brown, class of 1895.

Charles Ramelet (1805-1851) after a design by Honoré Daumier (1808-1879), Le malade imaginaire. Je suis perdu…. il faut faire mon testament……. ils vont m’ensevelir… m’enterrer…. adieu!, 1833. Lithograph. Graphic arts, GA 2009.00086. Gift of William H. Helfand. From the series L’Imagination, no. 10 published in Le carivari May 21, 1833.

Isaac Cruikshank (1764-1811), after a design by George Moutard Woodward (ca. 1760-1809), The Sailor and the Quack Doctor, 1807. Etching. Bound with Caricature magazine, v. 1. Graphic arts, Rowlandson R 1807.51F. Gift of Dickson Q. Brown, class of 1895.

George Cruikshank (1792-1878), Radical Quacks Giving a New Constitution to John Bull, 1821. Etching. Graphic arts, GC022 Cruikshank Collection. Gift of Richard W. Meirs, class of 1888. “Designed by an Amateur. May 25, 1820.”

John Baskerville (1706-1775) was forty-four when he gave up engraving to establish his own printing business. He developed a beautiful typeface and new recipes for ink. To print his delicate new font, Baskerville needed a “kiss impression,” that is, a clean image on the paper made with the least amount of pressure possible from the plate. This required a smooth, uniform surface and so, Baskerville had James Whatman the Elder (1702-1759) refine his paper moulds and papermaking process to create such a paper. The first book to use Baskerville’s refined type and Whatman’s new wove paper was a book of Virgil’s poetry published in 1757.

For whatever reason, part of the Virgil was printed with laid and part with these new wove papers. Click on the image of a page of notes above to see laid paper. Then, click on the text page below, from further into the volume, to see an example of wove paper.

As my predecessor Dale Roylance pointed out, Baskerville “created 54 of the most beautifully printed books in the English language.” In 1981, the graphic arts collection was the grateful recipient of 43 of Baskerville’s 54 books, given by Archibald S. Alexander, class of 1928. In total, Princeton now holds six copies of the first edition of the Baskerville Virgil, along with five of the second edition including two in the graphic arts Baskerville collection.

Note, Philip Gaskell’s bibliography of Baskerville books has been updated, at least concerning his Virgils, by Craig Kallendorf in his A Catalogue of the Junius Spencer Morgan Collection of Virgil in the Princeton University Library (New Castle, Del.: Oak Knoll Press, 2009) Classics Collection (Clas). Firestone Oversize Z8932 .K36 2009q.

See also Frank Ernest Pardoe, John Baskerville of Birmingham: letter-founder and printer (London: F. Muller, 1975) Graphic Arts Collection (GA) Z232.B2 P37 1975

A wonderful exhibition on the development of Whatman paper was mounted by Yale’s Center for British Art; see the press release http://ycba.yale.edu/information/pdfs/mediakits/06-whatman.pdf

The British writer Emily Morse Symonds (1860-1936) published under the pen name George Paston, in the same spirit as George Sand and George Eliot. After a series of novels, culminating with A Writer of Books, Symonds turned to theory and criticism. Her first and best effort was this book on caricature. A review in a the Saturday Review of Books begins:

“Although a keen satirical tendency may be noticed in certain expressions of Egyptian, Grecian, and Roman art, it is significant rather of the class of ithyphallic drollery than that of the ironical grotesque… It remained for the English of the eighteenth century to invent the ironical grotesque… Paston’s book deals textually and pictorially with the various phases of social caricature and of the social groups which inspired the pens of the artists.”

Graphic Arts is fortunate to hold an extra-illustrated edition of Symonds’ book that includes 140 original prints in addition to the 200 reproductions printed within the text. Here are a few examples.

The French painter and draftsman, Jean Louis Prieur, the younger (1759-1795) is principally known for his drawings, a few shown here, of the French revolution. Engraved by Pierre Gabriel Berthault (ca. 1748-ca. 1819) these images were published by L’imprimerie de Pierre Didot in several editions under the title Collection complete des Tableaux historiques de la Révolution française. They sold originally in sets of two for six livres each and in 1802, a three-volume deluxe edition was published that included portraits.

Like Gardner’s Photographic Sketch Book of the Civil War in the next generation, Prieur and several other artists created these images from 1789 to 1792 as the revolution was taking place. In the final volumes, the engravings are each accompanied by extensive commentaries written by Sébastien Roche Nicolas de Chamfort and Abbé Claude Fauchet.

For more information, see Amy Freund, “The Legislative Body: Print Portraits of the National Assembly, 1789-1791,” Eighteenth-Century Studies 41, no. 3 (Spring 2008): 337-58.

Claudette Hould, L’Image de la Révolution française (Québec: Musée du Québec, 1989)

This amazing etching was designed by William Heath (not to be confused with Henry Heath), one of the most underappreciated of the British caricaturists. According to the DNB, from 1825 to 1826, “Heath was in Scotland, writing and illustrating the first magazine in the world to be given over, predominantly, to caricatures: The Glasgow Looking Glass, later the Northern Looking Glass….” (Ex Oversize Item 3584659q)

When Heath returned to London in 1827, he began signing his prints with a drawing of the actor Liston in the role of Paul Pry from John Poole’s 1825 comedy. However the signature (and his engaging designs) attracted so many plagiarists that Heath was forced to abandon it in 1829.

Among the prints that attracted so much attention in the spring of 1829 were a series of satires on the question of Catholic emancipation featuring King George IV, Prime Minister Wellington, and Lords Eldon and Brougham. Titles included The Slap-Up Swell Wot Drives When Ever He Likes, The Guard Wot Looks After the Sovereign, The Man Wot Drives the Opposition, The Cad Wots Been Appointed Rat-Catcher to the Sovereign, and The Man Wot’s Been Made Foreman to the British, among others.

This print, The Man Wots Got the Whip Hand of ‘Em All, depicts a Stanhope Press with the legs of King George. It wears a cap of Liberty inscribed Free Press and holds a giant pen with fire-spitting serpents. Prime Minister Wellington’s departing legs and hat are seen at the top right, while the legs and buckled shoes of Lord Eldon are seen at the left. A print titled The Man Wot Drives the Sovereign (another by Heath) is about to be burned by the flames of the ‘free press.’ Note the printer’s devil with an ink ball bottom lower left.

The Graphic Arts division several dozen prints by Heath, along with his illustrated books. Here are a few others.

Cooper designed this political cartoon in response to Woodrow Wilson (1856-1924) and his 1913 “triple wall of privilege,” which sought to reorganize the tariffs, the banks, and the trusts in the United States. During the first year of his presidency, Wilson proposed the Underwood Tariff Bill to help lower the general rate from about 40% to 26%. This led to the first American income tax, based on a graduated scale that started on incomes over $3000. Wilson also put into place the Federal Reserve Act, with a Federal Reserve Bank in each of twelve regions. Finally, he focused on the reorganization of trusts and after much convincing, the Clayton Anti-Trust Act of 1914 was passed banning price discrimination.

Fred G. Cooper was born in Oregon and educated at the Mark Hopkins Art Institute in San Francisco, before moving to New York City in 1904 to find work as a freelance artist. He created designs for New York Edison (or ConEd), Westinghouse, and the U.S. War Department, among many others. This cartoon was probably for Life magazine, where he contributed drawings from 1904 to the 1930’s, although I have not yet found the issue.

(btw: The year after this cartoon was published, Cooper was one of fourteen graphic artists to form the American Institute of Graphic Arts (AIGA), along with Frederic W. Goudy, Hal Marchbanks, and William Edwin Rudge. The only membership requirement, besides $25 dues, was that each member had to buy his own Windsor chair.)

Alling & Cory Company, Book Jacket Papers (New York: Alling & Cory Co., [19—?]). [24] pages with 28 sample booklets. Graphic Arts Collection (GAX) 2010- in process

British painter Joseph Wright of Derby is best known for two oil paintings, A Philosopher Giving a Lecture on the Orrery in which a Lamp is put in Place of the Sun (ca. 1764-1766) and Experiment on a Bird in the Air Pump (1768). Each employs a strong, realistic light source to produce a dramatic scene with heightened areas of light and shadow; the age of enlightenment made visible. These scenes of bright whites and rich blacks were nicknamed candlelight compositions and their popularity was amplified when large-scale mezzotint reproductions were printed and sold.

We call the artist Wright of Derby to distinguish him from artists Richard Wright (1735-ca. 1775) and Joseph Wright (1756-1793), also exhibiting around the same period. Wright of Derby’s Philosopher (Art Gallery at Derby, Derbyshire, England) presents a lecture on the movement of the planets around the sun, using a mechanical model called an orrery. The figures may represent the collector who bought the painting, Washington Shirley, 5th Earl Ferrers, along with his friends and family. The lecturer is reminiscent of Isaac Newton, whose theories on the movement of the planets and universal gravitation were published in 1687. There is a portrait of Newton by Godfrey Kneller that may have been the inspiration for this figure (http://www.newton.ac.uk/art/portrait.html).

Graphic Arts’ impression of this print, along with an orrery, will be on view in the Milberg Gallery beginning February 7 in the exhibition: Envisioning the World.

For more information, see Elizabeth E. Barker, “New Light on The Orrery: Joseph Wright and the Representation of Astronomy in 18th-century Britain,” British Art Journal 1, no. 2 (Spring 2000): 29-37.

Inscribed: “At this important crisis, the soul of Washington rose superior to danger, seizing a standard he advanced uncovered before the columns and reigning his steed towards the emeny with his sword flashing in the rays of the rising sun, he waved on the troops behind him to the charge. Inspirited by his example the Militia sprang forward and delivered an effective fire which stopped the progress of the enemy.”

See also: Currier & Ives: a Catalogue Raisonne (Detroit: Galer Research, 1983). No. 5420. Graphic Arts Oversize GA NE2312.C8 A4 1983q

This pastel represents one of Audubon’s early attempts at drawing the various species of the birds of America. He began by using pastels, moved to watercolors, and the final published albums contain hand-colored aquatints. A later watercolor version (in the New York Historical Society) was used for the engraving by Robert Havell that became plate 56 of the Birds of America. The descriptive text for this plate reads: “Red-shouldered Hawk, Falco Lineatus, Gmel., Male, 1. Female, 2.; issued in 1829” as listed in Ornithological Biography, I, 296-99.

Inscribed “Falls of the Ohio, 29th November, 1809,” Princeton’s drawing was eliminated from the final selection by 1824, the year when Audubon sold it and others to his newly discovered friend Edward Harris (1799-1863). Harris not only paid Audubon $30 for the drawings but gave the artist an extra $100, saying “such men ought not to want for money.”

For an extended essay about this pastel, see The Princeton University Library Chronicle 15, no. 4 (Summer 1954): 169-78. http://libweb5.princeton.edu/visualmaterials/pulc/pulcv15n_4.pdf