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THE PROGRESS of the ART: PAPER MARBLING in the UNITED STATES, 1880-1950 by Emily C. Pazar a Thesis Submitted to the Faculty of T

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THE PROGRESS of the ART: PAPER MARBLING in the UNITED STATES, 1880-1950 by Emily C. Pazar a Thesis Submitted to the Faculty of T THE PROGRESS OF THE ART: PAPER MARBLING IN THE UNITED STATES, 1880-1950 by Emily C. Pazar A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2016 © 2016 Emily C. Pazar All Rights Reserved Pro Que st Num b e r: 10157412 A ll rig hts re se rve d INFO RMA TION TO A LL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will b e no te d . Also , if m a te ria l ha d to b e re m o ve d , a no te will ind ic a te the d e le tio n. Pro Que st 10157412 Pub lishe d b y Pro Que st LLC (2016). Co p yrig ht o f the Disserta tio n is he ld b y the Autho r. A ll rig hts re se rve d . This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. Pro Q u e st LLC . 789 East Eisenho we r Pa rkwa y P.O. Box 1346 Ann Arb o r, MI 48106 - 1346 THE PROGRESS OF THE ART: PAPER MARBLING IN THE UNITED STATES, 1880-1950 by Emily C. Pazar Approved: __________________________________________________________ Emily J. Guthrie, M.S.L.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS This thesis owes its existence to a supportive and generous group of people who offered their knowledge and time to help me pursue avenues of research and discuss ideas about marbling and craft. I am indebted to my advisor, Emily Guthrie. She provided her keen eye for compelling narrative and amazing knowledge of resources to the copious conversations shaping this study. Her guidance pushed me to think critically about books as objects, and about the people behind them. Melissa Tedone contributed her insights as a second reader, and this paper owes much of its form to her sharp sense of book history and theory. The many kind and perceptive readers who gave their feedback, including Lea Walczak and Emma Boettcher, made this paper more readable and precise than anything I could have produced on my own. I am grateful to librarians, archivists, and collections specialists from the Winterthur Library, University of Delaware Special Collections, University of Iowa Special Collections, Houghton Library, Boston Athenaeum, Buffalo & Erie County Central Library Special Collections, Elbert Hubbard Roycroft Museum, Newberry Library, Rosenbach Museum & Library, University of Chicago Special Collections, and Yale Arts Library Special Collections. Specifically, I thank Charles Alaimo, Molly Dotson, Paul F. Gehl, Elizabeth E. Fuller, Robert Lowell Goller, Katherine ¡¢£¡ ¤¥¦£§¨© Haas, Hope Mayo, Miller, Lauri Perkins, Giselle Simón, Jeanne Solensky, Mary Sullivan, and Colleen Theisen for facilitating my research experiences and recommending further avenues of study. Sidney Berger supplied his knowledge ©¡©¥ and guided access to his and Michè ¨ wonderful decorated paper collection. iii Jocelyn Alcántara-García offered her vast experience in analyzing pigments from the Winterthur Library collections. Every person with whom I discussed this project had incredibly insightful and productive comments. Any mistakes are entirely my own. The research conducted for this thesis would not have been possible without backing from the Delaware Public Humanities Institute and the Marie and John Zimmermann Fund through the Decorative Arts Trust. The generosity of these groups afforded me not only the opportunity to visit marbled papers in a variety of places, but the luxury of time to explore and get to know the collections. Thank you to the wonderful community at the Winterthur Museum. Studying and collaborating with colleagues at Winterthur has been a privilege and a joy. Ritchie Garrison and Rosemary Krill extended early support for this topic. I thank my classmates Amy, Hannah, Katie, Kevin, Matthew, Rosalie, and Willie for their insights on this project and many others, and for their friendship. I have gained so much from being at this place and learning with these people. Finally, I offer my gratitude to the many friends and family members who were both remarkably patient in entertaining my joys and complaints, and exceptionally thoughtful in discussions about this research and everything else. I especially thank my parents, Rich and Bonnie Pazar. As they have for every stage of my studies, they gave me their unwavering encouragement as I completed this project. This thesis is dedicated to them. iv TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................... vii ABSTRACT .................................................................................................................. xi Chapter 1 INTRODUCTION: DEMYSTIFICATION ....................................................... 1 The Marbling Process ......................................................................................... 1 Historiography .................................................................................................... 4 Material Culture and Methodology .................................................................. 12 2 MARBLING IN THE UNITED STATES AND JOSEF HALFER ................. 15 Bookbinding in the United States ..................................................................... 16 Literary Clubs and the Status of Marbling ....................................................... 20 Marbled Paper Options ..................................................................................... 28 Marbling Materials and Tools .......................................................................... 34 ¡¢£¤¥¦§¦¨©¥¦ © ¤¡§©§¡ ¤ ¥¡ ¡ ¥¦ .............................................. 37 3 THE SCIENCE OF MANUALS AND THE ART OF TEACHING ............... 42 Nineteenth-Century Predecessors ..................................................................... 43 §©§¡¤ ¡¨¦¤¦ © ¡¥ £ ¤¡ ............................................................... 49 Louis Herman Kinder and Distributing Manuals ............................................. 51 W.C. Doebbelin and Capitalizing on Materials ................................................ 57 Rosamond B. Loring and In-Person Education ................................................ 68 4 RISK AND OTHER OPTIONS: MARBLING IMITATORS AND TECHNOLOGIES ............................................................................................ 79 Marbling Machines ........................................................................................... 81 Available Papers ............................................................................................... 86 5 CONCLUSION ................................................................................................ 97 REFERENCES ............................................................................................................. 99 v Appendix A PIGMENTS NAMED IN MARBLING MANUALS .................................... 105 B IMAGE PERMISSIONS ................................................................................ 107 vi LIST OF FIGURES ¢£¤¥¦§¨© ¥¨§ ¥¦§¨ ¢£¤¥¦§¨© ¨¥ ¥ Figure 1 ¡ ¨ ¥ ¦§¨ ¢£¤¥¦§¨ ¤ !¥¦§¨ " ¨# $¥§#¨ r and Louis Kinder. The Progress of the Marbling Art. Buffalo: Louis Kinder, 1893. Robert A. Haas Family Arts Library, Yale University. ...... 5 ¥¦¨ ¨¥¨ % ¨ % ¨ ¥ " ¨¥ §¨ &' §¨(¦¨ Figure 2 £ Recueil de Planches sur les Sciences, les Arts Liberaux, et les Arts Mechaniques: avec leur Explication. Vol. IV. Paris: Chez Briasson, David, le Breton, and Durand, 1762-1772: Courtesy, The Winterthur Library: Printed Book and Periodical Collection. ..................................... 8 **+ ,- ./0 1 2 34+.*,567.8 Figure 3 (L) Cover; (C) Top Edge; (R) Endpaper, ) American Biography, Vol. VI. New York: D. Appleton and Company, 1889. Courtesy of the Trustees of the Colt Bequest. ............................... 13 Figure 4 Edge. H. B. Bryant and H.D. Stratton. Common School Book- Keeping: Embracing Single and Double Entry, New York and ¨ Chicago: Ivison, Blakeman, Taylor & Co., 1861. Autho & § § . 17 ¨ $¨& $ ¨ § : Figure 5 9 Inventory. Ossippee, NH, 1900-1919. Courtesy, The Winterthur Library: Joseph Downs Collection of Manuscripts and Printed Ephemera. ........................................................ 18 Figure 6 (L) Endpaper. John Lothrop Motley. The Rise of the Dutch Republic. New York: Harper & Brothers, 1857. Courtesy of the Trustees of the Colt Bequest. (C) Endpaper. Washington Irving. Life of George Washington. New York: G.P. Putnam, 1859. Courtesy of the Trustees of the Colt Bequest. (R) The Miscellaneous Works of the Right Honourable Sir James MacKintosh. Boston: Phillips, Sampson, and Company, 1836. Courtesy of the Trustees of the Colt Bequest. ............. 20 Figure 7 Endpapers, El1 .BB72c (Fulke Greville, Baron Brooke. Certaine Learned and Elegant Workes of the Right Honorable Fulke Lord ; ¡ < ¨ ¦= > ? § @A $¨= Brooke 9 Seyle, 1633). The Rosenbach, Philadelphia, Pa. ..........................................................
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