NEW PERIODICALS Acceptance Bulletin. New York. Monthly. Published by The American Acceptance Council. Business men's and bankers' trade journal. Acetylene Journal. Chicago. Monthly. Official organ of the International Acetylene Association. Continuation of Journal of Acetylene Lighting. San Actualidades, Revista mensual, ilustrada, literaria, humoristica, instructiva. Salvador, C. A. Monthly. American Chamber of Commerce of Mexico. Journal. Mexico City. Monthly. American Fur Farmer (The). Oakland, Cal. Monthly. Published by the California Co-operative Farms Association. American Issue (The). Massachusetts Edition. Westerville, Ohio. Weekly. Prohibition. American Organist (The). New York. Monthly. Official organ of the American Guild of Organists. Amsterdam-Openbare Leeszaal en Bibliotheek. Mededeelingen. Amsterdam. Monthly. Arbeiter Presse (Die). (The Labor Press.) New York. Weekly. Uruguay. Organo oficial de la Sociedad de Arquitectos. Associated General Contractors Bulletin. New York. Monthly. Continuation of General Contractors Association, Bulletin. Association of British Chambers of Com- Bibliografía. Barcelona. Bi-Monthly. Continuation of Brooklyn League on Urban Conditions Among Negroes Bulletin. Bulletin arménien. Paris. Semi-Monthly. Business. Detroit. Monthly. Published by The Burroughs Adding Machine Co. [ 715 ] Continuation of Journal of Race Development. Oklahoma Agricultural and Mechanical College. Extension Division. Oklahoma Extension News and Boys and Girls Club Letter. Stillwater, Okla. Monthly. Successor to Oklahoma-Agriculture, State Board of. Monthly Press Bulletin. Open Forum (The). Boston. Monthly. Resumed publication with v. 8, no. 1, Fall issue, 1919. Published by the Open Forum National Council. Pancho ibero: revista literaria y politica. Published by The Philippine Press Bureau. ILLUSTRATED BOOKS OF THE PAST FOUR CENTURIES A RECORD OF THE EXHIBITION HELD IN THE PRINT BY FRANK WEITENKAMPF Chief, Arts and Prints Division ORDER OF ARRANGEMENT The first section is introductory. The second and third, just as obviously, are of a general nature and do not fit easily into any of the following groups. With the fourth ("Italian books, 15th - 16th cen turies") begins the record, in chronological order, of the historical development of illustration. SOME BOOKS ON THE HISTORY OF BOOK-ILLUSTRATION, GROUP OF BOOKS SHOWING THE TASTE OF THE PERIOD MAPS AS ELEMENTS OF BOOK DECORATION, No. 28-31. LINE ENGRAVING AND MEZZOTINT, 19TH CENTURY, No. ETCHED ILLUSTRATION, 19TH CENTURY, No. 114-121. FRENCH, 19TH CENTURY: WOOD ENGRAVINGS, No. 134-150. GERMAN, 19TH CENTURY: WOOD ENGRAVINGS, No. 151-166. ENGLISH, 19TH CENTURY: WOOD ENGRAVINGS, No. 167-198. UNITED STATES, 19TH CENTURY: WOOD ENGRAVINGS, PROCESS WORK: PAINTED ILLUSTRATION, No. 214-219. SOME 19TH CENTURY EFFORTS IN THE UNITED STATES SOME PRINCIPLES OF HARMONIOUS BOOK-MAKING, NO. PART II LITHOGRAPHY IN THE SERVICE OF BOOK-ILLUSTRATION "The history of the reproductive processes is to a great extent the history of book illustration... Line-engraving, etching, mezzotint, aquatint, lithography and wood-engraving have each had its period of application to the ever-present demand for elucidation or adornment of the printed page by means of picture or ornament. To a particularly high degree is this true of wood-engraving... It long held practically undisputed sway until it was supplanted by the now ubiquitous half-tone.". Weitenkampf Graphic, p. 205. Lithography had its period in this field. Baron Taylor's monumental and voluminous "Voyages pittoresques en France" included Bonington's wonderful "Rue du Gros Horloge." Delacroix used the stone to interpret "Faust" and "Hamlet" in a spirit of "truculent romanticism." Numerous lithographic albums saw the light, a number by Charlet, for instance, mainly humorous drawings with a line or two of text underneath. Indeed, lithography became quite the recognized vehicle for caricature, with Daumier and Gavarni as prominent exponents. 122. Goethe, J. W. von. Faust, traduite en français par A. Stapfer, ornée d'un portrait de l'auteur, et dix-sept dessins...exécutés sur pierre par E. Delacroix. Paris: C. Motte, 1828. Page 62: "Au feu, a l'aide." "Beraldi wrote: 'Delacroix's "Faust" to-day seems to us of an extravagant romanticism. Its interest lies precisely in this violence. It was the profession of faith of the young school... At that moment it was not a matter of being reasonable but of being "truculent." Delacroix was "truculent," but he created a revolution in art.' "Now, this romanticism had at times an outer form which only the vehemently personal touch of Hamlet and his father's ghost. Je suis l'esprit de ton père...[1843.] (Delteil, no. 105.) The series of Hamlet illustrations, begun in 1834 and finished in 1843, comprises 16 compositions. [ 717 ] Lithography in Book-Illustration, continued. They are separate sheets, and not book illustrations in the strict sense of that term. "No doubts arise when you look at these Shakespeare prints from the purely technical standpoint. For example, in the one showing Hamlet about to follow the Ghost, the moonlight about the latter is thrown, by scratched white lines, into a quivering suggestion of movement, a tremulous, unreal shimmer. And in the next plate, depicting Hamlet alone with the Ghost, the background is of natural ap. pearance, and the Ghost, though still obviously a spirit, has taken on more reality under the effect of closer communication. Hamlet's attitude is quite natural, although his waving cloak and blowing hair quaintly suggest the ever-breezy mise-en-scène of the 'movie. -Print-collector's quarterly, v. 7, 1913, p. 280. 125. Bonington, Richard Parkes. "Rue du Gros Horloge, Rouen." 1824. A plate from Baron Taylor's voluminous Voyages pittoresques en France, described in the Print-collector's quarterly, v. 5, p. 445-471, as "The golden book of landscape lithography." "The block of buildings is indicated with a sureness of touch that, at a little distance, indicates a rich detail of architectural decoration, which on closer view dissolves into the indefiniteness of atmospheric effect.". Architectural record, Dec., 1918, p. 556. - viously experiments in the use of various lithographic methods. Indeed, as Hédiard notes, there was quite a bit of competition between printers in this field; "receipts were made, artists of renown were set to experimenting with them, albums were published in order to bring the results before the public." The soldier of France was shown at home and in the field, in camp and in the roar of battle, by Raffet, Bellangé, and Charlet. Through these pictorial repre sentations of the Grande Armée there moves the figure of him who gave it its reputation, the "Little Corporal," idol of the people. 129. Gavarni. Promenade du matin. (Mahérault and Bocher, no. 164.) Appeared in L'Artiste, v. 4, 1832, opposite p. 24. Euvres nouvelles. Paris (1851 130. Masques et visages. Les Parens terribles, 2. "Gavarni's insight into human nature was profoundly philosophical... [He] had the power of expressing what he saw with a magic touch... Satire is the foundation of his work... Gavarni understood human nature in all its phases. Young dandies, old beaux, young women and old, painters, literary men, labouring classes, vagabonds, market women, beggars, thieves...all these he drew with the greatest possible truth, with a subtle insight into their ways of thinking and acting." Atherton Curtis, Some masters of lithography, New York, 1897. 132. Darley, Felix O. C. Compositions in outline by F. O. C. Darley, from Judd's Margaret. Engraved by Konrad Huber. New York, 1856. "Engraving or etching on stone consists in preparing the stone with gum, so that its whole surface would refuse to take ink. Into this surface the design is scratched with a point, graver, or diamond, and wherever the stone is thus bared it will take ink.' Weitenkampf, p. 208. Margaret and Obed encounter the Master in the wood. 133. Pennell, Joseph. A plate from the Devonshire and Cornwall volume in the "Highways and byways" series. FRENCH, 19TH CENTURY: WOOD ENGRAVINGS (No. 148 ILLUSTRATED BY THE GILLOT PROCESS) vignettes par Tony Johannot. Paris: J. J. Dubochet et Cie., 1836-37. 2 v. 134. Molière, J. B. P. de. Euvres de traduit et annoté par Louis Viardot, Molière, précédées d'une notice...par M. Sainte-Beuve. Vignettes par Tony Johannot. Paris: Paulin, 1835-36. 2 v. Illustrations engraved on wood by Andrew Best, Leloir, Maurisset, Porret, and others. Les Facheux, act 111, scene v, p. 407. 135. Le Sage, Alain René. Histoire de Gil Blas de Santillane. Vignettes par Jean Gigoux. Paris: J. J. Dubochet et Cie., 1838. (Brivois, p. 259.) "Re-impression of the edition of 1835." Page 239. 136. Cervantes, Miguel. L'ingénieux Hidalgo Don Quichotte de la Manche... Vol. 1, frontispiece. 137. Saint-Pierre, Jacques Henri Bernardin de. Paul et Virginie. Paris: L. Curmer, 1838. (Brivois, p. 388-398.) Lent by The Pierpont Morgan Library. Opened to show three cuts after Meissonier. "About 450 illustrations inserted in the text, drawn and engraved by French and English artists; Meissonier alone drew about 130 of them." The prospec tus of the book mentions Tony Johannot, Français, Eugène Isabey, Paul Huet, Meissonier, Laberge, Marville as the illustrators, and states that "we had announced 400 vignettes, but we have not been able to resist the pleasure of filling lacunae for which French, 19th Century: Wood Engr's, cont'd. Messieurs the artists promised us wonders." Brivois calls the book "The pearl of XIXth century illustrated books." "In 1838 was issued a book which, in drawing, engraving, and printing, completely outdistanced anything that had heretofore appeared in England or in France; Curmer's edition of 'Paul et Virginie,' dedicated by a grateful publisher, 'Aux artistes qui ont élevé ce monument typographique à la mémoire de J. H. Bernardin de Saint-Pierre.' These artists include the names of nearly everyone who was then, or soon became famous in French art. The book contains marines by Isabey, beautiful landscapes by Paul Huet, animals and figures by Jacque, and above all, drawings by Meissonier, who contributed over a hundred to this story and to the 'Chaumière Indienne,' published under the same cover. best French and English engravers collaborated. Even the printing was excellent, for the use of overlays, made by Aristide Derniame, had begun to be fully understood.". Pennell, p. 20-21. All the "Meissonier in France and Menzel in Germany were above all things consummate draughtsmen. They brought into their work not only style but truth. Illustration under their hands took on a new lease of life and suddenly became interesting for its own sake. They showed how the pen drawing...placed in a book at the service of another man's ideas, could nevertheless have its individual dignity and beauty as a work of art." R. Cortissoz, in Annual of the Society of Illustrators, 1911, p. ix. 138. Les Français peints par eux-mêmes Paris: L. Curmer, 1841-42. 9 v. (Brivois, p. 157-160.) Illustrations by Daumier, Gavarni, Meissonier, and others. Vol. 2, p. 277: Le sportsman parisien, by Gavarni. 139. Los Españoles pintados por sí mismos. Madrid: I. Boix, 1843-44. 2 v. 8°. This Spanish book is similar in its intent and make-up to the French one here listed "Les Français peints par eux-mêmes." The illustrations are engraved on wood after designs by L. Alenza, Moranda, Zarza, A. Gomez, Villegas, Medina, Rey, Urrabieta, Brabo, and Vallejo. Vol. 2, p. 75: El Segador, by Alenza. 140. Scènes de la vie privée et publique des animaux. Vignettes par Grandville. Études de moeurs contemporaines publiées sous la direction de P. J. Stahl... Paris: J. Hetzel et Paulin, 1842. 145. Dante Alighieri. L'Inferno di Dante, colle figure di G. Doré. Parigi: L. Hachette e C., 1861. Page 82: C. XVII, v. 7 and 8: E quella sozza, etc. Doré, grandiloquent, forceful, of a magnificent pose, with a grand style which danced along the abyss of mannerism. Under his influence his engravers acquired a technique of smooth brilliancy. They had a full understanding of the advantage of speed, and avoided cross-hatching like poison. "POET... Doré, with his coarse interpretations of the poets, is an active evil in literature. "SCIENTIST. Is it not possible that the artist may keep alive the reputation of the poet?... The readers of Dante are not very numerous, except in Italy... Doré has made the principal scenes in the 'Inferno' known to thousands.' - P. G. Hamerton, "Conversa. tions" on book illustration. "His illustrations to the Bible, Dante and other books, strong and dramatic in composition and ges ture, in the suggestion of color and tone... Only, the fine effect, the declamatory gesture, the trick of manner, become a little monotonous if too many of these pictures are looked at in succession." Weitenkampf, p. 182. 146. Gavarni in London... Edited by Albert Smith. London, 1849. Opened at p. 55: Thieves. Plates printed with a tint, with high-lights in white. Tint printed from a second block, with the lights cut out. This simplified survival of the old "chiaroscuro" method was for a while a favorite device for American title-pages. It appears, for instance, in the "Ladies' wreath and parlor annual" issued about 1850. 147. Gavarni. Œuvres choisies. v. 1. Les enfants terribles. Paris, 1846. "Adieu, madame, à bientôt..." Engraved by Montigneul. 148. Havard, Henry. La Hollande à vol d'oiseau. Eaux-fortes et fusains par Maxime Lalanne. Paris, 1881. As Beraldi points out, the illustrations are not original etchings, but reproductions after Lalanne. Page 57. "The landscape pen draughtsman of France...is Maxime Lalanne... Without his beautiful drawings Havard's Hollande would be veritably dead as the cities of the Zuyder Zee. His bird's-eye views have made them live again. For quick, bright, strong, incisive work, for getting at the essence of a thing with sharp, short, brilliant strokes, perhaps no one can equal him. The only possible drawback is that there is too much Lalanne in it. He knew too well what he was going to do."- Pennell Pen, p. 92. Lepère, Auguste. L'abreuvoir derrière Notre-Dame. Soleil couchant. (No. 264, 2d state, in Lotz-Brissonneau's Catalogue of Lepère's work.) 149. Appeared in Scribner's magazine. 150. L'Image, vol. for Dec., 1896–97. Paris. This review was published under the artistic supervision of Tony Beltrand, Auguste Lepère, and Léon Ruffe. Sixième édition, illustrée de 425 dessins par Doré. Paris, no date. Page 406. 143. Doré, Gustave. An illustration from Perrault's Contes. Paris: Hetzel, 1862. [Puss in Boots.] 144. A plate from "Orlando Furioso." [Angelica chained to the rock.] "Gustave Doré...though possessed of a weird im agination, and a poetic feeling for dramatic landscapes and grotesque characters, as well as extraordinary pictorial invention...never shows the decorative sense, or considers the design in relation to the page." Crane, p. 149. Page 259, article "Paris pittoresque, 14 juillet à Belleville." Wood engraving by Lepère. "When wood-cut illustration enjoyed its last triumphs, he had pushed it to a virtuosity and a sup pleness that were unsurpassable in sureness and wonderful skill... He soon took up wood engraving again, but in a direction towards the primitive cutters of the 15th century... And he was seized by a parallel ambition; to bring the block to the book again, to remake the illustrated art-book, the fate of which seemed so compromised. He founded that precious collection L'Image, limited to twelve numbers... His fancy deploys in full liberty over the pages of the book, advancing familiarly into the midst of the type, fraternizing with the text, hobnobbing with his collaborator, the writer." — Léonce Bénédite. |