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The Printed Image: The Red Rose Girls

This March installment of The Printed Image highlights works in the Digital Library and circulating collection by a trio of illustrators from the ‘Golden Age of Illustration’ who also have a personal connection to Villanova, Pennsylvania. Elizabeth Shippen Green, Violet Oakley, and Jessie Willcox Smith each enjoyed enormous success and popularity in art and illustration, and resided at the Red Rose Inn from 1901 to 1906, a private residence off of Spring Mill Road that still stands to this day.

Left to right: Elizabeth Shippen Green, Violet Oakley, Jessie Wilcox Smith, and Henrietta Cozens (standing)
Photo from The Red Rose Girls, Harry N. Abrams, 2000.

Nicknamed ‘The Red Rose Girls’ by their mentor and teacher Howard Pyle, the trio met in Pyle’s illustration class at the Drexel Institute in 1897 and soon shared a studio space at 1523 Chestnut Street in Philadelphia. After spending time in Bryn Mawr and finding city life an increasing distraction from their work, they soon leased the Red Rose Inn, joined by Henrietta Cozens, who would tend to the house and gardens of the estate. At a time when professional opportunities for women were narrowly defined, and which were expected to be abandoned once they were married, the Red Rose Girls’ arrangement was practically revolutionary, creating a space where they could thrive in their artistic and professional careers, outside of the bounds of the normative gender expectations of the day.

With the Red Rose Inn set to be sold in 1906, their lease expired and the group was forced to move to an estate in the Mount Airy neighborhood of Philadelphia, nicknamed ‘Cogslea’. Once marriage entered into the picture for Elizabeth Shippen Green in 1911, the living arrangements of the group would fluctuate, and while they would continue to remain close, the creative and personal alliance found at the Red Rose Inn would not remain the same. [1]

Elizabeth Shippen Green-Elliott – Cover for The Wissahickon

Included in both Special Collections and the Digital Library, this small volume about the Wissahickon Park in northwest Philadelphia includes a black-and-white cover by Green. The cover displays the lush, bucolic style found within many of Green’s paintings and illustrations, influenced by the Pre-Raphaelites and Romantics.

As the publication year and signature on the cover may imply, this illustration was made after Green’s marriage to Huger Elliott, an architect and instructor who would work at the Rhode Island School of Design, the Museum of Fine Arts Boston, and the Philadelphia Museum School of Industrial Arts. Contradicting the conventional wisdom of the day, Green was able to continue her illustration career after marrying Elliott, maintaining her contract with Harper’s and illustrating 19 books, all while attending to her domestic and social responsibilities as Mrs. Huger Elliott. [1, pg. 194]

Cover illustration by Elizabeth Shippen Green Elliott, 1922

Violet OakleyThe Public Ledger, February 5, 1928

Newly added to the Digital Library, this issue of the Public Ledger includes a photographic reproduction of a medal designed by Oakley for the Philadelphia Award, which was created and sponsored by author and editor Edward W. Bok.

This was not Oakley’s only public commission within Pennsylvania. Earlier in 1906, Oakley would debut one of her most high profile commissions, a set of murals recounting the history of William Penn for the Governor’s Reception Room at the State Capitol in Harrisburg, which are still on display to the public. The murals were critical to her career as a muralist and enjoyed enormous popularity, though they were not without their critics. These murals would  be followed by commissions for the State Senate and Supreme Court Chambers, completed in 1919 and 1927 respectively.  

Portrait of Edward W. Bok (left), design by Violet Oakley for the Philadelphia Award (right).
Public Ledger, v. 184, no. 134, page 31

Jessie Willcox SmithA Child’s Garden of Verses and The Children of Dickens

The eldest of the Red Rose Girls, Smith is represented in the library’s circulating collections in two books: A Child’s Garden of Verses by Robert Louis Stevenson (1905) and The Children of Dickens by Samuel McChord Crothers (1925). Her illustrations for both works display her trademark styles; children as subjects, realistic environments, and detailed costuming. But there is also a sense of idealism within them, a style referred to as ‘romantic realism’ by professor Mark W. Sullivan [2], where the imaginative world of a child is given precedence and legitimacy.

Illustration by Jessie Willcox Smith.
from A Child’s Garden of Verses

Illustration by Jessie Willcox Smith.
from A Child’s Garden of Verses

Illustration by Jessie Willcox Smith.
from The Children of Dickens

Illustration by Jessie Willcox Smith.
from A Child’s Garden of Verses

Smith found enormous success in publishing, with clients such as Harper’s, Collier’s, Scribner’s, Ladies’ Home Journal, Good Housekeeping, and illustrations for over 60 books. In 1991, she was the third woman inducted into the Society of Illustrators Hall of Fame, followed by Green in 1994 and Oakley in 1996. Of the original Red Rose Girls, only Smith and Cozens would remain together as companions and partners, until Smith’s death in 1935. [3]

You can learn more about the works of Green, Oakley, and Smith in the book The Red Rose Girls: An Uncommon Story of Art and Love by Alice A. Carter, as well as Carter’s interview with the Illustration Department podcast, and in an essay by Villanova professor Mark W. Sullivan for The Encyclopedia of Greater Philadelphia.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.

References

[1] Carter, Alice A. The Red Rose Girls : An Uncommon Story of Art and Love. New York, Harry N. Abrams, Inc., 2000.

[2] Sullivan, Mark W. “Red Rose Girls.” The Encyclopedia of Greater Philadelphia, 2015, philadelphiaencyclopedia.org/essays/red-rose-girls/.

[3] “Jessie Willcox Smith.” Wikipedia, 31 Oct. 2020, en.wikipedia.org/wiki/Jessie_Willcox_Smith.


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The Printed Image: “Phiz” and the Illustrated Works of Charles Dickens

This February installment of ‘The Printed Image’ serves as a belated commemoration of the birthday of Charles Dickens (February 7), by highlighting the work of one of his most frequent illustrators, Hablot Knight Browne (1815-1882). Also known by the pen name “Phiz” to complement Dickens’s own moniker “Boz”, Browne illustrated seven of Dickens’s fifteen novels, among them Nicholas Nickleby, The Old Curiosity Shop, Dombey and Son, David Copperfield, Little Dorrit, and A Tale of Two Cities.

Browne’s illustrations for Dickens are represented in Falvey’s Special Collections in two works: a complete set of the original serialization of The Life and Adventures of Nicholas Nickelby from 1838-1839, and in The Writings of Charles Dickens, a 32 volume set printed by the Riverside Press in Cambridge, Massachusetts, published by Houghton Mifflin & Company in 1894.

(Click on the illustrations in this blog post for a larger view.)

“I am married”
from David Copperfield

When I first encountered Browne’s illustrations in Dombey and Son, I was struck by how contemporary they appeared to be; their humor, their expression, their energy. It was a style I could see traces of in modern day comics, cartoons, and illustrations, yet I was surprised to discover they were made and published for the original serializations. The stories of Charles Dickens as “classics” can sometimes have an imposing reverence, so to see how they were published to a Victorian-era public helped to make them more accessible.

 

“The Shadow in the Little Parlour”
from Dombey and Son

“Coming Home from Church”
from Dombey and Son

Browne belonged to a ‘caricaturist’ school of illustration that was popular at this time, a style that included other Dickens illustrators such as George Cruikshank and John Leech, but was opposed aesthetically by the more formal Royal Academician style. As Browne’s son Edgar wrote,

“To this faculty of reproducing at will unconscious impressions he owed most of his excellences, together with most of his faults. Careful adherence to fact, and conscientious reproduction of the model and still life, would have resulted in drawing that might have had a great artistic value, but would not have represented Dickens in the slightest degree.” [1]

 

“Theatrical emotion of Mr. Vincent Crummles”
from Nicholas Nickleby

“The last brawl between Sir Mulberry and his pupil”
from Nicholas Nickleby

 

While Browne was initially apprenticed as a line-engraver to William Finden, he left this apprenticeship to start his own studio with Robert Young, preferring etchings and watercolors for his artistic output. [2] While engraving uses fine tools to create a design on metal or wood, etching is a method where a drawing or design is incised onto a metal plate with acid, allowing for an illustrator’s drawing style to be more readily replicated for the printed page, as a stylus is used to define the areas that will be etched. We can see evidence of this in Browne’s mark-making in the illustrations and in his extensive use of hatching and cross-hatching.

One intriguing aspect that can be found in some of Browne’s illustrations is the use of a “dark plate” method, where a gray tone is used within the background, created using a ruling machine on the plate. [3] This was undertaken partly as a way to control how the illustrations were reprinted; due to the popularity of Browne’s illustrations, publishers would reproduce them through lithographic stones, a practice which displeased Browne. The dark plate method made it nearly impossible for this kind of transfer to occur, thus bringing Browne some measure of artistic control. [4]

“The Wanderer”
from David Copperfield

 

“Visitors at the Works”
from Little Dorrit
(‘dark plate’ illustration)

“The River”
from David Copperfield
(‘dark plate’ illustration)

Nicholas Nickelby and The Writings of Charles Dickens may be viewed in the Rare Book Room by appointment. Falvey’s Digital Library includes a Charles Dickens collection, which includes a volume of collected works, illustrated prints, and letters written by Dickens. To see more work by Hablot Knight Browne, you can visit the British Museum and the Royal Academy. To learn more about the etching process, visit this tutorial at the Metropolitan Museum of Art.

Finally, if you happen to be visiting Philadelphia, stop by the Free Library’s Rare Books department to visit Grip the Raven, who has a most curious connection to both Charles Dickens and Edgar Allan Poe.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.

References
[1] Simon, Howard. 500 Years of Art in Illustration. New York : Hacker Art Books, 1978. Page 114.

[2] “Hablot Knight (Phiz) Browne | Artist | Royal Academy of Arts.” www.royalacademy.org.uk, www.royalacademy.org.uk/art-artists/name/hablot-knight-phiz-browne.

‌[3] “Hablot Knight Browne (1815-1882).” Illustrating Dickens’ World – WPI Digital Exhibits, 27 June 2023, exhibits.wpi.edu/spotlight/illustrating-dickens/feature/hablot-knight-browne-1815-1882.

[4] “Hablot Knight Browne.” Wikipedia, Wikimedia Foundation, 16 Nov. 2019, en.wikipedia.org/wiki/Hablot_Knight_Browne.


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The Printed Image: Cecil Ffrench Salkeld and ‘Red Barbara’

The Printed Image returns in 2024 by taking a closer look at one of the illustrated books that entered the public domain earlier this month; Liam O’Flaherty’s Red Barbara and Other Stories, illustrated by Cecil Ffrench Salkeld, published in 1928. This book is not only included in Falvey Library’s Special Collections, but the entirety can be read in the Digital Library.

Illustration for Red Barbara

The book contains four of O’Flaherty’s short stories, each one accompanied by a Salkeld illustration. Salkeld uses a sharp, clean line in the illustrations, with a unique stylization based upon the shape and form of the figures and the environment; there is no rendering or shading to add further definition to the subjects, just the essentials. While there may not be a unifying visual element among the four illustrations, there is a quality of menace that recurs through the images, from the crowd of onlookers in Red Barbara to the stormy ocean waves of The Oar.

I could not confirm how the original illustrations were made, but the quality of the line suggests pen-and-ink drawing. However, Salkeld also worked in printmaking, so it’s possible the original art could have been made through etching, a line engraving, or a lithographic process. The gray wash of the illustrations even resembles an etching plate or lithographic stone. The printed illustrations in the book itself rest on the surface of the textured paper without any evidence of pressing or indentation, so it’s likely that the book was produced by an offset printing method, by the printing house of William Edwin Rudge in Mount Vernon, New York.

Illustration for Prey

Illustration for The Oar

Though Cecil Ffrench Salkeld may seem to be an obscure figure nowadays, he was an active participant in the artistic and literary life of Dublin in the 20th century. Born in 1904 to Irish parents in India, his mother Blanaid, herself a poet, actress, and translator, returned to Ireland with Cecil in 1910 upon her husband’s death. Cecil entered the Dublin Metropolitan School of Art at the age of 15 and continued his studies in Germany at the Kassell Kunstschule, before having his first solo show in 1924 at the Dublin Painter’s Gallery. [1]

From 1937 to 1946 Cecil and Blanaid operated the Gayfield Press, which highlighted and supported writers within the Dublin literary scene. He was a co-founder of the Irish National Ballet School, with ballet and dancers serving as subjects for many of his paintings. A mural he painted for Davy Byrne’s pub can still be seen today, a locale made famous by its inclusion in James Joyce’s Ulysses. Finally, his daughter Beatrice was married to the writer Brendan Behan, and Cecil served as the basis for the character of Michael Byrne in Flann O’Brien’s At Swim Two Birds. [2]   

Illustration for The Mountain Tavern

Red Barbara can be viewed in the Rare Book Room by appointment or in the Digital Library. To learn more about Blanaid Salkeld and her role with the Gayfield Press, please visit The Irish Times. To learn more about the history and development of offset printing, please visit Prepressure.

Sources
[1] “Cecil Ffrench Salkeld ARHA 1904 – 1969, Irish Artist.” Adams.ie, www.adams.ie/irish-artist-directory/cecil-ffrench-salkeld-arha-art-sold-at-auction.

[2] “Cecil Ffrench Salkeld.” Wikipedia, 21 Nov. 2023, en.wikipedia.org/wiki/Cecil_Ffrench_Salkeld.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.


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The Printed Image: Gustave Doré and Paradise Lost

For the final 2023 installment of The Printed Image, I’m continuing our exploration of illustrated works by Gustave Doré within Falvey Library’s Special Collections, this time focusing on John Milton’s epic poem Paradise Lost, in a large format edition published in 1886 by Cassell, Petter, and Galpin.

In my last blog post, we ended with Doré’s depiction of Satan in the deepest circle of Hell, a giant brooding beast encased in ice. Doré’s work within Paradise Lost can be seen as a prequel of sorts, as Milton and Doré, separated by centuries, depict Satan’s rebellion and war with Heaven, his fall to Hell, and his temptation of Adam and Eve.

(Click on images for larger view.)

“Forthwith upright he rears from off the pool / His mighty stature.” Engraved by Charles Laplante.

“With head, hands, wings, or feet, pursues his way, / And swims, or sinks, or wades, or creeps, or flies.” Engraved by Adolphe Gusmand.

“Now storming fury rose, / And clamour, such as heard in heaven till now / Was never.” Engraved by A. Demarle.

While Milton’s poem features Adam and Eve as key characters, Doré’s illustrations are dominated by the angelic and the demonic, playing to his strengths for dynamic and dramatic imagery. These divine figures are visualized alone within heavenly or infernal realms, or within congregations that are in active conflict. One notable detail is that, with the exception of the wings, there is sometimes little difference between angel and demon, they share nearly the same face and figure. Even Satan doesn’t assume a more sinister appearance until later in the series of illustrations.

“Now Night her course began.” Engraved by Adolphe Ligny (detail).

Another quality that struck me within these illustrations is Doré’s combination of light and the horizon as a way to create an evocative setting. In several instances, Doré sets the scene in a landscape where an edge of light hovers just above the horizon, a liminal realm still waiting to be fully defined and created. While one may assume this is the light of dawn, it could easily be the fading light of dusk, a symbol for the fallen angels. While Doré’s compositional strengths show through here, credit must also be given to his engravers who brought his drawings to life via wood engraving, capturing the light and the way it reveals these unique worlds.

“They heard, and were abashed, and up they sprang.” Engraved by Laurent Hotelin.

“On the foughten field / Michael and his angels, prevalent, / Encamping, placed in guard their watches round.” Engraved by Adolphe Ligny.

“And seems a moving land; and at his gills / Draws in, and at his trunk spouts out, a sea.” Engraved by Hildibrand.

A final observation is that one may recognize certain compositional elements with other Doré illustrations. Doré made nearly 10,000 illustrations during his lifetime, so it only makes sense that his style would rhyme within his body of work. Compare the illustration for Satan’s approach to Earth (below left) with the haunting illustration for Edgar Allan Poe’s The Raven, and Nine days they fell (below right) with Dante swoons after hearing Francesca from Dante’s Inferno.

“Towards the coast of Earth beneath, / Down from the ecliptic, speed with hoped success, / Throws his steep flight in many an aery wheel.” Engraved by Paul Jonnard.

“Nine days they fell.” Engraved by Adolphe Gusmand.

“In with the river sunk, and with it rose, Satan.” Engraved by Paul Jonnard (detail).

Paradise Lost may be viewed in-person in Falvey Library’s Rare Book Room by appointment. An edition with Doré illustrations from 1900 can be viewed at Internet Archive. And Gustave Doré’s biblical illustrations continue to be on display in the Divine Inspiration exhibit, on view on Falvey Library’s first floor.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.


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The Printed Image: Gustave Doré and Dante’s Inferno

For this October installment of The Printed Image, we’re continuing the exploration of Gustave Doré’s illustrated works within Special Collections while also journeying to an underworld of doom and darkness.

Doré’s illustrations for Dante’s Inferno have defined this literary masterwork for modern audiences, to the point where readers may know the images without knowing the artist. Doré began work on the illustrations in 1855 and eventually self-published his own edition in 1861, after he was unable to find a publisher willing to take the financial risk. Doré’s own risk paid off, and the Inferno illustrations became a defining point in his career. [1] (The edition in Falvey’s Special Collections was published later by P.F. Collier in New York.)

Hell, as depicted by Doré and his engravers, is a desolate, desiccated realm; a smoldering, scorched earth with jagged, sharp rocks and barren landscapes, where lost souls swirl through the air as the damned are tormented alongside the monsters and gods of pagan days past. Surprisingly, we don’t see much in the way of fire depicted in these illustrations; the Inferno has already occurred, Hell is what remains.

Dante swoons after hearing Francesca’s story, engraved by Louis Paul Pierre Dumont

Arrival of Geryon, engraved by Adolphe François Pannemaker

Dante addresses Pope Nicholas III, engraved by Adolphe François Pannemaker

Virgil addresses the False Counselors, engraved by Héliodore Pisan

As mentioned briefly in my previous post, Doré’s prolific illustration output would not have been possible without the engravers who helped bring his drawings and designs into print. Within the Inferno illustrations, we can see that an engraver’s treatment of a Doré drawing could impact the tone and atmosphere of the final image, which we can see in the pair of following illustrations.

The image on the right, engraved by Héliodore Pisan, is composed with a density of lines and marks, many of them short cuts and stipples that create a gradual gradation from the dark landscape in the background to the bright flame within Farinata’s tomb.

This is contrasted with the illustration below, by an engraver only known as ‘Delduc,’ where the negative space dominates the image. We can see evidence of an engraver’s tools in its making, but it also closely resembles a pen-and-ink drawing, which is not an easy feat for a wood engraving. Pisan’s treatment creates an aura of dark menace while Delduc presents Hell’s torments with clarity and precision.

Virgil and Dante before Farinata degli Uberti, engraved by Héliodore Pisan

Sowers of Discord in the Ninth Circle, engraved by ‘Delduc’

No overview of Dante’s journey would be complete without remarking upon the deepest and darkest circle of Hell, where Satan resides. Doré presents Satan not reveling in his kingdom but brooding, trapped in ice, a creature of frustration and simmering grievances. How he came to be there, by means of Doré and a different author, will be featured in the next Printed Image installment.

Dante’s Inferno may be viewed in the Rare Book Room by appointment. To see more illustrations based on Dante’s works, please visit the online exhibit Dante Illustrated, which includes a reading from the Inferno by Father Peter Donohue, O.S.A. To learn more about Gustave Doré, watch this video on Peter Beard’s illustration Youtube channel. And visit Open Culture to view illustrations Doré created for Dante’s Purgatorio and Paradiso.

Satan, engraved by Héliodore Pisan

References
[1] “Gustave Doré’s Hauntingly Beautiful Illustrations for Dante’s Inferno.” The Marginalian, 2 Oct. 2015, www.themarginalian.org/2015/10/02/gustave-dore-dante-inferno/.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.


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The Printed Image: Doré Fairy Tales

Over the course of the fall semester, I’ll be highlighting books from Falvey Library’s Distinctive Collections featuring the work of French illustrator Gustave Doré. This is in conjunction with the new exhibit Divine Inspiration: Revealing the Sacred in Biblical Texts and Imagery, now on display on the first floor of Falvey Library. Doré created over 200 biblical illustrations for an edition of the Bible published in 1866, and a case in the exhibit is dedicated to his work, as well as being included on the exhibit poster.

For this first entry in the series, we’re focusing on illustrations Doré created prior to his biblical illustrations with Doré Fairy Tales (formally titled “Popular Fairy Tales”), a 32-page volume that collects four stories, published in 1888. An author is not credited for the text, but Doré’s illustrations most likely derived from illustrations he created for Charles Perrault’s fairy tales, around 1862.

Illustration for ‘Little Red Riding-Hood’

An artistic prodigy and enormously prolific, Doré earned acclaim for his book and newspaper illustrations while striving for acceptance in the traditional French art establishment. The majority of his illustrations were produced through wood engraving, a process where an image is carved into a block of wood by carving away the negative space of the image. Ink can then be rolled onto the carved surface and subsequently printed, though often metals plates were created from the blocks by means of electrotyping or stereotyping, allowing the images to be used in industrial printing, and for wider dissemination of the illustrations [1].

Doré was able to utilize the engraving medium to add a staggering level of detail to his illustrations, with expressive costuming, characters and locales. The illustrations have a strong grounding in realistic environments, but still leave room for the strange and fantastic, as seen in the illustrations for The Seven-League Boots. But these qualities are also due to the engravers who collaborated with Doré, as they were the ones who carved the woodblocks based on Doré’s drawings, thus bringing his visions to life. Doré often drew directly onto the woodblocks prior to carving, so not much evidence remains of his preparatory drawings prior to an engravers’ tools [1].

Illustration for ‘The Seven-League Boots’

Illustration for ‘Blue-Beard’

Illustration for ‘The Seven-League Boots’

Engraver’s signature for ‘Blue-Beard’

In many cases, the engraver’s signature would be included on the illustrations along with Doré’s, as can be seen in the bottom left corner of a Blue-Beard illustration. However, for many of the illustrations in this particular edition, Doré’s signature is the only one that is prominent. This could be due to the way the illustrations were formatted for this particular edition, or how the printing plates were disseminated to the publisher.

One final aspect I’ll note is the paper used for this edition. The paper has a significant texture or “tooth” to it that is detectable when reading, and brings a unique character to the illustrations. But it also creates an uneven surface for the ink to rest upon, which may account for spots where it appears the ink has been rubbed away. This is a reminder that every variable in printing will impact a book and its contents, and will be a factor in its preservation.

Detail for illustration from ‘Blue-Beard’

Doré Fairy Tales may be viewed in Falvey Library’s Rare Book Room by appointment. Internet Archive includes a number of editions with Doré fairy tale illustrations, and you can learn more about the importance of engraving to Doré’s process by visiting The History of Art.

References
[1] Schaefer, Sarah C., ‘The Good News’, Gustave Doré and the Modern Biblical Imagination (New York, 2021; online edn, Oxford Academic, 18 Nov. 2021), https://doi.org/10.1093/oso/9780190075811.003.0003

 


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.


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The Printed Image: The Golden Legend

For this installment of The Printed Image, I’m returning to a book format to highlight the illustrations of Sidney H. Meteyard for The Golden Legend, a narrative poem written by Henry Wadsworth Longfellow. This particular edition was published by Hodder & Stoughton in New York, around 1910.

Taking place in medieval Italy, the poem recounts the struggles of Prince Henry of Hoheneck, who is stricken with a malady that can only be cured by the blood of a maiden who consents to die for his sake. Through the machinations and deceptions of Lucifer himself, Henry loses his princely seat and becomes an outcast, finding solace only with Elsie, the daughter of a former vassal. Elsie is so moved by his plight that she decides to sacrifice her life for his, so as to become closer to Christ. Eventually, Elise is kidnapped by Lucifer and rescued by Henry, who is miraculously healed during the rescue effort. The two lovers are happily married, and Henry is restored to his princely seat.

Title page for The Golden Legend, printed with gold ink.

Meteyard’s illustrations capture Longfellow’s story with precise, detailed paintings, filled with rich costuming and environments. Working in a late Pre-Raphaelite style, his illustrations bear similarities to the paintings of Edward Burne-Jones and Dante Gabriel Rossetti. Upon first seeing them, I was also reminded of the works of illustrators Howard Pyle and N.C. Wyeth, who would work with similar medieval subjects and compositions in their own works. While Meteyard’s illustrations are rooted in realistic environments and subjects, he also finds ways to refer to the fantastic, romantic, and macabre elements of the story.

‘It was a dream, and would not stay;
A dream that in a single night
Faded…’ (page 108)

‘A poor old woman with a rosary,
Follows the sound, and seems to wish her feet
Were swifter…’ (page 116)

‘It seems to me
The body of St. Catherine, borne by angels!’
(page 119)

In the book itself, each illustration is protected by a thin sheet of transparent paper which includes a quote from the poem, acting in a way as a title for the illustration itself. Additionally, you may detect from these photos that the illustrations are are not entirely affixed to the pages, as they almost float above the page with just a bit of adhesive on the top portion.

Technically, these printed images would be referred to as tipped-in plates, where they are printed separately from the text of the book using a different printing process and then added later. This could be done for a variety of reasons; in this case, it allows the images to be printed through a lithographic process, thus reproducing as closely as possible Meteyard’s paintings, while the text of the book could be printed on letterpress. By using multiple printing methods, this creates a way to include color illustrations in a way that may not have been achievable through simply one printing method at the time.

‘I saw her standing on the deck
Beneath an awning cool and shady’ (page 146)

The Golden Legend may be viewed in Falvey Library’s Rare Book Room by appointment. A similar edition of this book is also available digitally through Open Library.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.


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The Printed Image: Max Aub’s ‘Juego de Cartas’

For this installment of The Printed Image, I’m taking a departure from book-related items in Distinctive Collections to highlight a unique set of playing cards. Titled Juego de Cartas, the cards include the typical suits of hearts, diamonds, clubs and spades, but the back of each card also includes a note written from one character to another, related to the mysterious life and death of Máximo Ballestros.

The cards are the creation of Max Aub, a Mexican-Spanish experimental novelist, playwright, poet, and critic. Born in Paris in 1903, Aub’s family emigrated to Spain during World War I and became Spanish citizens. At the onset of World War II, Aub was forced into exile and settled in Mexico, joining other Spanish exiles, and where the majority of his professional writing took place.

Card box for Max Aub's Juego de Cartas.

Card box for ‘Juego de Cartas.’

The Three of Clubs drawing from Max Aub's Juego de Cartas.

The Three of Clubs card drawing and text.

Text from the Three of Clubs card from Max Aub's Juego de Cartas.

As stated in the rules on the back of the card box, a set of cards are dealt to the game players, each one taking turns reading the note on their card. Players then take turns pulling and reading cards from the remaining deck until it is finished, the winner being the one who can guess the identity of Máximo Ballesteros.

The drawings on the cards are attributed to Jusep Torres Campalans, who was the subject of a fictitious biography that Aub wrote in 1958, so we may surmise that Aub himself drew the cards. The drawings veer close to abstraction, but still recall the iconic nature of playing cards as we know them today. The drawings also include other symbols and characters, such as cups and swords, which recall the iconography of tarot cards. These attributes, along with their larger size (4.25 x 6.75 inches each), help in creating a dual meaning for the cards.

Text from the King of Spades card from Max Aub's Juego de Cartas.

Text and drawing for the King of Spades card.

The King of Spades card drawing from Max Aub's Juego de Cartas.
The Ace of Hearts card drawing from Max Aub's Juego de Cartas.

The Ace of Hearts.

Only a couple of Aub’s works have been translated into English, and Juego de Cartas still remains only available in the original Spanish and French text. But even if the language proves to be a barrier to some, the deck still stands as a remarkable object, presenting a unique example of story deconstruction, where the act of reading becomes both a game and a storytelling device itself.

Juego de Cartas is available to view in Falvey Library’s Rare Book Room by appointment only.


Mike Sgier is a Distinctive Collections Coordinator at Falvey Library.

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Poetic License: Epics Across Time

My exhibit case for Poetic License: Seven Curators’ Poetry Selections from Distinctive Collections focused on epic poetry from the Western tradition and the poets who played a key part in translating these works. A reader’s encounter with epic poetry is often through a translation, and so the craft of the translator becomes an integral element, acting as a conduit between the original language of the epic and the audiences of the translator.

My selections included four translated works from the library’s Special Collections. This journey naturally begins with The Iliad of Homer, translated by Alexander Pope between 1715-1720. Pope drew wide acclaim at the time of its publication, and the work helped fulfill a longtime fascination he had with Homer. However, Pope may have taken a few liberties in his translation, as the critic Richard Bentley is reported to have said, “It is a pretty poem, Mr. Pope, but you must not call it Homer.” The edition on display, published in 1853 by Ingram, Cooke, and Co., includes designs and illustrations throughout by John Flaxman.

The Iliad of Homer, translated by Alexander Pope, design by John Flaxman.

In addition to translation, Homer’s epics would prove inspirational for original works. The Roman poet Virgil created his own epic with The Aeneid, about the hero Aeneas’ wanderings after the Trojan War, which bear similarity to the wanderings of Homer’s Odysseus. On display is The Aeneid from the Works of Virgil : In Latin and English, translated by Christopher Pitt, who was a contemporary and friend to Alexander Pope. This edition, published in 1778 by J. Dodsley in London, includes the Latin text of the original facing Pitt’s English translation. Though the English text may also require some deciphering to modern audiences, as the printed type used the ‘long S’ throughout.

The Aeneid from the Works of Virgil : In Latin and English, translated by Christopher Pitt.

Cover to the limited edition of Beowulf,
translated by Seamus Heaney.

Our journey continues to northern Europe and the land of the Danes, of the king Hrothgar, the monster Grendel, and a hero named Beowulf. Considered a foundational work in English poetry, Beowulf was introduced to a new generation of readers thanks to the translation of Irish poet Seamus Heaney, who brought a fresh, visceral energy to the text. The limited edition on display includes the opening of the poem in Old English, with text replicated from the only surviving manuscript, facing the English translation. The edition is also autographed by Heaney, who was a frequent visitor to Villanova University thanks to the Center for Irish Studies.

Our journey ends in Ireland itself with The Táin, the Irish Iron Age epic about Queen Medb and King Ailill’s war against Ulster, and the demigod Cuchulainn who stood against them. Irish poet Thomas Kinsella serves as the translator for the edition on display, and while much of the epic is a prose work, the monologues and dialogues are presented in a verse form, connecting it to a poetic tradition. This edition also includes ink drawings by Louis le Brocquy, which bring a brutal, raw, and mysterious atmosphere to the battles that the poem recounts.

Louis le Brocquy ink drawing from The Táin,
translated by Thomas Kinsella.

 

 

Poetic License is currently on display on the first floor of Falvey Library. Join us on Thursday, April 20 from 4-5:30pm to celebrate the exhibit, which will include an open mic event. Attendees are invited to share a favorite poem or piece of creative writing to share with the community during the reception.

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The Printed Image: Wuthering Heights

Bleak, haunted moors. Doomed lovers and fiery passions. Wuthering Heights, the sole novel written by Emily Brontë, still stands as a remarkable work of Gothic fiction, as it chronicles the tangled lives of the Earnshaw and Linton families, at the center of which is Heathcliff, the Byronic anti-hero who is adopted by the Earnshaws but who is slighted and seeks a long revenge against the families.

One of the more unique visual adaptations of the book is an edition in Falvey’s Special Collections, illustrated by German-American printmaker Fritz Eichenberg. The black-and-white illustrations, created originally through wood engraving, are stark, bold, and capture the tumultuous and haunted atmosphere of Brontë’s story.

“I’m come home: I’d lost my way on the moor!” (page 15)

In a previous post, I wrote about metal engraving in the illustrations of Felix Darley, and while there are similarities between wood and metal engraving processes, there are some key differences which give Eichenberg’s illustrations their unique style. Wood engraving is a relief method of printmaking, where ink is rolled onto the surface of a carved block of end-grain wood, unlike metal engraving where ink is pressed into carved lines. So, the white lines or areas of negative space we see in Eichenberg’s illustrations are areas that have been carved away in the actual block of wood, using fine-tipped burins.

Eichenberg is adept at using his tools to create the atmosphere of Brontë’s world. In one illustration of young Catherine Earnshaw, the fine lines in the background can be interpreted as both the rolling hills and the clouds covering the Yorkshire moors. In another, these fine lines mimic fog while also defining the features of Heathcliff’s face, representing a feverish, internal obsession weighing upon Catherine’s mind. Finally, this doubling nature appears in an illustration where Heathcliff and Catherine embrace, the lines in the background defining both the folds of the curtain and the wind from the open window, defining the lifelong companions and would-be lovers.

She kept wandering to and fro, from the gate to the door… and at length took up a permanent situation on one side of the wall, near the road… (page 53)

“Oh! Nelly, the room is haunted! I’m afraid of being alone!” (page 78)

“I have not broken your heart – you have broken it; and in breaking it, you have broken mine.” (page 102)

One of Eichenberg’s most striking illustrations in the book shows the external environment expressing the internal turmoil of its subject, as Heathcliff digs up Catherine’s grave late in the novel. Harsh hatch marks and stipples cover both the cold night sky and Catherine’s headstone, as Heathcliff’s face is contorted into a mixture of  rage, madness, and grief.

This would not be Eichenberg’s only encounter with the Brontës; an illustrated edition of Charlotte Brontë’s Jane Eyre would be published the same year as Wuthering Heights. Other illustrated books by Eichenberg include Crime and Punishment, The Brothers Karamazov, Gulliver’s Travels, Till We Have Faces: A Myth Retold, and Anna Karenina. He also contributed numerous illustrations to the Catholic Worker after befriending Dorothy Day in 1949.

“I’ll have her in my arms again! If she be cold, I’ll think it is this north wind that chills me; and if she be motionless, it is sleep.” (page 181)

On a final technical note, an editor’s description at the beginning of this edition states that the illustrations were reproduced using electrotype. This is a process where a metal plate reproduces the original wood engraving, making it easier to fit in with the type when the book is put into production. This process still maintains the relief quality of the wood engraving, so what we see on the printed page remains true to Eichenberg’s work.

Wuthering Heights may be viewed in the Rare Book Room during walk-in hours (Wednesday 9:30-11:30am, Thursday 2-4pm) or by appointment. Books illustrated by Fritz Eichenberg in Falvey’s circulating collection include Gulliver’s Travels, Fathers & Sons, The Long Loneliness: The Autobiography of Dorothy Day, and Works of Mercy.

To learn more about wood engraving, please visit The Wood Engravers’ Network. To learn more about electrotyping, please visit Wikipedia.

I lingered round them, under that benign sky… and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth. (page 212)


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Last Modified: April 12, 2023

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