Recently in Acquisitions Category

How would you like the ability to see another person’s secret thoughts? Even if it is a fictional person. This is the basis of a graphic novella called SVK (special viewing kit). The small paperback is written by Warren Ellis with art by Matt “D’Israeli” Brooker, foreword by William Gibson, and published by the London design firm BERG (Jack Schulze). Their publicity describes the book as “a story about cities, technology, and surveillance, mixed with human themes of the power, corruption and lies that lurk in the data-smog of our near-future.”

The trick comes when the detective story is illuminated with a small ultraviolet light (included with the book) and the secret thoughts of various characters appear. More than a gimmick, the invisible text moves the plot along, exposing character strengths and weaknesses you wouldn’t otherwise know.

The leading character is a security consultant named Thomas Woodwind. “A man of six feet or so, quite lean, with a good Patrick Stewart-ish skull fuzzed with very short pale hair. Paranoid eyes. Tending to very long black coats, with poacher’s pockets sewn on the inside. A bluetooth earpiece cupping each ear. Black gloves - no fingerprints, reduction of epithelials.”

Also included is a short essay by comic historian Paul Gravett on the history of the word balloon, as well as at least one ultraviolet advertisement. I wonder if you get a discount for advertising in invisible ink?

Enrique Chagoya, Escape from Fantasylandia: An Illegal Alien’s Survival Guide, 2011. 10/30. Lithograph on papel de amate printed in ten colors with gold metallic powder from nine aluminum plates. Published by Shark’s Ink, Lyons, Colorado. Graphic Arts GAX 2012- in process

“Chagoya limits his use of the Western written word, instead favoring pictorial signifiers combined with the glyph-based syllabaries of the Mitzec-Zapotec, Nahua (of whom the Aztec were members), and Maya cultures. The books are also printed on amate (a traditional Pre-Columbian paper made of banana fibers) and folded in the traditional accordion style. Within these parameters, the artist sets out epic cultural exchanges in which he “cannibalizes” Western culture in the same way that traditional Mesoamerican cultures have been appropriated into contemporary Mexican and U.S. culture.” —Sarah Kirk Hanley (Art in Print January/February 2012)

Chagoya writes, “My artwork is a visual reflection on various, and often opposite, cultural realities that I have experienced during my life, from growing up in Mexico, living a couple of times in France, and becoming a citizen of this country in the year 2000 after being a permanent resident living in the Bay area for 20 years. I integrate diverse elements: from pre-Columbian mythology, Western religious iconography, ethnic stereotypes, ideological propaganda from various times and places, American popular culture, etc.”

Enrique Chagoya lives in San Francisco where he is a professor of Art at Stanford University. See also: Guillermo Gómez-Peña, Friendly Cannibals. Art by Enrique Chagoya (San Francisco: Artspace Books, 1996). Firestone Library (F) PS3557.O459 F75 1996

“I started work on Dero Abecedarius in mid-July 2001,” writes the artist Klaus-Peter Dencker. “…it develops alphabetically and uses New York’s Statue of Liberty as a primary motif. Dero presents the statue, a sort of public-relations symbol, in several variations. This allows me to explore the theme of freedom—poetically and theoretically—as it relates to the somewhat absurd representations of it that abound in consumer culture.”

“Within this work are personal experiences of many visits to the USA and the absurd idea, that a letter has its own meaning/importance. The ABC as an own sign-world and as an example for the dealing with seeming/apparent unliberties and so called rules. I work on the sequences usually by making first all collages on the pages, then the text-elements and finally a follow-up of a few corrections in the existing collages.”

This special edition is published by Redfoxpress, founded in 2000 by the Belgium artist Francis Van Maele. In 2002, he moved to Ireland and settled on Achill Island, along the cliffs of County Mayo overlooking the Atlantic Ocean. To learn more, see www.redfoxpress.com

Le Hanneton: illustré, satirique et littéraire (Cockchaffer: Satirical and Literary Comics) (Paris: [s.n.], 1962-1868). Complete run of the weekly magazine with stenciled color. Graphic Arts Collection (GAX) 2011- in process

The artists for this satirical weekly include Honoré Daumier (1808-1879), André Gill (1840-1885), Alfred Le Petit (1841-1909), and Philippe Auguste Cattelain (1838-1893), among others. Cattelain published his first drawings in Le Hanneton and worked regularly until his career was interrupted by a three-year jail sentence for his part in the Paris Commune.

The Political “Siamese” Twins: The Offspring of Chicago Miscegenation, 1864. Lithograph. Published New York: Currier & Ives. Graphic Arts GA 2011- in process.

The firm of Currier & Ives produced this caricature around the Chicago Democratic National Convention in 1864. The oddly-paired democratic ticket included George B. McClellan (1826-1885) and “Gentleman” George Hunt Pendelton (1825-1889), shown here as Siamese twins. They are held together by “the party tie.” McClellan says, “It was not I that did it fellow Soldiers!! but with this unfortunate attachment I was politically born at Chicago!” Pendleton says, “I dont care how many letters Mac writes, if it brings him votes; for every vote for him, count one for me!!”

Brock’s only complaint was that Woolf’s most famous portrait, that of George Bernard Shaw, was not included. Days later, in a letter to the editor, Howard C. Rice, Jr. of Princeton’s Department of Rare Books & Special Collections reported that Mr. and Mrs. Bruce Colen of Holicong, PA had read the story and loaned the drawing, which they owned, to the University exhibition.

After the close of the exhibition, all the charcoal drawings were returned to Woolf’s widow. Now, over sixty years later, thanks to the generous gift of Sue Kessler Feld and Stuart P. Feld, Class of 1957, we again have a substantial collection of Woolf’s portraits. Here is a small selection.

Saint-John Perse (1887-1975) and Georges Braque (1882-1963), L’ordre des oiseaux (The Order of Birds) ([Paris]: Au vent d’Arles, 1962). 44 x 56 cm. “L’édition originale … a été tirée a cent trente exemplaires dont trente exemplaires numérotés de 1 à XXX accompagnés d’une suite des eaux-fortes signées et numérotées par l’artiste, et cent exemplaires numérotés de 1 à 100 signés par les auteurs…”—Colophon. Bound in black morocco-backed moiré silk-covered boards by Jean Duval, upper board with onlaid paper collage bird design after Braque. Graphic Arts GAX 2011- in process.

In 1962, the Nobel-Prize winning French poet-diplomat, Saint-John Perse, composed a poem in honor of the artist Georges Braque’s eightieth birthday. He wrote about birds in general, but also about Braque’s birds in particular. Braque responded with twelve aquatints, realized at Aldo Crommelynck’s atelier in Paris. Together these were published as L’ordre des oiseaux (The Order of Birds).

The men only met twice, in 1958 and again in 1961, introduced by Jean Paulhan at the artist’s request. Braque had recently visited the bird sanctuary in Camargue and he spoke to Perse about developing a project around these birds. They worked independently and Braque chose as their epigram Perse’s line: “…L’oiseau plus vaste sur son erre voit l’homme libre de son ombre, à la limite de son bien.”

Victor Brombert writes, “Saint-John Perse’s unexpected collaboration with Braque began as a poetic meditation on birds and turned into a poem about space and the rapture of the poet. Exile, migrant and navigator of the air, Perse’s bird, like the rhapsodist, brings the seasons together. His allegiance to life and to nature is that of the ascetic. Launched on his wings, doubly loyal to air and land, he liberates himself from the “tragic shores of the real,” only to reaffirm, through the austerity of flight, a sense of peace and unity achieved at the very frontiers of man. He is a “prince of ubiquity,” a creator of his own flight.” (Hudson Review, 1966)

See also: http://www.sjperse.org/oiseaux.html

A complete English translation of Perse’s poem can be found in Birds (New York: Pantheon Books, 1966) Firestone Oversize PQ2623.E386 O73713 1966q

In 1858, Mathew Brady opened a Washington D.C. gallery in Willard’s Hotel on Pennsylvania Avenue and 14th street. http://tinyurl.com/bradygallery. Built eleven years earlier, the hotel was both close to the White House and frequented by both northerners and southerners. Some called it the “Residence of Presidents.” Nathaniel Hawthorne said it was “more justly called the center of Washington and the Union than either the Capitol, the White House, or the State Department.”

It was from this location that Brady and his staff began to photograph the politicians and celebrities of Washington D.C., including the members of the Senate and the House of Representatives. When he finished capturing all the heads of the Thirty-Sixth Congress, Brady combined the individual portraits into two enormous panels measuring three by five feet. Then, he rephotographed them and sold large prints at $5.00 each. See the Senate photograph in an earlier post.

As the Southern states began to secede from the Union, Brady’s photographs were copied to wood engravings and published in magazines such as Harper’s Weekly and Frank Leslie’s Illustrated Monthly. Sales to Brady, however, were not good and he lost a great deal of money on this project.

For more information, see
Mary Panzer, Mathew Brady and the Image of History (Washington: Smithsonian Institution Press, 1997), Firestone TR140.B7 P36 1997

Sonorama: le magazine sonore de l’actualité. Edited by Claude-Maxe. Paris: [Sonopresse], No 1, Octobre 1958-No 42, Juillet-Août 1962. Graphic Arts GAX 2011- in process

Graphic Arts is fortunate to have acquired a complete run of Sonorama, an innovative French news magazine that readers can both read and play. Published eleven times a year, each issue consisted of six articles and six flexi discs offering contemporary news, sports, interviews, speeches, and music. The discs are playable by folding back the pages and placing the entire issue onto a turntable (note the center hole).

Featured celebrities include Edith Piaf, Brigitte Bardot, Sacha Distel, Maurice Chevalier, Jean Cocteau, Marcel Pagnol, André Malraux, and Jean-Paul Belmondo. Albert Camus is interviewed about his new play Les Possédés, only months before his death. Musicians include Louis Armstrong, Ella Fitzgerald, and Maria Callas.

This complete run of forty-four issues includes the supplement to No 15 on cycling legend Fausto Coppi and a special number, hors série, celebrating Charles de Gaulle’s December 20, 1960 speech on Algeria.

Thanks to the assistance of the Executive Committee for the Program in Latin American Studies, Graphic Arts recently acquired thirty-four painting and drawings by the novelist, critic, poet, and visual artist Severo Sarduy (1937-1993). Artifacts from his studio accompany the paintings, along with several works by his friends Roland Barthes, Jorge Camacho, and José Luis Cuevas.

Sarduy continued to draw and paint throughout his life. A retrospective of his art was held in 1998 at the Museo Nacional Centro de Arte Reina Sofia and many of the painting now at Princeton were first seen by the public at this exhibition.

"I write only in order to make myself well," Sarduy once said. "I write in an attempt to become normal, to be like everybody else, even though it's obvious I am not. I am a neurotic creature, a prey to phobias, burdened with obsessions and anxieties. And instead of going to a psychoanalyst or committing suicide or abandoning myself to drink and drugs, I write. That's my therapy."

More information on Sarduy and this new collection will be published in an upcoming issue of the Princeton University Library Chronicle, including an essay by his colleague François Wahl. Until then, here is an interview with Sarduy completed shortly before his death:

Catherine E. Docter, William George Lovell, and Christopher Lutz, The Village Churches of Santiago de Guatemala, 1524-1773 / Fachadas de las Iglesias de los Pueblos de Santiago de Guatemala, 1524-1773 (Santiago Zamora Sacatépequez, Guatemala: Libros San Cristóbal, 2010. Copy 7 of 200. Graphic Arts 2011- in process.

This fine press edition documents the remaining sixteenth-century village churches in and around Santiago de Guatemala. Pen and ink drawings of twenty-two buildings were transferred to metal relief plates, printed and hand-colored by Grove Oholendt. The accompanying two letterpress books—one in English and one in Spanish—include twenty-two tipped-in photographs by Mitchell Denburg. Each volume is covered in traditional Maya hand-woven petate paper weaving and the woodcut endpapers are printed by the Guatemalan artist Guillermo Maldonado.

“Libros San Cristobal is a fine book press and atelier located in Antigua, Guatemala. Our hand-publishing studio produces limited edition fine books and portfolios on Central American subject matter. …Between Mexico and Colombia, we are the only fine press making [letterpress] books about the region, in the region. …All publications are made under one roof, by a team of three Americans and four Guatemalans, all Kaqchikel Maya. We do [letterpress] printing with type [cast] in San Francisco and metal plate impressions made in Guatemala City; we hand craft our boxes, case work, and fine bindery; we illuminate, paint, hand stamp on imported as well as our own fine amate fig park paper … .”

“For the past 23 years, all books have been designed, crafted, and printed by bookmaker Christopher Beisel…. The press team for all books is: Sergio Bucu Miché, bookmaker and binder; Felipe Bucu Miché, printer and binder; Carlos Bucu Miché, painter and printmaker; Roquel Lopez, papermaker, printer, and master painter/designer, Grove Oholendt.”

See also:
Italo Morales, U cayibal atziak: imágenes en los tejidos guatemaltecos = images in Guatemalan weavings (1992). Graphic Arts Collection (GAX) F1465.3.T4 M67 1992q
Ana Livingston Paddock, Onamuh y la luna: un mito de la creacion = Namuh and the moon: a creation myth (1994) Rare Books: Western Americana Collection (WA) 2005-0096Q
Barbara G. Nottebohm, Ancient ceremonial hachas of Southern Mesoamerica (1996). Rare Books: Western Americana Collection (WA) F1434.2.S38 N67q
Caly Domitila Kanek, Hueso de la tierra (1996). Rare Books: Western Americana Collection (WA): PM3576.Z95 S5 1996
Christopher Beisel, Guatemalen designs from woven paper (2005). Graphic Arts Collection (GAX) 2009-2354N

Douglas William Jerrold (1803-1857), The Caudle History: a Droll Game (London: Edward Wallis, 1845-47?). Also called Wallis’s New Social Gamer, the Caudle History. Designed and lithographed by G. E. Madeley, 3 Wellington Street on the Strand. Graphic Arts GAX 2011- in process

Composed of thirty-four hand-colored panels, the game follows closely on the thirty-six chapters or lectures published in Punch. There are six bed and five wedding ring squares that might set a player back. On square thirty-three, Mr. Caudle is dressed in mourning over the loss of his wife but in square thirty-four he is jumping for joy on the winning panel.

Introduction: “Poor Job CAUDLE was one of the few men whom Nature, in her casual bounty to women, sends into the world as patient listeners. He was, perhaps, in more respects than one, all ears. And these ears, Mrs. Caudle … took whole and sole possession of. They were her entire property; as expressly made to convey to Caudle’s brain the stream of wisdom that continually flowed from the lips of his wife, as was the tin funnel through which Mrs. Caudle in vintage time bottled her elder wine. There was, however, this difference between the wisdom and the wine. The wine was always sugared: the wisdom, never. It was expressed crude from the heart of Mrs. Caudle who, doubtless, trusted to the sweetness of her husband’s disposition to make it agree with him.”

See also Charles Zachary Barnett, Mrs. Caudle! or, Curtain Lectures! A Dramatic Sketch in One Act, Founded on the Celebrated Series of Papers in “Punch”. The only edition correctly marked, by permission from the prompter’s book … As performed at the London theatres. Embellished with a fine engraving by Mr. T. Jones … (London: J. Duncombe [1845?]). Rare Books: Theater Collection (ThX) TC023 (Playbooks Collection) Box 7

Douglas William Jerrold (1803-1857), Mrs. Caudle’s Curtain Lectures: Delivered During Thirty Years by Mrs. Margaret Caudle (New York: E. Winchester, 1845). Firestone Library (F) PR1105 .H665 v.20

Douglas William Jerrold (1803-1857), Mrs. Caudle’s Curtain Lectures, Illustrated by Charles Keene (New York : D. Appleton, 1866). Graphic Arts Collection (GAX) 2003-0371

Preces Christianae: Barmanorum lingua atque litteris editae (Rome: Typis Sac. Congreg. De Propaganda Fide, 1785). Graphic Arts GAX 2011- in process

In the eighteenth century, publishing a translation of Christian prayers meant not only studying the foreign language and selecting the right words but also cutting and casting the type needed to print those words onto paper. The Propaganda Fide Press, or Sacred Congregation of the Propagation of the Faith, did it all.

Founded in 1622 to promote the spread of Catholicism in non-Catholic countries, the Propaganda Fide served missions in North America, Africa, and the Far East. They were the first European press attempting to publish in all the languages of the world.

Father Percoto was sent to Burma in 1761 and became fluent in the Burmese language, authoring both a Latin-Portuguese-Burmese dictionary and a Burmese grammar in manuscript. Fifteen years later, the Propaganda Fide published the first printed book in Burmese, Alphabetum Barmanum seu Bomanum regni Avae finitimarumque regionum (1776).

The Preces Christianae offers Christian prayers printed in Burmese script. In addition, it has been set to show-off the talent of the Propaganda Fide designers and the variety of type forms available.

Josef Luitpold Stern (1886-1966), Der entwurzelte Baum (The Uprooted Trees).Woodcuts by Otto Rudolf Schatz (1900-1961) (Berlin: Büchergilde Gutenberg, 1926). Graphic Arts GAX 2011- in process

Austrian author and poet Josef Luitpold Stern was an active member of the sozialdemokratischen Bildungszentrale (Social Democratic Educational Center) and in 1924, co-founded the Büchergilde Gutenberg (Gutenberg Book Guild) together with Bruno Dressler, chairman of the Education Association of German printers. With offices in Leipzig and Berlin (and later Prague, Vienna, and Zurich), their objective was to publish inexpensive books in an effort to make them available to a broad audience.

While teaching at the Vienna Workers’ University, Stern collaborated with the equally progressive Viennese artist Otto Rudolf Schatz on several woodblock books. Their first was Der entwurzelte Baum in 1926, followed by Die Neue Stadt (The New State) in 1927. Both volumes promoted the ideals of social democracy through poetry and graphic images beautifully carved and printed from full-page wood blocks.

When the Nazis took over the Book Guild, both men moved temporarily to the United States. Schatz lived briefly in New York City but when he tried to return in 1938, both he and his wife were sent to a concentration camp in Bistriz. Stern made his way to Philadelphia and worked for a time at the newly established Pendle Hill, a Quaker study center at Wallingford, Pennsylvania.

La Maison Aubert was opened in 1829 by Charles Philipon (1802-1862), his half-sister Marie-Francoise-Madeleine Aubert, and his brother-in-law Gabriel Aubert. Initially, the shop sold lithographs by Philipon and his friends. Their first caricature magazine was La Silhouette (1829), followed by La Caricature (1830) and Le Charivari (1832).

In 1836, Philipon acquired a “brevet” or license so that La Maison Aubert could run its own lithographic press. When the July Monarchy ended in 1848, Philipon led the way into the second Republic with Journal pour rire, and then, Petit journal pour rire. Arguably the most popular Parisian journal of the day, the latter title continued through the end of the century and into the next.

Félix Nadar (born Gaspard-Félix Tournachon 1820-1910) served as the editor, as well as illustrator, for Petit journal. The other principal artists included Cham (1818-1879), André Gill (1840-1885), Henri Monnier (1799 or 1805-1877), Bertall (1820-1882), Alfred Grévin (1827-1892), Gilbert Randon (1814-1994), Gripp, and Félix Régamey (1844-1907).

Sincere thanks to the Friends of the Princeton University Library for this wonderful new acquisition.

Unknown artist, Portrait of Emily Faithfull, ca. 1860-70. Watercolor with pencil. Graphic Arts GAX 2011- in process.

At the age of twenty-three, Emily Faithfull (1835-1895) fell in with a group of women led by Barbara Leigh Smith, who called themselves the “Langham Place Circle.” These ladies worked together to promote women’s suffrage and other social reforms, such as a campaign to have university examinations opened to women. In 1859, Faithfull and the others formed the Society for Promoting the Employment of Women.

In their search for skilled professions suitable for women, Faithfull and Bessie Parkes looked into the printing trade, specifically the position of the compositor. The two women bought a small press and took a few lessons to see if they were capable of performing this job, which of course they were.

On March 25, 1860, Faithfull used her own money to establish the Victoria Press with female compositors and proof-readers, and some men to do the heavy lifting. The Society for Promoting the Employment of Women apprenticed five girls to the Press at premiums of £10 each; others were apprenticed by relatives and friends.

Serious objections came from the London Printer’s Union, an all male organization, which claimed that women lacked the intelligence to be compositors (“The job requires the application of a mechanical mind and the female mind is not mechanical”).

At the same time, Faithfull had many supporters. Prominent authors including Alfred Tennyson, William Makepeace Thackeray, Thomas Carlyle, Matthew Arnold, and Anthony Trollope offered material to be printed and published by these women. The result was The Victoria Regia, A Volume of Original Contributions in Poetry & Prose (1861 (Ex) 3955.379).

On July 23, 1860, Emily Faithfull sent a letter to the editor of The Times (London). “So great is the success of this office,” wrote Faithfull, “that I have more work at this moment than my 12 women compositors can undertake, and I shall therefore be glad to receive six or eight girls immediately. They must be under 16 years of age, and apply personally at my office next week.”

The Victoria Press was a commercial success, operating for over twenty years, and leading to Faithfull’s appointment as “Printer and Publisher in Ordinary to Her Majesty.”

The term Jansenist binding is an allusion to the Jansenists, a Christian theological movement that emphasized original sin, human depravity, and the necessity of divine grace, originating from the writings of theologian Cornelius Otto Jansen (1585-1638).

“In the reign of Louis XIV, also, by sheer reaction against the leaden showiness of the fashion set by the king, that there arose the simple style of binding called after Jansen, and adopted by the sect of Port Royal. The Jansenists bound their books soberly, with no gilding whatsoever on the sides, relying on the simple beauty of the leather in which their volumes were clad and decorating only the inside border, the dentelle, as it was called, from its resemblance to delicate lacework. These under decorated books were better bound in a technical sense than those of an earlier day.”

Dante Gabriel Rossetti (1828-1882), The Poetical Works of Dante Gabriel Rossetti (London: Ellis and Elvey, 1900). Graphic Arts Collection (GAX) 2011- in process.

Joseph Cundall (1818-1895), A Booke of Christmas Carols, Illuminated from Ancient Manuscripts in the British Museum (London: Henry O. Bohn, 1845). Plates drawn and lithographed by John Brandard (1812-1863). Graphic Arts GAX 2011- in process

Rockwell Kent (1882-1971), Twelve printing plates for the frontispieces of Giacomo Casanova’s Memoirs ([New York], 1925) Graphic Arts collection GAX 2011- in process. Copper line block relief plates attached to wood blocks.

Giacomo Casanova (1725-1798), Memoirs. Translated into English by Arthur Machen with an introduction by Arthur Symons, a new preface by the translator, and twelve drawings by Rockwell Kent. Priv. print. for subscribers only. ([n.p.] Aventurors, 1925) Rare Books (Ex) 14091.241.1925, v.1-12.

1925 was a busy year for Rockwell Kent. Newly divorced from his wife but still supporting his five children, Kent took on more commercial work then he might have preferred. This included the designs for 12 frontispieces to accompany a limited edition set of Casanova’s Memoirs, translated into English by Arthur Machen in 1894. 12,000 relief line cuts were printed for the edition of 1000, sold only to a group of subscribers identified as Aventuros. This was Kent first attempt to illustrate a major literary text and the project met with enthusiastic approval.

The following year, Kent was approached by R.R. Donnelley and Sons to repeat his success by illustrating another novel. Kent suggested Moby Dick, a project which was not completed and published until 1930 (sold out immediately). Then, late in 1927 and working into 1928, Kent, Elmer Adler, and the newly established publishing firm of Random House agreed to join forces on a deluxe edition of Voltaire’s Candide. Kent not only designed the book’s illustrations and its type but also the Random House logo, which they continue to use today.

In 1932, the New York firm of A. & C. Boni reprinted Memoirs, using only eight of Kent’s less salacious plates. This was done without Kent’s knowledge or permission, although they acknowledged the earlier edition with a note:
“The twelve volume Aventuros edition (New York, 1925) has been used as a basis for the present edition; the eight volume French edition (Paris, Garnier) has also been employed.”

Jules Bernard Luys was a French neurologist who began practicing medicine in 1857, first with the Pitié-Salpêtrière Hospital, then to the Hôpital de la Charité. According to André Parent, writing for the Journal of Neurology (vol. 249, no.10, pp.1480-81), “Luys devoted the last period of his life to the study of hysteria and hypnosis. In doing so he became perhaps the most highly caricatured example of the fascination that hysteria exerted at the end of the 19th century, even upon individuals with a supposedly rational and scientific mind.”

“Luys imagined extravagant hypnosis experiments that were frequently performed during public sessions and attracted not only specialists but also le Tout-Paris. Most of Luys’ colleagues, however, were convinced of the scientific integrity of this courteous man whose foray into the mine field of hysteria cost him part of the scientific renown he took nearly forty years to acquire.”

Luys illustrated this book with 28 woodburytypes mounted four to a plate. Most of the photography was done by his son, George Luys (1870-1953), who was also a practicing physician.

See also:
Asti Hustvedt, Medical Muses: Hysteria in Nineteenth-Century Paris (New York: W.W. Norton & Co., 2011). Firestone Library (F) RC339.52.C453 H87 2011