Recently in Acquisitions Category

À l'Abattoir les Cartellistes!!

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Jehan Sennep, À l’Abattoir les Cartellistes!! Album-souvenir des Elections de 1928 (Paris: Editions Bossard, [1928.]). One copy of 200. Bookplate of the Baron de Cougny-Préfeln. Graphic Arts GAX 2012- in process.


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In the French Third Republic, a coalition was formed of left-wing parties (the Socialists and the Radicals) in the Chamber of Deputies. They established the Cartel des gauches in opposition to the right-wing Bloc National, which they defeated in the elections of 1924. Led by Édouard Herriot (1872-1957) and later Aristide Briand (1862-1932), the Cartel was defeated in 1926.

On April 22 and 29, 1928, elections were held for the 14th legislature. The French caricaturist Jehan Sennep (whose real name was Jean-Jacques Charles Pennes, 1894-1982) cartooned the members of the Cartel in the Paris papers and then, brought them together in this send-up of the election. Herriot, Marcel Cachin (1869-1958), Georges-Étienne Bonnet (1889-1973), and Blaise Diagne (1872-1934) are among the Cartellistes transformed into cattle being led to the slaughter house. The book is sardonically printed on rough brown butcher’s paper.

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Moritz Götze

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Moritz Götze, Gulliver (Rudolstadt: Jens Henkel, Burgart-Presse, 1996).
32 serigraphs. Graphic Arts GAX 2012- in process

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“Serious and Lightness:
Seven men are taking a boat trip. Debris and mines are floating on the water. On board the ship is an oil barrel, a lit torch and a TV set. The sea is stormy, and the waves look like shells. Welcome to Rococo. Welcome to the 21st century.

Moritz Götze likes to use metaphors and historical settings to address pressing issues of his time. With outstanding painterly virtuosity and draughtsmanship, he assembles his visions into crystal-clear compositions whose semantic layers reach near-abyssal depths. Though his visions are often clad in aristocratic nonchalance, they can occasionally become explicit, and sometimes drastic.”—Götze’s website
http://www.rothamel.de/en/Moritz-Goetze/About-Moritz-Goetze.html

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Jen Bervin and Marta Werner, The Gorgeous Nothings: Emily Dickinson’s Envelope-Poems (New York: Granary Books, 2012). Copy 23 of 60. Graphic Arts GAX 2012- in process

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Housed inside a lignin-free archival box, The Gorgeous Nothings includes a guide to the envelope-poems of Emily Dickinson (1830-1886); a 52-page letterpress booklet by Dickinson scholar Marta Werner; and a portfolio of 47 double-sided manuscript facsimiles.The original cover drawing on the box lid is in blue pencil and has a hand-painted seal of gum arabic and gouache.

The edition, published by Granary Books, is accompanied by a guide with a bibliographic directory for the fragments and a series of visual indexes. The 47 manuscript facsimiles show the front and back of each Dickinson envelope-poem printed at 1:1 scale accompanied by smaller visual transcriptions in blue. A close-up of one of the fragments is seen above.

Artist Jen Bervin writes:
“The title, The Gorgeous Nothings, is an excerpt from Emily Dickinson’s manuscript A 821:
‘the gorgeous nothings which compose the sunset keep’.
In choosing it, I was thinking of Dickinson’s own definition for nothing: ‘the force that renovates the World -’ and her definition for no: ‘the wildest word we consign to language.’ These gorgeous nothings are that kind of nothing … I think of these manuscripts as the sort of ‘small fabric’ Dickinson writes of in A 636:
‘Excuse Emily and her Atoms the North Star is of small fabric but it implies much presides yet.’”


“This poem exemplifies Dickinson’s relationship to scale so perfectly. When we say small, we often mean less. When Dickinson says small, she means fabric, atoms, the North Star.”

Marta Werner’s essay, “Itineraries of Escape: Emily Dickinson’s Envelope-Poems,” includes seven digital prints. The cover, bound in Saint Armand Dark Linen with royal blue Shikibu Gampi-shi endpapers, replicates the page forms of A821 / A821a. The text is printed letterpress by Friedrich Kerksieck on Byron Weston Linen Ledger White.

©The images of the manuscripts of Emily Dickinson are reproduced courtesy of Amherst College Library, Archives & Special Collections, The Houghton Library, Harvard University, and the Harvard University Press. The President and Fellows of Harvard College claim the sole ownership of and sole right of literary rights and copyrights therein to the texts of Emily Dickinson.

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William Ward Simpson (1872-1907), Wall chart illustrating the Apocalyptic and Messianic Prophecies of the Book of Daniel (Buffalo, New York: Courier Co. (Litho Dpt.), [ca. 1900s]). Chromolithographed linen. Graphic Arts GAX 2012- in process

Seventh-Day Adventist William Ward Simpson was converted in 1890 and ordained as a minister in 1899 at the age of twenty-seven. For the next eight years, Simpson preached to enthusiastic crowds throughout California and the Midwest using large, colored wall charts to illustrate the hidden biblical prophecies.

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See also Liberty: a Magazine of Religious Freedom (Washington: Review and Herald Pub. Association, 1906- ). Firestone Library (F) BV471.S48 L534

National Photo and Lantern Slide Color Company

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Dunne’s Transparent Pastel Colors … For All Photographs, Pictures, and Lantern Slides ([New York]: M.K. Dunne, [ca. 1910]. Graphic Arts GAX 2012- in process

Mary Katharine Dunne established the National Photo and Lantern Slide Color Company at 2021 Fifth Avenue in New York City. From here, she not only sold boxes of “Dunne’s Color” but also taught the hand coloring of photographs. In the June 1910 issue of The Photo-Miniature a short note asks the reader:

“Are you interested in the coloring of photographs and lantern slides? If you are, then you should know Mrs. M.K. Dunne, of the National Photo and Lantern Slide Color Company …Mrs. Dunne is a charming Southern woman, expert in her art, with a great big enthusiasm for the beauties of color in nature and American scenery. I thoroughly enjoyed my hour with her and, as one result of the interview, can advise readers to invest, say ten dollars, in the Dunne Correspondence course of Photograph coloring and the necessary coloring outfit, as the simplest and surest way of getting a practical mastery of this special branch of work. For those who really want to know, this expenditure is abundantly worth while. The Dunne color outfits are sold by dealers everywhere in the United States, Canada, and Great Britain, but Mrs. Dunne will gladly answer any inquiries about instruction, if those who write her will mention this magazine as an introduction.”

Learned Birds and Other Acts

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Sig’r Blitz The World-Renowned Ventriloquist & Magician. Extraordinary Attraction with the Learned Canary Birds!… (Boston: J.H. & F. Farwell Job printing Office, [ca. 1860-1968]). Illustrated broadside. Graphic Arts GAX 2012- in process

The British magician, ventriloquist, juggler, and animal trainer Antonio van Zandt (1810-1877) performed under the name Signor Blitz, a name pirated by a dozen other magicians in an effort to capitalize on his extraordinary popularity. Blitz emigrated to the United States in 1834, settling in Philadelphia.

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When Blitz died in 1877, obituaries ran in newspapers throughout the United States. The Chicago Tribute stated, “In the death of Signor Antonio Blitz … the whole public will feel as if it had lost a friend, so many years had he devoted himself to its entertainment. His name has literally been a household word. He was born in Deal, England…and his peculiar talents were shown so early that at the age of 13 he made his first appearance at Hamburg and then performed in succession at Lubeck, Potsdam, and other continental cities, exciting wonder wherever he went.”

The Detroit Free Press noted that “Signor Blitz deserves to be remembered as the prince of prestidigitateurs in his [time]. …Three generations at least of Americans owed to him some of the happiest hours of their lives. He was ‘the’ conjurer of the republic; the most incredible of ventriloquists; the most insatiable consumer of yards of ribbon, omelettes made in badly astonished hats, and miscellaneous cutlery; the most indefatigable producer of canary birds from watch cases, rabbits from waistcoat pockets, and butterflies from egg shells, that America ever knew.”

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Read the magician’s autobiography:
Antonio Blitz (1810-1877), Life and Adventures of Signor Blitz; Being an Account of the Author’s Professional Life; His Wonderful Tricks and Feats; with Laughable Incidents, and Adventures as a Magician, Necromancer and Ventriloquist (Hartford, Conn.: T. Belknap, 1872). Firestone Library (F) GV1545.B6 A3 1872

Brian Nissen's Codices

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Brian Nissen, Pipixqui Codex (Mexico City: Nissen, 2010). Graphic Arts GAX 2012- in process

“The word Pipixqui comes from the Aztec language and signifies to be in heat, to be aroused. In seven chapters, this codex portrays some of our most intimate antics. It depicts the foibles of flirting, incitements to excitement and the infinite trajectories of desire. Invoking codes of courtship and the protocols of passion that collapse when the compass needle of ecstasy becomes disorientated and our sensation of balance comes undone.”—Brian Nissen

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Brian Nissen, Códice Madero (Mexico City: Imprenta Madero, 1984). Graphic Arts GAX 2012- in process

The images of this codex involve the rituals of games and play. “A codex of games; puzzles, crosswords, jigsaws, dominoes, quizzes and conundrums. Play is one of the basic pillars of art, and one of the fundamental forces that propels the artist. It is when we put into play the elements with which we work—color, line forms, signs etc. that we begin to discover their secret relationships. They reveal their own special language and speak to us of a hidden order.”—Brian Nissen

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Brian Nissen was born in London and studied first at the London School of Graphic Arts and then, at the École des beaux Arts in Paris. In 1963, Nissen traveled to Mexico where he lived and worked for the next seventeen years. His encounter with pre-Hispanic cultures had a defining impact on his thinking about the nature of art. The Graphic Arts collection is pleased to have acquired one copy of each of his artists’ books, two seen here.

The Battle of New Orleans

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Joseph Yeager (ca. 1792-1859) after a design by William Edward West (1788-1857), The Battle of New Orleans and Death of Major General Packenham on the 8th of January 1815. Philadelphia: Published and Sold by J. Yeager, [1816]. Hand colored engraving. Approximately 15 x 19 1/2 inches. Graphic Arts GAX 2012- in process. Purchased with support of the Barksdale-Dabney-Henry Fund, 2012

Philadelphia engraver, Joseph Yeager (ca.1792-1859), designed and published this bird’s eye view of the Battle of New Orleans in November 1816. Shown from a British perspective, the central group includes the figure of General Sir John Lambert (1772-1847) weeping into a handkerchief next to the fallen Major General Sir Edward Michael Pakenham (1778-1815), with other officers surrounding them. The Americans are viewed through clouds of smoke, with their flag flying at both the right and left. General Andrew Jackson (1767-1845), who led the defense and became a national hero after this battle, has been singled out for the bottom title vignette.

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From December 25, 1814 to January 26, 1815, British casualties totaled 386 men killed, 1,521 wounded and 552 missing for the whole campaign. On the American side, 55 men were killed, 185 wounded, and 93 missing after the siege. (According to William James, A full and correct account of the military occurrences of the late war between Great Britain and the United States of America, Rare Books E359.J29)

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The artist signed: “West. Del.” has been attributed to William Edward West (1788-1857), who was born in Lexington, KY, and studied under Thomas Sully in Philadelphia. West worked there until about 1818 when he went to Natchez and then to Europe, to finish his painting education. Even when he returned to the United Stated, West continued to travel, working at various times in Baltimore, New York, and Nashville.

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For more information, see Library of Congress. An Album of American Battle Art 1755-1918, p. 94 (Marquand Oversize NE505 .U58q); Stauffer, American Engravers on Copper and Steel, 3433 (Graphic Arts NE505 .S79 1994); John Carbonell, “Prints of the Battle of New Orleans,” in Prints of the American West (1983), p.2-12. (Marquand NE505 .P55)

The Szyk Haggadah

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The Haggadah / [executed by] Arthur Szyk (1894-1951); with translation and commentary by Byron L. Sherwin. Deluxe edition (Burlingame, Calif.: Historicana, 2008). Copy 151 of 300. Text of Haggadah in Hebrew with English translation; commentary in English. Graphic Arts GAX 2012- in process. Purchased thanks to the support of Joanna and Daniel Rose, P*01.

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“So much of Jewish history passes through the Passover Haggadah narrative and through Arthur Szyk’s Haggadah in particular. This is the work of an artist who combined his two passions - art and history - to the highest degree. In his Haggadah, Szyk illustrated the oppression, enslavement, and attempted annihilation of the ancient Israelites in Egypt, events unfolding again in his own time in Nazi-occupied Europe. His visual commentary on the Haggadah narrative weaves together numerous historical strands of the Jewish people and its heroic confrontation with those who ‘in every generation rise up against them.’ How Szyk expresses his passion, convictions, and beauty awaits your exploration.” —Irvin Ungar, publisher of the Szyk Haggadah

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This set includes a new English translation by Rabbi Bryon L. Sherwin; a companion volume Freedom Illuminated: Understanding The Szyk Haggadah; a DVD with a documentary film prepared by Jim Ruxin showing how this Haggadah was created; and a custom-made magnifying glass to enhance the viewing of the book’s illuminated plates.

For more information, see their website: http://www.szyk.com.

Unrecorded second edition of The Penman's Magazine

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George Shelley (ca. 1666-ca. 1736) and John Seddon (died 1700), The Penman’s Magazine, or, A New Copy-Book, of the English, French, and Italian Hands, after the Best Mode; Adorn’d … after the originals of the late incomparable Mr. John Seddon. Perforn’d by George Shelley … Supervis’d and publish’d by Thomas Read (London: printed by J. Holland …, 1709). 2nd ed. Bound in old quarter calf over marbled boards. Graphic Arts Collection GAX 2012- in process

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Thanks to the research of Christopher Edwards, we recently acquired this unrecorded second edition of The Penman’s Magazine. The plates were selected by George Shelley but arranged by Thomas Read, one of his students. Read contributes a Preface to the Reader that states, “Seddon on his Death-Bed bequeath’d me his Remains,” desiring him to “Have them Perfected.” Read calls Shelley “a celebrated penman of the Age, who was so generous as to undertake it, and has so order’d the Ornamental Part, that it flows from the Pen by a swift Command of hand with the greatest ease imaginable.”

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Description and Praise of the City of Haarlem

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Samuel Ampzing (1590-1632), Beschryvinge ende lof der stad Haerlem in Holland. In rijm bearbeyd: ende met veele oude en nieuwe stucken buyten dicht uyt verscheyde kronijken, handvesten, brieven, memorien ofte geheugenissen, ende diergelijke schriften verklaerd, ende bevestigd. With: Petrus Scriverius, Lavre-Kranz voor Laurens Koster van Haerlem, eerste vinder vande boeck-druckery (Haarlem: Adriaan Roman, 1628). Graphic Arts GAX 2012- in process

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Several month ago we found a collotype depiction of Laurens Jansz. Coster’s fifteenth-century print shop. Happily, we have now acquired the book that first presented this amazing print to the public.

The Dutch poet Samuel Ampzing (1590-1632) wrote this book to promote the city of Haarlem. He began the project in 1617 and published it in 1628 under the title Beschrijvinge ende lof der stad Haerlem in Holland. As an added bonus, the foreword is an essay by Ampzing on the Dutch language and its rules of rhetoric, which was also sold separately in 1628 under the title Taelbericht der Nederlandsche spellinge (Treatise on Dutch Spelling).

The book includes eleven double page prints designed by Pieter Jansz. Saenredam (1597-1665), among the most famous of the seventeenth-century Dutch painters. In addition, he drew a portrait of Coster (ca. 1370-ca. 1440), who was for some years thought to have predated Gutenberg in the use of moveable type. The book includes a short section by the Leiden scholar Petrus Scriverius in praise of Coster and two plates imagining the inside of his shop.

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Nausikaa, A French Odyssey

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Homer, Nausikaa, translated by Leconte de Lisle (Paris: Édition d’art, H. Piazza, 1899). Copy 306 of 400. Graphic Arts GAX 2012- in process.

The French writer Charles-Marie-René Leconte de Lisle (1818-1894) began translating Homer in 1845; his Iliad appeared in 1867, and the Odyssey and the Hymns in 1868. A few years after his death, the prose for his sixth book of The Odyssey was embedded into twenty-two full page color lithographs by Nabis-inspired Gaston de Latenay (1859-1943), along with twenty-two borders and twenty-four vignettes, initials and culs-de-lampe.

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In Book Six, we find Odysseus sleeping on the island of Skheria. The King’s daughter, Nausicaa, goes to the river with her maids to wash clothes and play. They happen on the naked Odysseus and although the others run away, Nausicaa stays and speaks with him.

French: Ainsi dormait là le patient et divin Odysseus, dompté par le sommeil et par la fatigue, tandis qu’Athènè se rendait à la ville et parmi le peuple des hommes Phaiakiens qui habitaient autrefois la grande Hypériè, auprès des kyklôpes insolents qui les opprimaient, étant beaucoup plus forts qu’eux. Et Nausithoos, semblable à un dieu, les emmena de là et les établit dans l’île de Skhériè, loin des autres hommes. Et il bâtit un mur autour de la ville, éleva des demeures, construisit les temples des dieux et partagea les champs.

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English: So there he lay asleep, the steadfast goodly Odysseus, fordone with toil and drowsiness. Meanwhile Athena went to the land and the city of the Phaeacians, who of old, upon a time, dwelt in spacious Hypereia; near the Cyclopes they dwelt, men exceeding proud, who harried them continually, being mightier than they. Thence the godlike Nausithous made them depart, and he carried them away, and planted them in Skheria, far off from men that live by bread. And he drew a wall around the town, and built houses and made temples for the gods and meted out the fields.

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Chagall's Maternité

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Marcel Arland (1899-1986) and Marc Chagall (1887-1985), Maternité (Motherhood) (Paris: Sans Pareil, 1926). Graphic Arts GAX 2012- in process

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Marc Chagall moved to Paris in 1923 and received several commissions for visual narratives, beginning with designs for Nikolai Gogol’s Die toten Seelen (The Dead Souls) in 1923 (printed in 1927 and published in 1950), followed by Maternité 1925-26, Les Sept péchés capitaux (The Seven Deadly Sins) in 1926, and the Fables of La Fontaine 1927-30. Many of the prints are drypoints, for which Chagall drew directly into a copper plate with a sharp needle.

Arland’s short story is a narrative told in reverse, beginning with the death of a young girl’s illegitimate baby and ending with the first night she and her lover spend together. The girl is vilified by her neighbors and Chagall’s first image shows her being taken away by the police as a crowd yells and shames her. Another plate shows the girl giving birth alone in her backyard among the chickens and empty crates.

Unfortunately, the popularity of Chagall’s prints has led many dealers to cut the book apart and sell the plates individually. To read more, see: Patrick Cramer, Marc Chagall: The Illustrated Books (Geneva: Patrick Cramer Publisher, 1995). Marquand (SA) ND689.C3 C725 1995q

Catoptric Anamorphosis

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Michael Schützer-Weissmann, In Nomine Domini: Lives of the Composers. Eight etchings by John O’Connor on texts by Michael Schützer-Weissmann (London: John O’Connor, 1974). Copy 1 of 100. The etchings were printed at the Octopus Press at the Islington Studio, London. Graphic Arts Collection (GA) Oversize 2012-0006E

Subjects include John Taverner; Thomas Tallis; Dr. John Bull; Orlando Gibbons; William Byrd; William Lawes; John Jenkins; and Henry Purcell. The plate to illustrate Orlando Gibbons is a catoptric anamorphosis, to be viewed with the accompanying cylindrical mirror.

London Extra Illustrated

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Henry B. Wheatley (1838-1917), London Past and Present, Its History, Associations, and Traditions, based upon the Handbook of London by the late Peter Cunningham (London: John Murray, 1891). GAX Graphic Arts 2012- in process

This copy of Wheatley’s guide to London has been extra illustrated with 170 plates including engravings, etchings, and lithographs (15 hand colored) from many well-known sources. Here are a few examples.

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Klimsch's Jahrbuch

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Klimsch’s Jahrbuch (Klimsch’s Yearbook) (Frankfurt am Main: Verlag von Klimsch & Co., 1900-1940). Complete in thirty-three volumes. Subtitle varies from Eine übersicht über die Fortschritte auf Graphischem Gebiete (An Overview of the Progress in the Field of Graphics) to Technische Abhandlungen und Berichte über Neuheiten aus dem Gesamtgebiet der Graphischen Künst (Technical Papers and Reports about Innovations in all Areas of the Graphic Arts).

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Ferdinand Karl Klimsch (1812-1890) established the Frankfurt printing firm Klimsch & Co. in 1858. Originally a specialty firm offering commercial lithographic printing, the company expanded into all aspects of printing and continued to operate through 1995.

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In 1900 the company issued a report on the state of printing arts in Germany and continued the practice each year until WWII got in the way. Articles ranged from general histories and biographies to in-depth studies in paper technology, electroplating, typography, photographic printing processes, and the evolution of press machinery, much of it written by Friedrich and Konrad Bauer.

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But it is the samples of contemporary printing that really make the publication unique. Each issue includes specimens of coated papers, varnishes and inks, embossed labels, monochrome and multicolor typography, as well as printing on foil, on cellulose, and cloth. Paging through the volumes, we see the German graphic aesthetic transform from the decorative Jugendstil to the dynamism of the Futurists and then, the social realism of the rising Nazi party.

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The 1932 issue features a retrospective on the first 25 volumes. All of the volumes include tables of contents and the 1935 issue includes an index to volumes 25-28.

Books about paper

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Josef Halfer, The Progress of the Marbling Art, from Technical Scientific Principles (Buffalo, N.Y.: L.H. Kinder, 1893). Graphic Arts GAX 2012- in process
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Graphic Arts recently acquired a number of books on the history and making of American, British, French, and German papers. Here are a few other titles:

L.L. Brown Paper Co., Makers of the Standard Linen, Ledger and Record Papers: Samples, Sizes, Weights and Price-List (Adams, Mass.: L.L. Brown Paper Co., 1887). Graphic Arts Collection (GAX) 2012-0044N

Union centrale des Arts Décoratifs, 7e Exposition organisée au Palais de l’Industrie 1882. Deuxième exposition technologique des industries d’art, le bois, les tissus, le papier (Paris: Quantin, 1883). Supplément au numèro de la Revue des Arts Décoratifs du 20 Février 1883, numéro exceptionnel du bulletin officiel de l’union centrale. Graphic Arts GAX 2012- in process.

Willy Grünewald, Papierhandel: ein Hilfsbuch für Papierhändler, -Verarbeiter und -Verbraucher (Berlin: Verlag der Papier-Zeitung Carl Hofmann, 1927). Graphic Arts GAX 2012- in process.

Richard Parkinson, A Treatise on Paper, with an Outline of its Manufacture, Complete Tables of Sizes, etc., for Printers and Stationers (Clitheroe: R. Parkinson; London: Crosby Lockwood and Son, 1894). Graphic Arts GAX 2012 in process.

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The Infallible Detective

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Graphic Arts is fortunate to have acquired the cover art by Robert Prowse, Jr. (1858-191?) for The Infallible Detective (London: Aldine Publishing Company, 1897). Drawn in ink and watercolor with gouache highlights, this is one of literally hundreds of covers Prowse designed for the Aldine company. The signed and dated sketch includes the caption “The phonograph reveals a great crime.” A small line of dialogue appeared on each of the book’s cover as a clue to the story’s plot. The Infallible Detective is no. 226 in the series The Aldine Dectective Tales (Rare Books RCPXR-6160641) and one of over 600 British dime novels available in Princeton University Library.

A wonderful checklist of the Aldine “tip top” detective novels can be found at http://mysteryfile.com/TipTop/Detective.html.

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Steve Holland posted a biography of Robert Prowse Jr. and his father, also a prolific artist of penny dreadfuls. This can be found at: http://john-adcock.blogspot.com/2010/01/tale-of-two-roberts-by-steve-holland.html

Holland writes, “It was around 1893 that Robert Prowse junior began his association with the Aldine Publishing Co., producing illustrations for their partwork publications of Burrage’s The Lambs of Littlecote and The Island School amongst many other contributions. His illustrations appeared in Aldine’s Garfield Boys’ Journal (1894-95) and Aldine Cheerful Library (1894-95), and he worked for most of Aldine’s library titles, becoming their main cover artist from the mid-1890s.”

“His work can be found on Boys’ First-Rate Pocket Library, Aldine Detective Tales, and Aldine Romance of Invention, Travel and Adventure Library in the 1890s. Probably his most famous covers were for the Aldine Robin Hood Library, and he continued to provide cover art for years to come, his last known work appearing on the Aldine Invention Library (1913) and Aldine Cinema Novels (1915).”

Note, the book covers really are blue, not just bad photography.

Pissarro's Pastorale

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Pastorale. Wood-engravings by Lucien Pissarro, with a note on the Kelmscott paper by John Bidwell ([Oxford]: Ashmolean Museum; [New York]: The Morgan Library & Museum; Risbury, Herefordshire: Whittington Press, 2011). Copy 53 of 100. Graphic Arts GAX 2012- in process.

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John Randle of Whittington Press notes, “The Ashmolean … [has] kindly allowed us to print from Lucien’s original wood-blocks which are in their possession. The Morgan Library and Museum … supplied 2000 sheets of the Batchelor’s Crown and Sceptre paper which has lain in their store for over a century.”

“This edition of 300 copies is set in 12-point Caslon type & printed from the three different papers made by Joseph Batchelor & Son to the original specifications of William Morris … The 40 copies bound in vellum are printed on the Otter paper, and contain a portfolio of proofs of the engravings, and one additional engraving, all in a solander box”.

“The 100 copies half-bound in Oasis leather and pre-war Fabriano Ingres are printed on the Flower paper made for the Kelmscott Press, and also contain the proofs and additional engraving. The 160 regular copies are half-bound in Fabriano Ingres papers and printed on the Crown and Sceptre paper”.

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Anti-Slavery Broadside

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David Claypoole Johnston (1799-1865), The House that Jeff Built, 1863. Etching. Graphic Arts GA 2012 in process.

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The Philadelphia-born artist D. C. Johnston was proficient as a lithographer and engraver. He drew, etched, and published this narrative broadside, which uses a simple nursery rhyme to make a powerful condemnation of slavery. The ‘house’ in the title refers to the slave pen seen in the first vignette. ‘Jeff’ is Jefferson Davis (1808-1889) the President of the Confederate States during the American Civil War.

Here are the twelve texts:
1.This is the house that Jeff built.
2.This is the cotton, by rebels, called king (Tho’ call’d by Loyalists no such thing) that lay in the house that Jeff built.
3.These are the field chattels that made cotton king, (tho’ call’d by Loyalists no such thing), that lay in the house that Jeff built.
house that jack4.jpg

4.These are the chattels babes, mothers, and men, to be sold by the head, in the slave pen;— A part of the house that Jeff built.
5.This is the thing, by some call’d a man, Whose trade is to sell all the chattels he can, From yearlings to adults of life’s longest span; In and out of the house that Jeff built.
6.These are the shackles, for those who suppose their limbs are their own from fingers to toes; And are prone to believe say all that you can, that they shouldn’t be sold by that thing call’d a man; Whose trade is to sell all the chattels he can from yearlings to adults of life’s longest span, in and out of the house that Jeff built.
7.These buy the slaves, both male and female, and sell their own souls to a boss with a tail, who owns the small soul of that thing call’d a man, whose trade is to sell all the chattels he can, from yearlings to adults of life’s longest span, in and out of the house that Jeff built.
8.Here the slave breeder parts with his own flesh to a trader down south, in the heart of secesh, thus trader and breeder secure without fail, the lasting attachment of him with a tail, who owns the small soul of that thing call’d a man, whose trade is to sell all the chattels he can, from yearlings to adult’s of life’s longest span, in and out of the house that Jeff built.
9.This is the scourge by some call’d the cat, Stout in the handle, and nine tails to that, t’is joyous to think that the time’s drawing near when the cat will no longer cause chattels to fear, nor the going, going, gone of that thing call’d a man, whose trade is to sell all the chattels he can, from yearlings to adults of life’s longest span, in and out of the house that Jeff built.
10.Here the slave driver in transport applies, nine tails to his victim, nor heeds her shrill cries, Alas! that a driver with nine tails his own, should be slave to a driver who owns only one, albeit he owns that thing call’d a man, whose trade is to sell all the chattels he can, from yearlings to adults of life’s longest span, in and out of the house that Jeff built.
11.Here’s the arch rebel Jeff whose infamous course, has bro’t rest to the plow and made active the hearse, and invoked on his head every patriots curse, spread ruin and famine to stock the slave pen, and furnish employment to that thing among men, whose trade is to sell all the chattels he can, from yearlings to adults of life’s longest span, in and out of the house that Jeff built.
12.But Jeff’s infamous house is doom’d to come down, so says Uncle Sam and so said John Brown. — With slave pen and auction shackles, driver and cat, together with buyer and seller and breeder and that, most loathsome of bipeds by some call’d a man, whose trade is to sell all the chattels he can, from yearlings to adults of life’s longest span, in and out of the house that Jeff built.

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