Thursday, October 23, 2008

The Architecture of Fantasy I

Pictores Statuarii Architecti


Pictores Statuarii Architecti a


Pictores Statuarii Architecti b


16th century funeral monument


baroque crypt design


Hydriatitel - grotesque 16th century jug


Saliniumtitel - grotesque sideboard


Perspective d


Perspective e


Perspective c


Perspective


Perspective a


Perspective b


Het labyrinth wordt - 16th century garden layout design


Labyrinth - garden architectural design


Caryatidum (Vulgas Termas vocat) 1565 c


Caryatidum - embellished architectural plinths or columns


Caryatidum (Vulgas Termas vocat) 1565 quartet


Caryatidum (Vulgas Termas vocat) 1565 quartet a


Caryatidum (Vulgas Termas vocat) 1565 quartet b



16th century designs by Hans Vredeman de Vries, sourced from Rijksmuseum, University of Heidelberg, Frisian Historical and Literary Centre and Ornamental Prints Online.


Originally, the intention here was to focus in on the outlandish columns and plinths (from 1565) seen in the last half dozen or so images above. But providence would have it that the large-ish format images of the desired material was accompanied by some of the most intrustively toxic watermarking it has ever been my misfortune to encounter.

My energy and patience was zapped after painstakingly - and not quite successfully- removing or reducing the watermarks in the two larger images featuring columns. So the rest were assembled into quartets of the smaller versions by way of compromise. (many of the balance of the above images were background cleaned too, just by the way)

I was drawn to the columns because they pre-date a few other sets of ornate fantasy pedestals or caryatids that have been showcased on BibliOdyssey previously. Together, all these works appear to constitute something of a genre of onwardly-evolving architectural design fantasies, restricted only by the imagination of each of the artists/engineers/architects involved. Check out the following old entries to see the weird permutations of the 'style' (and no doubt this collection is woefully incomplete, in the bigger academic picture, but nevertheless very cool in the "I had no idea gobbling down handfuls of magic mushrooms was a prerequisite for architectural design in the 16th century" kind of way) ...

In year order of publication:

The silver lining to the watermark conundrum, of course, was finding a slew of extravagant, marvellous, and curious designs by de Vries, covering such a wide range of subject matter that it warranted posting two entries. And perhaps the weirder images are yet to come.

***Be sure to see the follow-up, The Architecture of Fantasy II, for more examples, background detail and links***

Monday, October 13, 2008

L'Art Arabe

mosquée cathédrale de Qous - décoration en faïence (XVIe. siècle)


panneau ovoïde de faïence


parallèle de dômes


Arabesques - double frontispice d'un Qorân mauresque (XVIIIe. siècle)


Arabesques - fragments d'ornementation d'un Qoran du tombeau de soultan el-Ghoury (XVIe. siècle)


Arabesques - fragments d'ornementation d'un Qoran du tombeau de soultan el-Ghoury (XVIe. siècle) a


Arabesques - fragments d'ornementation d'un Qoran du tombeau de soultan el-Ghoury (XVIe. siècle) b


incrustations en stuc sur pierre (du XVIe. au XVIIIe. siècle)


mihrab de la mosquée de Cheykhoun - faïences murales


mosquée d'El-Bordeyny - frises et bordures des petites chambres (XVIIe. siècle)


mosquée d'El Nesfy-Qeyçoun - détails des boiseries du mihrab (XIVe. siècle)


mosquée de Thelay Abou-Rézyq - détails du mimbar (XVe. siècle)



mosquée de Thelay Abou-Rézyq - détails du mimbar (XVe. siècle) a


Gâmá el-Seydeh Zeynab - chemsah ou vitrail en plâtre ajouré (XIVe. siècle)


vase en cuivre étamé - détails d'ornementation


étoffe de tenture (XIIe. siècle)


études de feuilles & de fleurons peints sur faïence (grandeur d'exécution)


armes de Toman-Bay - ensembles et détails (XVe. siècle)


'L'Art Arabe d'après les Monuments du Kaire Depuis le VIIe Siècle jusqu'à la fin du XVIIIe', 1877 by Émile Prisse d'Avennes at NYPL. More than two hundred plates. Sublime.


"'L'art Arabe', a rare collection of breathtaking set of plates (wood engraving, heliogravures and color lithographs) of the famous Islamic-Arab designs and ornaments published by the French art historian Prisse d'Avennes sometime during 1869 after buying them from the sixty or so French artists who accompanied Napoleon Bonaparte on his compaign against Egypt in 1798. Those selective group of artists were assigned by the Emperor to illustrate the art treasures of rare architectural ornament (tiles, wood carvings, paintings on walls and ceilings, woven hangings), carpets, paper appliques and illuminated books.

After the failure of the Emperor's campaign, those artist dispersed in the Arab land, each to his devices, depicting in overwhelming illustrations the riches of the Islamic Arab east. It took Prisse d'Avennes more than twenty years to collect those masterpieces and then to publish them in exquisite plates with incredible accuracy, stating that his principal goal was to furnish exciting visual ideas to decorative artists of his own day.

Prisse d'Avennes published the collection in three volumes, which constituted a grammar of Islamic decorative art in its authentic color unmatched except on the walls of Alhambra palace in Granada and some of the mosques of Cairo and Damascus." [source]

This post comes circuitously via Archivalia who advised of the efforts of the Cardiff Heritage Friends in Wales to prevent the fire-sale of the Cardiff Public Library's rare book collection. The latest news is encouraging. {Prisse is mentioned as one the authors}

UPDATE: The International School of Information Science has the whole of 'L'art Arabe' available in a flash website [info. about the project]. Nb. I couldn't get this site to work in FFox with the Flashblock plugin, but I got it to work in Chrome. {thanks Sonia!}

River Deep Mountain High

Comparative Perspectives -
Heights of Mountains, Lengths of Rivers


[click on any image for the large version. Very large versions also available]



Comparative Heights of the Principal Mountains and Lengths of the Principal Rivers (Darton + Gardner) 1823

Illustration Title: Comparative Heights of the Principal Mountains and Lengths of the Principal Rivers of The World

Publisher: William Darton

Publication Title: 'New and Improved View of the Comparative Heights of the Principal Mountains and Lengths of the Principal Rivers In The World, The whole Judiciously arranged from the various Authorities Extant'.

Author: WR Gardner

Date: 1823


The writing in the top left corner of the plate:

'Notices to the Rivers'

"In the construction of the Rivers, it is necessary to observe that our intention has been to effect three grand objects; First, to give to all their true Geographical course and Figure; Secondly, their Comparative Lengths from their Source to their respective destination, and, lastly, their Lengths as would be obtained by the Sailing of a Vessel in the centre of the Stream, as correct as the best Maps will allow. This explanation will (it is presumed) account for the apparent inconsistency that appears in the arrangement, from the irregularity of their Lengths, which is occasioned by the contraction of some from the numerous meanderings in their course, for Example; the Hoan Ho [Yellow River], appears longer than the Mississippi, the former being more direct, & the latter more numerous in its windings, so with regard to the rest."


from 'Tooley's Dictionary of Mapmakers' --
[bookreview]:

"This may be the earliest chart to depict the heights of mountains and the lengths of rivers together in one illustration, with the rivers hanging down over the mountains. Wolter1 says that Bulla's 'Tableau Comparatif' of 1826 [-see below-] is the earliest of the combined mountain and river type, but he had not seen this chart by Gardner done three years earlier and does not list it. This chart is beautifully done and, while not large in size, it is impressive in its scope.

Full color. Map is mounted on linen, dissected into 8 sections with an end sheet label reading "The Most Approved Modern Maps, Plans, And Charts, Of every Description, From The Best Authorities, Constantly on Sale at William Darton's Map, Print, and Chart Warehouse, 58, Holborn Hill, London...". Map folds into a dark green marbled cardboard case with a turquoise paper label printed with the map title (as above); there is a "William Darton's, Map seller" bookplate label on the back of the case."

1'The Heights of Mountains and the Lengths of Rivers', IN: Quarterly Journal of the Library of Congress, July, 1972. [also, see Wolter's book]



Tableau comparatif des principales montagnes, des principaux fleuves (Bulla) 1820-1829

Print title: Tableau comparatif des principales montagnes, des principaux fleuves et cataractes de la terre d'apres les observations des plus savants voyageurs

Publisher: Chez Bulla (Paris) {engraving by Lallemande}

Date: noted as "1820-1829" but most likely, 1826.



Comparative lengths of the principal rivers throughout the World. Comparative view of mountains. (Cumming) 1829

Illustration Title: Comparative lengths of the principal rivers throughout the World. Comparative view of mountains.

Publisher: Collins & Hannay (New York)

Publication Title: School atlas to Cummings' ancient and modern geography improved

Author: Jacob A Cummings

Date: 1829



A comparative view of the heights of the principal mountains of Scotland (Thomson) 1832

Ilustration Title: A comparative view of the heights of the principal mountains of Scotland {details below}


A comparative view of the lengths of the principal rivers of Scotland (Thomson) 1832

Illustration Title: A comparative view of the lengths of the principal rivers of Scotland. [(with) Comparative view of the height of the falls of Foyers and Corra Linn.]

Publisher: John Thomson, Edinburgh {engraving by WH Lizars}

Publication Title: 'The atlas of Scotland, containing maps of each county, on a scale so large as to exhibit the features of the country, and places of importance; the boundaries of the shires ... Accompanied with a Memoir of the geography of Scotland, view of the comparative length of the rivers, height of the mountains, and a consulting index, to facilitate the finding out of places, &c.' [otherwise known as: John Thomson's Atlas of Scotland]

Date: 1831 (1832)



Distribution of Vegatables and Snow Line + Comparative Lengths of Rivers (Bradford) 1835 a

Print Title: Distribution of Vegatables and Snow Line + Comparative Lengths of Rivers

Publisher: Thomas Gamaliel Bradford (Boston)

Date: 1835

"One of the earliest obtainable comparative charts published in the United States. Divided into the Torrid, Temperate and Frigid zones. The graphics are color coded to show North America in Blue, South America in Yellow, Europe in Red, Asia in Green and Africa in Brown."

[image source] [alternative version - source]



A comparative view of the heights of the principal mountains and lengths of the principal rivers of the World (Thomas + Fenner) 1835

Illustration Title: A comparative view of the heights of the principal mountains and lengths of the principal rivers of the World

Publisher: Joseph Thomas

Publication Title: Thomas's library atlas, embodying a complete set of maps, illustrative of modern & ancient geography.. [title page]

Author: Reissue of Fenner's Pocket atlas of 1830

Date: 1835



Heights Of The Principal Mountains In The World (Tanner) 1836

Illustration Title: Lengths of the Principal Rivers in the World. Heights of the Principal Mountains in the World.

Publisher/Author: Henry S Tanner (Philadelphia)

Publication Title: A New Universal Atlas Containing Maps of the various Empires, Kingdoms, States and Republics Of The World.

Date: 1836



Principal Mountains and Rivers of the World 1844

Illustration Title: A Comparative View of the Heights of the Principal Mountains and Lengths of the Principal Rivers in the World

Publisher: Published by Henry Teesdale & Co. (London) {engraving by J Dower}

Publication Title: A New General Atlas Of The World, Compiled And Constructed With The Greatest Care From The Latest Government And Other Approved Modern Surveys And Authorities, Both English And Foreign

Date: 1844



Heights Of The Principal Mountains In The World (Mitchell) 1846

Illustration Title: Lengths of the Principal Rivers in the World. Heights of the Principal Mountains in the World. {yes, this is a copy of the Tanner image, up above}

Publisher: HN Burroughs (Philadelphia) {lithography by F Humphrys}

Publication Title: A New Universal Atlas Containing Maps of the various Empires, Kingdoms, States and Republics Of The World

Author: Samuel A Mitchell

Date: 1846

"The first issue by Mitchell alone, without Tanner's name on the title page. Tanner issued this atlas first in 1836 with engraved maps, then it was taken over by Carey and Hart in 1843 and converted by them to lithographic maps in 1845. In 1846 Mitchell took over the publishing of this atlas and continued until 1849, after which it was published until 1860 by Thomas, Cowperthwait and then Charles DeSilver."

"This atlas is important in American printing history in that it was the first American atlas to be converted from engraved map plates to lithographic map plates - greatly reducing the cost of production and thus making the book made widely affordable by the general public."



A Comparative View of the Principal Waterfalls, Islands, Lakes, Rivers and Mountains in the Western Hemisphere (Martin + Tallis) 1850

Print Title: A Comparative View of the Principal Waterfalls, Islands, Lakes, Rivers and Mountains in the Western Hemisphere.

Publisher: John Tallis & Co.

Date: ~1850

"This is Tallis’s c. 1850 chart of comparative geographic features for the Western Hemisphere. Shows the islands of New Zealand, Cuba, Iceland etc., the Great Lakes and others, the rivers Mississippi, St Lawrence and Amazon and the mountains with the highest given as Nevada de Sorata, South America. This particular chart was likely not issued with Tallis’ Illustrated Atlas. Given its double fold lines, it is safe to assume that this map was issued to illustrate a book or other text."

"John Tallis and Company published views, maps and Atlases in London from roughly 1838 to 1854. The principal works, expanding upon the earlier works of Cary and Arrowsmith, include an 1838 collection of London Street Views and the 1850Illustrated Atlas of the World. His principle engraver was John Rapkin, whose name and decorative vignettes appear on most Tallis & Co. maps. Due to the decorative style of Rapkin's work, many regard Tallis maps as the last bastion of English decorative cartography in the 19th century."

"Though most Tallis maps were originally issued uncolored, it was not uncommon for 19th century libraries to commission colorists to “complete” the atlas. The London Printing and publishing Company of London and New York bought the rights for many Tallis maps in 1850 and continued Publishing his Illustrated Atlas of the World until the mid 1850s. Specific Tallis maps later appeared in innumerable mid to late 19th century publications as illustrations and appendices." [source]



A Comparative View Of The Principal Waterfalls, Islands, Lakes, Rivers and Mountains, In The Eastern Hemisphere (Martin + Tallis) 1851

Illustration Title: A Comparative View Of The Principal Waterfalls, Islands, Lakes, Rivers and Mountains, In The Eastern Hemisphere

Publisher: John Tallis & Co.

Publication Title: The Illustrated Atlas, And Modern History Of The World Geographical, Political, Commercial & Statistical

Date: 1851

{note: The companion Western Hemisphere illustration, one above, appears in the non-coloured form in this same publication}



Mountains & Rivers (Colton) 1856

Illustration Title: Mountains & Rivers

Publishers: JH Colton & Co. (New York)

Publication: Colton's Atlas Of The World, Illustrating Physical And Political Geography. [..] Accompanied By Descriptions Geographical, Statistical, and Historical

Date: 1856

"This atlas was the first world atlas produced by Colton, after many years of issuing pocket maps, wall maps, guides, and maps for books. The atlas was one of the finest and most accurate of the period - it had a long publishing run, continuing for over thirty years"



Johnson's Chart of Comparative Heights of Mountains and Lengths of Rivers of Africa, Asia, Europe, South America and North America, 1864

Print Title: Johnson's Chart of Comparative Heights of Mountains and Lengths of Rivers of Africa, Asia, Europe, South America and North America

Publisher: AJ Johnson

Date: 1864

"This is a magnificent 1864 hand colored chart or map of the world’s great mountains and rivers. Exhibiting a significant advance over the old Colton Mountains and Rivers chart (which Johnson continued to publish until 1862) this chart is divided into the five continents: Africa, Asia, Europe, South America and North America."

"A. J. Johnson published maps from 1856 to the mid 1880s. He began his publishing empire when, in 1859, he bailed out the fiscally stressed Colton map empire. As part of the deal, Johnson acquired the rights to use Colton’s map plates in his own “Johnson’s Atlas”. Johnson issued the first “Johnson’s Family Atlas” in 1860. With the publication of this atlas he transferred the original Colton steel plate engravings to cheaper lithographic stones, allowing his firm to produce more maps at a lower price point.

The next three years would see Johnson rise to become the most prominent American map publisher of his period. At the outbreak of the Civil War, in 1861, Johnson transitioned his publishing firm from Virginia to New York. Also around this time, Browning was bought out by Ward and his imprint “Johnson and Ward” begins to appear on the maps. A few years later in 1864 Ward, in turn, was bought out by Johnson himself and his imprint disappears from the maps. The Johnson firm continued to produce maps and atlases until around 1885. Johnson maps are known for their size, accuracy, detail, and stunning, vivid hand coloring." [source]

----------------
ADDIT (June 2012) - SEE the fabulous: 'Mountains & Rivers. By Johnson and Ward. (to accompany) Johnson's New Illustrated (Steel Plate) Family Atlas, With Physical Geography, And With Descriptions Geographical, Statistical, And Historical' 1864, recently digitised by by the Rumsey Collection.


The 'maps'2 above were obtained from: David Rumsey Historical Map Collection (most), Geographicus Antique Maps, the National Library of Scotland, the National Library of Australia and Alabama Maps.
2[tangential, at best: Ruminations on the Borderlands of Cartography]

••Update•• - (via Noelia's comment) Another novel comparative mountain/river view at the Institut Cartogràfic de Catalunya** (they also have a higher res. version of the 'Tableau Comparatif..' map seen above).


In relation to the outstanding Rumsey Collection: {which, incidentally, uploaded a new batch of about a thousand maps at the beginning of August}----

*****This link takes you to the river/mountain maps*****
You can load each map into a zoomable browser tab which is fine for having a casual look. But! The download link in the sidebar doesn't work.

The following information is for anyone who wants to get full size versions from the Rumsey Collection:

-This link will launch the InsightBrowser from which the whole Rumsey collection can be viewed. To obtain the highest resolution/largest plate images: search for and launch the desired map. There is an icon in the viewing sidebar - parallel lines - that launches a screen with information about the map. In this screen, if you scroll down, there is a download link. But! First you have to download the MrSID browser (the zip file link is below the MrSID file download link).

I mention this because the MrSID format is by far the best way to obtain the highest resolution image. For various reasons, which would probably reflect poorly on my intelligence were I to reveal them, this took me a long time to comprehend; after strong-arming the URLs and wasting bandwidth with jpeg images ultimately precipitated browser crashes &c.

Once you download the MrSID file (they are all <10mb), the file can easily be converted to a very large tiff file (probably good enough for poster printing). If all this hasn't made total sense and you want the highest resolution image possible, drop me a line. [This paragraph above has been edited - a whole chunk of text got mysteriously wiped when I added the update above. I don't think I'd written anything else of much significance.]

------------------------------


In what must have been something of a eureka moment of innovation, the originator of the comparative map (rivers, mountains, lakes, islands, continents &c.) presentation style perfectly captured the common ground between science, graphic design and education. It's equally possible to imagine a geographer, artist or teacher having conjured up the idea for such a novel means of data visualisation.

It provided the opportunity to convey important factual information in a logical but accessible format, could be developed or manipulated into a variety of appealing and eye-catching designs and offered an enticing means by which to interest students who otherwise found the subject of geography fairly boring. The added bonus, as mentioned above, was that the evolution of this comparative map genre coincided with the development of lithography and cheaper printing methods, so there was an increasing demand for visual ingenuity.

The style proved popular for about forty years across the middle of the 19th century and inexplicably fell out of favour by the turn of the century. The maps above are definitely worth seeing in large format. The most interesting aspects are to be found in the details: the arbitrary construction and order of the rivers, the prevalence and choice of man made objects for perspective, such as the pyramids, and the (also) inexplicable and curious prevalence of Dublin; among other things.

Thanks variously to Michal Migurski and John Ptak (see John's recent post on this very subject)

UPDATE: See Geographicus, who provide further history about the genre.

Saturday, October 11, 2008

Caroline Durieux

Bourbon street, New Orleans, 1942

'Bourbon street, New Orleans', 1942
(black lithograph)



Art class or la classe de dessin 1939

'Art class or La Classe de Dessin', 1939
(lithographic pencil and ink)



Dinner 1939

'Dinner', 1939
(black lithograph)



Dinosaur egg no. 2

'Dinosaur egg no. 2', 1961
(colour cliché-verre*)



Escape 1962

'Escape', 1962

"The subject presents an abstracted form which appears as if escaping from behind a thin veiling. The initial drawing was done by Ms. Durieux using lithographic pencil, brush and lithographic ink washes, and a minimal amount of scraping. The dots which appear within the composition were created using the lithographic gum-arabic technique. Ms. Durieux said that she has always had a number of ideas based on different means of escape and the depiction of such is to be listed among her favorite subjects. The colors used in this print are warm pink, red and black. The artist allows the white of the paper to serve as a fourth color within the composition."



Escape 1972

'Escape', 1972
(black and white cliché-verre)



Fashion 1953

'Fashion', 1953
(black electron)

"The satire in this print is seen in the depiction of a female's face "adorned" with the exotic , fantastic, and extremely ornate eyeglasses which were in vogue in the 1950's. The satire 's comment is made in that the lady is no beauty, and the eyeglasses she thinks beautiful, only add to her unsuspected, unbecoming flamboyancy. The drawing was initially made with the radioactive ink applied with dry brush. The print presents a highly textured tonal areas due to the natural texture of the paper. The fibers of the drawing from which the print was made on sensitized paper were made radioactive and the fibers print in dark tones thus allowing this condition of the paper to work for the artist."


Fragmented clowns 1961

'Fragmented Clowns', 1961
(cliché-verre)

"[Ms. Durieux] always associated clowns with fragmented people"



Friends of poseiden 1966

'Friends of Poseiden', 1966
(cliché- verre)



Impasse 1953

'Impasse', 1953
(black electron)



On the levee or Harding field 1942

'On the Levee or Harding Field', 1942
(black lithograph)



Oppression and madness 1942

'Oppression and Madness', 1942

"The print depicts two captive figures isolated within what one may consider to be a cell. A single window in the background allows for a stream of sunlight to filter into the area behind the figures, yet they take no notice of it, nor the warmth it may offer. The drawing was made using lithographic pencil, some lithographic ink and brush, and a minimal amount of scraping. The print is a general comment on the war years. Ms. Durieux was much involved with the tragedies which occurred in the Pacific and Europe. The print expresses the oppression of war as sensed by the artist."




Persuasion 1947

'Persuasion', 1947
(black lithograph)



Solace 1974

'Solace', 1974
(colour electron)



Tomorrow 1947

'Tomorrow', 1947
(black lithograph)



Underwater 1957

'Underwater', 1957
(colour lithograph)


[All images © the Estate of Caroline Durieux]


"Caroline Wogan Durieux (1896-1989), a New Orleans native of Creole descent, became a celebrated Louisiana artist of the twentieth century with her work represented in the permanent collections of the Museum of Modern Art, Philadelphia Museum of Fine Arts, Smithsonian Institute, National Gallery, Library of Congress and Bibliotheque Nationale.

Durieux grew up in New Orleans on Esplanade Avenue and according to an artist's statement began graphically depicting her environment from an early age. She first studied art formally at Newcomb College under William and Ellsworth Woodward, major Southern artists painting in the regionally dominant style of Genteel Impressionism. She graduated from Newcomb with a Bachelor of Design degree (1916) and a second bachelor's degree in art education (1917). Durieux left New Orleans in 1918 to further her formal art training at the Pennsylvania Academy of Deign. She studied at the Academy until 1920; there, she gained exposure to modernist techniques and styles and established a relationship with the Philadelphia art community she would maintain throughout her art career.

In 1920, Durieux married Pierre Durieux, a New Orleanian and export businessman, and the couple moved to Cuba for his business. They relocated to Mexico in 1926 and remained there until 1936. In Mexico, Caroline Durieux developed a satirical style in her paintings and lithographs, wielding her brush at the upper class of Mexicans and American businessmen. Her work attracted the attention and praise of Mexican modernist Diego Rivera, who painted her portrait and publicly lauded her art.

Durieux returned to the United States with one-man shows in Louisiana and began to gain acclaim in her own country. In New Orleans, she became involved in a Vieux Carre art colony centered in the Arts and Crafts Club of New Orleans. She taught at the Club's New Orleans Art School and exhibited frequently at the gallery. In 1938, she assumed the directorship of the WPA Federal Art Project in New Orleans from Ellsworth Woodward. The art project created public murals and exhibited at a WPA art gallery in the Vieux Carre.

While in New Orleans, she also taught at Newcomb College between 1938 and 1943. In 1943, LSU hired her as an instructor in painting and drawing, and she moved to Baton Rouge. She received her MFA from LSU in 1949 and taught as a professor at LSU until 1963. Her research at LSU resulted in a new print-making process she named electron printing which involved radioactive ink. She also revived the nineteenth-century Barbizon School's print process of cliche verre and developed a method to add color to cliche verres.

Durieux's experiments with electron prints and her other work earned widespread acclaim, and she exhibited her work internationally throughout the century. She published two books of her lithographs, Caroline Durieux: 43 Lithographs and Caroline Durieux: Lithographs from the Thirties and Forties." [source]

 
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