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Created under the artistic direction of Umberto Brunelleschi (1879-1949), La Guirlande is one of the rarest of the Art Deco magazines. Early in his career, Brunelleschi produced fierce caricatures for L’assiette au beurre, a satirical weekly published in Paris from 1901 to 1914. He signed his drawings Aroun-Al-Raxid.

Mainly successful as an illustrator, Brunelleschi combined elements from the eighteenth-century galanteries with the buffoonery of the Commedia dell’arte. He contributed illustrations to numerous publications including Gazette du bon ton and Le rire. Between his numerous voyages, he illustrated Goethe’s Werther, Alfred de Musset’s La nuit vénitienne, Diderot’s Les bijoux indiscrets and Hans Christian Andersen’s fairy stories, among others.—Benezit Dictionary of Artists

Peter Johann Nepomuk Geiger (1805-1880), Peter Joh. Nep. Geiger’s historische Original-Handzeichnungen bestehend in neunzig Blättern mit einem erklärenden Texte (Peter Joh. Nep. Geiger’s original historic drawings consisting in ninety leaves with an explanatory text) Herausgegeben von Anton Ziegler. [Vienna, 1861.] 6 vols, First edition, privately printed. Graphic Arts Collection 2013- in process

Using linear visual narratives, Gieger chronicles Austrian history from the Middle Ages to Archduchess Leopoldina’s 1817 arrival in Rio de Janeiro as Empress of Brazil. The work first began to appear that same year as Historische Handzeichnungen, Vienna, kaiserlich-königliche Hof- und Staatsdruckerei. Graphic Arts recently acquired a compilation of the entire set of Gieger’s history.

Peter Geiger (1805-1880) was a respected history painter and illustrator, producing popular images based on the works of Goethe, Schiller, and Shakespeare, as well as Austrian authors such as Grillparzer and Stifter. It was his work for an earlier project, Anton Ziegler’s Vaterländische Immortellen aus dem Gebiete der österreichischen Geschichte (1838-1840), which first brought him considerable public attention. Although Princeton does not own this multi-volume work, it is available through itunes. A note of caution when searching Geiger online: aside from Royal portraiture and literary illustration, he also had a lucrative business creating erotic art.

“If Louis XIV abandoned the traditional pubic state ceremonials of his predecessors,” writes Ralph Giesey, “he created in their stead a private, palace-centered ceremonial life for himself as grandiose as any in the annals of western European history. The cult of the Sun King, elaborated in art and architecture at Versailles and Marly and acted out in a daily ritual lived by Louis XIV for several decades, has not yet received the comprehensive study it deserves…”

“The official emblem of His Majesty is a resplendent sun shining over a terrestrial globe with the device Nec Pluribus Impar, Not Unequal to Many, which means to say His Majesty is equal to many kings. …All the world knows the image of His Majesty as Sun King from the myriad of engravings that have been printed and the host of medals issued from the mint. …”

Giesey continues, “I find myself unable to respect the classical themes in the cult of the Sun King the way I do analogous elements in his predecessor’s ceremonials—as, for example, in royal entries. Revival of the virtues of the pagan world during the Renaissance had meant a broadening of the base of humanitas in western society; Louis XIV made the pagan world seem to be an allegory of his own personal life.”

“The cult of the Sun King postulated Louis’s Divinity on a colossal scale without risking the taint of sacrilege. Louis XIV emancipated himself from old royal ceremonials that had brought the ruler together with his subjects in public forums and created in their stead rites of personality carried out in his private dwellings. L’état, c’est moi whether or not Louis XIV ever uttered those words as a motto of his political conduct, they do catch the ineffable spirit of his ritual life.”

Ralph E. Giesey, “Models of Rulership in French Royal Ceremonial,” in Rites of Power: Symbolism, Ritual and Politics Since the Middle Ages, edited by Sean Wilentz (Philadelphia: University of Pennsylvania Press, 1999). Firestone JA74 .R56 1985

“Letterpress printed on a hand proofing press. Printed in four colors (blue, black, red and yellow) on paper towels. Approximately 190 Printing forms and runs. Sewn binding. Letterpress printed pastedowns and free end pages. In letterpress printed dust jacket.”

“Since the invention of script and the printed word,” writes Hänni, “we have lost access to pictorial statements: we have become character devout. Nonetheless, we still read images. Fluent reading is based solely on prejudices. The knowledgeable rdeaer deos not pecie toghteer indaidviul chaearcrts to from wrods but peircvees wrod imeags in tiehr etitrney.”

“However, when reading images, signs and symbols, we seem to struggle, even though they also represent a source of information with a simultaneous effect on various levels. Initially, our visual perception looks for symmetry and a human face….”

The Graphic Arts Collection also acquired this catalogue about his work:

Romano Hänni, 27 Jahre Bleisatz: Romano Hänni: Handpressbüchlein 1984-2010 = 27 years hot type: Romano Hänni: Handprinted Books 1984-2010 (Basel: Romano Hänni Verlag, 2011). GAX2013- in process

The typography and illustrations in this 1924 anthology on contemporary film are by [Frederick] Arthur Wittig (1894-1962). Contributions include short essays by Heinrich Pfeiffer, E. Redslob, Alexander von Gleichen-Russwurm, Joe May, Emil Jannings, Ernst Lubitsch, Guido Seeber, Alfred Richard Mayer, Dr. Soetbeer, F. Lamp, Carl Forch, Albert Hellwig, Peter Grassmann, Aros, Gottlieb Hermes, Dr. Häentzschel, Curt Wesseling, Richard Ott, Walter Bloem, Otto Boehm, Alfred and Arthur Rosentahl Rupp.

Originally, the book was published in an edition of 500 copies, signed and numbered by Wittig. Subscribers also received an original lithography by Carl Rabus. Princeton’s rare surviving copy is unnumbered and unsigned.

In the fall of 1954, the Swiss-born photographer Robert Frank applied to the John Simon Guggenheim Memorial Foundation. He asked for a fellowship “to photograph freely throughout the United States and make a broad voluminous picture record of things American.” Frank was successful and in the summer of 1955, set out in a used Ford to photograph America.

Frank drove over 10,000 miles in the next eighteen months, shooting 767 rolls of film. 1957 and 1958 were spent developing and printing the film; selecting shots; finding the appropriate author to write an introduction (Jack Kerouac); and printing the final book, which was called Les Americains (1958) and The Americans (1959).

One of the first photographs Frank made in the summer of 1955 was “Fourth of July- Jay, New York, 1955”. That original negative has been reprinted several times over the years and in 2009 Jon Goodman used it to print 500 photogravure frontispieces for The Limited Editions Club’s printing of the Declaration of Independence.

The Declaration of Independence. Photograph by Robert Frank; afterword by David Armitage. New York: The Limited Editions Club, 2010. Graphic Arts Collection. Copy 20 of 500.

For eighteen years, the French printer and engraver Philippe Pigouchet (active 1488-1518) and the printer Simon Vostre (active 15th century) worked together to produce hundreds of Books of Hours for the European public. According to Sandra Hindman, Parisian printers turned out more than 1,775 editions of Books of Hours from about 1475 to 1600.

Princeton University Library owns six bound copies published by Pigouchet and Vostre, with as many as 16 large metalcuts along with other illustrations. The Graphic Arts Collection holds a set of leaves, ten metalcuts, which have been removed from a 1496 edition. Here are a few examples.

GC110 Bookleaves, 15th century. Graphic Arts Collection

Catholic Church, Ces presentes heurues a lusage de Romme (Paris: Philippe Pigouchet for Simon Vostre, August 2, 1493). Rare Books: South East (RB) EXI 5942.247

Catholic Church. Horae secundum usum Romanae Curiae (Paris: Philippe Pigouchet, for Simon Vostre, 17 Sept. 1496). Rare Books: South East (RB) EXI 5942.247.12

Catholic Church. Ces presentes heures a lusaige de Rome … (Paris: Philippe Pigouchet for Simon Vostre, 4 Nov. 1497). Rare Books: William H. Scheide Library (WHS) 5.3.4

Catholic Church. Incipiunt hore beate Marie virginis secu[n]dum vsum Sarum … (Paris: Phillipe Pigouchet for Simon Vostre [1498?]). Rare Books: South East (RB) EXI 5942.247.13

Catholic Church. Les presentes heures a lusaige de Rom[m]e fure[n]t acheuez le xvi. iour de Septembre, lan Mil LLLL.iiii.xx. et xviii. pour Simon Vostre, libraire demourant a Paris a la rue neuue nostre dame a lymage sainct Jehan leuangeliste ([Paris: Philippe Pigouchet, for Simon Vostre, 16 Sept. 1498]) Rare Books: South East (RB) EXKA Incunabula 1498 Catholic Church

Catholic Church. Ces presentes heures a lusaige de Rōme sōt au lōg sās req̄rir & ont este faictes pour Symō vostre Libraire: demourant a Paris a la rue neuue nostre dame a lenseigne sainct Jehan leuangeliste par Philippe pigouchet (Paris: P. Pigouchet [1502?]). Rare Books (Ex) BX2080 .xA2 1502

See also: Jules Renouvier (1804-1860), Des gravures sur bois dans les livres de Simon Vostre libraire d’Heures, par Jules Renouvier; avec un avant-propos par Georges Duplessis (Paris: Aubry, 1862). Marquand Library (SA) NE1200.V5 R29.

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

Giovanni Ludovico Vivaldi (died 1540), Opus regale in quo continentur infrascripta opuscula (Regal Work in which are Contained the Following Small Works) … ([Paris]: Venu[n]da[n]tur Parisius i[n] vico Sancti Iacobi sub i[n]tersignio diui Claudij, [1511]). Inscription at foot of title: P[ro] Conventu S.S. Minorum Franciscanorum Pultariensiu[m] (The Franciscans of Pouthières, France). Graphic Arts copy is from the printing collection of Elmer Adler. Graphic Arts Collection (GAX) 2004-3499N

Vivaldi, a Domincan monk and professor of theology, wrote these regal works in 1507 and they were first printed at Saluzzo by Giacomo de’ Circhi and Sisto Somasco. The following year, Étienne Gueynard (1460-1530) published a new edition in Lyon. Both are described as illustrated with large woodcuts.

In 1511, a grand third edition (held in the graphic arts collection) was printed by Jean Barbier for the Parisian publisher François Regnault. Rather than woodcuts, the book is decorated with composite metalcuts, up to a dozen small metal plates combined to form each large subject and frame.

Just one year later, back in Lyon, a fourth edition (also at Princeton) was prepared by Gueynard, once again illustrated with woodcuts. The designs have been attributed to Guillaume Le Roy the younger (1494-1529), son of the printer by the same name who ran the first press in Lyon.

The original prints are attributed the French engraver and illustrator François Desprez, who printed and published two other sets of imaginative designs in 1567; Recueil de la diuersité des habits (A Collection of Diverse Costumes) and Recueil des effigies des roys de France (A Collection of Pictures of the Kings of France).

For a complete look at the original volume, see: http://gallica.bnf.fr/ark:/12148/btv1b8624589t/f1.image

Kosai, edited by Takeda, Narajiro (Daimaru Gofukuten). Kyoto: Daimaru Gofukuten, 1911 (Meiji 44). Graphic Arts Collection 2013- in process

This kimono sales catalogue was published by a fabric shop in Kyoto, just before it developed into a modern department store. Although there are no other records for the book in OCLC, the Japanese National Diet Library, or other similar databases, we have the editor’s seal and publisher’s seal listed on the colophon page to identify the volume.

In 1717, Shimomura Hikoemon Shokei opened Daimoniya, a kimono fabric store in Fushimi, Kyoto. Later moved to Osaka, the store’s motto was “service before profit.” In the twentieth century, they opened a modern department store in its present Kyoto location and in 1928, changed the name to Kabushiki Kaisha Daimaru. A history of Daimaru has been posted at: http://www.j-front-retailing.com/ir/annual_report/jfrnowe36.pdf.

The kimonos are beautifully printed with multiple woodblocks and striking color. My poor images here don’t do justice to the actual catalogue.

橋口五葉 / Hashiguchi Goyō (1880-1921), 浮世風俗やまと錦繪 / Ukiyo fūzoku yamato nishikie / Japanese Colour Prints in Ukiyo Style (Tōkyō: Nihon Fūzoku Zue Kankōkai, 1917-1918. 12 v., 240 woodblock-printed reproductions. Contents: v. 1. Edo shoki jidai — v. 2. Tan’e jidai — v. 3. Benie jidai — v. 4-6. Nishikie shoki jidai — v. 7-9. Nishikie zensei jidai — v. 10-12. Edo makki jidai. Graphic Arts Collection 2013- in process

“Born in Kagoshima, in the south of Kyushu, the son of a minor traditionalist painter, [Hashiguchi Goyo] became interested in Kano-school painting in his youth and in 1899 went to Kyoto to study with Hashimoto Gaho (1835-1908). However, he was persuaded to take up Western painting by the influential Kuroda Seiki (1866-1924) who came from the same district as Goyo, and went to Tokyo to study at the Hakuba-kai (Western Painting Institute) and then at the Tokyo School of Art, where he graduated in 1905.”

“In 1911 he became interested in ‘Ukiyo-e’ prints after winning a poster competition with a study of a beautiful woman, and began to publish articles and studies on early artists of that school. As a consequence of these activities he met the publisher Watanabe Shozaburo, for whom he designed a print (‘Bath’, 1915) which was virtually the first of the ‘Shin Hanga’ movement, but wishing to have complete control over all the processes, he published his subsequent prints himself. In 1916-17 he supervised the twelve-volume ‘Ukiyo-e fuzoku Yamoto nishikie’ (Japanese Brocade Prints in Ukiyo-e Genre Style) containing hundreds of woodblock reduced-size facsimiles of the works of early masters.” —Goyo biography posted by the British Museum

Sidney Shadbolt was a barrister of the Inner Temple, an organization of lawyers dating back to the 12th century (see: http://www.innertemple.org.uk/history). Besides this extensive historical and biographical study of the Second Afghan Campaign, Shadbolt is also responsible for publishing a study of the South African Campaign of 1879 or the Anglo-Zulu War (Annex A, Forrestal DT1875 .M3 1995)

140 oval woodburytype portraits were cut and pasted into the front of Shadbolt’s two volume set, with biographical details following. Also included are descriptions the two expeditions sent to Kabul, along with 6 maps and accounts taken from both official and private sources.

In a 1884 report on newly published books in Transactions of the Royal Historical Society, New Series, vol. 1 (1883-1884), p. 199, an unknown author writes, “The Afghan Campaigns of 1878-80 have furnished an interesting theme for Mr. Sidney H. Shadbolt, who has elaborated from official and private sources a sketch of the war, with maps illustrating the operations of the forces, a list of officers who fell in the campaigns and the recipients of the Victoria Cross, summaries of the movements in the field of the various regiments which were engaged, and separate records of every British officer employed in the war (2 vols. 4to, Low, 60s.).”

Many lives were lost during this campaign. “On July 27, 1880, Mohammad Ayub Khan decisively defeated a British force led by Brig. G.R.S Burrows at Maiwand, near Kandahar. Of the 2,476 British and Indian soldiers engaged in the fighting, 971 were killed in action and 168 wounded, in addition to 331 camp followers who were killed.”—Stephen Farrell “Kandahar More Than a Century Ago,” The New York Times, September 9, 2010.

A New Hieroglyphical Bible for the Amusement & Instruction of Children: Being a Selection of the Most Useful Lessons, and Most Interesting Narratives; (Scripturally Arranged) from Genesis to the Revelations: Embellished with Familiar Figures & Striking Emblems Neatly Engraved: to the Whole is Added a Sketch of the Life of Our Blessed Saviour, the Holy Apostles, &c.: Recommended by the Revd. Rowland Hill M.A. (Boston: Printed for W. Norman book & chartseller, [1794?]). Contains a folding copper plate frontispiece and a copper engraved title page, and numerous woodcuts in the text. Sinclair Hamilton Collection of American Illustrated Books. Hamilton 153.

Anthony Aufrere (1756-1833), The Cannibal’s Progress, or, The Dreadful Horrors of French Invasion, as Displayed by the Republican Officers and Soldiers, in their Perfidy, Rapacity, Ferociousness and Brutality, Exercised towards the Innocent Inhabitants of Germany (London: Wright, Cadel and others; Hartford: Hudson & Goodwin, 1798). Sinclair Hamilton Collection of American Illustrated Books. Graphic Arts Collection (GAX) Hamilton 175

The artist for this eighteenth-century pamphlet describing the horrors of the French invasion of Swabia, Germany, was William Wadsworth. According to Sinclair Hamilton, Wadsworth lived in Hartford, Connecticut, and worked as a freelance engraver for Hudson & Goodwin. No activities outside that press have been recorded.

Our library owns a second book illustrated, in part, by Wadsworth, also published by Hudson and Goodwin. Noah Webster (1758-1843), The American Spelling Book: Containing an Easy Standard of Pronunciation. 21st Connecticut ed. (Hartford: Hudson & Goodwin, 1798). Sinclair Hamilton Collection of American Illustrated Books. Graphic Arts Collection (GAX) Hamilton 181

The Graphic Arts Collection recently acquired twenty-five hand-made books from Ediciones Vigía based in the city of Matanzas to the east of Havana, Cuba. Most have a mimeographed reproduction of a typescript text, wrapped in unique, decorative paper binding. The books are hand-colored, stapled, sewn, glued, folded and in countless other ways constructed into editions of 200, most with a signed colophon.

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.

Kees van Dongen (1877-1968), Deauville. Aquarelles gravées sur cuivre par Maccard et dessins encouleurs de Van Dongen; texte de Paul Poiret (Paris: Ed. M-P. Trémois, 1931). Charles Rahn Fry Pochoir Collection. (GAX) Oversize 2003-0059F

On July 1, 1912, Eugène Cornuché opened the Hotel Normandie in the seaside town of Deauville and Paris newspapers wrote that it was the “most beautiful hotel in the world.” Next door, Cornuché built an enormous casino, inspired by the architecture of the Petit Trianon at Versailles.

The following year, Coco Chanel opened her first boutique on the Rue Cambon and the Dutch artist Kees van Dongen (1877-1968) joined the elite members of Paris society who began frequenting the Normandy resort. By the time the Promenade des Planches was constructed in 1923, the Deauville beachfront had become more fashionable than the Avenue des Champs-Elysées.

When the stock market crashed in 1929, the number of tourists at the hotel and casino began to decline. Now a French citizen, van Dongen was selected to put together a brochure to publicize Deauville. His good friend, fashion designer Paul Poiret (1879-1944) wrote a text and van Dongen painted a series of watercolors that were translated into five full-page engravings and six colored pochoir vignettes. A limited edition portfolio was published May 30, 1931. The Graphic Arts Collection is fortunate to hold copy no. 15 of 280.

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