by D. B. UPDIKE. New York: The Grolier Club, 1924. With portrait and facsimiles. 8vo. *South County Studies of Some Eighteenth Century Persons, Places and Conditions in that Portion of Rhode Island called Narragansett. By ESTHER BERNON CARPENTER. With an introduction by CAROLINE HAZARD, &c. Boston: Printed for the Subscribers, 1924. Crown 8vo. In the Day's Work. By DANIEL BERKELEY UPDIKE. Harvard University Press, 1924. * Also in a Limited Edition, with illustrations. Citations by President William Herbert Perry Faunce for Honorary Degrees granted by Brown University, MDCCCC-MDCCCCXXIV. Printed for the Corporation and Faculty [Providence], 1924. 8vo. 1923 ** Chinese Painting as reflected in the Thought and Art of Li Lung-Mien, 10701106. By AGNES E. MEYER. New York: Duffield & Co., 1923. With Portfolio of illustrations. 4to. *Lithography. By BOLTON BROWN. New York: Fitzroy Carrington, 1923. 8vo. * Stephen Crane. By THOMAS L. RAYMOND. Newark, New Jersey: The Carteret Book Club, 1923. With portrait by R. RUZICKA. 16mo. *The Journal of Mrs. John Amory (Katharine Greene), 1775-1777. With Letters from her Father, Rufus Greene, 1759-1777. Edited and arranged from Manuscripts and Illustrated from Portraits in the Possession of Mrs. Amory's GreatGreat-Granddaughter, Martha C. Codman. Boston: Privately printed, 1923. 4to. * Doctor Johnson. A Play. By A. EDWARD NEWTON, ESQ. Boston: The Atlantic Monthly Press, 1923. Sm. 4to. Also in a Limited Hand-made Paper Edition. With extra illustrations. 4to. * Pro Vita Monastica. An Essay in Defence of the Contemplative Virtues. By HENRY DWIGHT SEDGWICK. Boston: The Atlantic Monthly Press, 1923. 12mo. * Glimpses of an Old Social Capital (Portsmouth, New Hampshire) as illustrated by the Life of the Reverend Arthur Browne and his Circle. By MARY COCHRANE ROGERS. Illustrated with Portraits after old Pictures. Boston: Printed for the Subscribers, 1923. 4to. *The City's Voice. A Book of Verse. By MORRIS GRAY. Boston: Marshall Jones Co., 1923. Tall 16mo. The Diary of Ellen Birdseye Wheaton. With Notes by DONALD GORDON. Boston: Privately printed, 1923. With portraits. Crown 8vo. 1922 * The Wedding Journey of Charles and Martha Babcock Amory. Letters of Mrs. Amory to her Mother, Mrs. Gardiner Greene, 1833-1834. Boston: Privately printed, 1922. With portraits. 2 vols. sm. 4to. ** Printing Types: Their History, Forms and Use. A Study in Survivals. By DANIEL BERKELEY UPDIKE. With 367 illustrations. Cambridge: Harvard University Press. London: Humphrey Milford, Oxford University Press, 1922. 2 vols. 8vo. Martha Washington's Letter, written from Philadelphia, June 15, 1794, to Mrs. Frances Washington. Privately printed for W. K. Bixby, Saint Louis, 1922. With facsimile. Sm. 4to. Benjamin Franklin On Balloons. A letter written from Passy, France, January sixteenth, MDCCLXXXIV. Privately printed for his Friends by W. K. Bixby. Saint Louis: MDCCCCXXII. With facsimile and illustration. Sm 4to. Letters of Rowland Gibson Hazard. With a Biographical Sketch by CAROLINE HAZARD and two Appreciations. Privately printed, 1922. With portraits. 12mo. Selections from the Diaries of William Appleton, 1786-1862. Boston: Privately printed, 1922. With illustrations. Sq. 12mo. Two Letters. 1. Anthony Wayne and Lake George. Letter from General Anthony *The Felicities of Sixty. By ISAAC H. LION BERGER. Boston: The Club of Odd Charles Lamb. A Letter regarding Roast Pig to William Hazlitt and a Letter on Friendship to Robert Lloyd, together with a Dissertation on Roast Pig. Privately printed for his Friends by W. K. Bixby, 1922. With facsimiles. Sm. 4to. 1921 Lucasta. The Poems of Richard Lovelace, Esquire. With an Introductory Note by 1919 Catalog of the Second Annual Exhibition of French Art. Periods of Louis XV and Louis XVI. Held at the Gallery of the Museum of French Art (French Institute in the United States) in the City of New York, 1919. Privately printed, 1920. Illustrated with photogravures. Folio. Catalogue of the John Carter Brown Library in Brown University, Providence, Rhode Island. In five volumes, comprising two parts each. Providence: Published by the Library. Royal 8vo. Vol. 1, Parts 1, 2 and Vol. II, Part 1: 1919 & 1922. 1918 Abroad with Jane. By EDWARD SANFORD MARTIN. printed, 1918. 16mo. 1917 With Portrait. Privately Newark. A Series of Engravings on Wood by RUDOLPH RUZICKA. With an Ap- Catalog of Italian Renaissance Woodcuts. By W. M. IVINS, JR. New York: Pierrot's Verses. By MARIA DE ACOSTA SARGENT. Boston: Privately printed, 1917. James Browne: His Writings in Prose and Verse. Boston: Privately printed, 1917. The Parochial Library of the XVIII Century in Christ Church, Boston. By a 1916 A Catalog of Collection of Prints from the Liber Studiorum of Turner formed by the late Francis Bullard of Boston, and bequeathed to the Museum of Fine Arts. With 99 photogravure reproductions of Prints. Boston: Privately printed, 1916. 4to. The Book of the Homeless. Edited by EDITH WHARTON. With Illustrations reproduced from original paintings. drawings, and facsimiles. New York, Scribners, 1916. 4to. (An Edition de luxe, with portfolio of extra impressions, a Large Paper Edition, and an ordinary edition were issued simultaneously.) 1915 The Jonny-Cake Papers of "Shepherd Tom" (THOMAS ROBINSON HAZARD). Illustrated by RUDOLPH RUZICKA. Boston: Printed for the Subscribers, 1915. In two editions. Crown 8vo and 8vo. The 1914 The Galateo of Manners and Behaviour. By GIOVANNI DELLA CASA. Edited by John Baskerville, Type-founder and Printer, 1706-1775. By J. H. BENTON. With 1913 Albrecht Dürer: Journeys to Venice and to the Low Countries. Edited by ROGER FRY. (In Humanists' Library.) Boston: Updike, 1913. 8vo. The Ordinary and Canon of the Mass together with the Order for the Administration of the Lord's Supper or Holy Communion, and the Holy Chant. With an Illustration and rubricated. New York: Gray, 1913. 4to. 1912 Correspondence of Hubert Languet and Sir Philip Sidney. Edited by W. A. BRADLEY. (In Humanists' Library.) Boston: Updike, 1912. 8vo. Isaiah Thomas, Printer, Writer and Collector. By CHARLES LEMUEL NICHOLS. With bibliography. Boston: Printed for The Club of Odd Volumes, 1912. 8vo. 1911 Letters of Bulwer-Lytton to Macready, 1836-1866. Newark: Carteret Book Club, 1911. 8vo. 1908 Catalog of a Memorial Exhibition of the Works of Augustus Saint-Gaudens. New York: Metropolitan Museum of Art, 1908. 16mo and 8vo. DIKE. 1907 History of the Episcopal Church in Narragansett, Rhode Island. By WILKINS UPSecond Edition enlarged, edited by DANIEL GOODWIN. With 50 portraits, etc. Boston: Updike, 1907. 3 vols. 8vo. 1906 Historie of the Life and Death of Sir William Kirkaldy of Grange, Knight. By HAROLD MURDOCK. Boston: Club of Odd Volumes, 1906. Royal 8vo. 1905 The Course of True Love in Colonial Times. Boston: Privately printed, 1905. 16mo. 1904 Letters of Three Rhode Island Children to their Honoured Parents. Boston: Privately printed, 1904. 16mo. Cornelii Taciti. Opera Minora: De Vita et Moribvs Ivlii Agricolae Liber: etc. Boston: Updike, 1904. 16mo. The Life of Michelagnolo Buonarotti. Collected by ASCANIO CONDIVI. Boston: Updike, 1904. 16mo. 1902 The Life and Works of Charles Lamb. Illustrated. Troy: Pafraets Book Co., 1902-1903. 12 vols. 8vo. 1896 The Altar Book: Containing the Order for the Celebration of the Holy Eucharist according to the Use of the American Church. According to the Standard Book of Common Prayer. With Plain-song, edited by SIR JOHN STAINER, illustrations by ROBERT ANNING BELL, and borders, initials, type, and cover by BERTRAM GROSVENOR GOODHUE. By Authority. Boston: Updike, 1896. Imperial folio. NOTE.-Volumes starred were among the "Fifty Best Books" for 1923, 1924, and 1925, chosen by the American Institute of Graphic Arts. Those double starred received a medal from the same organization. The Revival of the Woodcut in Modern By Bertrand Zadig TRONG feeling among printed page. It should be of The 15th century marked the first appearance of books, printed books, in our western sphere. Already the Orient had produced what was new to Europe, but differing from these early Italian and German volumes, the Japanese block-books were a series of pictures relieved only by an explanation, a moral in most cases, set within the illustration itself. These books were entirely woodcuts, designed and intended to be made up of as many as 28 separate blocks. The marvelous work in these prints completely amazed the good burghers who received them from Far East Traders. It is the astonishment that they caused which may convince the historian that there was an invention of woodcutting in Europe, apart from any Japanese influence. It seems strange to find our art developing quite parallel with that of the East. The European woodcut also was designed for color, it was meant to express a moral, it was to become the art of the people. The first books were for the people. Religious documents, philosophy and ancient writings, hitherto accessible only thru libraries of the rich, were set in type and distributed from town to town. Craftsmen appeared that cut a solid page on wood and so, by assembling page after page of the blocks, could in the end print a book. Once, however, the first and only edition was run off, or rather pressed off, the blocks that had meant untold labor and skill, were useless. The disappointments that followed early book making must have brought about the invention of leaded type. It is needless to go into the controversies as to the inventor of type. German or Italian, in either case, the maker of books by means of movable type realized that he must enliven a solid page of text, and the printer went back to the woodcutter. We find here cycles in woodcutting, a rise then a fall; a perfection of use, then its misuse and degeneration. But the woodcut in the form of a picture came back to its former glory, and from now on it remained confined to pictures and soon it rises above the place of an "added attraction." It is the period of Dürer, Rethel and Cranach that emancipates it and brings woodcutting to an independent state. Dürer, the best known, makes use of the vogue of that day towards graphic expression by designing illustrations directly for the block. But Dürer is an etcher and does not realize the limitations of his new medium until he himself has tried a hand at it. A work attributed to Dürer's own graver, the "Apocalypse," is a print of rare power that can prove the value of the artist doing his own mechanics. Hans Holbein produced the 54 episodes of the "Dance of Death," the "Dance Macabre" that has been repeated ever again to the present day. The text of "The Dance of Death" series, made up separately, were threaded in between the pictures, but, if omitted, the appeal of the story would never suffer, so strongly convincing were these blocks, even then, when woodcuts were losing in favor to the aristocratic copperplate. More and more was expected of the woodcut. The need was felt to spread intelligence more easily among the masses. Books were expensive, and still worse, illiteracy was discouraging. The language of pictures must help out again. R The churches had their propaganda. Their dogma must be ever-evident. What better way than pictures, for just as easily as we may read a Japanese print, the message of the early "Flugblatt" was spoken by the caricature-like treatment of woodcut. Much later a renaissance of the woodcut came with Thomas Bewick. At the close di of the 18th century he startled the profession, by publication of his white-line illustrations, especially his animal series. The great innovation was due to a change of method in cutting. Up to then cuts were made on soft wood, working on the plank, the use of boxwood afforded far greater Epossibilities. By working hard-seasoned cross sections of this wood, the scope of gradation was so immense, that within the shortest time, followers had sprung up in every part of the globe. Artists realized that here was a way to reproduce faithfully what was heretofore impossible on the rough and rocky plank-cut. For this discovery something must be sacrificed. That naive charm of a limited medium was lost completely, making way for a certain sophistication due to the simpler and more positive cutting. But to make up there was the gain of the artist or rather the designer becoming his own engraver. As Bewick practiced in England. so Paul Revere in the American colonies. Revere, of the midnight ride and recent movie fame, was perhaps a better patriot than woodcutter, but he nevertheless opened the way for Abbey, Pyle and Timothy Cole. And thereby also he is responsible for the present rebirth of an "ever popular art." The woodcut of the 80's, tho a misuse of the art, was a great feature of American publishing. Craftsmen had achieved so facile a handling of boxwood and graver, that they began rivaling the camera-which was "satisfying consumer demand." Long after the introduction of mechanical photoengraving, we find Harper's and Scribner's magazines flooding the world with "photos on wood." The oblivion that followed this practice was held up somewhat by such glories as that of Cole's. Thereby Cole's engravings are increasing their value and popularity each year, despite prophesies that only such of the more moderns can survive that will combine the design and the actual cutting in one hand. pean ideas have sent down the standard of Japanese art, the young western woodcut is at the opening of its most glorious period. Sometime in 1910 appeared the prints of one, Edvard Munch. His well-known selfportrait gives a good conception of the working of this pioneer among the moderns. Lacking all finish and knowledge of the cutting itself, it tells of the man who is searching for a new way of expression, You can fairly see this worker, this peintregraveur, bending over a plank, succeeding with clean cutting here, crudely ripping out his mass there. Munch was followed by many, but a newly felt freedom sent most of them off at a tangent. The expressionists and dadists were credited with. the output of these embryo-moderns. This acted like a cold shower, for the object was to arrive at a new style, and why exert yourself if the honor goes to a rival? |