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P R I N C E T O N U N I V E R S I T Y

LIBRARY C H R O N I C L E

P R I N C E T O N U N I V E R S I T Y

L I B R A R Y C H R O N I C L E

V O L U M E L I ' N U M B E R 3 SPKINC; I!)r)o

C O N T E N T S

I'M ; E:

George Cruikshankis-Private "Day Rook," 18 1 o - i Xng 225

by Robert L. Patten

The Composition and Revision of' Fitzgerald's The Btautful and d~arn~zed

by Amy J . Elias

Caught in a Web of Mysteries: Pursuing the "(ireat Tzotzil Dictionary of Santo Domingo Zinacanthn"

by Robert M. Laughlin

Honoris Cawa: Honorary Degrees at Princeton University, 1748 - 1987

by William K. Selden

Library Notes

Friends of the Library

Cover Note

Index to Volume IJI

ILLUSTRATIONS

A page from George Cruikshank's "Day Book"

Caricature found in George Cruikshank's "Day Book"

"Thomas Baskerville," by George Cruikshan k

"Dolly of the Chop House," by George Clruikshank

'lames McLean Esqr.," by George Cruikshank

"Thomas and Ann Shakeshaft," by George Cruikshank

"Funeral Procession of HRH Princess Charlotte," by George Cruikshank

Proofs of etchings for The Humourist, by George Cruikshank

F. Scott Fitzgerald's "Gloria," on the cover of Metropolitan Magazine, September, 192 1

Illustrations for The Beautiful and Damned in Metropolitan Map ine , 192 1 - 1 92 2

F. Scott Fitzgerald, ca. 1922

Title page, "Great Tzotzil Dictionary of Santo Domingo Zinacanthn"

Entries from the "Great Tzotzil Dictionary"

PAGE

224

C O N T R I B U T O R S T O T H I S ISSUE

AMY J . ELIAS, a graduate student at the Pennsylvania State Univer- sity, is writing a dissertation on "Parabolic Fiction: The Spatialization of History in Contemporary Fiction." Her article, "Puttermesser and Pygmalion," appeared in Daniel Walden, ed., Studies in American Jew- ish Literature, Volume 6 (Fall 1987), a special issue on Cynthia Ozick.

ROBERT M. LAUGI-ILIN, Class of 1956, is an anthropologist at the Smithsonian Institution who has published the most extensive dic- tionary of any indigenous American language, Tlre (;,rat Tzotzil Dic- tionary of San Lorento Zinacantdn, and numerous other books on Maya culture, language, and literature.

ROBERT L. PATTEN, Professor of English, Rice University, earned his Ph.D. at Princeton in 1965. He was guest editor l i ~ r the special issue of the Princeton University Library Chronicle on George Cruik- shank, issued as a hardcover book in 1974.

WILLIAM K . S E L D E N is chairman of the Alumni Council's Committee on Princetoniana. He has served as an administrator at Princeton, Brown, and Northwestern Universities, and is a past president of 11- linois College. He was executive director of the National Commission of Accrediting, and vice-president of the American Assembly at Co- lumbia University. Author of Inany articles in professional journals, he has also written four books about Princeton.

A page from George Cruikshank's private "Day Book," 1810 - 1825. Karc Books and Special Collections, Princeton University Library.

George Cruikshank's Private "Day Book," i 8 10 -- 1825

BY ROBERT L. PATTEN

0 n Wednesday, 14 December 1988, Sotheby's New York auc- tioned an insignificant-looking little memorandum book. a In

faded and smudged ink on the cover appear a drawing of a head and a figure, plus the words "Day Book 18 11 ," "know all . . . my Book," and "G. Cruikshank 1815." Inside, 0x1 63 ruled pages (the other five being blank), the British artist George Cruikshank ( 1792 - 1 878) has pencilled or penned entries about his commissions for dozens of pub- lishers during some of the most productive years of his life. With as- sistance from the Theodore F. Sanxay Fund, Princeto11 bid success- fully for the "Day Book," which is now added to the Library's extensive collection of Cruikshank's art, pamphlets, correspondence, and family papers.=

During the years in which Cruikshank used this ledger he rose to prominence in three related fields. First, following the death of his father Isaac in April 18 1 1 ancl the withdrawal from caricature of his two great predecessors Thomas Rowlandson and James Gillray (who lapsed into insanity the same year ancl died four years thereafter), "the young Hogarth," still a teenager, became the foremast British caricaturist. He etched or lithographed more than a thousancl broad- sheet prints, often issued in plain and colored states, on political and social subjects. Second, from 18 17 through the early 1820s Cruik- shank collaborated with others, especially the Radical publisher Wil- liam Hone, in the creation of illustrated tracts lampooning unpopular

' Bound in vellum, this long quarto contains gq leaves (-therecl in 16.9) each 3 15 x 96 mm. Sotl~eby's catalog 5796 "Orson," lot 2 .

For a discussion of Princeton's holdirlgs by E.D.1-I. +Johnson arid a collection of cs- says on Cruikshank's achievement in various branches of art, see the Princeton Wnivcr- sily Librnty Chror~icle, Vol. 35, Nos. 1 & a (Autumn, Winter 1979 - 1974, reprinted as George Cmibhank: A Kevnlwrtion, ed. Robert L. Patten (Princeton: I'rinueton University Library, i 974).

Government policies and persons. The three most fimous campaigns were conducted against hanging for the passing of easily-forged Bank of England currency, against acts repressing fieedom of the press, and on both sides of the notorious dispute between the new king, George IV, and his estranged consort, C:aroline of Brunswick.:j Third, in the 182 0s Cruikshank turned increasingly to book illustra- tion. With his brother Robert he supplied aquatints to the runaway best-seller Life in London,*i and on his own he etched matchless designs for the first British translation, and first illustrated edition, of' Jacob and Wilhelm Grimm's Kinder- und Hawmiirchen, entitled G~nlan Pop- ular Stories.5 A copy of this work found its way into the nursery of John Ruskin, who spent hours copying Cruikshank's tiny plates and later hailed them as "the finest things, next to Rernbrancit's, that, as far as I know, have been done since etching was in~ented. '~; Thus, according to the entry in Sotheby's catalogue, this ledger "constitutes an incomparable documentary source for Cruikshank's work."^

George Cruikshank rarely threw out any scrap of paper. On in- coming correspondence he would sketch ideas b r plates, scribble lists of titles, tasks, appointments, and addresses, calculate his accounts, and draft replies - often to unrelated letters. At his tlcath, these scraps, along with finished drawings, tracings, watercolors, proofs, prints, first editions, reference books, tools, and other ephemera

3 The standard biography of the artist is Blanchard Jerrold, The. 1.q; if Gmrge ( in~ik- shank in Two Epochs, 2 vols. (London: Chatto'and Windus, x882), 'l'wa modern biag- raphies that treat Cruikshank's propaganda campaigns arc Juhrr Wardroper, The I,'cir- icalures of George Crmikshank (London: Gordon Fraser, igyy), ancl Michael Wynn Jones, George Cmikrhank: His Life and London (London: Macmillan, i 978). E'r,r a rxiore general account of pictorial satire consult M. Dorothy George, Engli~h Polilkul Uan'cature, n vols. (Oxford: Clarendon Press, 1959).

4 Pierce Egan, Life in London, published in twelve monthly par&, October i82v -July 182 1, and subsequently as a volume bound in boards, by Shenvood, Neely ancl Jones. Not only did the book sell out several editions in a short time, but also its many dram- atizations at London theaters were highly successful, and it spawned at least 65 plagia- risms, imitations, and sequels.

5 How Cruikshank obtained this commission, and what the results were, arc treated in my essay, "George Cruikshank's Grimm Humor," in Imaginuliun on (1 I.ong Rein, ed. Joachim Maller (Marburg: Jonas Verlag, 1988) 13-28.

G J ~ h n Ruskin, The Elements of Drawing (1857), in Works, cd. E. ' I : Cook and Alcxan- der Wedderburn, 39 vols. (London: George Allen, lgog), Vol. 15, p. 2 2 % .

7 Sotheby's catalogue 5796 "Orson."

'l'he only drawing ibund in Georgc C:ruikshank's private "Day Book" for x 8 1 o - x 82.5.

Kare Books arid Special Collectioris, Princeton

Uriivcrsity Library.

were piled high in the workshop of his London home, 263 Hamp- stead Road, and in his "studio" a few blocks west at 31 Augustus Street. In that second location lived Adelaide Altree Archibold and her ten children, all of' them allegedly fathered by Cruikshank, The artist's will directed that his second wife, Eliza Widdison Cruikshank, choose several of his works of no~ninal value, and then that all the remainder of his personal and artist's effects be sold. 'l'he proceeds were to be put into a trust for Adelaide and her f'a~nily.~ Sotheby, Wilkinson and Hodge auctioned the library, along with prints, cop- per and steel plates, and wood blocks, over two days (17 and 18 May 1878); the "Day Book" was not included in these sales,?)

Eliza Cruikshank knew something of her husband's second family, but the exposure of his infidelity caused her considerable pain and difficulty. Nevertheless, she devoted the remaining 1 2 years of her life to assembling comprehensive collections of the artist's work to supplement those already in private hands or at the British Museum,

Last Will and 'l'estament ot'C;corge C:ruikshank, dated 28 I+brur\ry 187(i. proved 16 April 1878.

9 Over the next three ycars niaterials fin- at least seven rnorc aucriotls of books (Soth- eby's) and art works (C:tiristie's) derived from Cruikshank's estate. 'l'lke catalogucs of these sales and of othcr auctions alleged to include estate invcntoi-y liave never becn searched for the "Day Book."

where C;. W. Reid, Keeper of' I'rillt~ it11d I)l'itwillgs had, with Cinlik- shank's help, already published a triple-decakrr catalogue of' the 5,000 works housed there.%%# In 1884 slrc presented several thousitnd sketches, drawings, proofs, and other papers to the South Kensing- ton Museum, adding duplicates x) rhac C:ruikshank's plates could go out on Inore or less permanent tour ttr delight the pnwince.r; at her death she gave further materials to South Ke~tsingtc$n and enhanced the British Museum collections by g,R6g items." 1 lowever, the "Day Book" was not among those hcncf'zctions.

So although we can be fairly certain that this "'I)a): Bcx~k" is authen- tically Cruikshank's and not a forgery. its provenantme is rb)udetl. At some point the book appeared in a sale catalogue. but unfc)rtunately the clipyirlg does 11ot identify cconsigxler, dealer, ur datc.'"WilIiarn Hartmann Woodin, a prominent C~ruikshank collertor. trbteined it and tipped in his bookplate, but did not put i t i r l to the sales of his library at Parke-Bernet in 194 1 - i g q r Subsequently khr Carl and Lily Pforzheimer Foundation purchased the "I3ay Book," and it re- mained in the possessio~x of the Foutldation until the 1988 cleacccs- sioi~ing.

Despite the number and importance of' Gruikshank's protiuctions between 18 1 o and 1825, few records about his work strrvivc., His car- liest letter known to us was writteri to the attorney-gel~eral in the all-

tumn of 1817 begging him not to prosecute William [Itme for blas- phemous libel; it was delivered by one a£' 1-lorre's sons to that crown officer as he was shaving, and was urlsuccessfirl.~~~ *I'he earliest cer- tainly dated letter still extant is one Cruiksllarlk wlrltt. to Mary Ann Walker, his future t)ricie, when she was a 13-year-olcl girl staying ill Margate.'d Harvard owns 400 letters and accounts excha~~gccl be- tween the artist and the firm of Robins and Co., his principal ptll~lish- ers for a decade from the mid- 18ros, but these are rarely ciated ant1

George William Reid, Descriptive C:atalop~eaoJ the Works sf C r o r p Cruikrlmnk, 3 vrrls. (London: Bell and Daldy, 1871).

" See Registry Papers relating to Cruikshank C:ollcction, Victor-ia arid A1k)crt MLI- seum; documents among the papers of B. Ward Richardson, George C;ruikshatik Col- lection, Princeton University Library; materials formerly in the oollecriorl of'I)avirl Bo- rowilz, now in a private collection: and hurencc Uinycm, Cntalogu~ rf I)rnuriu~t IT British Artists . . . , Vol. 1, A-C; (London: British Muscurn, I 898), 1.1. 5.1:).

" Inserted in the third volume of Frank S. Bradburn's copy of* Allxkrt M. C:olzri, George Cruih~hank: A Catalogue Raisonnd, 3 vols. (London: 'I'i~c Office* of "'l'he Book- man's Journal," ig24), private collection, hereafter citccl au (:,

'3 Jerrold, Life of George Cmikshank, Vol, r , pp. lo8-~oc~. '4 10 September 1820, in the possession of the firm of Bell ant1 Myman, Londo11.

228

George Cruikshank, "'I'hornas B;lskcrville," one of 15 proc3fs on India paper, 1819 - 1820, for Samuel C:aulfield's Purtmit,~, klt?msin and Chnrarrm (!jHemnrkablc Parsom

(London, i t l ~ r , ) . Rare Books ancl Special (;ollevtions, Prh~ceton llnivcrsity ~ibr :~ ry . Gift of Kicllard Waln Meirs, Class ot' 1888.

George Cruikshank, "Dolly of the Chop House," one of I 5 proof's on India paper. 18 1 g - 1810, for Samuel Caulfield's Porlraik, Memoirs and Chornr&nr of Rmurkddr

Persons (London, 1820). &re Books and Special C~ollcctionr. Princrmn University Library, Gift of Richard Waln Mcirs, C:lass af 1888.

can only be put into rough chronological order through internal ref- erences. Princeton's first dated letter is from William Henry Merle, whose friendship with Cruikshank, commencing around 1814, lasted throughout both men's lifetimes and is documented by more than 400 letters in Princeton's collection. Writing on 2 October i 820, Merle announces that he is sending a pheasant and a brace of par- tridges for Cruikshank's table. With the exception of the Robins ar- chive, virtually no other surviving materials say anything about the artist's working practices during this crucial period.

Nor are we certain what images Cruikshank drew. Neither Reid, working with the British Museum holdings and those of two enter- prising private collectors, Edwin Truman and Frederick Locker, nor Albert M. Cohn, compiling a catalogue half a century later on the basis of his own superb collection and the sale catalogues of several previous libraries, could be certain that they had recorded every one of Cruikshank's plates. He worked in so many mediums, issued so many ephemeral prints, collaborated with so many other artists (es- pecially his father and brother), was published by so many dealers, and was imitated by so many other draftsmen in Britain and on the Continent, that atiribution was neither always possible nor ever com- plete. Moreover, as Cruikshank explained in the "Prehce" to Reid's Catalopr, "Many of my first productions, such as halfpenny 'Lottery pictures,' and books for little children, can never be known or seen, having, of course, been destroyed, long, long ago, 1)y the dear little ones who had them to play with." In acldition to these and to the broadsheet caricatures, Cruikshank executed soxig heads, theatrical portraits, pictures of sets and costumer1 performers t o he cut out for children's toy theaters, fold-out plates for political journals, designs for wood engravings inserted into pamphlets, illustrations for flashy guide books and lliographies and editions of poems and plays, and even the occasional plate suppressed because it was Iibelous or por- nographic.l~ Dorothy George conlpiled a multi-volu~ne catalogue of the political and personal satires in the British Museum c~Ilection,~~j but did not have at her disposal the collection formed by George 111 and George IV, which the librarian of Windsor Castle, Mr. J . W. For-

's E'or a partial listing of dcsigns in tllis last category, consult ( ;eo~-ge Somes Layard, Suppressed Plates (London: Adam and C,:harles Black, i 907).

I%. Dorothy George, Cutulope oJ 1301iticaE and Prrsonat Satires, Vols. 5-1 I (London: British Museum, 1935 - 1954); hcreaf'tcr cited as BMC.