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Finished in 1859, Cruikshank submitted the painting to the annual member’s show at the British Institution. All of the nearly 600 works in the exhibit were listed in The Art Journal London (v. 5) along with brief, unflattering remarks.

The review begins, “Again the Art-season commences: the British Institution is open, its walls are covered with pictures on every available space where they can be seen, and even where they cannot be seen… . The exhibited works amount to five hundred and ninety-two, among which are amply represented every department of Art except one, and that one is (the old story) what is called history. That which we know as “high Art” is denounced as ungrateful to the painter; but it is not that “high Art” is ungrateful, but that it demands for its themes the rarest gifts of the painter and the poet.

Mediocrity in the highest walk of painting is intolerable; but mediocrity in low Art sells readily. On looking round on these walls, the eye is met by declarations of the most fearful depravity of taste in the choice of subject; and right earnestly do the painters devote themselves to the consecration of their unworthy themes.”

No. 435 was Cruikshank’s Roderick Random’s Encounter with Captain Weasel, about which the reviewer adds only, “This is not so eccentric as some of the recent works of the artist, inasmuch as it would be difficult to exceed the extravagance of the text.”

In The Literary Gazette, a second reviewer commented: “George Cruikshank has a picture that of course has fun in it … but it proves that a design which would be irresistible in a wood-cut two-inches square, may prove a very vapid affair when magnified into an oil painting of as many feet.”

Tobias Smollett (1721-1771), The Adventures of Roderick Random (London: James Cochrane and Co.; J. Andrews, 1831). Graphic Arts Cruik 1831.

“In order to succeed in what was for printmakers a perilous period, Prud’hon had to have more than sensitivity to contemporary taste,” notes Elizabeth Guffey. “Prud’hon’s print Love Reduced to Reason, which went on sale in later 1793 … was an unqualified success… . [The artist] followed it up with a series of similar projects, including Virtue Struggling with Vice: Reason Speaks, Pleasure Entraps; Love Caresses Before It Wounds; Innocence Prefers Love to Wealth; and Love Seduces Innocence, Pleasure Entraps, Remorse Follows.”

Unlike many artists who allowed the publisher to handle the printing, publication, and sale of their work, Prud’hon kept a hand in every aspect of the process. His prints sold for as much as 7 livres (compared to the 3 livres charged for prints by Jacques-Louis David, 1748-1825). The investment and the sale of Prud’hon’s work was shared between his publisher and friend Constantin, the engraver (in this case Roger), and the artist.

For this print, Reason Speaks and Pleasure Carries One Away (also translated Pleasure Entraps), Prud’hon made two drawings, one ink and the other in two colors of chalk. Both are in the collection of the Fogg Art Museum. It may be that the artist and the engraver were considering a two color engraving, although no example of this has been found. Also shown below is the similar Virtue Struggles with Vice.

[left]: Prud’hon, La Raison parle et le Plaisir entraîne (Reason Speaks and Pleasure Carries One Away), ca. 1795-1799. Chalk drawing. Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.888
[right]: Prud’hon, La Vertu aux prises avec le Vice (Virtue Struggle with Vice), ca. 1795. Chalk drawing. Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop, 1943.884

See also:
Elizabeth E. Guffey, Drawing an Elusive Line (Newark, Del.: University of Delaware Press, 2001). Marquand Library ND 553.P9G83 2001

The Quaker minister Lucretia Mott (1793-1880) fought for the rights of women and of African Americans. A mother of six, Mott traveled and preached throughout the Eastern United States in front of both Black and White, both male and female organizations. She helped found the Philadelphia Female Anti-Slavery Society and attended the World’s Anti-Slavery Convention in 1840. Together with twenty-five year old Elizabeth Stanton, Mott organized the first women’s rights convention held in Seneca Falls, New York in 1848.

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Here is a video of the honorable senator from New York Hilary Clinton’s speech on August 26, 2008, honoring Mott, Stanton, and the other women who fought for their rights.

See also: Lucretia Mott (1793-1880), Discourse on Woman (Philadelphia: T. B. Peterson, 1850). Rare Books: Miriam Y. Holden Collection (ExHolden) HQ1423 .M9

When he was five years old, the Swiss-born artist John Hafen (1856-1910) was brought to Salt Lake City by his family, where they all became members of The Church of Jesus Christ of Latter-day Saints (LDS Church). As an adult, Hafen helped found the Utah Art Association and established the art department at the Brigham Young Academy. He often chose to paint Mormon subject matter, such as these portraits of Joseph Smith (1805-1844).

Smith was arrested for treason and was taken to Carthage jail but on June 27, 1844, an angry mob stormed the jail. They killed both Joseph and his brother Hiram Smith. The remaining LDS Church followers united behind Brigham Young, who moved them to Utah, centered in Salt Lake City. This is where the artist John Hafen joined them in 1860s.

In October 1924, after ten years as the leading progressive American weekly, The New Republic magazine filed for bankruptcy. Founded in 1914 under the editorial leadership of Herbert Croly (1869-1930) and Walter Lippmann (1889-1974), the magazine was losing subscribers, Lippmann and other writers were being lured away by other publications, and The New Republic desperately needed a plan.

In December of the same year, the magazine ran an advertisement announcing a subscription bargain: if you purchase a two-year subscription to The New Republic, you will also receive a portfolio of six etchings by the American artists Peggy Bacon (1895-1987), Ernest Haskell (1876-1925), Edward Hopper (1882-1967), John Marin (1870-1953), Kenneth Hayes Miller (1876-1952), and John Sloan (1871-1951). The price was $12 (a regular one-year subscription was $5). They had no idea what a bargain this would be.

Hopper’s Night Shadows was completed at the beginning of 1921, just in time for the January 25 opening of the Chicago Exhibition of Etchings sponsored by the Chicago Society of Etchers. The drypoint was seen again that year in the National Academy of Design’s winter exhibition and in 1922 at the First International Exhibition of Etchings, organized by the Brooklyn Society of Etchers and held at the Anderson Galleries in New York City.

Hopper’s friend, Louis Bouché and manager of the Belmaison Gallery inside the Wanamaker Department Store, chose Night Shadows for a show in May of 1922 and again in May of 1923. It was easily Hopper’s best-known and best-loved print.

Surprisingly in 1923, Hopper stopped making prints and when The New Republic asked for a printing plate, he happily offered them one of his best. Most collections hold the 1924 reprinting, but the sheet in Princeton’s Graphic Arts collection is from 1921, printed by Hopper himself.

The collection holds one other print by Hopper, seen below.

“On the night of Saturday, March 10, 1855, Nassau Hall was destroyed by fire,” writes Robert C. Smith. “At precisely half past eight, as the Philadelphian Society was ending its meeting on the fourth floor of the building, the cry of fire was heard from below. ‘Every effort,’ President Maclean later told the Trustees, ‘was made to subdue the flames but without success.’ As soon as it was realized that the firemen, without sufficient water to prime their noses, were powerless to stop the flames, whipped to the roof by a strong wind, the work of salvaging began.”

“‘The students and professors worked finely at the fire,’ one student wrote, ‘and all distinction seemed to be lost in the general confusion.’ Henry C. Cameron, Tutor in Greek, and a student named Gilchrist ‘burst open’ the door of the picture gallery and began handing the portraits to safety. George Musgrave Giger, Professor of Latin, and his colleagues Professors Duffield and Alexander forced their way through the blaze to rescue papers and other valuable property. The old bust of Homer was hauled down from over the center door, while ‘General’ Perrine, a Princeton character of the time, rode up to direct the evacuation.”

“By midnight all was over and everything of moment to the College had been saved, except the bell, which had survived the earlier fire of 1802. Some students had lost all they possessed, but no one was hurt save James Bayles of Kingston, who fell and broke his leg.” From Robert C. Smith, “John Notman’s Nassau Hall,” in Princeton University Library Chronicle XIV, no. 3 (spring 1953). http://libweb5.princeton.edu/visualmaterials/pulc/pulcv14n_3.pdf

This painting depicts Nassau Hall (built in 1756) after it was restored and revised by the architect John Notman (1810-1865). Notman made a number of exterior changes to the building, including the staircases at the ends of the building and the arched front doorway.

Robert Seymour (1798-1836), Returning Fra the North, or, The Effects of Unco Gede Living, [November 1, 1834]. Lithograph with hand coloring. Published in McLean’s Monthly Sheet of Caricatures or The Looking Glass, no. 58. Graphic Arts 2012- in process

The Looking Glass was originally drawn by William Heath (ca. 1795-1840) while based in Glasgow from 1825 to 1826. The satirical newspaper was revived in 1830 by publisher Thomas McLean (1788-1875) under the title McLean’s Monthly Sheet of Caricatures or The Looking Glass.

Artist Robert Seymour (1798-1836) replaced Heath as the chief contributor and turned out hundreds of caricatures, large and small, colored and uncolored, to meet the ridged monthly deadlines for the next six years. Working primarily in lithography, Seymour was also producing weekly drawings for Figaro in London, edited by Abbott à Beckett and later, Henry Mayhew.

The caricature depicts Scottish judge and publisher Lord Jeffrey (1773-1850) who edited the Edinburgh Review from 1802 to 1829. Jeffrey was elected to parliament in 1831, living primarily in London, and introduced the Scottish Reform Bill in 1832. Two years later, not long before Seymour drew this image, Jeffrey was named Lord Jeffrey and returned to Scotland to served as a judge.

The words “Unco Gede” are a Scottish term for exceptionally good or strictly moral. Jeffrey had a reputation for his strict morality, which may account for the reference.

For the complete story of McLean’s magazine, through various titles and formats, see: http://special.lib.gla.ac.uk/exhibns/month/june2005.html

The Graphic Arts Collection is fortunate to hold seventeen works by the American painter and muralist William Sommer (1867-1949). Born in Detroit, Sommer worked as a commercial lithographer in Boston and New York City before traveling to Munich to study painting. He and his wife returned to the Midwest and settled outside Cleveland.

William Sommer (1867-1949) Untitled [Two Horses Grazing], 1933. Watercolor on paper. Graphic Arts GC059 American Drawings and Paintings Collection

William Sommer (1867-1949) Untitled [Still life with blue picture and apples], no date. Oil on board. Gift of Joseph M. Erdelac. Graphic Arts GC059 American Drawings and Paintings Collection

The Ohio poet Hart Crane (1899-1932) left home for New York City at seventeen but returned periodically to visit family and friends. He frequented Richard Laukhoff’s bookstore in Cleveland, as did the painter Bill Sommer. When they met, Crane was twenty-two and Sommer was fifty-four but they found in each other a kindred spirit.

Crane wrote, “I have run across an artist here whose work seems to carry the most astonishing marks of genius. A man of 55 or so—works in a lithograph factory—spent most of his life until the last seven years in the rut of conventional forms—liberated suddenly by sparks from Gauguin, Van Gogh, Picasso—I have taken it upon myself to send out some of his work for publication…”

He sent a group of Sommer’s paintings and drawings to New York City, where William Carlos Williams purchased one and two others were published in The Dial. Later, Crane wrote a poem dedicated to Sommer entitled “Sunday Morning Apples” (1927), referring I believe, to the painting above.

The leaves will fall again sometime and fill
‘The fleece of nature with those purposes
That are your rich and faithful strength of line.

But now there are challenges to spring
In that ripe nude with head
reared
Into a realm of swords, her purple shadow
Bursting on the winter of the world
From whiteness that cries defiance to the snow.

A boy runs with a dog before the sun, straddling
Spontaneities that form their independent orbits,
Their own perennials of light
In the valley where you live
(called Brandywine).

I have seen the apples there that toss you secrets,-
Beloved apples of seasonable madness
That feed your inquiries with aerial wine.

Put them beside a pitcher with a knife,
And poise them full and ready for explosion-
The apples, Bill, the apples!

Thanks to the generous donation of Charles Rose, Class of 1950, P77, P80, Graphic Arts now holds 1429 zinc and aluminum printing plates for comic strips syndicated to American newspapers from the 1920s to the 1950s. The plates originated with Abraham Meyers, whose American Melody Company or Meyers List (newspapers knew the firm as International Cartoons or Empire Features) was founded in 1898.

At first a distributor of sheet music, Meyers transitioned to comic strips in the early 20th century. One package of zinc printing plates was shipped to each newspaper at the beginning of the month and then returned. There was no sequence or simultaneous publishing of comics in city papers around the country.

In 1934, the firm passed to J.R. Kramer and then, to Kramer’s son-in-law Charles Rose, who bought out the company in 1967. He and his wife ran the business until the Meyers List was dissolved on March 20, 1977.

In addition to the plates, record books for the business, various teaching materials, and several albums of published strips, Princeton received 86 original pen and ink drawings for cartoons by Camillus Kessler, an active but little documented cartoonist. Kessler published comics in the New York Globe and Advertiser, New York Evening Graphic, New York World, and other papers from around 1914 into the 1940s.

Firestone Library holds two compilations of Kessler’s work: At the Bottom of the Ladder (Philadelphia: J.B. Lippincott Co., 1926). NC1320 .K44 and Twenty-Five Years Ago (New York: Coward-McCann, 1931). NC1320 .K45.

Most recognizable of the printing plates are the 652 zinc two and four panel plates of Just Kids drawn by New York cartoonist August Daniel “Ad” Carter (1895-1957). The strip began in the summer of 1923 and ended with Carter’s death in 1957.

Also included are 52 zinc printing plates for Betty’s Beanery by Samuel Maxwell “Jerry” Iger (1903-1990), who had a partnership with Will Eisner (1917-2005); 32 single cell zinc printing plates for The Debunder by John Henry Fudray; and 15 single cell electrotype plates for Miss Information drawn by Barnet Cohen.

There are 52 two cell zinc plates for Hospital Quips by Rube Weiss, who is also known for Have Fun!, Josh Billings Sez, and Live ‘n Laff; 8 plates for Things That Never by Gary Bryne; and 7 for That Little Gamer by Link.

201 five panel zinc plates are for the comic strip Huckleberry Finn by Dwig and 200 aluminotype plates for the six panel strip called Squire Edgegate by Louis Richard. The longest plates are for seven panel comic strips. There are 100 for Bull Run by Carl Ed, who historians known as the creator of Harold Teen, and 110 for Raising the Family a comic strip from the 1920s and 1930s by an artist only known as Fisher.

We would be grateful for more information on these artists.

Special thanks to Mike Siravo and John Walako for helping to move these very heavy printing plates.

The editorial team for the Colophon: A Book Collectors’ Quarterly, which ran from February 1930-February 1940, met each Tuesday in the offices of Pynson Printers in the New York Times Annex on 43rd Street. When Adler accepted a job at Princeton University and began closing his press in 1939, the artist Don Freeman (1908-1978) came by to document their meetings with a portrait painting. A linocut, dated August 8, 1939, was published in the Colophon in 1940 and later, in the festschrift Elmer Adler in the World of Books (1964). Freeman’s painting, done in gouache, is held in Graphic Arts.

Included in the painting (from the left) are Fred B. Adams Jr., Elmer Adler, Alfred Stanford, and John T. Winterich. The calendar in the painting is dated September 10. At the back of the print, looking around the corner, is Adler’s secretary/assistant Miss Greenberg.

Long before George Cruikshank signed a temperance pledge, he was satirizing the gin palaces of St. James Place. This is his earliest.

Images of death and dying are everywhere. Customers are standing inside a giant bear trap, waited on by a skeleton in the costume of a pretty woman (we can see her skull and the bones of her ankle and foot).

A woman is feeding gin to her baby, with the figure of death close behind her holding an hourglass. Spirits are held in coffins rather than casks: Old Tom is good gin; Blue Ruin is bad gin; Kill Devil is strong rum; and so on.

The inscription reads:
Now Oh dear, how shocking the thought is
They makes the gin from aquafortis:
They do it on purpose folks lives to shorten
And tickets it up at two-pence a quarter

Thanks to the generous donation of Henry Martin, Class of 1948, Graphic Arts holds a small group of original cartoons by the British artist Alex Noel Watson. Born in Airdrie, Lanarkshire in 1929, Watson worked for the Croydon Advertiser from 1965 to 1978 as a newspaper cartoonist, film reviewer, and feature writer. He went on to publish in many other prominent newspapers and magazines, including The Evening Standard, Spectator, Daily Telegraph, Punch, The New Yorker, The New York Times, and many others.

Here are a few examples.

Robert Havell Jr. (1793-1878), A Collection of the Birds of Paradise ([London: R. Havell], no date but attributed to 1835). Engraved title page and 22 full-page hand colored aquatints. Signed on flyleaf: R[obert] Lionel Foster, 9 Terlingham G[ar]d[e]ns, Folkestone. Also owned by Major General Sir Rohan Delacombe. Purchased with funds from the Henry Matthews Zeiss Memorial Book Fund, the Graphic Arts collection, and the Princeton University Library. Graphic Arts GAX 2012- in process

Havell’s book was inspired by the ornithological study, Histoire naturelle des oiseaux de paradis et des rolliers (1801-1806), drawn by Jacques Barraband (1767?-1809) and stipple engraved by Louis Bouquet (1765-1814) for François Le Vaillant (1753-1824). Above left, v. 1, plate 3 and above right, v. 1, plate 11. Images (c) NYPL digital website

Robert Havell’s shop, The Zoological Gallery, at 77 Oxford Street, London. Image reproduced in Francis Hobart Herrick, Audubon the Naturalist (1917).

The Graphic Arts Collection recently acquired one of the rarest and most beautiful of Havell’s solo publications, A Collection of the Birds of Paradise (ca. 1835). While the volume was based on Le Vaillant’s earlier study, Havell redesigned several key artistic elements, beginning with the title page. In an act of inspired creativity, he selected elements from two individual pages that examined the plumage of the males and reconfigured the elongated and elaborate feathers into a compelling title cartouche.

Birds of Paradise was produced during the mid-1830s at Havell’s spacious Oxford Street shop, the Zoological Gallery, where he sold ornithological prints and drawings as well as the birds themselves, stuffed and posed, along with skins or feathers. Havell hunted these birds and other small animals outside London and then, prepared them for sale using his own techniques (Yale University Library holds a notebook where Havell recorded varieties of household recipes and taxidermist instructions).

All aspects of engraving, printing, coloring, bindings, and publishing were available at the Zoological Gallery, thanks to the enormous staff of young women Havell and his wife boarded, trained, and employed. One advertisement reads, “Miss Havell’s Boarding Establishment for a limited number of Young Ladies, in which the comfort and happiness of a home are combined with every instruction suitable to the capacity and age of the Pupils, who are received by the Month or Quarter. Terms may be had at the Zoological Gallery.”

Havell and Audubon were both members of the Zoological Society (instituted 1825) and well acquainted with all the illustrated natural histories, yet it may have been at Audubon’s suggestion that Havell took on the engraving of Le Vaillant’s study. As a young man, Audubon studied briefly in Paris when the original volumes were being released and he owned many of Le Vaillant’s luxurious color plate books in his own library (Audubon’s copy of Histoire naturelle des oiseaux d’Afrique (1799-1808) is now in Cornell University’s library).

Most recently this book belonged to Major General Sir Rohan Delacombe, KCMC, KBE, CB, DSO, KSt (25 October 1906 - 10 November 1991) who was a British military officer. He was the last British Governor of Victoria, Australia. Sir Rohan was appointed as Governor of Victoria in 1963 and his term ended in 1974. Upon his death in 1991, this particular item was part of his library in Australia and was left to his daughter.

Honoré Daumier (1808-1879), Ah! tu veux te frotter à la presse!! (Ah! So you want to meddle with the press!), 3 octobre 1833. Lithograph. Published in La Caricature, no. 152. GC003 Honoré Daumier Collection

Daumier’s caricature of Louis-Philippe I (1773-1850) is signed lower left “L.de Becquet,rue Furstemberg N°6” (the lithographer) and lower right “chez Aubert, galerie véro dodat.” This is Charles Philipon’s brother-in-law Gabriel Aubert, who was responsible for the distribution and sale of the print. Individuals who could not afford either the print or a magazine subscription, would gather in front of Galerie Véro-Dodat where Daumier’s prints were hung in the window as soon as they were dry.

The Daumier Register, http://www.daumier-register.org/werkview.php?key=71, describes the scene as a caricature of King Louis-Philippe, “being pressurized even by the conservative journalists. It seems that also the right-wing paper Le National had to fear intensified censorship. The risk of a similarly vehement reaction like under Charles X in 1830, which was leading towards revolution, increased constantly. He lost his citizen’s umbrella in the process. The entire print is an allusion to the power of the press.”

“The man handling the press is not necessarily a printer, but most likely one of the ‘news-boys’ who were the real masters of the street at this time. They yelled out the titles of their papers, which were usually appeals of revolt. The police arrested them, but while loudly protesting against the oppression of which they were a victim, these ‘heralds of upheaval’ allowed themselves to be taken without any resistance, knowing quite well that the courts would acquit them. The continuing campaign of abuse against the King, the scarcely veiled incitements to murder, the poverty of a large proportion of the people and the hard apprenticeship of democracy created a strange volatile state of mind.”

Attributed to John L. Petrie, Untitled [Trout on Rock, Beside Fishing Pole], 1890s. Oil on canvas. GC164 Kienbusch Angling Collection. Gift of Carl Otto Kretzschmar von Kienbusch, Class of 1906.

We believe this painting was a study for William C. Harris’s The Fishes of North America that are Caught on Hook and Line, which was announced with much anticipation by The New York Times on October 8, 1893.

“It can be readily understood that a work of this character, where so much depends on illustrations, is one that presents particular difficulties. As there are to be eighty colored plates it can be seen how ambitious is the work and how costly must be its manufacture. In some respects Mr. Harris’s work may take rank with Audubon’s on birds. He has been fortunate in interesting many representative anglers all over the country, and it is believed that to-day the success of the venture is assured.”

Harris’s book was published in parts from 1895 to 1898 with chromolithographic plates by John L. Petrie, who accompanied him throughout the United States. The author writes in his preface, “Mr. John L. Petrie, the artist, has been my steadfast companion during this protracted but pleasant task. He has painted the portraits of each fish represented … from living specimens caught on my own rod, with the exception of the Pacific Salmons, which were taken alive in traps.”

William Blake (1757-1827), A Squatted Devil with Young Horns, ca. 1810. Pencil on paper. Butlin no. 596. Robert H. Taylor art collection.

This pencil drawing by William Blake was never published and in fact, it hasn’t yet been identified as a study for any particular book or print or painting. Blake wrote about many devils but the word satyr does not appear in any of Blake’s poetry (which we can check thanks to the searchable Blake archive at the University of Virginia).

However, Blake did engrave two satyrs in the print he made after William Hogarth’s painting Beggar’s Opera. In Hogarth’s design the stage is framed with a crouching satyr on either side and according to the Tate records, the original frame also had two satyrs carved into the sides.

Princeton’s drawing is mentioned twice in Blake literature. Butlin writes, “The title is taken from Rossetti, who continues, ‘The face is somewhat of the Satyr type. Ordinarily good.’ Certainly, a satyr rather than a devil seems to be intended in this fairly highly finished figure. The background is slightly indicated to suggest rocks.” (Martin Butlin, The Paintings and Drawings of William Blake (EX N6797.B57B87Q)).

William Rossetti is quoted from p. 251 in Alexander Gilchrist (1828-1861), Life of William Blake, “Pictor ignotus”. With selections from his poems and other writings … (London, Cambridge: Macmillan and Co., 1863). Rare Books (Ex) 3631.3.692.

In 1913, Schenehaia Tworkovska (1903-2000) and her older brother Yakov (1900-1982) immigrated to the United States from Biala, Poland. She took the name Janice, he became Jack, and they anglicized the family name to Tworkov. Each worked to pay for painting classes at the National Academy of Design and the Art Students League. To avoid the stigma of being a female artist, Janice painted under the name of her hometown, Biala. Before long, both Janice and Jack were American citizens.

Janice traveled to Paris in 1930 to continue her education in art and there, she met and moved in with the English writer Ford Madox Ford (1873-1939). Ford was the founder of The Transatlantic Review, where he published James Joyce, Ernest Hemingway, Gertrude Stein, Ezra Pound, and other friends. Describing their relationship, Janice wrote, “He found a little handful of dust and turned it into a human being.”

Through Ford, she met the poet Allen Tate (1899-1979) and Tate’s wife Caroline Gordon (1895-1981), who worked as Ford’s secretary. The Tates invited Ford and Biala to spend time at their antebellum home on the Cumberland river near Clarksville, Tennessee. Purchased with the help of Tate’s brother Ben, the house was dubbed Ben’s Folly or Benfolly. In the summers it was filled with visiting writers and artists, as seen in Biala’s painting (purchased by Princeton from the Tates’ daughter).

“All of Biala’s paintings seem touched by a tough ingenuousness — never sentimental or naive, but slightly nostalgic in their playful intimacy. Suffusing them is the outlook of a painter who has found what she needs and knows what she wants to do. The results glow with a wondrous candor.” John Goodrich, “Bohemian Rhapsody,” New York Sun, December 13, 2007

See also: Ford Madox Ford (1873-1939), Provence: from Minstrels to the Machine; illustrations by Biala (Philadelphia; London: J.B. Lippincott Company, 1935). Gift of Edward Naumburg. (Ex) 2004-1848N

Ford Madox Ford (1873-1939), Great Trade Route; with drawings by Biala (London: George Allen & Unwin, 1937). (Ex) PR6011.O53 Z99036