A Closer Look at Cotsen’s Collection: Audio Interviews with Curator Andrea Immel by Byrd Pinkerton

The text below is adapted from Byrd Pinkerton’s WPRB blog posting and links to the audio interviews that Byrd conducted with Andrea Immel, Cotsen Curator, in June and July, 2013, with additional photographs taken by Byrd of the items discussed. (Byrd Pinkerton ’15 is a German major who works for WPRB, the Princeton student-run radio station.) A Closer Look at Cotsen’s Collection: Audio Interviews with Cotsen’s Curator by Byrd Pinkerton

It’s easy to experience the Cotsen Gallery, with its giant indoor tree and little cottage. But behind the gallery’s glass wall, there are thousands of books–some tiny, some massive, some gilt or marbled. That’s just a fraction of the collection, since more books (and dolls and lantern slides and board games and toy theaters…) are hiding out elsewhere in the vaults of Firestone.

And though they can’t be climbed on or played with in quite the same way as the Gallery furniture is, these treasures are accessible too. This summer, Princeton student and Cotsen staffer Byrd Pinkerton began a series of radio stories on different objects from the Cotsen Collection, which are now posted on Princeton’s WPRB Station blog.

In each piece, she talks to Cotsen Curator, Andrea Immel about an item, its history, what we do or don’t know about it, and why it might be interesting to researchers. The audio is complemented with text and photographs, but listeners can also page the items themselves and enjoy them in the reading room.

Paper People in the Cotsen Library

Paper dolls at a war conference ("The Paper People")

Paper dolls at a war conference
(“The Paper People”)

Taken literally, the phrase ‘don’t judge a book by its cover’ usually applies to your average book in a bookstore. It also applies, however, to rare books.

When I first decided to highlight pieces of Cotsen Library’s rare book collection for this series, I was eager to talk about some of the showier items the collection has to offer-Queen Elizabeth’s Latin grammar book, the Beatrix Potter original letters or elegant Spanish toy theaters from the 1930s.

Instead, Andrea and I decided to begin with The Paper People an unassuming text, printed and cloth-bound in the 1800s, and see what the information that can be gleaned from the contents, the cover, the catalogue of advertisements, and even the end-papers.

Hear the audio interview, with illustrations, on WPRB blog site.

Jeu de Cavagnole

French game "Jeu de Cavagnole" inside its box

French game “Jeu de Cavagnole” inside its box. [Paris : Aufrère, between 1770 and 1780] (Cotsen)

I’m not a fan of bingo. I would go so far as to say that I strongly dislike it. But even I was delighted to play with this 18th century pre-cursor to the game, the French Jeu de Cavagnole.

During our interview, Andrea and I walked through the complicated apparatus of the game, all kinds of ivory spindles, cages and beads with scrolls…

One of the biggest differences between this game and your average bingo experience is the game board.  Jeu de Cavagnole decorations have nothing to do with the gameplay at all. They’re just conversation pieces, designed to move the experience beyond simple gambling.

Hear the audio interview, with illustrations, on WPRB blog site.

A is for Alphabet

Panorama cylinder strip

Panorama cylinder strip. Panorama of the Letters of the Alphabet. [England?: between 1820]. (Cotsen 26983)

Once we figure out that LMNO isn’t all one letter and S, C and K stop seeming quite so redundant and confusing, we generally don’t spent a lot of time learning the alphabet.

Still, whether we’re thinking about it or not, there’s a new line of alphabet teaching tools for every generation of kids: alphabet puzzles, alphabet blocks, songs and poems and books with associative word pictures.

This week, my conversation with Andrea was all about alphabets throughout the ages. While we’re probably not going to learn a whole about the alphabet itself from these games and books, it turns out that they can tell us a lot about us: the most common parts of our day-to-day, the moral values we want to pass down to our children, even our sense of humor.

Hear the audio interview, with illustrations, on WPRB blog site.

Happy Halloween! Cotsen Launches a Curatorial Blog on Its 11th Anniversary Today…

The Cotsen Children’s Library opened to the public eleven years ago today. Because Halloween is such an important day for children, candymakers, and the fabricators of costumes, the 31st of October 2008 seemed a propitious time to launch the Cotsen blog.

In the spirit of the holiday, this first post might be considered a swag of seasonal eye candy celebrating those things that go bump in the Cotsen stacks.

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This first gathering of pictures was gleaned during the review of an interlibrary loan request and a truck of duplicate copies.   Almost any job at Cotsen is an opportunity to prowl for images. This week I went looking for scary creatures and was not disappointed.  “The Boy Who Became a Goblin” in Anna Wahlenberg’s Swedish Fairy Tales, tr. Axel Wahlenberg (Chicago: A. C. McClurg & Co., 1901) contains this charmer by Helen Maitland Armstrong (1869-1948), the stained glass artist, who was also the sister of the binding designer Margaret Armstrong.

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This alarming picture of the smuggler Bill Brines being transformed into an albatross appears on p. 130 and the cover of Coppertop Cruises: The Wonderful Voyage of the Good Ship “Queercraft” (Melbourne, Melbourne Publishing Co., [ca. 1920]). It is the work of the well-known Australasian fairy artist, Harold Gaze (1885-1962), who was a contemporary of Ida Rentoul Outhwaite. Gaze seems to have reined in his sense of the grotesque in the color plates, which are much more conventional and decorative in style, than the line art. To see some examples of his work in color, visit http://www.australianfairyartists.com/howard_gaze/index.html

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On Halloween night, witches are supposed to gather for revels with the devil and to create mayhem for the unsuspecting. But it is hardly a new trend to try and domesticate witches, as in this picture of a rather sedate tea-party hosted by Dame Durden by Sheila E. Braine in Happy Hearts: Stories in Verse and Prose for Boys and Girls (Chicago, Akron, New York: The Saalfield Publishing Company, c.1912). There is a smudgy signature in the right-hand corner of the image which I can’t make out.  The names of authors and illustrators in the volume are British—so I suspect an unauthorized reprint of an English children’s book.

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Ivan Bilibin’s magnificent color illustration of the Russian witch Baba Yaga in Vasilisa the Beautiful (St. Petersburg, 1902) must be one of the best known pictures of any crone in the annals of the folk or fairy tale. But I fell in love with this old hag the minute I spotted her on the left-hand corner of the plate for letter B in Elizaveta Merkur’evna Bem’s Azbuka (Paris: I. S. Lapin, 1913-1914). Bem died before completing the fourth and last fascicle of this splendid alphabet, which offers a fascinating contrast to the much better known one by Alexander Benois.

 

— Andrea Immel

 To be continued…