Gustav Stickley was born in Wisconsin in 1857, the eldest of Leopold and Barbara Stoeckel's eleven children. He apprenticed to his stone mason father at a young age but dropped out of school and the trade when his father abandoned the family. By the time Gustav reached sixteen, the family had relocated to Pennsylvania to be near his mother's relatives. As the eldest child, he accepted the task of supporting the family, working at the Brandt Chair Company, owned by his uncle, where he became a manager and foreman. In 1883, he opened a furniture business with his brothers.
During his first visit to Tahiti (1891-1893), Paul Gauguin documented his experiences in his travel journal, Noa Noa. We first encounter the phrase, 'noa noa,' when Gauguin describes the scent of the Tahitian women:
A mingled perfume, half animal, half vegetable emanated from them; the perfume of their blood and of the gardenias—tiaré—which they wore in their hair.
"Téiné merahi noa noa (now very fragrant)," they said.1
William and Julia Marlatt's gifts to the museum's collection and Ingalls Library were both unexpected and magnificent. William H. Marlatt (1869-1937), and his wife Julia Morgan Marlatt (1873-1939), quietly amassed a collection of fine books, paintings, etchings, and manuscripts.
Between 1900 and the mid 1950s, Cleveland laid claim to being one of the largest cities in America, ranking between 5th and 7th place for five decades.1 Its population grew in pace with its industrial complex, and its downtown skyline took shape while landscapers and naturalists readied its unprecedented network of public parks.
Edward S. Curtis's monumental project, The North American Indian, resulted in twenty large picture portfolios, each with about thirty-nine photogravures intended for framing, and twenty accompanying text volumes in a leather bound edition. Produced between 1907 and 1930, The North American Indian was available by subscription and was collected mostly by wealthy patrons and major library and museum collections. It cost $3,000.
Curtis was an established society photographer in Seattle, who grew bored with conventional portraiture.
The earliest illustrated children's book, Orbis Pictus, (The World in Pictures) by John Amos Comenius, was published in 1658. Early children's books were used for teaching religious and moral lessons with their sparse illustrations reflecting the somber texts. John Newberry's A Little Pretty Pocket-Book, published in 1744, was the first English children's book that abandoned the didactic writing style and focused instead on pleasure reading. Toys were included to promote the books—pincushions for girls and balls for boys.
by Shelley Langdale
Antonio del Pollaiuolo (Italian,1431–1498) was a renowned Florentine painter, sculptor, draftsman, and goldsmith who was particularly admired for his dynamic and expressive portrayal of the human figure. He carried out a wide range of projects including a series of Hercules paintings (now lost) for the powerful Medici family in Florence, designs for embroidered vestments, monumental tombs for Popes Sixtus IV and Innocent VIII in St.Peter's Basilica in Rome, small bronze sculptures, and reliefs.
"Do you want these bookplates?" inquired Mr. Langdon Warner in a letter dated 12 October 1917. He wrote from the Pennsylvania Museum, where he had just assumed the directorship, to his colleague Frederick Allan Whiting, then director of the Cleveland Museum of Art. Warner continued, "We have no collection here, and F.G. Hall the artist may one day be famous." It is with this gift of nine bookplates that the collection of ex libris at the Cleveland Museum of Art was initiated.
The Oxford English Dictionary defines facsimile as: "an exact copy or likeness; an exact counterpart or representation1." The current "Collection in Focus" includes a selection of manuscript facsimiles, including books of hours, from the Ingalls Library Rare Book Collection. The original of each item featured is unique because each was produced before the use of movable type, the invention of the printing press circa 1439 by Johannes Gutenberg (c.1398-1468)2 and the subsequent mass production of printed books.
Though one can trace sampler history back to Mamluk Egypt, most sampler collections today represent works from the sixteenth to the nineteenth centuries. Amateur needle workers stitched linen with silk and wool, using the sampler, or exampler, as a record of embroidered curriculum. Early European examples of samplers record stitches (spot samplers) and borders containing letters and patterns (band samplers).