The library recently installed two very special books in the reading room. Though both offer botanical subjects, they represent divergent views of nature from two different time periods.
First up is Jim Dine’s exquisite set of drypoint engravings in book form modeled on the classic Temple of Flora first published in the very early nineteenth century by Dr. Robert John Thornton that combined images, poetry, philosophy, and botanical information. We’re also showing Dine’s bonded bronze sculptural box (bas-relief) made to hold the book, along with a single print on chine collé taken from the second state of the book’s frontispiece. We’re pleased to show this book as a tribute to longtime museum board president Ruth Carter Stevenson’s gardening interests and generosity to the museum. This copy came to the museum from Mrs. Stevenson in 2008.
Jim Dine (b. 1935)
The Temple of Flora: Twenty-eight Drypoint-engravings
Botanical notes compiled and poetry selected by Glenn Todd and Nancy Dine
Intaglio printing by R. (Robert) E. Townsend, Inc.
Bas-relief sculpture on lid: Flora’s Temple Gate cast in bonded bronze by Jim Dine
San Francisco: Arion Press, 1984
Edition of 150
Gift of Ruth Carter Stevenson
Next we have a very rare volume produced by Edward Vischer in 1862 of lithograph views documenting what was thought to be a singular grove of Sequoias in California in an area near Yosemite (the images in this book relate to the small exhibition on the second floor of the museum featuring Yosemite images). Many consider this collection of lithographs to be among the rarest pictorial records of early California. Vischer, a German-born artist, spent a good deal of his career in the commercial trade business in Mexico and Peru before turning his artistic focus to California. The museum’s copy has a distinguished provenance: it once belonged to Thomas Streeter, a famous bibliographer and collector of Americana and Texana.
This passage from the introduction which expresses the spiritual power of viewing these trees:
To the spirit bowed with affliction, or harrowed with cares, a pilgrimage to these shadowy shrines offords most soothing consolation. Behold the evergreen summits of trees that have withstood the storms of more than three thousand years! Gaze on the ponderous and almost imperishable remains of their sires. While lost in wonder and admiration, the turmoil of earthly strife seems to vanish; and the true harbinger of Peace, the olive branch of Hope, returns to the mind, in the comparison of Time with Eternity.
Edward Vischer (1809–1878)
Vischer's Views of California: the Mammoth Tree Grove, Calaveras County, California, and its Avenues
Twelve lithographs by C. (Charles) C. Kuchel (1820–1866) after drawings by Vischer; printed by L.
(Louis) Nagel (b. 1817)
San Francisco: Edward Vischer, 
During the last three months over 1,000 4th, 5th, and 6th grade students from schools in Palo Pinto County visited the museum as part of an education program generously funded by the Walton Family Foundation. Before their visits, students read the book Escape from Mr. Lemoncello’s Library by Chris Grabenstein as the catalyst to explore the museum’s library and collections. The students toured through the art collection with our gallery teachers, and at each stop they solved challenges and puzzles that advanced them to the next stop, with the ultimate destination being the museum library—paralleling the action of the book. Once in the library they learned about the library’s collections, how a library functions within a museum, and how books can be works of art. We had such a surprising array of questions from the students that kept us on our toes and showed that a specialized library such as ours can touch a range of age groups and inspire curiosity about art.
The museum's research library has in its holdings a copy of the first lithograph printed in the United States. Printed in 1819 by Bass Otis, an artist famous as a portrait painter, the lithograph appears in the July 1819 issue of The Analectic Magazine. This print is on display in the library's reading room for a short time.
The lithographic process—a technique of drawing on stone and applying water and ink that permits multiple copies of an image to be printed—originated in Europe in the early nineteenth century. The article accompanying Otis’s lithograph gives detailed instructions for the preparation of the printing stone (the stone used to print Otis's image was from Munich), crayon, and ink, reflecting the relative novelty of the technique in this country. It also pronounces the advantages of the technique, especially referencing its superiority over engraving:
- It is a perfect fac simile: there can be no mistake or mis-copy.
- It supersedes all kinds of engraving: when the drawings is finished, it is now sent to the engravers, and no impression can be taken till the engraving is finished: in lithography, impressions can be taken the instant the drawing is dry, more perfect than any engraving can possibly produce.
- It can imitate not only drawings in crayon and Indian ink, but etching, mezzotinto, and aqua tinta.
- The plate is never worn out as in copper-plate engraving …
- All works of science, may now be freed from the prodigious expense attending numerous engravings.
- Any man who can draw, can take off any number of impressions of his own design, without trusting to any other artist.
Cover of program for screening of Sunrise in 1927
It is great to find new venues to show the museum’s archival holdings and collaborate with our sister institutions in the Fort Worth Cultural District. The Kimbell Art Museum, in association with the Lone Star Film Society, will be showing the seminal classic film Sunrise: A Song of Two Humans in their beautiful new auditorium on February 16, 2:00. Sunrise won the first academy award in 1929 for cinematography, and the Amon Carter Museum is fortunate to hold the archive of the cinematographer, Karl Struss. We have made selections from the Struss archive relating to the academy award and behind the scenes views from the making of the film. We will be showing them in the Renzo Piano Pavilion atrium immediately following the screening of the movie. Come join us.
Portrait of Karl Struss by Edward Weston, 1923. ©1981 Center for Creative Photography, Arizona Board of Regents
A frequent question I ask myself is what makes a book presentation of photographs different than viewing them in a gallery setting or on a computer screen. What is it about the book that continues to capture photographers' attention as a means to convey their images? The history of the photobook could easily be told from the library's collection. Over the years, we've collected "traditional" photobooks with straight forward sequences of images to recent works that push at the format's limits, testing how a book can function as a communicator of images and information and more self consciously as an object (art or otherwise) and sometimes simultaneously functioning on all levels.
George Tice's new book, Seldom Seen, which the library recently acquired, continues Tice's longtime relationship with the book. Published by Brilliant Press, its quadtone images reveal such depth that, as Tice discusses in a recent video, you might mistake them for silver-based prints, ie "real" photographs. Tice also reveals that when he's engaged in a photo project, the work is intrinsically tied up with thinking about how his images will play out in book form.
Bryan Schutmaat's new book, Grays the Mountain Sends, also new in the library, features the familiar territory of somber portraits and landscapes of small-town American West, especially mining towns. Yet the book offers a few surprises that tease it into the realm of an art object. Its metal binding suggests ore or perhaps the rails of a mining car, and its tightness makes the reader flip the pages rather than linger on a spread (the book will not lie flat). The book requires that you handle it in order to take in its contents. Alternating landscapes and portraits are interspersed with coal-colored sheets that seem to force a retinal reset, serving as a pause between sections. These features married with the images give the viewer a multidimensional experience.
Each takes a different approach to the book format, yet both communicate with equal power. You can experience both in the reading room starting next month.
Samuel Duncan, Library Director
The 118th annual Fort Worth Stock Show and Rodeo starts January 17, bringing numerous visitors into Fort Worth’s cultural district. Amon G. Carter had a long history of association with the Stock Show going back to at least 1924 and every year during the show the museum library displays his collection of badges supplemented through the current year. Come by the library and see the badges and a selection of photos and publications on the history of the Stock Show and cattle industry in Fort Worth.
Erwin E. Smith, Southwestern Exposition and Fat Stock Show Rodeo, Fort Worth, Texas - ca. 1925-1926. P1986.41.264
As a companion to ¡Hombre! Prints by José Guadalupe Posada, the research library has installed a selection of color woodcuts from the 1947 portfolio 100 Original Woodcuts by Posada in the reading room. These prints are on loan to the library from a local collector through December. We’ll rotate these prints on three-week intervals to show a broader selection.
The portfolio’s introduction provides some context for the woodcuts:
"… Posada’s principal techniques for his larger works were engraving on type-metal and relief etching, by which he is principally known. His woodcuts are mostly small and mostly were made for vignettes. Almost all of the surviving blocks are published here for the first time since Posada’s day. Many either never have been published before or the original broadsides in which they appeared have been destroyed, as was their nature. Many are portraits; many are caricatures. Whereas in his larger works we are most often struck by Posada’s vigorous burin and monumental composition, in these woodcuts we see to best advantage his fine line, the work of a man who used his graver with consummate delicacy and skill … The plates were printed in Mexico by the House of Vanegas Arroyo, where they were purchased by the Taylor Museum. Herbert Bayer designed the cover and the title-page … [Jean] Charlot and Don Blas selected the original blocks, still owned by the firm, and Don Blas supplied, from the archives of the house and very probably from his own head, the little verses which, in traditional manner, accompany the plates. Many of these verses are known to have appeared in the original broadsides (though not always accompanying the same vignettes), and Don Blas tells us, in a special declaration, that he has left their popular and non-academic grammar alone, out of respect to their original form. While most of the verses are undoubtedly not those which inspired the original engraving of the associated block, they are in the same spirit. … Almost all of the verses are satiric; some are nonsense rhymes. For the benefit of non-Spanish readers … English translations … give some sense of their contexts. However, the originals depend for their wit on a double and even triple entendre and a play of words almost always impossible to render in translation."
We had the honor of hosting Richard Misrach and his wife, Myriam, in the reading room yesterday. Along with making sure that the library's collection of about twenty books by and about the artist were signed, we cajoled him into taking a peek into the library's clipping file that we've been building since early in his career. It's not often that we witness a living artist thumbing through the past as recorded in the flotsam and jetsam contained in these files in the form of gallery invitations, reproductions, exhibition checklists, and the like, but it was exciting to offer this, as I quipped, "trip down amnesia lane." Mr. Misrach seemed delighted to revisit some of this material, and his response underscores the importance of these collections as encapsulated records of an artist's life.
Beyond an art object's aesthetic qualities are the story of its creator and history. The museum is fortunate to have an archives where these pieces of information can be found. A fine example is the Roman Bronze Works Archive, which contains the entire foundry records of the premier art bronze foundry in the United States in the first half of the 20th century. This foundry cast many of the sculptures being done by artists of the period, including most of those in the museum's collections. The image below is taken from the foundry's accounting ledger for the works they cast for Frederic Remington.
The archive is open to researchers seeking information about their sculptures, and we are delighted to field queries. Send your questions to firstname.lastname@example.org.