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A Boston merchant-adventurer and his illustrated souvenir of the Smyrna trade, ca. 1838

One of the Fine Arts Library’s most unusual recent acquisitions is a lovely little volume of hand-colored engravings and lithographs. The volume consists of 25 plates depicting people and places in Turkey, Greece and the Levant. Once we had the book in hand, we were faced with the problem of how to record this new addition in the library’s catalog.

The illustrations in the book are accompanied by captions in French, Ottoman Turkish and Greek. Each plate is signed by the engraver Eugenio Fulgenzi and the printer Raffaele Fulgenzi of Smyrna (now called Izmir, Turkey) and is dated, 1836 – 1838.  Pasted inside the front cover of the book is a label with the printer’s name and address: Lithographie & Taille douce Fulgenzi & fils, graveurs.

But the book lacks a title page. It’s sometimes possible to identify a book by means other than the title. However, a search of online library catalogs in North America and Europe turned up nothing that matched the date, subject and physical dimensions of our new acquisition, or the name Fulgenzi.

After a great deal of searching, a specialized bibliography in the Fine Arts Library’s reference collection, René Colas, Bibliographie générale du costume et de la mode… (Paris, 1933) supplied a title for our mystery volume: Collection de costumes civils et militaires, scènes populaires, et vues de l’Asie-Mineure. Further research has revealed a handful of references in the works of authors who evidently had seen and studied these engravings by the Fulgenzis. But it appears that our copy of this rare work is the only one recorded in any research library’s collection.

Lithography was introduced in the Ottoman Empire in 1831 and only a handful of works appeared in the first decade, which puts this little volume by Eugenio and Raffaele Fulgenzi of Smyrna among the earliest books illustrated with lithographs to be published in Turkey.

Immediately above the printer’s label on the inside cover of our copy of the book is the bold ex-libris signature of the book’s owner, Th. W. Langdon, and the number 27.  One can also make out the name Langdon faintly inscribed over the printer’s label.  That has made it possible to identify the book’s original owner and to make an educated guess as to how such a book might have made it to New England, where it turned up at a book fair 170 years later.

Thomas Walley Langdon (1783-1861) and his brother John were Boston merchants, who were among the first Americans to embark upon the profitable Smyrna trade.  In 1820, John Langdon sent his son Joseph to Smyrna to act as an agent for himself and his brother. The venture was a profitable one for both brothers. Coffee, sugar, indigo, rum, and furs from the New World were traded for dried fruits, spices, sponges, Turkish carpets, mohair yarn and Smyrna silk.

The owner of this book, Thomas Langdon remained actively engaged in the Smyrna trade for many years. He married late in life and had no children of his own. He may have brought this volume home to New England as a souvenir of his travels. Meanwhile his nephew Joseph settled in Smyrna and married a local girl. Joseph Langdon’s great-great-grandson, Tom Rees, tells the fascinating story of the Langdons of Boston and Smyrna in his book, Merchant Adventurers in the Levant : Two British Families of Privateers, Consuls and Traders 1700-1950 (Stawell, 2003).

New York Art Book Fair

Burk Uzzle. A family named spot. New York : Five Ties, 2010.

Late last fall, I attended the New York Art Book Fair, sponsored by Printed Matter, a New York-based artists’ book cooperative. The fair featured over 150 artists and publishers and I thought it would provide an excellent opportunity to meet with people that my usual virtual contacts wouldn’t reach, and I was right. By the end of the fair, I had uncovered dozens of new artists and companies whose work deserved to be represented in our collection, like these charming examples.

We bought the work of numerous other artists in attendance; books by T.E. Ericsson, Joseph Grigley, and Michalis Pichler, among others, can now be found in the Fine Arts Library collection.

Jason Polan, The every piece of art in the Museum of Modern Art book. New York : self-published, 2009.


New Modern Art Acquisition

The Fine Arts Library recently purchased a copy of one of the earliest Jean Tinguely exhibition catalogues, his show at the Museum Haus Lange in Krefeld, Germany, September – October, 1960.

This small show came hard upon Tinguely’s earliest (and perhaps greatest) success, the debut of his “metamatic” or self-destructing machine Hommage to New York at the Museum of Modern Art that spring. The catalogue which accompanied the show in Krefeld consists of a black paper folder with the dates, credits, and colophon (our copy is numbered 230 in yellow crayon), with a quarto folded sheet of photographs of the artist at work and works in situ and two ‘metamatic’ paintings, each signed by Tinguely in ink.

Artists’ Books from Wisconsin

A sample page spread from The Twelve Articles

The Fine Arts Library owns hundreds of artists’ books – works of art created as multiples in book form. There is no particular reason why the form should been more popular in any one part of the world than any other, so I found it interesting when we acquired a substantial number of them published by private presses in Stevens Point, Wisconsin.

From Brian Borchardt’s Seven Hills Press, we have Two Saints, a meditation on martyrdom and same-sex marriage and The Intrepid Ones about a community of men in Mexico who dress and act like women. Jeff Morin likes to juxtapose religious texts with sexual imagery. From his SailorBOY Press, we have Sacred Space, The Twelve Articles, and The Sacred Abecedarium.

The Fine Arts Library collects artists’ books in cooperation with other collections on campus such as the Houghton Library. All of our artists’ books are cataloged in the HOLLIS catalog.  Patrons interested in consulting works from the collection are encouraged to visit the library in the Littauer Center building.

International Bibliography of Art (IBA) Now Available

Proquest announced an agreement in June 2010 to continue The International Bibliography of Art (IBA) formerly sponsored by the Getty Research Institute.  The IBA is now available with the CSA Illumina interface through the Harvard E-Research Portal.  IBA is the successor to the Bibliography of the History of Art (BHA), and includes the most recent indexing created by the Getty Research Institute for the BHA during 2008-2009. ProQuest will continue to add approximately 25,000 new entries each year and will index at least 500 journals and provide additional coverage of monographs, essay collections, conference proceedings, and exhibition catalogues. The BHA, now available directly from the Getty Research Institute, provides the most comprehensive coverage of American and international scholarly journals in the disciplines of art and architectural history from 1975-2007. BHA contains an important earlier periodical index, the Répertoire international de la littérature de l’art (RILA).  Later in 2010, the Institut national d’histoire de l’art (INHA) will announce the release of a full-text digital version of the index Répertoire d’art et archéologie (RAA) covering the years 1911-1974, thus completing digital access to an unbroken tradition of western art history bibliography over nearly 100 years.

New Journal Provides Translations of Current Scholarship

Art in Translation is a new online journal published by the Visual Arts Research Institute, Edinburgh (VARIE). Art in Translation (AIT) publishes writing from around the world on the visual arts, architecture, and design in English translation.

Global in scope the journal covers all areas of the visual arts including painting, drawing, sculpture, architecture, design, and electronic media.  Topics covered so far have varied from Jomon ceramics, rationalist architecture and Mbuya masks.

Dr. Madaus Commemorative Album


50 Jahre Madaus: Eine aufgeschlossene Firma.  Köln-Merheim: Dr. Madaus & Co., [1969].

This photography book was especially created for the 50th anniversary of a German pharmaceutical firm.  Founded in 1919, Madaus is still a major drug company although no longer with the homeopathic focus of its early years.

A whimsical and creative tour-de-force, the work is more of an artist’s book than a company rag.  It includes a variety of clever and irreverent references to the firm’s work and activities. In its 72 pages of photomontages and collages, printed on heavy laminated card stock, it contains an array of pop-up inserts, pull-out tabs, , tipped-in ephemera, a reader reply card requesting response to the book and an eight-page “Kochbuch”.  This item is a direct reference to the mother of the founders of the firm, who worked as an unlicensed healer before her sons went into business.  Another memorable fold-out display shows a white rat that squeaks when opened.  There is also a color fold-out poster of a 1930s advertisement for the firm.  The photographer Barbara Schulten and the editor Siegfried Leuselhardt were given a great deal of leeway in presenting the firm and its operations.  The work they created to commemorate the history of the company has a unique presence in the history of photography publications.

Shades of Nakedness: the Douglass A. Roby Fund

One of the singular, and most generous, book funds available to the Harvard College Library is the one created by Douglass A. Roby, Class of 1965. Although Mr. Roby spent a great part of his career working for the New York City Transit Authority, he was an accomplished scholar, receiving advanced degrees from Yale University and Hunter College and specializing in medieval history. Just before his death in 2001, Mr. Roby established a fund to support library resources that provide a positive portrait of the lives of gay men and women.

One of the purchases made using Roby funds was a periodical called The Male Figure.  Bruce of Los Angeles (Bruce Bellas, 1909-1974) was one of the foremost photographers to emerge from the Southern California body-building mail-order catalogue scene of the mid-Fifties and early Sixties. This example of his work, a portrait of Rlee Brewer (not a typo), comes from the journal Bruce produced, published in three dozen tiny chapbooks from 1956 to 1965. In the era before Stonewall and Gay Liberation, when there was the very real chance that anyone purchasing photographs of nude men would be arrested, images of this sort had to be coded to pass as (somewhat) innocent depictions of musculature and exercise in a manner that would make them recognizable to (mostly closeted) gay men and invisible to everyone else.

Color lithographs of the Siege of Paris

La Tramblais, E. de. Les désastres de Paris en 1871.  Paris : E. de La Tramblais, [1871?]

All of the scenes depicted in Les désastres come from the final, desperate ‘May Days’ of the Commune, when many of the great landmarks of Paris were burned to the ground. The printer Badoureau established himself on the rue Sainte-Isaure in the 18th arrondisement, conveniently located just north of the Seine and at the heart of the battle. The fact that the artist Edouard de La Tramblais chose  to render the most famous buildings (the Palace of Justice, the Place de la Bastille, and the Place de la Concorde, for instance) and that the captions were given in both French and English suggest that this work was intended from the start as a war souvenir.

The most well-known image to come out of the Siege of Paris is the destruction and subsequent collapse of the Vendome Column. As a symbol of the hated Second Republic the column was one of the first targets of the Commune. After the crushing of the revolt it was rebuilt and became a symbol of the folly of the Communards – a prototype of the way visual symbols change meaning in our own time.

American Library Association conference, Atlanta, Georgia, 1899

Moore and Stephenson (no dates), Atlanta, Georgia. American Library Association Twenty-first annual conference, Atlanta, Georgia, May 8-13, 1899.

In May 1899 over 200 librarians from across the United States assembled in Atlanta for the annual meeting of the American Library Association (ALA). The six day program was packed with sessions devoted to reports from officers and committees and sessions about library collections, services, and buildings. Fortunately for the attendees, social activities relieved the serious proceedings. One afternoon the attendees travelled to Stone Mountain for an outdoor barbecue and the next afternoon the sessions and a reception were held at a private gentlemen’s club, the Piedmont Driving Club House “with lunch and coon-dance at sundown”.  It was during one of these social events that a group photograph was taken.

The balding, bearded man in the middle of the front row who appears to be lost in thought during a springtime social event is Melvil Dewey (1851-1931), best known as the creator of a classification and subject indexing system, still in use, for organizing books in libraries, known as the “Dewey Decimal Classification”. Dewey’s passion was education and efficiency, the former leading him to participate in the establishment of the American Library Association and the latter to a less-successful drive to reform spelling and the metric system. Dewey, despite his appearance in this photograph, was a charismatic leader and behind-the-scenes bully who significantly shaped the association’s early development and served as its President and Secretary.

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