Recently in Acquisitions Category

The Graphic Arts Collection is fortunate to have acquired a book written by Pierre Le Noble, the pseudonym for an unidentified author and published by Pierre Marteau, a fictitious publisher. Although the title page records Cologne as the place of publication, it is more likely to have been printed in Amsterdam for a French audience, to avoid trouble with the censors.

Françoise d’Aubigné marquise de Maintenon (1635-1719) married Louis XIV (1638-1715) in a private ceremony during the winter of 1685-86. It was the second marriage for both. Although morganatic marriages were not recognized in France, this was a secret, unapproved marriage between two people of uneven rank, barring the passage of the King’s titles and privileges to his wife.

The king’s (well-known) secret marriage was a sensitive topic in the seventeenth century, hence the use of a pseudonym by the author and a fictitious name for the publisher. Neither one wanted to risk their careers being connected to a potentially scandalous book.

Le passe-temps royal de Versailles. ou, Les amours secretes de Madame de Maintenon. (The Royal Pass-times of Versailles or The Secret Loves of Madame de Maintenon) (Cologne, Pierre Marteau, 1695). Originally published under the title La cassette ouverte de l’illustre criole, ou, Les amours de madame de Maintenon (A Ville Franche [i.e. Amsterdam?]: David du Four, 1690). Graphic Arts Collection GAX 2013- in process. Purchased with funds provided by the Goreff/Neuwirth Charitable Trust in honor of Danielle D. van Jaarsveld, Class of 1995.

See also
M. de Beaumelle, (Laurent Angliviel, 1726-1773), Mémoires pour servir à l’histoire de Madame de Maintenon (Amsterdam: Aux depens de l’auteur, 1755-1756). Rare Books (Ex) DC130.M2 L18 1755

Françoise Chandernagor, The King’s Way: Recollections of Françoise d’Aubigné, Marquise de Maintenon, wife to the King of France: a novel (San Diego: Harcourt, Brace, Jovanovich, 1984). Firestone Library (F) PQ2663.H314 A7913 1984

Jeremie Benoit, Les Dames de Trianon (Paris: Berg International; Versailles: Château de Versailles, 2012). Firestone Library (F) DC801.V57 B46 2012

Temple of Fancy [trade advertisement]. Drawn by W. Derby and engraved in aquatint by Smart and Sutherland (London: S. & I. Fuller, ca. 1823).
Graphic Arts Collection 2013- in process

“Their trade card, advertising the ‘Temple of Fancy’, c.1810, focused on the market in genteel products for ladies, … while a later three-page leaflet was aimed at male customers ….”

“A leaflet, apparently from the Lady’s Magazine, August 1823, depicted Fuller’s shop interior, and gives a good idea of the product range; the business was advertised as ‘Publishers of the greatest variety of Sporting Prints…/ TEMPLE OF FANCY/ S. & I. FULLER,/ PREPARERS OF PERMANENT SUPERFINE WATER COLOURS,/…/ Wholesale Manufacturers of Bristol Boards, Ivory Paper & Cards./ Engravers, Publishers, Printsellers, & Fancy Stationers.’”

Happily, a similar advertisement as been acquired by the Graphic Arts Collection, depicting the interior of the Temple of Fancy.

Sunday Bloody Sunday (Dublin: Irish Republican Socialist Party, 1978). Graphic Arts Collection GAX 2013- in process

Not all rare books are old or bound in leather. This publication from 1978 commemorated the sixth anniversary of 30 January 1972, known as Bloody Sunday. Only four copies are listed in OCLC and only two in the United States.

The foreword, written by The Chairperson, Comhairle Ceanntair, Derry City I.R.S.P., reads in part, “The pamphlet is in eight parts, and has drawn a great number of sources together to present as far as possible, the events of that date, but also the political background which led up to that march which ended in a river of blood. … Part 7, entitled, There’ll be another day, is taken from the front page of the first edition of the Starry Plough, and is believed to have been written by Nell McCafferty, a Derry journalist working with the Irish Times.”

Angelique Chrisafis, writing for The Guardian said, “Nell McCafferty, a foul-mouthed and fearless social commentator, is one of the great feminist heroes of the liberalisation of Ireland. Part Germaine Greer and part Mae West, she is not a woman you should spurn.”

Part 8 offers Thomas Kinsella’s famous poem, The Butcher’s Dozen, which “expresses the anger and disgust of Ireland’s leading poet. This work, with the sub-title A Lesson for the Octave of Widgery, appeared in pamphlet form in late April 1972. …”

See also Thomas Kinsella, Butcher’s Dozen (Dublin, Ireland: Peppercanister: Sold by the Dolmen Press, 1972 (Printed by the Elo Press)). Gift of Leonard L. Milberg ‘53 for the Milberg Irish Poetry Collection. Rare Books (Ex) PR6021.I35 B87 1972 Milberg Irish

Frank Robbins, Under the Starry Plough: Recollections of the Irish Citizen Army (Dublin: Academy Press, 1977). Firestone DA960.R6

Samuel Dash, Justice denied: a challenge to Lord Widgery’s report on “Bloody Sunday” (New York: The Defense and Education Fund of the International League for the Rights of Man in association with the National Council for Civil Liberties, c1972). Firestone DA995.L75 D374 1972

Baron John Passmore Widgery (1911-1981), Report of the Tribunal appointed to inquire into the events on Sunday, 30th January 1972, which led to loss of life in connection with the procession in Londonderry on that day (London: H.M. Stationery Off., 1972). Firestone DA995 .L75 W5 1972

Nell McCafferty, The Best of Nell (Dublin: Attic Press, 1984). Firestone HQ1600.3 .M32

Timothy Bobbin (John Collier 1708-1786), The Passions, Humourously Delineated: containing twenty-five plates, with his portrait, title plate and poetical descriptions (London: Orme, 1810). Graphic Arts Collection 2013- in process

British satirist John Collier (1708-1786), using the pseudonym Tim Bobbin, “developed his trade as a painter … producing inn signs, painted panels, and grotesque caricatures which were widely distributed, reaching the American colonies via a Liverpool merchant. He promoted and distributed his own work, travelling all over northern England collecting and delivering orders and commissions for books and pictures and consuming the proceeds as he went.

“…In 1773 was published his Human Passions Delineated, an upmarket edition of his caricatures which acted as a catalogue, in which he described himself as the ‘Lancashire Hogarth’…The 1810 London edition of Human Passions systematically softened his caricatures… The Victorian antiquary W. E. Axon thought his pictures ‘execrable … gross and cruel’, while the Dictionary of National Biography found them ‘grotesque’ and ‘absolutely devoid of artistic merit’.”— DNB

Bond Street print publisher Edward Orme (1775-1848) resurrected Collier’s caricatures in 1810 and reissued the set on 27 leaves with the only title on a printed label pasted to the wrapper (not included with this set).

Thanks to the generous donation of Bruce and Suzie Kovner, the Princeton University Library is the proud new owner of the Pennyroyal Caxton Bible, designed and created by Barry Moser [seen above]. Moser spent four years crafting the 232 relief engravings that illustrate this Bible. Printed in a deluxe limited edition by the Pennyroyal Caxton Press, Moser’s Bible is also available in a trade edition released by Viking Studio, which can also be found in Princeton’s collection.

The Holy Bible: Containing All the Books of the Old and New Testaments. Book designed and illustrated by Barry Moser; printed by Bradley Hutchinson and Harold McGrath; bound by Claudia Cohen and Sarah Creighton; and type designed by Matthew Carter. North Hatfield, Mass.: Pennyroyal Caxton Press, 1999. Graphic Arts Collection. Limited edition, copy 142 of 400. Gift of Bruce and Suzie Kovner.

Colophon:
“The Pennyroyal Caxton Bible was designed & illustrated by Barry Moser. It was composed & printed folio by Bradley Hutchinson at his press in Austin, Texas …
The presswork commenced in the spring of 1997 and completed in the autumn of 1999. The text follows that of Frederick Scrivener’s 1873 critical edition of the Cambridge Paragraph Bible of the Authorized English (King James) version….
The paper is Zerkall Bible. The paper for the special copies was made by Kathryn and Howard Clark at Twinrocker Handmade Papers in Brookston, Indiana. The watermarks were designed by the illustrator based on 16th century French models. The illustrations were engraved in resingrave …
The blocks were cast by hand for Mr. Moser by the inventor of the medium, Richard Woodman of Redwood City, California …
The typefaces are Galliard, Mantinia, & Mantinia Greek designed by Matthew Carter of Cambridge, Massachusetts, based on models by Robert Granjon & Andrea Manmets …
The bindings are from the combined workshops of Claudia Cohen and Sarah Creighton in Easthampton, Massachusetts. The prints that accompany the special copies were printed on hand-made Japanese Kitakata by Harold McGrath.”

Watch the documentary A Thief Among the Angels, made by Doug and Jason Kessler in 2001 (Princeton University students can watch the whole film through http://catalog.princeton.edu). “The film tells the story of Barry Moser… a master book designer, illustrator, publisher and virtuoso wood engraver. Now, he has completed the project of a lifetime, a limited edition Bible. It is the only Bible of the 20th century to be illustrated by a single artist, who believes “the problems of good and evil are still to be fought today”. …After being brought up in a southern fundamentalist background, Moser became disillusioned with the church and moved north, studying printing and typography at the Gehenna Press. His own Pennyroyal Press has published books like Carroll’s Alice in Wonderland. He also designs for other publishers, such as Arion Press for whom he did Melville s Moby-Dick.”

William Charles (1776-1820), The Ghost of a Dollar or the Bankers Surprize ([Philadelphia: William Charles], no date). Engraving and etching.
Graphic Arts Collection GA 2013- in process

At the beginning of the nineteenth century, the First Bank of the United States stood on South Third Street in Philadelphia. Just down the block, Scottish-born artist William Charles (1776-1820) opened his first American print shop, publishing etchings, illustrated books, and caricatures. Over by the river on North Water Street, the shipping magnate and financier Stephen Girard (1750-1831) operated his trading business and made more money than anyone else in the United States.

When the charter for the First Bank expired in 1811, Girard bought the building and most of its stock, opening his own bank in its place. Charles watched as Girard’s fortune grew and eventually, published a caricature of the banker.

In the print Girard envisions a Spanish Dollar and conjures it to drop into his till. He says: “Surely my eyes do not deceive me—It certainly must be a dollar! I declare I have not seen such a thing since I sold the last I had in my vaults at 18 per cent premium—If thou art a real dollar do drop in my till and let me hear thee chink—As I have been sued for payment of part of my notes in specie I must collect some to pay them for quietness sake or the game would be up at once—”

A sign behind him reads, “Stephen Graspall, banker & shaver. Paper wholesale & retail NB No foreign bank notes taken on deposit except such as are about 5 per cent above par.”

.

See also Stephen Girard (1750-1831), The Will of the Late Stephen Girard, esq., procured from the Office for the Probate of Wills (Philadelphia: T. and R. Desilver, 1832). Rare Books (Ex) LD7501.P5 G583

Jessie Tarbox Beals (1870-1942), Christmas Greeting 1915 (New York: Jessie Tarbox Beals, 1915). Graphic Arts Collection 2013- in process. Single sheet with letterpress poem “A Nocturne of New York” and a silver chloride photograph
of the Flatiron Building.

Jessie Tarbox Beals (c) Radcliffe Institute for Advanced Study

The Flatiron Building at 175 Fifth Avenue opened in 1902, one block east of the Metropolitan Life Insurance Company Tower. If you watch this 1920 film closely you will see both skyscrapers around the middle of the reel. http://rbsc.princeton.edu/pathebaby/node/1629

Gabriel Liquier (1843-1887), Voyage d’un âne dans la planète Mars (The Journey of a Donkey on the Planet Mars) (Genève: Lith. Excoffier, 1867). All lithography.
Graphic Arts Collection GAX 2013- in process

Born in Anduze, Liquier studied theology and spent three years as a minister in Ardèche before moving to Paris and changing careers. He went on to publish both images and texts, sometimes using the pseudonyms “Trick” and later, “Trock” for his caricatures.

Liquier was only twenty-four, studying in Geneva, when he created this cartoon book about a donkey traveling to Mars, a satire on both Geneva politics and the French. Of particular note is his early use of the cartoon cell and progressive narrative, not unlike the early work of Rudolph Töpffer (1799-1846).

Collège no 1 (Paris: R. Labadie, 1930). Pochoir prints. Graphic Arts Collection (GAX) Oversize 2013-0022Q

The Bibliothèque nationale de France and Princeton University are the only institutions with copies of this journal. Each page of Princeton’s copy is stamped with the word ‘specimen’ leading us to believe our copy is a prospectus for a proposed magazine.

The publisher’s imprint “R. Labadie” is taken from the back cover and the art deco “no 1” can be seen at the top of the cover. Our issue is filled with pochoir prints by illustrators Georges Goetz and Stephen Bourgoignon among others. Essays, poetry, and commentary by Jean Albery and Fred Koch are also included.

Dan Kainen and Carol Kaufmann, Safari: a Photicular Book (New York: Workman Pub., 2012). Graphic Arts Collection 2013- in process.

Safari recently joined our collection of optical devices. Photographer and lighting expert Dan Kainen created the plates and Carol Kaufmann, a staff writer for National Geographic, wrote the commentary.

Kainen has a small website, http://www.dankainen.com/index.htm, where he describes his process. “Photicular, also known as Lenticular, or Integrated Photography, was first conceived in the early 20th century, but the basic concept has been around since 1692 when a French painter created paintings that revealed one, and then the other as the observer walked by. The simplest form of it is to cut two images into thin vertical strips and interleave them, placing in front of the composite image a plane of bars, like a picket fence, which only allows one to see one image at a time though the gaps. Instead of bars, lenses can be used, and more than two images - as many as dozens - can be interleaved.”

A lenticular image can easily be made using Photoshop and a number of tutorials are available on the internet. An image is broken into layers that are viewed from slightly different angles, tricking the eye into thinking the image is moving. Here’s one site: http://www.vicgi.net/lenticular-interlacing-algorithm.html

As an interesting sidebar, Kainen is the son of the painter and printmaker Jacob Kainen (1909-2001). In the 1930s, Jacob was a member of the Graphic Arts Division of the WPA and from 1942 to 1970, curator of the Division of Graphic Arts at the Smithsonian Institution. As the divisions of the Smithsonian grew, his collection moved to the Museum of History and Technology (now the National Museum of American History).

(left) Edward Ruscha, Twentysix Gasoline Stations. 3d ed. (Alhambra, Calif.: Cunningham Press, 1969).Graphic Arts Collection (GAX) 2006-2396N.

(right) Sowon Kwon, Dongghab ([Montpelier, VT]: Vermont College of Fine Arts, 2010. Graphic Arts Collection GAX 2013- in process

point of departure is the discovery that the publication of Edward Ruscha’s Twentysix Gasoline Stations and the suicide of Sylvia Plath by oven gas both occurred in 1963, the year of Kwon’s birth.

Cued by Ruscha’s seminal work, Kwon unveils an uncanny cosmology of events constellated by the convergence of “1963” with “gasoline” such as the assassination of Medgar Evers (after having lead a successful boycott of white-owned gasoline stations in Jackson, Mississippi) and the self-immolation of Thich Quang Duc in Saigon (in protest of the oppression of Buddhists by the Catholic administration of then president Ngo Dinh Diem), among others.

The Korean word dongghab describes a social relationship between people born in the same year, so that the idea of a (self) portrait as socially contingent and historically determined as much as individuated, informs the book.”

New York-based artist Sowon Kwon works in a range of media including sculptural and video installations, digital animation, drawing, and printmaking. Her recent work explores portraiture, perception, and historical memory as our bodies are increasingly submitted to and made accessible through technology.

The Cuban publishing house has been active since 1985 under the artistic direction of Rolando Estévez Jordán and editorial direction of Laura Ruiz. Agustina Ponce serves as the overall director of Ediciones Vigía.

A few of the titles now in the Graphic Arts Collection include Nancy Morejón and Rolando Estévez Jordán, El Río de Martín Pérez y Otros Poemas (Matanzas, Cuba: Ediciones Vigía, 1996); Fernández René and Juan Antonio Carbonell Gómez, La Ikú y Elegguá (Matanzas, Cuba: Ediciones Vigía, 1994) and Rafael Acosta de Arriba and Hiram Aguíar, Los Signos al Infinito: Una Lectura de la Poesía de Octavio Paz (Matanzas, Cuba: Ediciones Vigía, 1992). They will all soon be searchable here.

This video gives you a chance to go inside the artists’ studio in Cuba and see them at work. Well worth the time to watch.

Thanks to the Friends of the Princeton University Library, the graphic arts collection is the fortunate new owner of a complete run of Wiener Photographische Blätter, edited by Franz Schiffner (Wien: Herausgegeben von Wiener Camera-Klub, 1894-1898), 60 issues in 5 quarto volumes. The letterpress text is profusely illustrated with images in a variety of mediums including photogravures (many with chine-collé), lichtdrucks (collotypes), gelatino-chloride prints (printing-out-papers), early half-tones, stereographs, and rotogravures.

Thirty-year-old Alfred Stieglitz was captivated and offered four of his best negatives, including Wet Day on the Boulevard; Waiting for the Return; Winter, Fifth Avenue, which he was selling for $75 each; and The Net Mender, his personal favorite at the time. Late in 1897 (perhaps under that influence of Wiener Photographische Blätter), Stieglitz began to hand-pull his own photogravures for his first portfolio, Picturesque Bits of New York and Other Studies (held in the Princeton University Art Museum). In addition, the Austrian journal would have a profound influence Stieglitz’s serial publications, when he issued photogravure plates as editor of Camera Notes and later his own journal Camera Work.

The Graphic Arts Collection holds a complete set of Camera Notes (1897-1903) and a complete set of Stieglitz’s quarterly journal Camera Work (1903-1917), both given to Princeton University by David H. McAlpin, Class of 1920. In addition, we hold a second incomplete set of Camera Work given by Georgia O’Keeffe (1887-1986).

In his 1978 book The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography, J. Paul Getty Museum photography curator emeritus Weston Naef writes, “In January the first issue of the Wiener Photographische Blätter appeared, edited by F. Schiffner and published by the Camera-Klub in Wien with seventeen original photogravures by Hugo Henneberg, Hans Watzek, F. Mallman, J. S. Bergheim, and Adolph Meyer. Each gravure was printed with an ink of a different tone, and some like Meyer’s were mounted on colored paper, making this among the most carefully produced photography periodicals published anywhere in the world.”

Our sincere thanks to the Friends of the Princeton University Library.

Handwerkskundschaft. Wir dieser Zeit Geschwor[e]ne Vor und andere Meistere des Loebl. Handwerks derer Maurer, in der Kayserlichen .. (Bremen: Ernsting, 1791 [ink inscriptions 1798]. Engraved broadside. Graphic Arts Collection GA 2013- in process

A panoramic view of the city of Bremen tops this journeyman’s certificate. It is inscribed for twenty-five year old Johann Hingstmann (born 1773), who has completed his twelve year apprenticeship to reach the level of journeyman. Hingstmann now has the right to charge a fee for his own work. To reach the highest level of master craftsman, he will have to submit an example of his work to a particular guild for evaluation and hopefully, be admitted to the guild as a master.

The certificate is engraved by Daniel Albert (Albrecht) Ernsting (1749-1820), who was himself an apprentice to a Bremen printer. Ernsting then studied in Göttingen and Copenhagen before returning to Bremen and opening a shop. His name is found engraved on portraits, business cards, playing cards, and of course certificates.

Graphic Arts recently acquired an album of tobacco wrapping papers from the Nuremberg firms of Ph. Casimir Krafft (P.C.K.& C.) and Georg Platner, undated but approximately from the 1780s to the 1830s. The collection may have been assembled by the printers of these papers or the manufacturers of the tobacco as a record of their advertising. The papers indicate that the two companies also had factories in London and Amsterdam.

In the 1700s printed trade cards and wrappers for tobacco, powdered medicines, health aids, and pins began to be used throughout Europe. Tobacco papers identified the retailer who blended and measured out the tobacco into the wrapper (Alec Davis, Package and Print: the Development of Container and Label Design (London: Faber and Faber, 1967). Graphic Arts Collection (GA) TS158 .D38 1967)

Etiquette der Tabak Fabriken Ph. C. Karfft und Platner [album], Nuremberg, no date [1780s-1830s]. 86 sheets engraved or lithographed, some color. Graphic Arts Collection 2013- in process

In the summer of 2012, Brody Neuenschwander, Class of 1981, prepared an installation at the Kapel Ten Bogaerde in Koksijde, Belgium. The master calligrapher transformed the fourteenth-century chapel into a “meditation on the death and resurrection of language.” Here is a look at the installation.

The curator describes Neuenschwander’s work, “The chapel’s two large windows were encased in lanterns bearing writing, typography and the impressions of books. In the center of the space was a library of 500 black books, with the hands of the artist rising from them or sinking into their darkness. At the end of the chapel, on the axis of the black library, were six large panels of lines, texts and gestures rendered on Japanese kozo paper.”

Brody Neuenschwander, Documentation (Koksijde, Belgium: Kapel Ten Bogaerde, 2012) Graphic Arts Collection. Gift of Alfred L. Bush.

in this book
the pen

under strain

splits

tries to explain

tears the page

with blood black pain
pauses at the tip
to drip

a line

to love in vain

—Brody Neuenschwander

Enrique Chagoya, Illegal Alien’s Meditations on el Ser y la Nada [Being and Nothingness], 2012. Color lithograph with chine collé and gold metallic powder. Edition: 30. Graphic Arts Collection GA2013.-in process.

“In Illegal Alien’s Meditations on el Ser y la Nada, Chagoya continues his exploration of the codex format inspired by surviving pre-Colombian Mayan and Aztec books. In this, his twelfth book, Chagoya examines cultural realities with satire and humor. Using an historical lexicon of Mexican images with an overlay of abstract Buddhist meditation paintings and appropriated images from popular culture, Chagoya juxtaposes ordinary and spiritual life. The title is a comical tongue-in-cheek reference to Sartre’s On Being and Nothingness.“—Shark Press

Chagoya’s book was printed by hand in eleven colors from ten aluminum plates with chine collé and gold metallic powder on 14 x 88 inch handmade Amate paper folded concertina-style. The lithographic plates were made from Mylars created by the artist that combine Xerox transfers with hand drawing, using pencils, toner and ink washes. The edition consists of 30 numbered impressions, plus proofs, pulled by Master printer Bud Shark, assisted by Evan Colbert, between August 21st and November 29th, 2012.

Now come the days of changing beauty,
of summer’s parting as the monsoon comes,
when the eastern gales come driving in,
perfumed with blossoming arjuna and sal trees,
tossing the clouds as smooth and dark as sapphires:
days that are sweet with the smell of rain-soaked earth.
—Bhavabhūti, eighth century, translated from the Sanskrit by Daniel H. H. Ingalls

Ranjani Shettar, Varsha. Essay by Anita Desai, poetry by Bhavabhūti and Rabindranath Tagore and the lyrics from a Kannada folk song (New York: Library Council of the Museum of Modern Art, 2012). 16 prints including etching, silkscreen, hand-carved woodcut, pigment printing, and laser cut.
Copy 97 of 150.
Graphic Arts Collection GAX 2013- in process

Ranjani Shettar’s Varsha (the rainy season in the Hindu calendar) evokes aspects of sixteen phases of the monsoon and the classical Indian astronomy used to predict them. In a recent interview, the artist said, “I wanted to take something that was inspired by my geographical location, so I borrowed from the concept of the panchang [local almanac based on solar and lunar movements] and tried to interpret the monsoon visually.”

Shettar conceived and prepared the artwork in Karnataka, India. The accordion-folding volume (11 x 15 inches closed, 40 feet open) is bound in a hand-worked zinc-alloy cover inlaid with silver. To make the covers, the artist collaborated with the craftsman M. A. Rauf and his son Mohammed Abdul Bari in Bidar, Karnataka. Rauf and his associates continue a centuries-old tradition of combining zinc and copper, which is brought to a rich black color when cooked in the unique soil of the Bidar Fort.

The prints are named after sixteen nakshatras (from a total of twenty-eight in a calendar year), each with its own astrological, mythopoetic, and religious significance:
1. Ashwini. Solar etching and laser cut
2. Bharani. Solar etching, silkscreen, and laser cut
3. Krittika. Solar etching and laser cut
4. Rohini. Solar etching and laser cut
5. Mrigashira. Woodcut and laser cut
6. Ardra. Laser cut
7. Punarvasu. Laser cut
8. Pushya. Woodcut and laser cut
9. Ashlesha. Spit-bite etching and laser cut
10. Makha. Woodcut and laser cut
11. Purva Phalguni. Woodcut and laser cut
12. Uttara Phalguni. Woodcut and laser cut
13. Hasta. Woodcut and laser cut
14. Chitta. Pigment print and laser cut
15. Swathi. Woodcut and laser cut
16. Vishaka. Solar etching and laser cut


Listen to the artist speak about a previous work:

Nicolas Duval (born 1634 or 5), Nouvelles heures: gravées au burin: dediées au Roy ([Paris]: … se vendent à Paris chez J. Mariette, 1670). Engraved throughout by Louis Senault (1630-ca.1680) with fine calligraphic sectional title-pages, decorated initials, head- and tail-pieces, ornaments and title-frames. Graphic Arts Collection GAX 2012- in process

This all-engraved book of hours is dedicated to Louis XIV. The French writing master Duval and his brother, calligrapher Senault, created a number of calligraphic books of hours dedicated to various French dignitaries. Senault’s daughter Elizabeth assisted and continued in the profession after their death.

Our collection includes several other French engraved books of hours:
Heures nouvelles tirées de la Sainte Ecriture écrites et grauées par L. Senault (Paris: Chez l’autheur rüe du Petie Lion au Fauxbourg St Germain en la maison de Mr Frontié, et chez Claude de Hansy sur le Pont au Change a l’Image St Nicolas, [not before 1680]). Graphic Arts Collection (GAX) 2004-3308N

Heures nouuelles dédiées à Monseigneur Dauphin écrites et grauées par Elisabeth Senault (Paris: Chez de Hansy, libraire sur le Pont au Change à St. Nicolas, [ca. 1690]). Graphic Arts Collection (GAX) 2004-3388N