Wisconsin

Jean-Michel Basquiat

Jean-Michel Basquiat: and The Art of Storytelling was edited by Hans Werner Holzwarth and was published in 2018 in Cologne, Germany by TASHEN. This very large, very heavy art book contains several high-quality color reproductions of Basquiat’s art and includes an essay by art historian and curator Eleanor Nairne. 

Jean-Michel Basquiat (1960-1988) was born in Brooklyn, New York and died 27 years later in the same city. Basquiat is one of the most well-known contemporary artists of our time; right next to his friend, Andy Warhol (who he collaborated with on the tenth image). Despite dying young, Basquiat’s artistic career is expansive—his paintings and sketches number in the hundreds, each in the unique style that made him sought after. He was first invited to appear in New York/New Wave in 1981 by Mudd Club co-founder Diego Cortez. From there, Basquiat’s career would take off, and he began to appear in galleries throughout the country. Many publications and articles reference his time graffitiing under the name SAMO. However, Basquiat himself rejected this, stating that he was not a graffiti artist. Despite this, it has become a part of his legacy and is used to highlight his role in the “underground” art scene before breaking out into the public sphere. Today the name SAMO is synonymous with Basquiat; along with his iconic crown, his apparent fascination with bones, and the footprints he left behind on his prints.

Much of his art references his experience as a Black man in America and his Afro-Caribbean heritage. His art mixes drawn figures with fragments of phrases, speeches, and words. Some art historians have compared Basquiat’s style to being almost childlike in the way he sketches; however, I think this is a simplistic way of looking at his art especially when considering the subjugation and systematic oppression of Black Americans he often represents in his art.

Following the death of Andy Warhol, Basquiat’s drug use increased and he overdosed in 1988. We do not know how his art would have further evolved, but his approach to art continues to inspire new artists.

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Kyoung Ae Cho: Portfolio Collection Vol. 17

Today we’re highlighting Kyoung Ae Cho, visual artist, professor, and head of UW-Milwaukee’s Fibers program within the School of Art & Design. Born in Onyang, South Korea in 1963, Cho completed her graduate work at the Cranbrook Academy of Art in Bloomfield Hills, MI. She has been on the faculty at UWM since 1999. The images here are drawn from the 17th volume of the Portfolio Collection series, edited by Matthew Koumis for Telos Art Publishing out of Winchester, England. Cho’s volume, published in 2003, features a forward by textile artist and head of the fiber arts department at Cranbrook Academy Gerhardt Knodel, and an introduction by poet and scholar H.L. Hix.

Raised in a multi-generational home, Cho was often left in the care of her grandmother while her parents worked. From her grandmother she learned the craft of sewing, and the art of collecting and transforming unassuming objects. Hix concurs with Cho in defining the character of her art as that of a gift:

Gifts embody love and care and attention, enacting the values instilled in Cho by her grandmother: the pursuit of craftsmanship, respect for materials, and an insistence on imbuing the ordinary with singularity, the trivial with gravity, the negligible with meaning.

Cho prioritizes the gathering of materials in respectful conversation with environment and its natural processes. Materials gathered for the highlighted pieces include: wild sage bushes, balsam fir needles, thread, cotton, honey locust stems, beeswax, hair, shells, a found typeset drawer, horsechestnut twigs, and burning bush leaves. Cho weaves or stitches decoration with thread or hair, and with burn marks on wood. She explains:

It brings me a smile whenever I find myself spontaneously organizing pine needles, autumn leaves, twigs, shells, pebbles…because it reminds me that what I am doing now is not much different from what I did as a little girl sitting next to my mom.

--Amanda, Special Collections Graduate Intern

Happy 414 Day!

In celebration of 414 Day, we bring you pictures from Milwaukee Then and Now, authored by Sandra Ackerman and published by Thunder Bay Press in 2004. For those of you reading this post who may not be familiar with the date, 414 day is a chance for Milwaukee residents to celebrate their city’s history and was chosen for the area code associated with Milwaukee (414). Quite a lot has changed about our city from its first inception, and Ackerman’s book highlights the differences between pictures taken during the late 19th/early 20th century and when the book was published in 2004.

Below, we’ve listed the pictures scanned from Milwaukee Then and Now along with some information regarding the building’s pictures. All photos in this post were taken by the photographer, Simon Clay:

1-2. Milwaukee City Hall: First picture was taken in 1898, the bunting on the building was in celebration of Milwaukee’s fiftieth anniversary of statehood. City Hall was renovated in the early 1900s and the bell, which had not been able to ring out in decades, was restored. It is now named after Milwaukee’s founder, Solomon Juneau.  3-4. Pabst Theater: Originally named the Nunnemacher Grand Opera House, it was destroyed in a fire in January 1895 and rebuilt by Captain Fredrick Pabst, who renamed it the Pabst Theater. 5-6. Pfister Hotel: Designed by architect Henry Koch in 1893. Between the hotel being completed in 1893 and Simon Clay’s picture in 2004, the only change made to the building’s original structure was the addition of a twenty-three-story tower to the back of the hotel. 7-8. Milwaukee River South: This picture was taken from the top of the Usinger’s Famous Sausage building in the early 1900s. Simon Clay recreated the picture by taking the 2004 picture from the same location. 9-10. St. Patrick’s Roman Catholic Church: Built in 1876 to serve a growing population of Irish and English Catholics. There are still services being held in the church today. 

It has been a little over two decades since Ackerman published her book and a lot, still, has changed. This post highlights only a very small piece of Milwaukee’s history. We end this post with an acknowledgement of the tribes that populated and are still active on the land today.  

We acknowledge in Milwaukee that we are on traditional Potawatomi, Ho-Chunk and Menominee homeland along the southwest shores of Michigami, North America’s largest system of freshwater lakes, where the Milwaukee, Menominee and Kinnickinnic rivers meet and the people of Wisconsin’s sovereign Anishinaabe, Ho-Chunk, Menominee, Oneida and Mohican nations remain present.

View previous 414 Day Posts

The Secret Rose

The Secret Rose by Irish poet William Butler Yeats (1865-1935) is a collection of Irish short stories published in London by Lawrence & Bullen in 1897. The cover design is by Irish poet and artist Althea Gyles (1867-1949), with illustrations credited to J. B. Yeats. This 'J. B.' could either refer to W.B.'s father, John (1839-1922), or his brother, Jack (1871-1957). Various sources have attributed the illustrations to one or the other.

Of the seventeen short stories in this collection, J. B. Yeats illustrated only seven of them, each one printed in black and white depicting a single scene from each story. Six are shown here. Even with the lack of color, one can see the understanding J. B. Yeats had of light and shadow as well as the defined brushwork he used to build figures and landscapes. In my opinion, this style is most obvious in the third illustration posted, painted for the short story “Out of the Rose”.    

The cover is bound in a dark blue cloth stamped in gold. Designed by Althea Gyles, a close associate of W. B. Yeats, it depicts the Tree of Life interwoven into a Celtic interlace, sprouting from its roots the skeleton of a dead soldier. Within the interlace, two lovers kiss under a crown of three roses; the style used for the kissing heads derives directly from the short-lived Pre-Raphaelite movement that took place in London from 1848 to 1853. On the spine, Gyles has used the imagery of Lugh’s spear with poppies weaved around the staff and the tip of the spear dunked into a bowl of sleeping potion. Lugh’s spear is often used as a symbol of desire, and the poppies represent sleep, death, and peace; representing each of the seventeen stories' themes the spine helps bind together. On the back we can see a rose on a cross being circled by the tips of spears, a design that marries together designs from the cover and spine.

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Love That Isn’t Flawless (And That’s the Point)

Love is rarely perfect…and that may be its greatest gift.

An Imperfect Solution, by book artist Joe D’Ambrosio, tells the story of Princess Sunny, who lives in a kingdom where everything is flawless and therefore, deeply unsatisfying. Determined to cure what he sees as a problem, her father searches for a way to “fix” her unhappiness. He consults his court, his subjects, and even a lamb whose cryptic advice ultimately inspires a royal ball. The decree is simple: whichever prince can make Sunny happy will win her hand and the throne.

But Sunny’s joy does not arrive through clever tricks or grand spectacle. It arrives in the presence of Prince Herman, bringing with him laughter, tears, and something far more transformative: love. In choosing one another, they discover that happiness is not born of perfection but of the beautifully complicated experience of sharing a life.

Joe D’Ambrosio (1934-2009) was an Arizona-based book artist and letterpress printer, working through Studio D’Ambrosio, known for combining storytelling with sculptural book forms. Here, the story unfolds as a miniature artist’s book printed letterpress in 1997 on Somerset paper from magnesium plates on a Vandercook No. 4 press. Produced in an edition of just 50 copies, the book carries a deeply personal dedication to Sunny Stall and to the memory of her late husband, Herman Stall, grounding the fairy tale in a quiet reflection on enduring love and the ways it continues to shape the chapters that follow.

This Valentine’s Day, An Imperfect Solution reminds us that love is not about flawlessness. It is about finding joy, meaning, and connection in life’s tender, unpredictable, and wonderfully imperfect moments.

-Melissa (believer that love writes more than one chapter), Distinctive Collections Library Assistant

--View another book by Joe D'Ambrosio.

--View past Valentine's Day posts

Wood Engraving Wednesday

ROBERT GIBBINGS

Irish wood engraver and fine press publisher Robert Gibbings (1889-1959) is noted for documenting his various perambulations in words and images. These images are from among 40 wood engravings Gibbings produced for his 1955 publication Trumpets from Montparnasse. We hold both the British (J. M. Dent & Sons) and American (E. P. Dutton & Co.) first editions.

The one-time owner of the Golden Cockerel Press, Gibbings was a voracious traveler and travel writer. Trumpets from Montparnasse was based on his travels in France and Italy, particularly the Île de Ré off the coast of La Rochelle, France, the lagoon city of Venice, Postino south of Naples, and of course Paris and the Montparnasse district itself. The book also includes eight color reproductions of his paintings.

Our British edition is a gift from our late friend Jerry Buff (1931-2025).

View more images from this volume.

View more posts related to Robert Gibbings.

Wood Engraving Wednesday

Here is a selection of original, signed wood-engraved prints from the 2020 Wood Engravers’ Network (WEN) Printers Bundles sent in the fall to WEN members along with that year’s issue of the society’s journal Block & Burin. These prints were issued at the height of the COVID pandemic. Artist Joanne Price, president of WEN at the time, writes to members in that year's issue of Block & Burin:

There isn't a day when I don't think of you all. Wondering how you are weathering 2020 -- the global pandemic, wildfires, flooding, hurricanes, political and civil unrest -- I deeply hope and wish for your safety and health. Just don't ask "Can things get any worse?" -- just don't, because they could!

But Joanne concludes her address with messages of hope and encouragement, and the engravings in that year's bundle do much the same (we'd like to think that the pump in the first print is pumping water rather than oil). Shown here from top to bottom:

Pump, endgrain maple engraving by Marc Horovitz, Colorado.

Realigning, endgrain maple engraving by Colleen Dwire, California.

Furry Fir Transport B, resingrave engraving by Jody Bruns, Indiana.

Angel Song, wood engraving by Joanne Price, Kentucky.

Canadian Helix, engraved in wood with a lozenge-shaped burin by Jim Jereb, Wyoming.

Nesting, high-impact polystyrene engraving by Mirka Hokkanen, Maryland.

Death Mask: Duke of Wellington, resingrave engraving by Christopher M. Register, Virginia.

Hala Sultan Tekke, Larnaca, color wood engraving by Hilary Painter, United Kingdom.

Our copy of the 2020 WEN Bundle is a gift from our friend Tony Drehfal.

View more wood engravings form the WEN Printers Bundles.

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Decorative Sunday

English writer, illustrator, designer, and suffrage activist Laurence Housman (1865-1959) wrote, illustrated, and designed his own first book of poems, Green Arras, published in London by John Lane The Bodley Head and in Chicago by Way and Williams in 1896. Housman worked for The Bodley Head and designed several of their covers, including this one. He wrote about this cover design in his 1936 autobiography, The Unexpected Years:

I was just then designing book-covers for John Lane; so naturally I did what I thought an extra good one for myself: it was, at all events, very rich and elaborate. . . .

Before publishing, Housman ran all his poems passed his more famous older brother A. E. Housman (1859-1936) who gave him useful advice, but who later gave a dig to the book's cover design, stating that a neighbor of his liked the poetry, but "did not say that the Green Arras had a pretty cover nor has it."

Laurence Housman was much closer to his older sister, the illustrator and wood engraver Clemence Housman (1861-1955), who shared his interests in illustration, design, and the suffrage movement, and collaborated with him very closely. They also lived much of their lives together, sharing homes from about 1920 until Clemence's death at the age of 94. Laurence died a little over three years later at 93. Green Arras is dedicated to Clemence, and in the open lines of his dedicatory poem he writes:

I hang my green arras before you Of the lights and the shadows I wove: Could the worth of my gift but restore you One half of your watchings and love!

View more posts on the Housman siblings.

Another post for Memorial Day!

When I Come Back to You: We’ll Have a Yankee-Doodle Wedding is a World War I song composed by William Tracey and Jack Stern, published in 1918 by Douglas & Newman Music Company in New York. 

William Tracey and Jack Stern were influential figures in early 20th-century American music, making significant contributions to the popular and jazz genres. Jack Stern (1896–1985) was an American composer and songwriter recognized for his numerous songs recorded for Hollywood films. William Tracey (1893–1957) was an American lyricist who worked as a staff member for various publishing companies and collaborated with many composers. 

The song reflects the sentiments of soldiers longing to reunite with their loved ones after the war. The lyrics express a soldier’s promise to his sweetheart that they’ll celebrate with a “Yankee-Doodle” wedding upon his return, blending personal affection with national pride. This theme resonated with many during the war, capturing the emotional landscape of families waiting for the return of their loved ones. Tragically, for many soldiers, this promise went unfulfilled, as countless soldiers never came home, leaving behind a lasting legacy of grief and remembrance.

-View past Memorial Day posts

Steamy Saturday

". . . Homosexuals who walk along dark and twisted paths. . . ."

" . . . players in the wildest game of passion."

"It had all started . . . the night he decided to visit that gay bar. . . ."

"It was all over for now. No more running away for him."

"I am gay, he whispered. . . . As gay as they come and what is more I can live with it!"

". . . who would have believed that old Cassius was turning out to be the biggest queer of them all."

Male Bride, published in Manhasset, N.Y. by Kozy Books in 1963, is so steamy that the author "must remain anonymous." Two-bit actor Jackie Cassius desperately wants to satisfy his women sex partners, but the harder he tries, the worse the outcome (no pun intended, but there it is). After entering a gay bar, however, he soon learns he has no problem satisfying his male lovers, or himself. You would think that would resolve the issue, but Cassius remains conflicted about his sexual identity. He comes to believe that he must be bisexual, but he continues to experience self-delating failure with women and enormous success with men.

His friend Delaguerre introduces him to the uber-wealthy and openly-gay Orson Doderer who wants to start an avant garde men's magazine in Paris, away from American censors and where he knows the magazine's content will be appreciated. He hires Delaguerre and Cassius to help him run the business, and they embark on a sex-fueled cruise to France, where Cassius comes to terms with the fact that he is "as gay as they come."

The novel sports to endings: one for the main text where he concludes that he is actually homosexual; and another for the epilogue, where he fully embraces the gay life. Despite the title, there are no brides or marriages in the story, except that the main character becomes "wedded" to the life he is meant to lead.

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Steamy Saturday

"Nurse Martie Howell escorts a patient back to Haiti and falls under the spell of the magic island."

"But did she dare admit that she had fallen in love with the handsome Hugh Balcom."

"Martie's eyes met Hugh's and suddenly it happened!"

"She was trembling from head to foot, and in her heart there was music so glorious. . . ."

"But . . . Hugh was Lisa's fiancé!"

"Martie finds herself fighting . . . Lisa's guardian -- fragile, inflexible Donna Louisa . . . ruthless enough to use any weapon -- even black magic -- to get her way."

Merry Christmas and Happy Hanukkah!

We hope your Christmas and Hanukkah are bright and warm, with presents, family, good friends, and good food! To bring you good cheer from ours to yours, we present more delightful color lithographs by British illustrator Harold Jones (1904-1992) from the children's book This Year: Next Year by the English poet and author Walter de la Mare (1873-1956), published in London by Faber & Faber in 1937.

Merry Christmas and Happy Hannukah to all, and to all a good night!

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Christmas Eve

The gifts and holiday cards have arrived and it's time to put the final touches on this Christmas Eve for the festivities tomorrow. As your candles and holiday hearth bring warmth to these winter days (And every leaping fireflame tries to sing), we leave you with these two cheery color lithographs by British illustrator Harold Jones (1904-1992) from the children's book This Year: Next Year by the English poet and author Walter de la Mare (1873-1956), published in London by Faber & Faber in 1937.

We wish you a joyful Christmas Eve.

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Milestone Monday

Emma’s Entanglements

On this date, December 23 in 1815, John Murray first published Emma by Jane Austen (anonymously) in London, although the title page is dated 1816. Murray offered her 450 pounds for the copyright to the novel, plus the copyrights to Mansfield Park and Sense and Sensibility, which she refused. Instead, she published 2,000 copies of the novel at her own expense and retained the copyright, paying Murray a 10% commission on sales of the edition. 

The story revolves around Emma Woodhouse, a young woman who fancies herself a matchmaker and is determined to oversee the romantic lives of those around her, often with humorous and unintended consequences. 

The novel explores themes of social class, relationships, and the complexities of human behavior, showcasing Austen's keen observations of character and society. Emma is notable for its use of free indirect speech, a narrative style that allows readers to get inside a character's thoughts while maintaining a third-person perspective. 

Often praised for its wit and character development, Emma is considered one of Austen's most accomplished works and has inspired numerous adaptations and reinterpretations in various media.

The images shown here come from Jane Austen’s Emma, with a preface by English author and poet Stella Gibbons (1902-1989) and illustrations in photogravure by the German American artist and designer Fritz Kredel (1900-1973), printed for the Limited Editions Club at the Thistle Press in New York in 1964 and limited to an edition of 1500 signed by the artist.

-View more of our Milestone Monday posts here.