St. Michael’s Temperance Diploma (New York: printed by Major & Knapp, 186?). Chromolithograph. Graphic Arts GC179 broadside collection.
“I promise with the Divine Assistance, to Abstain from All Intoxicating Liquors, except in case of Sickness, and to Prevent by Advice and Example, Intemperance in Others.”
George Cruikshank (1792-1878), [Illustrations to Jack Sheppard, by William H. Ainsworth (1805-1882)] (London: R. Bentley, 1839). Graphic Arts Collection (GA) Cruik 1839.01
William Harrison Ainsworth (1805-1882), Jack Sheppard: a Romance. Illustrations by George Cruikshank (London: R. Bentley, 1839). 3 volumes with 27 etchings. Includes 4 additional pencil drawings. Graphic Arts Collection (GA) Cruik 1839
At the age of twenty-two, the handsome Cockney thief Jack Sheppard (1702-1724) was arrested and imprisoned five separate times in the same year. Each time he escaped, only to be captured again. Near the end of the year he was recaptured, convicted, and hanged.
During his final incarceration in Newgate prison, Sheppard was bound with three hundred pounds of iron weights. Guards charged visitors four shillings to see him. 200,000 people followed him through the streets of London to attend his hanging. A play based on his life opened less than two weeks later.
Dozens of book, plays, and songs have been written about Sheppard, including William Ainsworth’s novel Jack Sheppard, a Romance (seen here) illustrated by George Cruikshank. Ainsworth’s story was serialized in Bentley’s Miscellany beginning January 1839 and the complete book released before the end of the year, outselling Oliver Twist.
George Herbert Rodwell (1800-1852), Nix my dolly palls fake away: sung by Mrs. Keeley & P. Bedford, composed by G. Herbert Rodwell (London: D’Almaine, [ca. 1839]). Words by William H. Ainsworth and illustrations by George Cruikshank. The drama was first performed at the Adelphi Theatre, London, on 28 October 1839. Graphic Arts Collection (GA) Oversize Cruik 1839.7.183-q
Here is a small selection of projects based on the life of Jack Sheppard:
Thomas Rowlandson (1756-1827), Doctor Botherum, the Mountebank, 1800. Etching with hand coloring. Graphic Arts, British caricatures, drawer 5
Joseph Grego (1843-1908), Rowlandson the Caricaturist (London: Chatto and Windus, 1880). Graphic Arts Collection (GARF)
In Joseph Grego’s narrative-style catalogue raisonné of Thomas Rowlandson’s prints (volume 2, p. 3), he speculates,
from the bustle and life visible on all sides it would seem that the period is fair time, when the rustics and agricultural population of the vicinity in general flock into the town, holiday-making. A travelling mountebank has established his theatre in the market-place; … while his attendants, Merry Andrew and Jack Pudding, are going through their share of the performance … The rural audience is solidly contemplating the antics of the party, without being particularly moved by Dr. Botherum’s imposing eloquence, these vagabond scamps being frequently clever rogues, blessed with an inexhaustible fund of bewildering oratory, and witty repartee at glib command.
Throughout the crowd, Rowlandson offers other forms of quackery and charlatans, with almost everyone either deceiving or being deceived.
Grego then speculates that Dr. Botherum is a caricature of Dr. Bossy (or Boosy or Bosey), a celebrated German mountebank, who practiced theatrical acts of healing in London. Bossy was said to have been the last of the respectable charlatans. He set up his small stage alternately in Covent Garden market and at Tower Hill, arriving to both in a chariot wearing colorful clothes. Bosey attracted large crowds for awhile but as he grew older, his audiences grew smaller and he ended his days selling potions and pills in the open-air markets of Yorkshire.
See also Leslie G. Mathews, “Licensed Mountebanks in Britain,” Journal of the History of Medicine and Allied Sciences 19, no. 1 (1964): 30-45.
William Thackeray was not only a nineteenth-century writer but also a graphic artist with a talent for caricature. He owned these three volumes of The Mirror and was inspired to make twenty-four small drawings at the ends of chapters and in the margins of stories.
Thanks to the research of Christopher Edwards, we know that the volumes were mentioned in the short catalogue issued by Henry Sotheran in February 1879, as “Relics from the library of the late W.M. Thackeray, comprising books of no great value in themselves, but enriched by numerous characteristic drawings, executed with remarkable skill and taste.” These three small volumes and their marginalia were priced at two pounds, five shillings, one of the higher prices in the catalogue.
Thackeray’s volumes were eventually donated to University of Aberdeen by A.A. Jack (1869-1946), professor of English at the University, but have since been deaccessioned. Happily, they now reside in graphic arts and can be viewed Monday to Friday in our reading room.
See also: William Makepeace Thackeray (1811-1863), Album of sketches and drawings, [183-?], in the Robert H. Taylor collection of English and American literature, Rare Books Manuscripts Collection (MSS) RTC01 (no. 145)
The French/Dutch publisher and printmaker Bernard Picart specialized in book illustration, either for his own publications or for others. While Picart trained initially in Paris, establishing a studio on Rue St Jacques, au Buste de Monseigneur, in the late 1690s he found more work in the Netherlands. Picart turned Huguenot and settled in Amsterdam around 1711.
This print is one of several Picart published anonymously in the folio volume Het Groote Tafereel der Dwaasheid or The Great Mirror of Folly, released in Amsterdam within months of the 1720 economic crashes of the stock markets of England, France, and the Dutch Provinces. The book was published without an author or a publisher listed, although many now connect the volume largely to Picart.
The British Museum describes this print as
“satire on the financial crisis in Paris in 1720; shows a street scene in the Rue Quinquempoix, a large crowd of people are pushing a cart with Fortuna, the cart is pulled by six allegorical figures representing various investment schemes, in the sky a figure of Fame is disappearing, and a devil is blowing soap bubbles; in the right background there is an office for selling shares in the left background there are three buildings with inscriptions ‘T’Ziekenhuis’ (Hospital), ‘T’Gekkenhuis’ (Asylum) and ‘Arm-Huis’ (Poor House),with engraved French and Dutch titles, inscriptions, and French and Dutch verses two columns”.
Frans De Bruyn (Reading “Het Groote Tafereel Der Dwaasheid”, Eighteenth-Century Life, XXIV (Spring 2000), pp.1-42, nn.30, 31) points out that the scene is in Amsterdam, not Paris, where the “English” or “French” coffee-house frequented by speculators was known as the “Quinquempoix.”
While this poorly colored print was found loose in our French prints drawer, the complete volume can also be seen at Graphic Arts GAX Oversize 2006-0014F
In 1879, the American expatriate James Abbott McNeill Whistler received a commission from the Fine Art Society of London to complete a set of twelve etchings in Venice. Whistler left for Italy in September but rather than a three month sketching trip, the visit lasted fourteen months. During this time Whistler etched, primarily in drypoint, around fifty copper plates.
Back in London, Whistler began to print from these plates, inking and wiping each impression personally. The “First Venice Set” (exhibited in December 1880 and published 1881) consists of twelve prints chosen from the fifty designs, each trimmed by Whistler to include his butterfly signature tab at the bottom. A “Second Venice Set,” consisting of twenty-six views, was released five years later. Whistler continued to print these plates until his death in 1903.
In 1975, a complete set of the Second Venice was generously donated to graphic arts by David Hunter McAlpin III (1897-1989), Class of 1920. McAlpin worked as a lawyer and investment banker but his true passion was for collecting. He amassed one of the earliest collections of photography in the United States (now the core of the Metropolitan Museum of Art, The Museum of Modern Art, and Princeton University collections). In addition, McAlpin gathered an impressive set of old master prints, now divided between the library and art museum collections.
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George Cruikshank (1792-1878), Triumph of Dr. Jenner …, ca. 1807. Pencil drawing. Inscribed in ink: “Triumph of Dr. Jenner - the inventor of vaccination - & his friends. The [illegible] is on the top of the old College of Physicians on Warwick Lane - [illegible] suggested by old John Birch, surgeon of ‘St. Thomas’s’ and who was a strong anti-vaccinist.”
Early in the nineteenth century, the British public was divided as to the benefits of a small pox vaccine. This sketch by George Cruikshank refers to Edward Jenner (1749-1823) who was a strong advocate for vaccination and John Birch (1745?-1815) who was anti-vaccination. A group of figures with joined hands dance in a circle as a skeleton plays a stringed instrument. One of the figures on the left carries a coffin. On the back of the sheet, Cruikshank wrote some notes around a self-portrait. This drawing has not been matched to any published print.
The vaccination debate led to a number of satirical drawings. James Gillray (1757-1815) published an anti-vaccine print in 1802, depicting cows sprouting and leaping from vaccinated patients. In 1808, the year the government finally established a National Vaccine Institute, Isaac Cruikshank (1756-1811) published an engraving supporting Jenner entitled “Vaccination against Small Pox, or Mercenary & Merciless spreaders of Death and Devastation driven out of Society.”
George Cruikshank illustrated several articles on vaccine quackery in the humorous periodical The Scourge including “The Cow Pox Tragedy” and “The Examination of a Young Surgeon.” See, The Scourge, or, Monthly Expositor of Imposture and Folly (London: W. Jones, 1811-1814). Graphic Arts Collection (GA), Cruik 1811.2
In most impressions of this engaging portrait of Maximilian I (1459-1519), the Holy Roman Emperor is looking to the left. Here at Princeton, he looks to the right. All the details in the scene are exactly the same except laterally reversed. That is, until you look at the top right, where a decorative figure with a horned headdress is holding a tablet with the artist’s signature and printing date: L 1520. While the scene is laterally reversed, the signature and date are correctly printed left to right. Our impression is not from the original plate.
The original portrait of Maximilian I was conceived, printed, and published by the Netherlandish artist Lucas van Leyden (ca.1494-1533) after seeing the 1518 woodcut Portrait of Maximilian I by Albrecht Dürer (1471-1528). In both, Maximilian wears the necklace of the Order of the Golden Fleece and a rimmed hat. However, Lucas’ print is one of the first to combine etching with engraving on a copper plate, using the quicker etched lines to lay down the preparatory drawing and the elegant engraved lines to finish the scene.
According to New Hollstein, this laterally reversed copy of Lucas’ print may have been done by the Dutch artist Jan Harmensz. Muller (1571-1628). Muller apprenticed under the master printer Hendrick Goltzius (1558-1617) and eventually came to equal his teacher’s virtuosity with the burin. Nowhere is the reason behind this copy explained, although it may have simply been to prove that Muller’s talent was equal to that of Lucas.
Muller’s engraving came to Princeton University with a gift of approximately ninety-five prints and drawings of Alpine views. The Portrait of Maximilian I was included with a note explaining that the emperor was the first climber to be depicted using various articles of mountaineering equipment. Maximilian had three books commissioned to document his life, although he probably wrote some of it himself. The third, Theuerdank (1517) (facsimile: Graphic Arts GA PT1567.M6 A7 1979), includes these mountain climbing images.
The New Hollstein: Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700 (Amsterdam, 1996). Vol. 14 Lucas Van Leyden, p.112. Marquand Library SA ND653.L5 F502 1996
Ellen S. Jacobowitz and Stephanie Loeb Stepanek, The Prints of Lucas Van Leyden & His Contemporaries (Washington D.C.: National Gallery of Art, 1983. Marquand Library SA ND653.L5 J32
Cruikshank’s print is described by the British Museum as: A bedizened hag walks to the left with an insinuating leer, with the stoop fashionable in 1816, and with splayed-out feet. Features and dress are inscribed with the names of food in which fish predominate: her skirt is covered with a Fishing Net, which forms a transparent hem; her high bonnet is a Scallop shell; her mouth Tulips; her teeth Pearl Oyster, or Sweet Meat; her hand, in which she affectedly holds an eyeglass: Fish hooks or Crabs Claws. There are many other disparaging inscriptions. Behind is a notice-board among trees: Beware of Men Traps.
The print is a companion plate to An Exquisite Dandy - Prodigious!!! A Nice Gentleman, (12 September 1818) also designed and printed by Cruikshank, in which a man is depicted walking in profile, bending at the waist. His features and dress are also inscribed with the names of food: his red carbuncled rose is Currant Jelly, his shallow broad-brimmed hat (an eccentricity) is Calves Head Jelly and Pancake; the cravat which covers neck, cheek, and chin is Puff Paste; his loose short trousers are White Sugar Bags; his handkerchief Blow Monge; his long spurs Gilt Gingerbread. Graphic Arts 2009- in process
We recently found we have a rare copy of Ando Hiroshige’s Fifty-Three Stations on the Tokaido (Jimbutsu (Mankind) Tokaido), Muraichi, 1852. Chuban tateye. As if that isn’t good enough, it may have been the personal copy of Albert Einstein (1879-1955), who traveled to Japan in 1922. The library has a number of ephemeral items from that trip. http://diglib.princeton.edu/ead/getEad?id=ark:/88435/9880vr03d.
At the back of this volume is a portrait of Einstein by the cartoonist Okamoto Ippei (1886-1948), done in December of 1922 in Sendai, Miyagi Prefecture, Japan. The artist was fluent in English, having traveled a great deal, and was actively publishing his cartoons in several magazines and newspapers at the time. We hold a number of his published books, such as Yama to umi (Mountain and ocean) ([Osaka]. Osaka Asahi Shinbunsha. 1926) Cotsen Children’s Library (CTSN) Non-Roman — Japanese 38189. He must have made Einstein’s acquaintance and agreed to do this caricature in the man’s book.
Three views of London, pulled for Professor Yair Mintzker’s Junior Seminar ‘The Modern City’.
Joseph Smith (active 18th century), A Prospect of the City of London (La Ville de Londres), ca. 1724. Engraving.
In 1707, Johannes Kip (1653-1722) engraved a series of panoramic views after drawing by Leonard Knyff (1650-1721), which he published under the title Britannia Illustrata, or, Views of Several of the Queen’s Palaces (Marquand Library SAX Oversize NA961 .B74F). The series was later expanded and published as Nouveau théâtre de la Grand Bretagne (1724), with additional prints, such as this one by Joseph Smith. The panorama stretches from Temple (no.43) on the left to the Tower of London (no.64) on the right.
John Bluck (active 1791-1819), after a drawing by Thomas Rowlandson (1756-1827) and Agustus Pugin (1762-1832), A Bird’s Eye View of Smithfield Market Taken from the Bear and Ragged Staff, 1812. Hand colored aquatint.
From 1808 to 1811, Thomas Rowlandson worked with the architectural artist Agustus Pugin to create the 104 watercolors, aquatinted by John Bluck, for Rudolph Ackermann’s The Microcosm of London. Their second project for Ackermann was Views of London, with eighteen aquatints, which kept them busy for the next eleven years. This print is the second plate from Views of London, showing the cattle and sheep markets at the east side of the market.
Thomas Rowlandson (1756-1827), State Barge, City of London, 1810. Pencil, pen and ink drawing.
While working for Ackermann, Rowlandson continued to pursue individual commissions. This original drawing seems never to have been converted to a print but may have been a preliminary sketch for his Views of London.
Jas. Hook, Outside of a Castle. To Lady Charlotte Campbell, this print from the original Transparent Drawing, 1798. Sold and published by Edwd. Orme, Conduit Street, London. Transparency etching.
Although the British engraver and publisher Edward Orme (1774-ca. 1838) always claimed to have invented transparent prints, Michael Twyman reminds us that Rudolph Ackermann (1764-1834) published 109 transparent etchings between 1796 and 1802, along with a book entitled Instructions for Painting Transparencies (1799). Even before Ackermann, the caricaturist Mary Darly published a few “humorous and transparent prints” in 1763.
However, it was Orme who made the genre popular in the early nineteenth century through his bilingual manual, An Essay on Transparent Prints and on Transparencies in General (1807) Graphic Arts Collection (GA) Oversize Rowlandson 8415q. The effect was created by taking a normal etching or engraving, painting large areas of color on back of the print and then, adding varnish to specific areas make the paper translucent when held up to a light. Scenes often included fire light, moon light, and other glowing illusions. Orme’s instructions suggest that transparent prints could be substituted for stained glass, in lanterns, lampshades, and fire screens.
W. Orme, A Glass House. From the Original Transparent Drawing, 1799. Sold & Published by Edwd. Orme, Conduit Street, London. Transparent etching.
The Tomb of Rosicrucious. A Blacksmith’s Shop, 1799. Sold & Published by Edwd. Orme, Conduit Street, London. Transparent etching.
When F.V. DuMond moved to New York City in 1884, he quickly found work as an illustrator at the New York Daily Graphic. Although DuMond went on to publish in Harper’s Weekly, Century and McClure’s magazines, it was not the career he wanted and so, left for Paris and the Académie Julian.
When DuMond returned to New York, he accepted a teaching position at the Art Students League and presided over ASL classes for the next fifty years. His students included a who’s who of modern American artists, including John Marin, Georgia O’Keeffe, and Norman Rockwell.
This undated oil painting comes from DuMond’s early career when he was under the influence of the late-nineteenth-century symbolists. An angler is caught in a trance, brought on by the music of three sirens, who appear from inside a nearby waterfall. The painting comes to Princeton thanks to the Otto von Kienbusch, class of 1906, who liked anything to do with angling.
For more information, see The Harmony of Nature: the Art and Life of Frank Vincent DuMond (Old Lyme, Conn.: Florence Riswold Museum, 1990). Marquand Library SA ND237.D846 F58
When Sir Henry Irving (1838-1905) first played the title role in Shakespeare’s Macbeth in 1875, The Times noted that it was to Irving’s advantage that he was “appearing at a time when there is no important rival to suggest comparisons.” The unnamed reviewer goes on to characterize the performance as “a conception of the actor’s own fancy, which can be supported only by a corruption and misinterpretation of the plain meaning of the dramatist. From first to last Irving’s Macbeth is a poor, frightened, whimpering cur, without even a passing touch of any kind of manliness, except, perhaps, one flash in his last moments.” The production closed in less than three months.
In 1878, Irving purchased the Lyceum Theatre and in 1888, along with his lover Ellen Terry (1847-1928), revived his Macbeth in a freshly designed and directed production, with music by Arthur Sullivan. They played to standing room crowds for over six months. Costumes and props were designed by Charles Cattermole (not to be mistaken for George Cattermole, 1800-1868, who illustrated books by Charles Dickens and Sir Walter Scott).
Cattermole worked several times for Irving, creating everyone’s costumes except Terry’s, who used her own designer/advisor Alice Comyns-Carr along with the dressmaker Mrs. Nettleship. Unfortunately for Cattermole, when John Singer Sargent (1856-1925) chose to immortalize Terry in her Lady Macbeth costume, the other designs by Cattermole were all but forgotten.
Louis Charles Ruotte (1754-ca. 1806), after a watercolor by Jean Louis Prévost (ca. 1760-after 1810), Vingt-neuvième cahier de fleurs (Twenty-Ninth Book of Flowers), ca. 1805. Stipple engraving with hand coloring. Graphic Arts (GA) French prints.
Princeton does not own a complete set of Prévost’s Collection des Fleurs et des Fruits (1805), which was published in twelve livraison or parts with four plates in each. We do have an index to the collection’s 48 plates and this exquisite botanical is not included. We assume our print is one of many that Prévost and Ruotte published separate from the 1805 Collection.
Born in Nointel, France, Prévost was associated with the botanical artist Gerrit van Spaendonck and exhibited at the Academie Royale, as well as the Academy of Saint-Luc. His designs can be found repeated on many fine works of French china, toiles, and chintzes.
Gordon Dunthorne, in his book, Flower and Fruit Prints of the 18th and Early 19th Centuries (GA Oversize 2005-0484Q), compliments Prévost:
A work of outstanding importance and interest, unlike anything published at this time, is Prevost’s Collection des Fleurs et des Fruits of 1805. This was issued for the specific purpose of maintaining the great French tradition for excellence of design and draughtsmanship. And it was Prevost’s hope that the forty eight plates of flowers and fruits would furnish patterns and inspiration to designers and manufacturers of china, toiles, chintzes, and other fabrics. Perhaps no other prints are more worthy of carrying on the tradition of Jean Baptiste and van Spaendonck than these fine examples of Prevost.
Cartoonist George Herriman had a number of early comic strips before he found characters that clicked, including Major Ozone, Musical Mose, Acrobatic Archie, Professor Otto and his Auto, Two Jolly Jackies, Goosebury Sprig, and The Dingbat Family. In the last strip, he began a subplot in the margins of the main story, which involve the family’s cat and mouse. By 1913, the black cat and white mouse got their own strip called Krazy Kat. The cartoon ran for over thirty years and was going to continue after Herriman’s death but when William Randolph Hearst saw the work of the new artists, Krazy Kat came to an end.
There were a number of spin-offs. Herriman partnered with the composer John Carpenter to create Krazy Kat: A Jazz-Pantomime, which opened at New York’s Town Hall in January 1922. Herriman not only wrote the scenario but also designed the scenery and costumes.
Princeton is fortunate to hold several of Herriman’s original Krazy Kat panels in the graphic arts collection. Mendel Music Library has the score for his Jazz-Pantomime, along with a DVD of Carpenter’s score.
Rackell, Portrait of George Bernard Shaw (1856-1950), 1938. Pastel on board, author age eighty-two. Graphic Arts Collection GA2009- in process
Coming up this winter is an exhibition of author portraits. Included will be this pastel caricature of the Irish playwright G. B. Shaw, created in 1938 by an artist using the pseudonym Rackell. Who is Rackell? This name does not turn up in any of the standard art history sources, or in Shaw biographies. Surely someone out there knows someone who can give us some information on this artist or the making of this drawing?
During the 1930s, Shaw published several full-length plays including Too True to Be Good (1931), On the Rocks (1933), The Millionairess (1935), and Geneva (1938). 1938 is also the year Shaw received an Oscar for his screen adaptation of Pygmalion. This portrait may have been one of the many tributes Shaw received due to the critical success of that film.
Sincere thanks if you would forward this post to anyone who might help with our research.
In researching our new poster for The Colored Concert Company we found one article by Josephine Wright, “Songs of Remembrance” from the Journal of African American History 91:4 [Fall 2006] p.413-424rs that mentioned the group in a footnote:
Three other African American musicians besides Robert Hamilton compiled and published text and music anthologies of Negro spirituals in the early 1880s: M. G. Slayton, ed.. Jubilee Songs, as Sung by Slayton’s Jubilee Singers (Chicago, 1882), 14 songs; Marshall W. Taylor, comp., A Collection of Revival Hymns and Plantation Melodies, Composition by Miss Josephine Robinson… (Cincinnati, 1882), 64 plantation songs; and Jacob J. Sawyer, air., Jubilee Songs and Plantation Melodies (Words and Music), as Sung by the Original Nashville Students, the Celebrated Colored Concert Company (N.p., 1884), 12 songs. Jacob J. Sawyer served ca. 1882 as pianist for Slayton’s Jubilee Singe
Otherwise, this celebrated organization is not mentioned in any of the major newspapers or magazines of the period. Not mentioned in the International Index to Black Periodicals; African American Music Reference http://aamr.alexanderstreet.com/; African American Newspapers: The 19th Century (1827-1882); the archives of the Center for Black Music Research, Columbia College, Chicago, http://www.colum.edu/cbmr/; or the The Harvard Guide to African-American History.
We did however have luck with the dating by matching the clothing in the index: http://www.marquise.de/en/1800/index.shtml).
After the demise of The Comic Almanack in 1853 (see posting September 2008), George Cruikshank (1792-1878) tried to publish a magazine under his own name: Cruikshank’s Magazine. It only lasted two issues, January and February 1854, but opened with the spectacular fold-out “Passing Events, or, The Tail of the Comet of 1853.” This 15 ¼ x 7 inch sheet includes hundred of figures chronicling the events of the previous year.
Princeton is fortunate to hold the steel printing plate for this etching. Although it is hard to photograph, I’ve posted a few images to give you an idea of the complexity of this plate. The iconography includes Albert Smith’s lecture on Mont Blanc, a prize cattle show (along with a beef dinner close by), emigration to Australia, and Harriet Beecher Stowe’s Uncle Tom’s Cabin. Although Princeton is sadly missing, the New York’s Crystal Palace can be seen at the top right just above a peace conference. Also depicted is the war between Russia and Turkey, spirit rapping, table turning, ceiling walking, John Gough and the temperance movement (see post December 2008), Charles Keen’s Sardanapalus, Captain McClure and the North-West Passage, and much more.
In his lifetime Cruikshank created nearly 10,000 prints, illustrations, and book plates. Princeton holds the largest set of Cruikshank material in this country, including prints, drawings, watercolors, illustrated books and magazines, proofs, correspondence, and printing plates. The collections are open to the public Monday to Friday.
Lia Markey, Curatorial Research Assistant in the Department of Prints and Drawings, Princeton University Art Museum, has mounted a small exhibition focusing on the Flemish artist Johannes Stradanus (1523-1605), including several prints from the graphic arts collection. These engravings, printed at the Antwerp workshop of Philips Galle (1537-1612) after Stradanus’s designs, depict nova reperta or new discoveries, such as the revolutionary changes in printing. In fact, in the frontispiece for the series, seen above, Markey notes that Stradanus places the printing press above the cannon.
For more information, see
Jan van der Straet (1523-1605), New Discoveries; the Sciences, Inventions, and Discoveries of the Middle Ages and the Renaissance as Represented in 24 Engravings Issued in the Early 1580’s by Stradanus (Norwalk, Conn.: Burndy Library, 1953) Marquand Library (SA) Oversize NE674.S89 A3q
Jan van der Straet (1523-1605), Johannes Stradanus, compiled by Marjolein Leesberg ; edited by Huigen Leeflang (Ouderkerk aan den IJssel: Sound & Vision Publishers, in co-operation with the Rijksprentenkabinet, Rijksmuseum, Amsterdam, 2008). Marquand Library (SA) ND673.S85 A4 2008
Princeton University Art Museum is open to the public, free of charge: http://artmuseum.princeton.edu/
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