Within the collection of the Ingalls Library, there are thousands of books bound in the traditional manner, used for hundreds of years, with a text block sewn or glued together and attached to a soft or hard cover. New technologies in the 20th century have produced books bound in thoroughly untraditional ways.
The advent of photolithography popularized the buying, selling, and sending of postcards in the late nineteenth and early twentieth centuries. David Prochaska writes that they were sold at kiosks, from public parks and exhibitions to restaurants and even on passenger trains. He notes that there were cases of individuals sending up to 50 postcards a day!1 Postcard photographers and publishers intended to "cover the world" with image collections from the mundane to the exotic, constituting a voyage of discovery of places and peoples.
Thomas Bewick was born at Cherryburn House, Eltringham, Northumberland in August of 1753, the eldest of eight children. Early on he demonstrated a talent for art by drawing on the hearthstones of his family home and filling the margins of his school books with pencil sketches of the surrounding flora and fauna. At the age of 14 he was apprenticed to Newcastle engraver Ralph Beilby. Most of the work of the shop was in metal engraving, but occasionally there was work in woodcuts, especially for children's books.
Kate Greenaway, English artist and book illustrator, was born in London on March 17, 1846. She was the daughter of John Greenaway, a well-known draughtsman and engraver on wood and Elizabeth Catherine Jones, a seamstress and children's clothing designer. Her early education included life drawing and watercolor painting classes at Heatherleys in Chelsea and at the Slade School of Fine Art. She began to exhibit her drawings and watercolors in 1868 at London's Dudley Gallery, and her first published illustrations appeared in such magazines as Little Folks.
The Ingalls Library Rare Book Collection includes a small, but exquisitely printed, group of books on Sèvres porcelain. Founded in 1740 as the Vincennes Porcelain Factory, the company moved to Sèvres, France, in 1756 and produced both soft-paste and hard-paste porcelain. As the official porcelain manufacturer to the crown, the company designed objects for use by the royal family and other aristocrats.
With sadness we note the passing of artist and designer Viktor Schreckengost. His contributions to Cleveland and the world are innumerable. We offer here a glimpse of his work, as reflected in the Cleveland Museum of Art and Ingalls Library collections.
Over the last twenty years, new technologies in fine arts publishing expanded creative options and changed the way journals could be issued. Whereas traditional journals consist of text and/or reproductions, contemporary journals may also have a unique physical shape, include added materials, or have significant web content and interaction. Both individual artists and publishers have taken advantage of the new possibilities and cleverly used creativity and technology with stimulating results.
Four Clevelanders are considered the founders of the Cleveland Museum of Art: John Huntington, Horace Kelley, Hinman Hurlbut and Jeptha Wade II. Over the course of nine years Huntington, Kelley and Hurlbut each separately left bequests for the establishment of an art gallery. Fortunately all three estates had a common trustee, Henry Clay Ranney, who was able to reconcile the three bequests to create a single art museum which was eventually incorporated as The Cleveland Museum of Art on June 25, 1913. Wade donated the land on which the museum was built.
All told there are, twenty-five 72" enlarged versions of Auguste Rodin's The Thinker. Of these, fewer than ten were cast and patinated during his lifetime. One of the last Rodin supervised casts can be found in Cleveland, Ohio, where it sits directly in front of the Cleveland Museum of Art. This cast was acquired in 1916, and given to the Cleveland Museum of Art early in 1917.
About The Thinker
Cleveland architects Benjamin Hubbell and W. Dominick Benes were engaged to design and construct the new museum. After a study of museum buildings nationally and worldwide, Hubbell and Benes designed a Beaux Arts style building with two wings flanking a central rotunda. Construction began in 1913 and was completed for the June 1916 opening. The gallery level housed the main entrance on the south side of the building facing Wade Park. Fifteen galleries plus the Armor Court and Interior Garden Court surrounded the Rotunda.