If you’re reading this blog, then there is no doubt you’ve also heard about the recent Ansel Adams attribution "scandal". Not surprisingly, the evidence is piling up against the California man who bought the negatives in question at a garage sale.
We at the Carter are lucky to have over 60 authentic Ansel Adams prints in the permanent collection, many of which are on view in the exhibition Ansel Adams: Eloquent Light through November 7.
Our Photo of the Week is comes from this exhibition. It’s one of Adams’s images of my favorite place in Texas, Big Bend National Park.
Ansel Adams (1902-1984), Santa Elena Canyon, Big Bend National Park, Texas, 1947, printed 1975, gelatin silver print, ©2010 The Ansel Adams Publishing Rights Trust
Sam Duncan, the library director at the Carter, recently asked me to tackle cataloging one of the libraryÊ¼s hidden gems: the thirty-ï¬ve volume EncyclopÃ©die, edited mostly by Denis Diderot. Cataloging a work of this magnitude requires some bibliographical research, and I would like to share with you the interesting knowledge I gained about this wonderful publication. The full title is EncyclopÃ©die, ou Dictionnaire raisonnÃ© des sciences, des arts et des mÃ©tiers, par une sociÃ©tÃ© de gens de lettres, mis en ordre par M. Diderot de l'AcadÃ©mie des Sciences et Belles-Lettres de Prusse, et quant Ã la partie mathÃ©matique, par M. d'Alembert de l'AcadÃ©mie royale des Sciences de Paris, de celle de Prusse et de la SociÃ©tÃ© royale de Loners, but it is commonly referred to as the EncyclopÃ©die. The EncyclopÃ©die is truly a marvel to behold, for many reasons. Most impressive is the great condition of the CarterÊ¼s example - all thirty-ï¬ve volumes are in exceptional condition, as they were published between 1751 and 1772, making the most recent volume approximately 238 years old. The illustrations are absolutely stunning in both their quality, as well as their variety. Finally, the impact of the publication itself is fascinating. The Carter library's copy also includes a copy of the original bill of sale, a rarity itself.
The EncyclopÃ©die, as I mentioned above, is comprised of thirty-ï¬ve volumes. These thirty-ï¬ve volumes are broken down into seventeen textual volumes, eleven volumes of plates, four supplemental volumes, two index volumes, and a ï¬nal supplemental volume of plates. These volumes, all told, hold seventy-ï¬ve thousand entries, made up of twenty million words, the collaborative work of 150 authors. It is humbling to think of all the effort that went into the production of these large, leather-bound volumes. Many scholars believe the EncyclopÃ©die to be signiï¬cant because it was one of the best representations of the ideas and rhetoric of the enlightenment, as well as being the ï¬rst general encyclopedia to pay special attention to the mechanical arts. The enlightenment ideas are well represented in the classiï¬cation of human knowledge presented in the EncyclopÃ©dieÊ¼s table: theology is placed under theology, and the knowledge of God is only a few points above black magic. As one can imagine, this caused a great deal of criticism in 18th century Catholic France, so much so that in 1759, the king suspended the publication rights for the work. However, work continued in secret - and the CarterÊ¼s EncyclopÃ©die represents this, as the later volumes state that they were published in Amsterdam. Scholars also highlight that the publication of the EncyclopÃ©die was a catalyst for the French Revolution, and a prime example of the democratization and popularization of knowledge associated with the enlightenment. Indeed, M. Diderot himself acknowledged this in the entry for “EncyclopÃ©die,” stating that the purpose of the publication was “to change the way people think.” This publication truly had a signiï¬cant impact on the development of modern Western Civilization.
The classiï¬cation scheme I mentioned above is of speciï¬c interest to me as a librarian. The table represents an earlier effort to classify knowledge - which is one of the specialties of our profession. The scheme of the EncyclopÃ©die was inspired by Francis BaconÊ¼s Advancement of Knowledge, and classiï¬ed all knowledge into three major categories: memory, reason, and imagination. Of course, todayÊ¼s schemes take the form of Library of Congress Classiï¬cation Numbers, and Dewey Decimal Classiï¬cation numbers, and have changed in size, but the purpose remains the same - to classify knowledge, or their containers - books, music, et cetera.
As a library dedicated to the study, scholarship, and preservation of art, the volumes of plates are of particular interest. They cover a wide variety of topics, but focus especially on the mechanical and manual arts--how to create and make “things.” It was these very illustrations that provided the impetus for the Carter to acquire this publication, as they were to support study for a series of planned exhibitions about the mechanical arts. The exhibitions never came to fruition. The engravings themselves are copper engravings, and seem nearly to be as crisp as the day they were printed, nearly three hundred years ago. As a matter of fact, Sam blogged about another publication with beautiful engravings in it, The Feel of Steel. (http://www.cartermuseum.org/blog/the-n-ï¬les/the-feel-of-steel)
For me, cataloging the EncyclopÃ©die represents many of the reasons I chose librarianship as a career. The technical work and research that precedes the ï¬nal catalog record is both challenging and fascinating. Having an opportunity to interact with, and deepen my appreciation for signiï¬cant cultural artifacts is exhilarating. Finally, on behalf of the library staff, I would like to invite you to the library reading room to enjoy these wonderful volumes of the EncyclopÃ©die for yourself, as it is truly a beautiful and awesome thing to behold.
Source for information: Wikipedia entries for the EncyclopÃ©die, Francis Bacon, and Denis Diderot.
Guest blogger: Jason Dean, Library Volunteer
Last month the library cataloged (as always) an interesting array of material. Note that there are several early imprints that have come to the collection that are early painting and watercolor technical manuals and other titles on color theory. As I scan the list, I want to draw attention to several titles that captured my attention:
- Diffusion -- a new periodical in the collection that focuses on alternative photographic processes
- Fort Worth's Fairmount District -- new book, with lots of photographs, on the Fort Worth neighborhood from library friend Mike McDermott (Mike did some of his research here in the library)
- San Francisco Museum of Modern Art: 75 Years of Looking Forward -- ravishing publication observing SFMOMA's 75th year (thanks to the SFMOMA library for sending us a copy)
- For All the World to See: Visual Culture and the Struggle for Civil Rights -- catalog of the exhibition currently at ICP New York
- Planting the World's Garden -- CD-ROM publication providing a fascinating look at early farm implement advertising in the U.S.
- Poplar Forest -- sensitive and beautiful limited edition photobook looking at Jefferson's country retreat
And so much more!
Each month the library posts a report listing all the books we have cataloged in the previous month. These reports constitute mainly new items entering the library’s collection. The report for May 2010 is now available, and you can access it <a href="http://www.cartermuseum.org/sites/all/files/2010-05ACMLibraryNewBooks.txt>here. This collection of new books is featured in the library reading room, and visitors may stop in during our public hours to view the material:
Wednesday: 11 a.m.–4 p.m.
Thursday: 11 a.m.–7 p.m.
Friday: 11 a.m.–4 p.m.
After reading about the upcoming open house event hosted by the Smithsonian art research centers for the American Library Association meeting in June, I couldn't help but think how strongly our own library and archives collections hold up in comparison to the Smithsonian pantheon. In fact, we're directly tied to the Smithsonian's Archives of American Art: as an affiliated research center, the library at the Carter is the only site in mid-America offering a complete collection of the unrestricted material from the the archives. Comprising over 15 million original documents, this collection offers an incredible depth of material to scholars working on American art research topics. Hats off to Doug Litts, a colleague of mine who works at the Smithsonian American Art Museum and National Portrait Gallery Library, for his work on the following event page:
Yesterday the library received a new exquisite publication, The Feel of Steel. Published in a small print run of 150 copies, this limited edition book focuses on the history of steel-engraved banknotes in the United States. Engraving is a form of intaglio printing whereby a design is carved into a metal plate. The carved lines are forced full of ink, then the plate is pressed onto a sheet of paper under high pressure, and the inked designed is transferred to the sheet. The "feel of steel" in the title refers to the tactile quality of the ink as it rests on the printed sheet. Our current paper currency still exhibits this quality.
The book notes the difference between letterpress, or relief, printing and intaglio:
The creation of high-quality intaglio work is a far more demanding discipline than letterpress printing ... The training of picture engravers was a long process. Intaglio was a much slower and more costly process, but it produced magnificent images that could be achieved in no other way.
Banknote engraving employed some of the most accomplished artists in the country, and the author considers the art the "pinnacle of printing and the graphic arts" in America. While providing a detailed history of banknote printing, including technical discussion, it also includes some fine examples of engraved prints. Many of these original prints were printed from original banknote plates. The attached prospectus provides an overview of the book.
The museum has many examples of engravings in its collections, both in the fine prints and library book collections. Make plans to view this book and other books with engraved illustrations by visiting the library during public hours.
This morning I was taking a gander at a printed inventory in our files that details Amon G. Carter's personal library. My understanding is that by the time of his death in 1955, he had amassed about 4,000 titles. His collection was buoyed by the purchase of two private libraries: the Louis P. Merrill collection that focused on western cattle trade, range grasses, and Texas history; and the Frank B. Smith collection that focused on books illustrated by Frederic Remington and other artists of that genre. Carter's library came to the museum shortly after its opening in 1961. By this time, Carter's library had expanded to take in a wide range of subjects consistent with his varied interests. The original library of 4,000 titles got weeded to about 2,500 titles with subject matter most appropriate to the museum's mission. Today I tip my hat to Mr. Carter and his fine library that forms the nucleus of the museum's library collection. Today the collection includes over 100,000 items.