A calligraphic certificate by Julia Beck, being the copy of a letter of 8 June 1914 sent by a leader of the women’s movement in France, Isabelle Bogelot to Canadian feminist, Lady Aberdeen wholeheartedly endorsing the new book by Indiana feminist, May Wright-Sewell, entitled Genesis of the International Council of Women and the story of its growth (1914).more...
It was written on behalf of the Conseil National des femmes françaises and this illuminated copy was perhaps for presentation at the later date.
Calligrapher Julia Beck was born in Stockholm in 1853 and moved to Paris in 1883. She became one of the first female artists from her country to make a living through art alone. She is best-known for her landscape paintings in the Impressionist style, which were highly regarded in France and abroad, but she supported herself partly through commercial calligraphy, at which she excelled. Beck was a committed advocate for women artists..see full details
A large calligraphic certificate by Swedish-born artist Julia Beck, presented on behalf of the Oeuvre des Libérées de Saint-Lazare to Isabelle Bogelot in commemoration of her attendance at the World's Congress of Representative Women at the Chicago World Fair in May 1893.more...
Bogelot was an important feminist philanthropist who worked tirelessly for the Libérées de Saint-Lazare charity which sought to aid former inmates of this women’s prison, who included a large proportion of Parisian sex-workers. As the article in the Journal des Femmes (24, Nov. 1893, loosely inserted here) recounts, she had travelled to Chicago in 1893 to attend the week-long convention, held within a special Women’s Building constructed for the world fair. On her return she was presented with a medal (not present here) and this superb calligraphic certificate by an important pioneer among female artists.
Julia Beck was born in Stockholm in 1853 and moved to Paris in 1883. She became one of the first female artists from her country to make a living through art alone. She is best-known for her landscape paintings in the Impressionist style, which were highly regarded in France and abroad, but she supported herself partly through commercial calligraphy, at which she excelled. The newspaper article here attributes the certificate to both Beck and Bertha Formstecher, but is is signed (at the foot) by Beck alone. Beck was a committed advocate for women artists..see full details
A large fragment of a famous post-Revolutionary copperplate-printed textile.more...
It shows George Washington on the chariot of America, drawn by leopards, with an allegorical figure of America in a plumed headdress holds an oval medallion, ‘America Independence 1776’. It was produced by an unknown English firm around 1785, intended for the American export market, but also used in England.
Printed linen ‘Toiles de Jouy’ (named after the French town of Jouy-en-Josas from which many of them originated) were used for bed hangings and furniture. Originally such fabrics were woodblock printed, often with chintz patterns, until 1752 when the Irishman Francis Nixon adapted the copperplate engraving technique used for paper to produce patterns on textiles. Thereafter, patterns could be large (with copperplates measuring up to 45 inches square) and highly detailed, such as the ‘Apotheosis’ design. ‘When it first appeared, this toile was evidently well-regarded enough to furnish one of America’s most important residences, the President’s House in New York... Although obviously intended for the American market, the pattern seems to have been well-known on both sides of the Atlantic. English poet Robert Southey’s 1808 book Letters from England features a passage describing the design in detail, appearing on the protagonist’s bed curtains at an inn in Carlisle. He states, “My bed curtains may serve as a good specimen of the political freedom permitted in England”’. (Robertson).
In our example, just visible to the right is a portion of a figure of a native American with a headdress, while the background contains impressions of American vegetation and, in the further distance, there are large groups of American troops in action. The whole repeating design, with the figure of Franklin on another tier, and other supporting figures covered several feet..see full details
An intriguing and otherwise apparently unrecorded collection of 12 songs and ballads sold (and perhaps sung) by a vendor purportedly disabled in railroad accident.more...
The majority are Irish songs (’Remember Boy you’re Irish’, ‘The Dear Little Shamrock’, ‘The Irish Jubilee’ etc) but two American ballads, ‘The Milwaukee Fire’ and ‘Johnstown Flood’ serve suggest a date. A final paragraph is a hunmorous recipe: ‘Cure for Love’..see full details
First edition, large paper copy on vergé (and rare thus).more...
The scandalous memoirs of Philadelphia-born Harriet Ely Blackford, dubbed ‘Fanny Lear’, who conducted an affair with Grand Duke Nicholas Constantinovich, nephew of Czar Nicholas I between 1870 and 1874. In 1874 she was accused of stealing diamonds belonging to the imperial family and was banished from the court..see full details
Contemporary caricature portraits of the great American millionaires Carnegie, Pierpont-Morgan, Gordon-Bennett, Harjes, Frick and Depew.more...
The drawing was probably intended for reduction and publication in an (unidentified) journal. Rouveyre (1879-1962) was immensely prolific as a caricaturist and maintained friendships and correspondence with important figures such as Apollinaire and Matisse (having met the latter as joint students of the symbolist painter Gustave Moreau)..see full details
NORDENDORF, C.C. de. Attack Step Quickstep. Danville (Va.): Mrs E. L. Nordendorf, . Not found in OCLC.
2. SCHILLING, Fred[erick]. Brothers hasten on to Battle. Brooklyn: D.S. Holmes, . OCLC: Lincoln Presidential Library only.
3. DOANE, Howard. Bury me in the Valley. Cincinnati: John Church, [n.d.]. OCLC: Ohio State University only [possibly another edition].
4. MCNAUGHTON, J.H. The faded Coat of Blue or the nameless Grave. Ballad. Buffalo, Penn & Remington, . Stain to lower margins. OCLC: UC Santa Barbara and Library Company of Philadelphia.
5. CLARK, James C. Fremont’s Battle Hymn. Quartett. Rochester: Joseph P. Shaw, . Not found in OCLC.
6. PARKHURST, Mrs. E. A. Funeral March, to the Memory of Abraham Lincoln, the Martyr President of the United States of America. New York: Horace Waters, 1865. Advert on final page cropped (with some loss) at foot. Issue without vignette portrait.
7. MACK, E. General McClellan’s Grand March. Philadelphia, Lee & Walker . Issue without coloured lithograph plate. OCLC: Michigan, Duke, Pennsylvania and Brown Universities.
8. WINNER, Septimus. Give us back our old Commander. Philadelphia, Winner & Co, . OCLC: LC and Morgan.
9. EASTBURN, The hearty Welcome Home. Philadelphia: Smith, 1865. OCLC: no copies of Smith imprint but 2 of Auner: AAS and NYHS and one of Johnson imprint: NYHS.
10. BECKEL, J. C. Monody on the death of Abraham Lincoln. Sixteenth President of the United States. Born Feb. 12th, 1808, died by the hand of an assassin April 15th, 1865. Philadelphia: Marsh, 1865. OCLC: this issue Lincoln Museum only plus one copy of a Cincinnati imprint of same year at Abraham Lincoln Presidential Library.
11. WHEELOCK, O. Richmond Falls, the War is O’er: Philadelphia: March, 1865. No hard copy found in OCLC.
12. CASONELLA. A Song of Peace. New York, W. A. Pond, 1865. OCLC: UPenn, Ocean State, Brigham Young, AAS. .see full details
George Woodward, affectionately dubbed ‘Mustard George’ by his contemporaries, was one of the pioneers of English caricature.more...
Like his drinking-partner Thomas Rowlandson, Woodward absorbed high and low culture omnivorously and paid keen attention to contemporary politics.
A Political Fair is ‘a fantastic survey of the international situation’ in 1807 and is considered one of Woodward’s finest images, the print catalogue of the British Museum devoting two full pages to its complex allegories. At the heart of the fair is a large booth (‘The Best-Booth in the Fair’) representing Great Britain holding aloft on its platform images of Britannia, John Bull, together with an Irishman, Scotsman and Welsh harpist gathered convivially around a punchbowl, while a waiter sweeps into the chamber below with a vast joint of roast beef on his platter. All this was typical of Woodward’s patriotism and was intended to portray the essential unity of the nation amidst the host of clamouring figures in the neighbouring booths representing the other nations. Napoleon, in tricorn and feathers, rebuffs a disgruntled Dutchman complaining about his King with the words ‘I never change Mynheer after the goods are taken out of the Shop’. High up on the right, the American booth displays a placard advertising ‘Much ado about Nothing with the Deserter’, a reference to the friction between Britain and the United States over recent defections from British to American ships and the ban on armed British ships in American ports. The Danish booth on the left advertises ‘The English Fleet and The Devil to Pay’ in reference to the hideous bombardment of Copenhagen by the British fleet in September that year.
Musical and theatrical references abound, with many of the placards punning on the titles of plays and musical performances then showing in London: Much ado about nothing, All’s well that ends well (Shakespeare), The Padlock (Bickerstaffe), The Deserter (Dibdin), The Double Dealer (on the Russian booth, by Congreve) and The English Fleet (Dibdin again)..see full details