Oblique Strategies (subtitled Over One Hundred Worthwhile Dilemmas) is based on a concept created by Brian Eno and Peter Schmidt and first published in 1975. Each card offers an aphorism intended to help artists (particularly musicians) break creative blocks by encouraging lateral thinking.

Simon Jarvis, Dionysus Crucified: Choral Lyric for Two Soloists and Messenger ([Cambridge, England]: Grasp Press, 2011. Graphic Arts Collection GAX 2013- in processOCLC lists Dionysus Crucified as: Book poetry 12 unnumbered pages; 34 x 34 cm.

A cataloguer has listed the subtitle as Choral Lyric for Two Soloists and Messenger and the epigraph as You cannot walk down two roads at once, even in fairyland. The reverse might also be valid. Written in 2011 by Prof.

Simon Jarvis, Gorley Putt Professor of Poetry and Poetics at Cambridge University, this cunning book of visual and aural poetry moves in long lines across the pages in various directions with few signposts. Happily, a recording of Dionysus Crucified, read by Jarvis and Justin Katko at the Centre for Creative Collaboration in King’s Cross London, was made in 2011 and can still be accessed. This is definitely a book to be seen as well as heard.

Unidentified Artist, Vue d’un superbe feux d’artifice a Vienne [A View of Superb Fireworks in Vienna], 1780. Engraving with hand coloring. Graphic Arts Collection GA 1995.00005Princeton’s Graphic Arts Collection has a large group of Vues d’optique (optical views) along with the viewing devices used to look at them. A special sub-set are the transparency views or hold-to-light prints. Rather than simply being designed with exaggerated perspective, these are made to be seen in peep shows, boxes with a top lid so that the light could be directed from the front or the back, offering a daytime view and a nighttime view. Most of our prints are late 18th-century European and have added color or colored paper on the back to enhance the scene. Below is a shot of the fireworks from the back: Here is another example.

We have a whole series of street views from the City of Scheveningen. I’m sorry the registration is poor. Unidentified Artist, View of the City of Scheveningen, 1780. Black Rock Shooter Mp4 there. Engraving with hand coloring.

Graphic Arts Collection GA 1995-00012a Thomas Rowlandson incorporated magic lanterns into a number of his prints and drawings but this is the only one I know of that is a transformation print. Engraved by H. Merke (active ca. 1820) after a design by Thomas Rowlandson (1756 or 1757- 1827), A Magic Lantern, January 20, 1799.

Published by Rudolph Ackermann. Mezzotint with transparencies and added color. Gift of Dickson Q.

Brown, Class of 1895. Graphic Arts collection GC 138. The wonderful Dick Balzer’s website has more. Addison Lee Cab Driver Jobs. Unidentified photographer, Luther Widen with his portable typewriter, 1928. The First National Poetry Exhibition began in the summer of 1927 under the directorship of Lew Ney (Luther E. Widen, 1886-1963) and his soon to be wife Ruth Willis Thompson. For one dime, anyone from New York to San Antonio to Toledo could submit a poem.

Each Thursday there was a Poets’ Soiree where many of the poems were read and, much like Facebook, people would “like” particular poems by initialing them. Poems were submitted by photographer Aaron Siskind (1903-1991), Charles Henri Ford (1919-2001), Maxwell Bodenheim (1892-1954), and Louis Ginsberg (1885-1976, father of Allen Ginsberg), along with 6,000 others. Kahl, who managed opera singers, came to each Thursday night soiree and read her poems. Lew Ney was so taken with the rhymes that he offered to design, print, and publish a small volume, illustrated with linocuts by another local Dean Dowell. On March 1, 1928, Circus was released at the price of $1.75, with all profits going back into the Poetry Exhibition. James Gillray (1757-1815), End of the Irish Farce of Catholic Emancipation, May 17, 1805. Etching with hand color.

Graphic Arts Collection GAX 2013- in process Dorothy George points out that the Irish petition for Catholic Emancipation was introduced in the House of Lords by Grenville on 10 May 1805 and in the House of Commons by Fox on 13 May 1805. Motions for a Committee to consider it were defeated in the Lords by 178 to 49, and in the Commons by 336 to 124. The all-powerful sword and crown indicates the opposition of George III, making the petition a farce since it was brought forward in the knowledge that it would not be accepted. Verses from Paradise Lost etched below: And now St Peter at heav’n’s wicket seems To wait them with his keys, & now at foot Of heav’ns ascent they lift their feet: – when lo! A violent cross-wind from either coast Blows them transverse, ten thousand leagues awry Into the devious Air: then might ye see Cowls, hoods, & habits, with their wearers, tost, And flutter’d into rags; then Reliques, Beads, Indulgences, Dispenses, Pardons, Bulls, The sport of winds!

– All these whirl’d up aloft Fly o’er ye backside of the world far off Into a Limbo large, & broad, since call’d The Paradise of Fools! Correctly quoted, except ‘whirl’d up’ for ‘upwhirled’.] The British Museum has posted an extended description of each element in this complicated burlesque of Milton’s lines here. Richard Jones (1767-1840), Angler in Eton Playing Fields on the Thames, ca. Oil on canvas. GC164 Kienbusch Angling Collection. Gift of Carl Otto Kretzschmar von Kienbusch, Class of 1906. Born in Reading, the sporting painter Richard Jones was sought after for his depiction of horses, dogs, and fish.

Yet, very little is known about the artist’s life besides a small list of paintings and exhibitions from the early 1800s. Our Angler dates from a similar period as The Anglers at the Brooklyn Museum: Fishing is more expensive than ever for Eton gentlemen, young and old, according to Angling News (March 15, 2011). In an article entitled, “Eton College hands over fishing rights to new group,” we learn that “Eton College has handed over the fishing rights to a four-mile stretch of river between Romney Island at Windsor and Dorney Rowing Lake to a syndicate that will charge £100 a year.” “The college had let local angling clubs have the rights in the past. Eton Fisheries–a group consisting of Newbury-based chartered surveyor Patrick Todd and two colleagues–are now in charge. Todd said that he had met representatives from all the fishing clubs and that reaction had been mixed. He said that although there would be an £100 annual charge, keen fishermen or women would also be able to obtain a day licence for just £6 and that he had no intention of pricing ordinary people out.”. Need some paper?

Why go to Office Depot when you can make it yourself? That’s what our good friend Allen Scheuch, Class of 1976, did. Two years after he graduated from Princeton University, Scheuch decided to learn to make paper.

The class he attended followed Dard Hunter’s book, Papermaking: the History and Technique of an Ancient Craft (New York: Knopf, 1943). Graphic Arts Collection (GAX) TS1090.H816 1943.

A 24 x 32 inch paper mould was fashioned from varnished mahogany, with a bronze screen, simple brass (kitchen cabinet) handles, an inlaid brass rod on one side for reinforcement, and an “S” (for Scheuch) in a circle for the watermark. 100% linen rag was torn and beaten into a milk-like soup. For each sheet, Scheuch dipped the mould into the mixture and let the water drain. The top “deckle” finished the sides of the paper before the damp sheet was transferred to a felt where it would dry. “I used one or two pieces but that was all!” Scheuch told me. “I liked the texture and the deckle but could never bring myself to use it casually – it meant too much to me!

– and never ended up using it in a special project. So this will be its special project – as a teaching aide in Princeton’s Graphic Arts Department; I can’t imagine a finer one!” Even better, this winter Scheuch’s mould and some of his paper will find their way into the Princeton University Art Museum as an educational element for the upcoming extravaganza: 500 Years of Italian Master Drawings from the Princeton University Art Museum, opening January 25, 2014.

Our sincere thanks to Mr. In 1923, when Frances Steloff (1887-1989), owner of the Gotham Book Mart, moved her bookstore to West Forty-Seventh Street, it was her friend Lew Ney (Luther Widen, 1886-1963) who gave up his Fourth of July weekend to carry the books and shelves to the new shop. When Steloff needed a brochure or keepsake printed, it was her friend Lew Ney who hand-set the type, dampened the paper, and printed the edition for her. And so, when Christopher Morley (1890-1957) wrote the verse, “Rubaiyat of Account Overdue,” in response to the many unpaid bills at the Gotham Book Mart, it was Lew Ney who editioned the poem for Steloff. Lew Ney designed two separate formats: a narrow broadside that would go in an envelope with each overdue notice and a four page keepsake as a reward to those who paid their bills. He printed 350 of each, using his famous Inkunabula type.

Morley signed them all and as they went out, Steloff added the date and her signature. “That not only brought good results,” wrote Steloff, “but also a problem—our prompt paying customers then felt it was more rewarding to be delinquent.” [Special Gotham Book Mart issue of Journal of Modern Literature 4, no.4 April 1975): 792]As soon as he finished Steloff’s project, Lew Ney was on to his next jobs, using the same Inkunabula type to set Robert Penn Warren’s Thirty-Six Poems; Williams Carlos William’s An Early Martyr and Other Poems; and Wallace Stevens’ Ideas of Order, among other project that year. Christopher Morley (1890-1957), Rubaiyat of Account Overdue (New York: Gotham Book Mart, 1935).

Copy 29 of 350. Rare Books (Ex) 3866.5.3785.1935 Christopher Morley ( 1890-1957), Rubaiyat of Account Overdue ([New York: Gotham Book Mart, 1935]).

(Ex) Oversize 3866.5.3785q.