E. McKnight Kauffer

E. McKnight Kauffer
The Dynasts by Thomas Hardy, Kingsway Theatre
1914
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Journey of the Magi
(illustration to poem by T.S. Eliot)
1927
pochoir
National Gallery of Australia, Canberra

E. McKnight Kauffer
A Song for Simeon
(illustration to poem by T.S. Eliot)
1928
pochoir
National Gallery of Australia, Canberra

E. McKnight Kauffer
BBC Handbook
1928
lithograph (book cover)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Illustration for Robinson Crusoe
1929
pochoir
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Triumphal March by T.S. Eliot
(cover of Curwen Press prospectus)
1931
lithograph and letterpress
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Posters by E. McKnight Kauffer - Museum of Modern Art
1937
lithograph (pamphlet cover)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Journey into Fear
1940
lithograph (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Classical Head
ca. 1940-45
gouache on paper (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Egyptian Servant Statues
1948
lithograph (proof for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Intruder in the Dust by William Faulkner
1948
gouache on paper (study for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Ulysses by James Joyce
1949
lithograph (dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
The Dream of Poliphilo
1950
lithograph (proof for dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

E. McKnight Kauffer
Invisible Man by Ralph Ellison
1952
lithograph (dust-jacket)
Cooper Hewitt, Smithsonian Design Museum

from On the Morning of Christ's Nativity

The Oracles are dumm,
No voice or hideous humm 
    Runs through the arched roof in words deceiving.
Apollo from his shrine
Can no more divine,    
    With hollow shreik the steep of Delphos leaving.
No nightly trance, or breathed spell,
Inspires the pale-eyed Priest from the prophetic cell.

– Prudentius (AD 348-410), as adapted and translated by John Milton (1629)

Text

Édouard Vuillard
Program for Théâtre Libre
1890
lithograph
National Gallery of Australia, Canberra

Scotson-Clark
"The Queen of Finesse" - in the New York Ledger
1895
lithograph (poster)
Delaware Art Museum, Wilmington

Charles Dana Gibson
Two Women & a Fool
ca. 1895
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Joseph J. Gould
How To Feed Children
1896
lithograph (poster)
Philadelphia Museum of Art

Giovanni Maria Mataloni
Caffaro - Giornale di Genova
ca. 1897
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Carl Kunze
Konzerthaus Wintergarten, Dortmund
ca. 1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

William Sergeant Kendall
Robert Blum in January Scribner's
ca. 1910
watercolor and ink on paper
(print study)
Smithsonian American Art Museum, Washington DC

Joseph Christian Leyendecker
The Literary Digest
ca. 1912
oil on canvas
(design for magazine cover)
Chrysler Museum of Art, Norfolk, Virginia

Herbert Paus
Save Your Child from Autocracy and Poverty
ca. 1918
lithograph (poster)
Delaware Art Museum, Wilmington

Otto Lange
Bad Elster
ca. 1928
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Edmund Walker
No Extra Trains at Christmas!
ca. 1943
lithograph (poster)
National Gallery of Australia, Canberra

C. Dudley Wood
The Hotel Federal
ca. 1950
lithograph (poster)
National Gallery of Australia, Canberra

Wes Wilson
Jefferson Airplane at the Fillmore, San Francisco
1967
lithograph (poster)
Delaware Art Museum, Wilmington

Christopher Pratt
Victoria Regina (Red)
1971
screenprint
Beaverbrook Art Gallery, Fredericton, New Brunswick

Scott Hyde
The Light Is Different In California
1980
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Italo Scanga
Aaron Copeland
1997
vitreograph print
New Britain Museum of American Art, Connecticut

Bernadette Corporation
Please Read the Titles to Yourself
2007
wool embroidery on synthetic fabric
Whitney Museum of American Art, New York

from Virgil's Gnat

The fiery Sun was mounted now on hight

Up to the heavenly towers, and shot each where

Out of his golden Charet glistering light;

And fayre Aurora with her rosie heare,

The hatefull darknes now had put to flight,

When as the shepheard seeing day appeare,

His little Goats gan drive out of heir stalls,

To feede abroad, where pasture best befalls.

To an high mountains top he with them went,

Where thickest grasse did cloath the open hills:

They now amongst the woods and thickets ment,

Now in the valleies wandring at their wills,

Spread themselves farre abroad through each descent;

Some on the soft greene grasse feeding their fills;

Some clambring through the hollow cliffes on hy,

Nibble the bushie shrubs, which growe thereby. 

Others the utmost boughs of trees doe crop,

And brouze the woodbine twigges, that freshly bud;

This with full bit doth catch the utmost top

Of some soft Willow, or new growen stud;

This with sharpe teeth the bramble leaves doth lop,

And chaw the tender prickles in her Cud;

The whiles another high doth overlooke

Her owne like image in a christall brooke. 

O the great happines, which shepheards have,

Who so loathes not too much the poore estate,

With minde that ill use doth before deprave,

Ne measures all things by the costly rate

Of riotise, and semblants outward brave;

No such sad cares, as wont to macerate

And rend the greedie mindes of covetous men,

Do ever creepe into the shepheards den.

Ne cares he if the fleece, which him arayes,

Be not twice-steeped in Assyrian dye,

Ne glistering of golde, which underlayes

The summer beames, doe blinde his gazing eye.

Ne pictures beautie, nor the glauncing rayes

Of precious stones, whence no good commeth by;

Ne yet his cup embost with Imagery

Of Bœtus or of Alcons vanity.

– Appendix Vergiliana, translated by Edmund Spenser (1591)

The Ground Layer (Bright) - I

Axel Bentzen
Interior
1941
oil on canvas
Göteborgs Konstmuseum, Sweden

Hans W. Sundberg
Botanical Gardens
1987
oil on canvas
Moderna Museet, Stockholm

Gustav Wentzel
In the Studio
1893
oil on canvas
Stortingets Kunstsamling, Oslo

Vilhelm Hammershøi
Interior with Young Man Reading
1898
oil on canvas
Hirschsprung Collection, Copenhagen

Isaak Levitan
Early Foliage
ca. 1883-88
oil on canvas
State Tretyakov Gallery, Moscow

Eberhard Havekost
Max - Headroom 2
2003
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Alexander Rothaug
Cassandra
1911
tempera on panel
Belvedere Museum, Vienna

Franz Marc
Laundry int he Wind
1906
oil on canvas
Museum Folkwang, Essen

Emile Claus
Flemish Farm House
1894
oil on canvas
Musée d'Ixelles, Brussels

Torsten Bergmark
Floating Figure
1967
oil on canvas
Nasjonalmuseet, Oslo

Albert Gosselin
Oak and Olives at Juan-les-Pins
1890
watercolor on paper
Musée des Beaux-Arts de Reims

Vilmos Huszár
Sick Woman
ca. 1920
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Otto Greiner
Prometheus
1909
oil on canvas
National Gallery of Canada, Ottawa

Ludwig Ferdinand Graf
Swimming Pool
1905
oil on canvas
Belvedere Museum, Vienna

Franz Xaver Winterhalter
Empress Eugénie with Ladies in Waiting
1855
oil on canvas
Château de Compiègne

Paul Baudry
Mercury bearing Psyche aloft
1885
oil on canvas
(mounted on ceiling)
Musée Condé, Chantilly

 . . . her judgment totally shaken; coming to the tent and throwing herself on the camp bed, she uttered a loud, piercing cry; she wept profusely, and she tore her tunic.  Eubiotus saw to it that no one was in the tent; he sent everyone out, saying that she had had bad news about the Sauromates.  She wept and wailed and cursed the day she had seen Erasinus while hunting; she cursed her own eyes too and blamed Artemis.  . . .  And absorbed in these misfortunes, she reached out for her dagger; but Eubiotus had surreptitiously removed it from its sheath as soon as she came in.  She looked at him and said: "Wickedest of men!  You dared to lay your hand on my sword!  I am no Amazon, no Themisto; I am a Greek woman.  I am Calligone – no weaker in spirit than any Amazon.  Go and bring me the sword, or I will strangle you with my hands!"

– from Calligone, an anonymous romance fragment written in Greek during the 2nd century AD, translated into English by B.P. Reardon (1989)