Jean Charlot's Prints: A Catalogue Raisonné 9780824895419

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Jean Chariot's Prints

Self-Portrait, 1975.

Jean Chariot's Prints A CATALOGUE RAISONNÉ

Peter Morse

THE UNIVERSITY PRESS OF HAWAII and THE JEAN CHARLOT FOUNDATION Honolulu

Quotations and reproductions of prints by Jean Chariot are by the kind permission of Jean Chariot. Quotations from the writings of Paul Claudel are by permission of M . Pierre Claudel. Lithographs from Carmen, © 1941 by T h e Limited Editions Club, and from The Bridge of San Luis Rey, © 1 9 6 2 by T h e Limited Editions Club, are reproduced by permission of T h e George Macy Companies, Inc. Lithographs from A Child's Good Night Book, © 1943 by the William R. Scott Company, are reproduced b y permission of Young Scott Books. Copyright ©

1 9 7 6 by T h e University Press of Hawaii

All rights reserved. N o part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the publisher. Manufactured in the United States of America Book design by Roger J. Eggers

Library of Congress Cataloging in Publication Data Morse, Peter. Jean Chariot's prints

:

A catalogue raisonné

Includes indexes. i . Chariot, Jean, 1 8 9 8 I. 1898II. Title. NE539.C47M67 769'.92'4 ISBN 0 - 8 2 4 8 - 0 3 6 4 - 7

Chariot, Jean, 75-14108

Contents

Foreword

Vll

Preface

ix

Abbreviations

XI

Glossary of Foreign Terms in Titles and Text

xii

Introduction to the Catalogue

X1U

Titles Date Place Medium Size Color States Edition Plates, Stones, and Blocks Signatures Printers Pictorial Sources Artist's Comments Diary Collections Process Work Color Plates Jean Chariot's Prints Series: Chemin de Croix Picture Book Characters of the Reformation Catalogue of Prints Carmen Mexihkanantli Bridge of San Luis Rey Moanalua Petroglyphs Picture Book II Documentary Appendices

xix 1 9 84 164 186 215 257 336 370 387 431

1. U.S. Patent no. 2,119,041 2. "Lithographic Charcoal," by S. Dale Phillips Concordance of Catalogue Numbers

437

Illustration Credits

439

Title Index

441

General Index

447

Foreword

The motivations for Chariot's art and imagery are many and complex. He does not speak of them often, but when he does, it is with considerable pertinence. Rather than present his philosophy of art and printmaking at second hand, it seems preferable to have his personal testimony at first hand. The following comments on the purpose of his art, the multiplication of pictures, the craft of printmaking, and artistic influences on him were selected by the compiler from Chariot's writings and commentary ranging from 1916 to 1972. A notable quality is the consistency of his principles over fifty-six creative years. Readers interested in more than this representative selection may seek out the sources cited below.

Making art popular, even useful, has always been a prime motive in Chariot's work. " A r t detached from all cause and all purpose does not e x i s t . . . . Art is to thought what his voice is to a man: a fast and faithful means of communication. W e can say of Art: 'servant of Faith.'. . . Accepting my definition, the greatest art will not be that which covers the most space, but that which is best adapted to the fast and profound diffusion of thought." (JC 1 9 1 6 ' ) " I n the final analysis, the value of the work of art is no greater than its inner emotion and the quality of emotion which it arouses in the viewer." (JC 1 9 2 5 2 ) " I t is often stated that art must confine itself to the esthetic realm; that to make it serve other ends is to drag it down from its high pedestal. Do we forget that, once upon a time, art was an indispensible accessory of everyone's life, and especially the graphic arts? Woodcuts and metal engravings instructed, edified or amused. Art's main worth was its helpfulness to the people at large as it spread its delights and furthered practical or pious knowledge." (JC 1 9 5 0 4 ) " O n e of the things which has guided me all through life is that I don't like 'art.' I don't like 'art for art.' What I am trying to do, and did even before I went to Mexico, is art for the people. That's why I am so fond of the Images d'Epinal, penny-sheets, Posada, and so forth." (JC 1971) " T h e article in the Christian Science Monitor [August 3 0 , 1 9 7 2 , p. 6] called me 'Champion of the Everyday.' I like that very much." (JC 1972) " O n e of the best qualities of Jean Chariot's work is that he shows people doing things which are important to them." (Lynton R. Kistler 1971)

A consequence of these principles is Chariot's strong interest in multiplying and diffusing images to their full extent. " T h e power of the graphic arts lies in reproduction, multiplication. This very multiplicity points to the people at large as the potential users of prints. . . . Limited, numbered editions of prints are all very well for the kind of graphic art that is de luxe in truth or pretence, and thus declares itself expendable. Another kind of art may be a true necessity that it would be as senseless to ration as bread." (JC 1 9 5 0 4 ) " F a r from building Chinese walls to protect fine prints from the people, the task of the expert should be to bring both together. . . . It is self-evident that the essence of the graphic arts is this property of spawning, of multiplying, and thus of pulling down the barriers of rarity and expensiveness that stand between the everyday man and art originals." (JC 1 9 4 7 3 ) " T h e United States witnesses a heartening revival of the use of hand-drawn prints pulled in unlimited editions, wherein the definition of what the graphic arts should be acquires its full meaning. They are illustrations for trade books, more often children's books." (JC 1 9 4 7 3 ) " I have always had the idea of multiplication about prints. It is associated also with commercial reproductions. The print is a means to an end, and the end is to multiply images. I am not a printmaker. I don't think in terms of 'original' prints, only in terms of the multiple image. The illustrations done on acetate, for instance, with my own color separation, are for me just as 'original' as any other technique of multiplication." (JC 1971) For Chariot, the " a r t " and " c r a f t " of making a print blend together without a boundary. This can be seen not only in the comments here but in his comments about many of the individual prints. " F o r us, 'artisan' is the word which derives most directly from 'art.' W e almost reject the title of 'artist.' " (JC 1 9 1 6 ' ) " I n lithography, delicate hand- and brain-work is indispensible at the stage of etching the stone, and that is where great printers are made." (JC 1 9 4 7 3 ) " I n 1 9 3 1 , 1 did end-papers for Digging in Yucatan, with my own color separations. I was not familiar with the way things were done in New York. I went to see the printer about some faults in the plates. 'That's e a s y / I said. 'Give me a tool and I'll cut them out.' He put his hands up in the air and said, 'If you touch anything here, all my men would strike!' I realized I was not in Mexico." (JC 1971) " I t is funny that I have either a very primitive or very sophisticated technique in my prints. There is never an in-between." (JC 1971)

vii

FOREWORD

Lynton R. Kistler writes a description of the artist at work: "Though almost reverent towards the medium of lithography, Charlot is nevertheless its complete master. To him the clean fine stone is an invitation to his skill. Working with complete assurance, in most instances without preliminary sketches, he often develops his theme and his composition on the stone. As the work progresses, the early sketching on the stone is absorbed in the composition or eliminated from the picture by scraping with a knife or razor blade. Chariot works with the utmost economy of effort, quietly, earnestly. He does not seem to hurry, but every stroke of the crayon is made to count." ("Catalogue of the prints of Jean Chariot printed by Lynton R. Kistler," a brochure dated January 1953) Chariot willingly acknowledges specific artistic influences. It is significant that he has made three personal collections of prints (in addition to his own, of course): Daumier, Posada, and the Images d'Epinal. "The Images d'Epinal are French folk prints. The same family has had the business since the 18th century. They are very careful about keeping their collection of original blocks and still do a few publications from them. I bought a collection of them about 1916 at the Flea Market in Paris. Later, I went to Epinal to meet the family. They are really very nice people and take a pride in their business. A particular favorite of

UAÜ'ÜJiLÜ

J91S3

"PUi AMIDAS.

mine is the artist, François Georgin [1801-1863]. His original designs are better than those he copied from other artists. The colors were stencilled. I had Georgin in Paris and then Posada in Mexico, so I always had some folk prints of interest technically." (JC 1971) " I was always interested in pre-Hispanic things we had in the family. My great uncle, Eugène Goupil, gave the Bibliothèque Nationale some Mexican codices. When I was thirteen, I wanted to get into the Manuscript Collection to see them. But I was under-age; you had to be sixteen. So I wrote a letter to the curator, saying that my uncle had given them those manuscripts, and not to forget that they would have been my own if he hadn't given them, and that I wanted to do a catalogue raisonné of the collection by the newest methods, and so on. There was a letter saying, 'please come,' that the department was open to me. When I arrived and could barely see over the desk, the curator with his long beard said, 'Did you write that letter?' So I got permission to see the manuscripts." (JC 1971) " W h e n I was in Germany during the occupation, I was interested in the German old masters. I went to Colmar especially to see the Isenheim altar by Matthias Grünewald, one of my great admirations. I made quite a lot of notes. In the midst of all those, the modern Germans didn't impress me terribly much. The old German masters were a big influence, but I always go back to folk art." (JC 1971) "The commercial posters of old days, before photography, were all done by people with their eyes. They had an original and would mentally divide it into colors and do their'plates. When he was young, Ben Shahn did that for a living, and he told me how interesting it was. So my color lithographs really started from that. They are a blend, not local color. And they are not blends of primaries, so by nature they become tertiary colors and so on. It becomes very complicated. My own desire was to do what people used to call 'oleographs,' pictures in full color, not the exquisite attenuated effects the Nabis were using. Maybe it is original. I don't think there is an easy precedent, shall we say, for the way I apply the idea of color blends." (JC 1971)

SOURCES CITED

Image d'Epinal by François Georgin: Bataille des

viii

pyramides.

1. Jean Chariot, " N o u s , les J e u n e s ! " La Cilde (Paris), four parts, November 1 9 1 7 through April 1 9 1 8 (written in November 1 9 1 6 ) , translation by the compiler. 2. Jean Chariot, " P r o l o g o " for album, Los Pequeños Grabadores en Madera. . . , Guadalajara, 1 9 2 5 , translation by the compiler. 3. Jean Chariot, American Printmaking 1913-1947, Brooklyn Museum exhibition catalogue, 1 9 4 7 ; also in Chariot, Art-Making from Mexico to China (New York, 1 9 5 0 ) , pp. 213—227; and Chariot, An Artist on Art (Honolulu, 1 9 7 2 ) , vol. 1, pp. 1 5 1 - 1 6 4 . The artist says, "This is my statement of faith about prints." (1971). 4. Jean Chariot, Art-Making from Mexico to China, New York, 1 9 5 0 .

Preface

The purpose of this catalogue is to present the original prints of Jean Chariot, a truly popular artist. He is popular in both senses of the word: his prints are widely bought and enjoyed, and he himself chooses to work in a popular idiom. There are those who criticize him for doing so. It seems to the compiler that one might as well criticize Johann Strauss for not being Johannes Brahms. Rather, it is felt important to present Chariot on his own terms, and to include his own articulate commentary, not only on his own prints, but on the art of his time, and the art history of France, Mexico, and the United States. His prints include, in my opinion, some of the best-loved graphic images of the twentieth century. But those looking for unpopular art may also find some examples here: prints that have never left the artist's home. O f equal importance are Chariot's technical contributions to the craft of fine lithography. Some have become part of the general vocabulary of printmaking. Thus, this catalogue also contains a considerable amount of technical information. Indeed, Chariot's novel use of color lithography has demanded a new method of cataloguing used here. This work, of course, fails of being a classic catalogue raisonne in one important respect. It is that the artist is still making prints. His creative energy will undoubtedly outrun this catalogue. It seemed far more important to include the artist's personal testimony and authentication, and the evidence of his personal collection, than to hold back while awaiting yet more prints. Biographical data of reasonable accuracy may be found in the exhibition catalogues: Jean Chariot, Honolulu Academy of Arts, 1 9 6 6 , and Jean Chariot, Instituto Nacional de Bellas Artes-Museo de Arte M o demo, Mexico, 1968. The artist corrects a few errors with his comments here. A separate bibliography is felt to be redundant at the present time. Dr. John Chariot is now in the process of preparing a comprehensive list of writings by and about his father for future publication. Numerous references to specific prints and series are, of course, cited here under their respective catalogue entries. The present study began with a personal appreciation for Jean Charlot's prints and only the slightest acquaintance with their creator. As our work together progressed, this feeling grew into a deep affection for the man himself. While the original concept and full responsibility for this catalogue are entirely my own, it could not have been realized without the artist's active involvement and help. He has made available

many primary materials : his prints, diaries, files, library, and personal recollections. His own Catalogue of Prints of 1936 (see nos. 3 2 1 - 3 6 2 here) has been the firm foundation for this one. He has given many hours and much hard work that, I have said to him, might have been spent in creating new works instead of recording old ones. A scholar and cataloguer himself, he has given pertinent advice and criticism at all stages. Finally, while this catalogue was being compiled, he introduced me to the young lady who is now my wife—reason enough for affection! Thank you, friend! In addition, the whole Chariot family has given me a great deal of help and a wonderful hospitality. I am most grateful to Mrs. Zohmah Chariot, Dr. John Chariot, Martin Chariot, Peter Chariot, and Ann Chariot Johnson. M y very special thanks also to Mr. Lynton R. Kistler, the artist's favorite printer and good friend for some forty years. I am proud now to count him also among my friends. He has given most generously of his time and recollections of his work with Chariot. S. Dale Phillips and Ronald Kowalke, among Chariot's many printers, and Mrs. Norma Marks, widow of Albert Carman, have been of very special assistance. Among the publishers of Chariot's prints, my particular thanks go to Sheed & Ward, Inc. (Marigold Hunt and E. H. Conner), Young Scott Books (Caria M. Stevens), Associated American Artists (Sylvan Cole), The Limited Editions Club (Caroline Hover), Yale University Press (Anne Wilde), and Stanford University Press (Dorothy O. Riedel). Private collectors and friends of the artist who have been unusually helpful and kind are: Mr. and Mrs. Jack Lord of Honolulu, Miss Marie McCall of New York, M. Pierre Claudel of Paris, Mr. Maurice Lavanoux of New York, and Mr. and Mrs. Joyce O. Roberts of Honolulu, and the late Mr. Merle Armitage. M y appreciation and thanks also go to the many museums that have provided information, especially the Metropolitan Museum of Art (Andrea G. Rawle), the Museum of Modern Art (Donna M. Stein), the Smithsonian Institution (Dr. Elizabeth Harris), Colorado Springs Fine Arts Center (Fred S. Bartlett), the Achenbach Foundation (the late Dr. E. Gunther Troche), Honolulu Academy of Arts (Joseph Feher), and the Museo de Arte Moderno de Mexico (Sra. Carmen Barreda). Many libraries have been equally kind, notably the New York Public Library (Elizabeth E. Roth), Library of Congress, University of Texas at Austin Library (Jane Garner), Bibliothèque Nationale, Paris (Mlle. Madelaine

ix

PREFACE Barbin), and the Biblioteca Nacional de Mexico (Srta. Blanca Castanon Moreno). Many other people and institutions who have aided in this work are acknowledged in the catalogue entries. Still others have been contacted but have been unable, for one reason or another, to provide additional information. To all of them, my sincere appreciation. My heartfelt thanks go to my friend, the late Mr. Laurence Hata, and his staff for the excellent processing and printing of the more than two thousand photographs used in the preparation of this catalogue. Janyce Imata Blair, The University Press of Hawaii, has been

x

a most gentle and understanding editor. I am also profoundly grateful to the officers and board of the Jean Chariot Foundation (which operates completely independently of the artist himself) for their work in raising funds that were essential to the publication of this book. As with any catalogue, there remain a few mysteries to be solved: lost prints, forgotten names, additional trial proofs, and so forth. T h e questions are indicated at the appropriate places in the text. The compiler would be exceptionally grateful for any new information or corrections that readers find and send him. January 1975

Abbreviations

Achenbach

Catalogue

JC

J C card Kistler

Metropolitan NCFA SI ZC or Z D

Achenbach Foundation for Graphic Arts, California Palace of the Legion of Honor, San Francisco, California. Catalogue of Prints by Jean Chariot, New York, 1936 (see nos. 3 2 1 - 3 6 2 in the present catalogue raisonné). Jean Chariot, referring either to the artist himself or to his personal collection of his own works. " J C 1 9 7 1 " and " J C 1 9 7 5 " refer to his comments made expressly for this catalogue during 1 9 7 1 and 1975. Jean Chariot's personal card file of data relating to his prints. Lynton R. Kistler, referring either to the printer himself, to his collection of prints, or to his comments made for this catalogue in personal interviews. Metropolitan Museum of Art, Print Department, New York, New York. National Collection of Fine Arts, Smithsonian Institution, Washington, D.C. Smithsonian Institution, Division of Graphic Arts, Washington, D.C. Zohmah Day Chariot (Mrs. Jean Chariot).

xi

Glossary of Foreign Terms in Titles and Text

cargador—a chop—a

man walking, carrying a heavy burden (Mexican)

printer's device or stylized initials (English)

épreuve—"proof/'

a single impression of a print (French)

Estridentista—"The Strident O n e s , " a group of Mexican poets and writers active in the 1 9 2 0 s état—"state"

of a print (French)

lavandera—a

woman washing clothing (Mexican)

lei—a necklace or headband, usually of flowers (Hawaiian) "Luz"—Doña prints

Luciana Jiménez, friend of the artist and model for many

malinche—a child armed with toy weapons and costumed for a festival dance (Mexican) mestizo (m). or mestiza ( f . ) — a person of mixed Indian and Spanish heritage (Mexican) metate—a concave stone platter, used for hand-grinding grain (Mexican) petate—a

floor mat of woven grass (Mexican)

pollero—a

man carrying caged fowl, usually for sale (Mexican)

posadas—a

Christmas procession (Mexican)

rebozo—a

long cloth shawl worn by women (Mexican)

sarape—a heavy blanketlike cape, usually with a slit in the middle for the head (Mexican) sombrero—a tondo—a

wide-brimmed hat, often of straw (Mexican)

work of art in circular format (originally Italian)

tortilla—a flat round cake of corn flour, a staple food (Mexican) tortillera—a tusche—dilute German)

woman making tortillas (Mexican) solution of oil-based lithographic ink (originally

Introduction to the Catalogue

Each catalogue entry includes the following data, whenever available: catalogue number, title, date, place of drawing and printing, medium, size, colors, states, edition, printer, pictorial sources, JC's diary entries at the time, and his recent comments on each print. Every print that it has been possible to illustrate has been illustrated.

limited, the field is thick with split-hair rulings." The present catalogue is also so delimited. Excluded are works placed on a printing surface by any photomechanical means. (A slight bit of photomechanical help in a preponderantly original work, such as Carmen, is not grounds for banishment.)

TITLES. The titles are the artist's own in every case, though they often do not appear on the print itself. Alternative titles are given if they are in common use or represent different languages. Titles and subjects are often repeated. The Title Index lists key words, variants, and descriptions, and will be helpful in distinguishing among similar prints.

SIZE. Dimensions are given both in millimeters and inches, height preceding width. The metric measurements are the more precise. Inches are rounded off to the nearest one-quarter inch. The English dimensions still have some slight value in showing plates or images made to a standard module. The dimensions given in each case are those of the printed image, usually not including a title, even if it is in the same plate. In a few cases where a stonemark or platemark is prominent, it is also measured. Variations in the shrinkage of paper and different points of measuring an irregular design may cause differences of several millimeters in several examples of the same print, particularly large prints. Chariot's prints have a tremendous range of size from a minimum of 1 square inch (no. 226) to a maximum of over 34 square feet (no. 560). Catalogue illustrations must necessarily be compressed to a narrower range, and the reader is advised to note the true size in every case. All measurements are by the compiler.

DATE. This catalogue is arranged chronologically, with exceptions only for integral books and sets. The sequence can be established with considerable accuracy, thanks to the artist's written records and diaries. The year of each print is given under the title. The day, when known, will be found in the corresponding diary entry. Corroborating data, such as dated publications, are cited if they give additional information. A few dates differ by a year or two from those given in Chariot's Catalogue, compiled in 1936. In each case, the source nearest to the print in time has been accepted, usually the artist's diary. Relatively few prints are dated in the plate or stone itself. PLACE. The place in which a print was made is of unusual interest in the case of an artist who has moved around a great deal. In some cases, plates and stones have been printed in a different place from where they were drawn. "Mexico," by the way, here always refers to Mexico City. MEDIUM. Chariot has done prints in almost every known print medium. These include lithographs (the predominant medium) on stone, zinc, and aluminum, both direct and offset; transfer lithographs; relief prints on plank wood and linoleum, and wood engravings on endgrain blocks; intaglio prints on copper and zinc, including etchings, aquatints, drypoints, and mixtures of these; serigraphs or silk-screen prints; open stencils; mimeograph stencils on which he has drawn directly; and even a hectograph print (no. 4) made by an obsolete process using a tray of gelatin as a printing matrix. In his introduction to the exhibition catalogue, American Printmaking 1913-1947 (Brooklyn Museum, 1947), Chariot wrote: "This show features prints handdrawn, handcut or hand-engraved. . . . Even when so rigorously de-

COLOR. Multicolor prints are an extremely important part of Charlot's graphic work. Faced with a wide and imprecise vocabulary of color terms, the compiler has kept to the most simple only. Thus, a single word can stand for any one of a vast range of color tones. Where the artist has used different words in his Catalogue or card file, these are sometimes noted parenthetically. The aim is to allow colors within a single print to be recognized and distinguished with ease, not to recreate a color scheme with precision. Only the print itself can do that. Prints in one color are in black unless another color is specifically mentioned. STATES. Descriptions are given of all deliberate changes made by the artist in the course of producing a print. Such intentional artistic changes are known as "states." Printmaking is the only artistic form that permits the preservation of intermediate steps, and as such gives great insight into the creative process. Fortunately, Charlot has retained working proofs of many of his prints. These are all catalogued here, and the state descriptions are the responsibility of the compiler.

INTRODUCTION

TO THE

CATALOGUE are cited. This terminology is the compiler's. The artist has, from time to time, used ABCs to designate sequences other than colors, for example, successive states, progressives, or judgments on the quality of printing. A change of color alone does not constitute a new state. At the start of many color prints, Chariot used a key-plate, a simple outline of the final design, which he draws on a plate. It is then transferred lithographically onto the color plates, enabling him to use the outline as a guide to keep the colors in register with each other. When a key-plate has been used, it is catalogued before the color plates, though it seldom appears in the finished print. (It is called " K e y " if not used in the print and " A " if it is used.) On occasion, the artist has also made a "corrective" plate, sometimes in a color already used, to give the finishing touch to a print. Correctives are catalogued separately from the first plate of the same color. " S e t of progressives" is a cumulative series of color proofs of a single print, to wit: A, B, A/B, C, A/B/C, D , A/B/C/D, and so forth to the completed print.

Jean Chariot (left) and Don Bias Vanegas Arroyo (right), Mexico, 1945. Chariot's color prints are complex enough to need a special cataloguing method. Most artists, in creating a color print, draw one basic plate with a self-sufficient design, then highlight and enrich this design with additional colors. In many of Chariot's works, on the other hand, no color plate nor unfinished combination is self-sufficient. The total work does not come to life until all colors have been printed. The artist himself makes the analogy with commercial color-separation work (see pp. 8 8 - 8 9 ) , where the completed polychrome picture does not appear until all its component colors are present. Chariot has the remarkable ability to make such color separations and additions entirely in his mind. (See, for instance, Malinche, no. 116, and the color plates illustrated there). Because of Chariot's working method, it has not been possible to follow a single basic plate and the local color additions to it, as cataloguers have done before. Rather, it has been necessary to make what might be called a " g r i d " for cataloguing each print. Each separate color plate has been followed through its progressive states, and a separate listing of " p r o o f s " has been given to show the points at which the color plates have been pulled together to make a trial proof. This process has been immeasurably aided by the artist's practice of pulling and keeping proofs of individual color plates as he works. The color plates are described in the sequence in which they have been printed, using a series of capital letters: A, B, C, et cetera. Visualizing a print as a stack of colors, the A plate will be at the bottom, the first to be printed, with the other added on top of it. Each color plate then has a series of states, indicated as A - l , A - 2 , A - 3 , and so forth. In some cases, a color will have been drawn and then rejected in favor of an entirely new plate for the same color. These are distinguished by small letters next to the plate letters, such as Aa and Ab, which in turn may each have a series of states, A a - 1 , A a - 2 , and so forth. The trial proofs are then listed as combinations of the color plates in their various states, and the finished print is the combination of the final states of each color plate (unless otherwise noted). It is understood that state proofs use the same color as the final print unless differences

xiv

In some prints, there are such large variations in printing quality— unevenness of pressure, smearing, and so forth—that they may seem like different states. They are not catalogued as such unless they certainly represent deliberate artistic changes. The appearance or disappearance of registration marks on color prints does not constitute a state difference in itself, for they are often blocked out in printing or are off the edge of the paper. " R i g h t " and " l e f t " when applied to a thing or to the print as a whole refer to the viewer's own right or left. When applied to a portrait or a person (or animal) in a print, it means the subject's own right or left. A few prints have state sequences annotated by the artist at the time of printing; these have been specifically noted in significant cases. E D I T I O N . Data on editions and printing quantities come from a variety of sources: annotations on prints, Chariot's Catalogue, sales catalogues of Lynton R. Kistler, and a card file on his prints that Chariot kept during the years 1 9 3 3 - 1 9 5 4 approximately. An edition is a form of pledge by an artist that no more than a given number of prints has been pulled of a given subject. Chariot is fundamentally opposed to the practice of stated editions. "Signed, numbered, limited editions, marginal remarques, states . . . , such fine and refined points, most of them collectors' bait, are more often found as a kind of fungus that thrives on conservative plates, of which modern works are relatively f r e e " ( A m e r ican Printmaking 1913-1947, Brooklyn Museum, 1947). His personal preference is for either a large unlimited printing, to give a work as wide a circulation as possible, or else a very small number of impressions, pulled primarily for his own pleasure. O n many occasions, however, he has set edition limits on his prints, because collectors still expect it of an artist. In most such cases, the editions are written on the prints in the customary form of a fraction, for instance " 9 2 / 1 0 0 " for print number 92 out of a total of 100 printed. In some cases, the actual quantity of prints pulled may be less than the stated limit, and in a very few cases may exceed it. There may also be different editions of the same print in different forms, such as variant color combinations. PLATES, S T O N E S , A N D B L O C K S . Few of Chariot's printing matrices have been preserved. Lithographic stones and plates and silk screens are customarily effaced and the surfaces re-used. Only a few of Chariot's litho plates and one stone (no. 594) are known to have been preserved. If not specifically mentioned in the catalogue entry, the rest may be presumed effaced. The cancelled aluminum plates for Picture Book II (nos. 659, 6 6 1 - 6 9 5 ) are in the Smithsonian Institution,

INTRODUCTION

TO THE

CATALOGUE

done. (They are identified only by last name in the catalogue entries.) Chariot's special respect for their printing, and further technical and biographical details, are mentioned in his comments under the individual prints. Some commercial printers are not and never were personally known to the artist. Others were involved only in single projects or only made late prints from extant plates, as listed below. The prints that do not appear in these lists were printed by Chariot himself. Emilio Amero (b. 1900) has been a friend of Chariot since their earliest days together in Mexico. Chariot cut the block for a woodcut portrait of Amero in 1924 (no. 64). Amero's own lithographs are well known to students of Mexican art. "Amero and Chariot are modern masters of the color-lithographic technique" ( T w e n t y Centuries of Mexican Art, Museum of Modern Art exhibition catalogue, New York, 1940, p. 178). In 1931, Amero established a lithography studio at the Academy of San Carlos in Mexico, where Chariot worked with him. In 1935, Amero came to New York, where both he and Chariot taught at the Cane School for several years and did a number of prints together on stone and aluminum. Their final collaboration was at the University of Oklahoma, where Amero taught for many years. (See Anne Lyon Haight, ed., Portrait of Latin America as Seen by Her Print Makers, New York, 1946, p. 22). Lynton R . Kistler (left) and Jean Chariot (right), Los Angeles, 1 9 5 0 .

Division of Graphic Arts, the gift of Marie and Jack Lord. Some relief blocks and intaglio plates have been retained by the artist, but many have been lost during his various moves over the years. Their fate is noted in each case. The large open stencils of 1954 (nos. 5 6 0 - 5 6 9 ) still exist. It is interesting to note that for 714 print subjects created in fiftyeight years of printmaking, Chariot has drawn or cut a total of 1,806 print matrices. SIGNATURES. The artist, with one minor exception (no. 4), has never signed himself anything but "Jean Chariot." He personally attaches little importance to the presence or absence of an artist's signature on a print. Those independent prints that have a stated edition are customarily signed. Signatures should not be expected on any other prints. Though he has sometimes signed proofs at the request of friends, little value should be attached to the presence or absence of his signature in these cases. There are, in fact, a fair number of instances where he has not even included his name in the plate or stone. Such prints may one day be attributable to him only by their distinctive style and the evidence of this catalogue. PRINTERS. Chariot considers a print to be a collaboration between an artist and printer. In our conversations, he has constantly said " w e " instead of " I " when he speaks of making lithographs. There are relatively few works that he has printed entirely himself. On the other hand, there are also very few occasions when he has not been present personally, supervising and helping in the printing process. He depends on the craftsmanship of a fine printer to produce the best results from his plates, stones, and blocks, and is very sensitive to the quality of printing. At the same time, he has a profound knowledge of the techniques and processes of printing, which enables him to create designs that take full advantage of the available media. These are the essential components of a collaboration. Seven printers who were significant collaborators over an extended period are mentioned here, with a list of the Chariot prints each has

Prints: nos. I l l , 264, 271, 272, 274, 275, 277, 519. Lawrence Barrett (b. 1897) worked closely with Chariot at the Colorado Springs Fine Arts Center in 1947 and 1948. Barrett, like Amero, is also well known as a printmaker, with examples of his work in major museums. He is the author of several technical works: Techniques of Stone Preparation in Lithography (Colorado Springs, 1947); and (with Adolf Dehn) How to Draw and Print Lithographs (New York, 1950). Prints: nos. 505, 512, 513, 518, 520, 522, 526. Albert Carman (1898-1949) collaborated with Chariot on many important lithographic projects during the 1930s, including the Characand Carmen lithographs. Though a painter ters of the Reformation since his youth, he did not begin lithography until 1934. He and Charlot together worked out techniques for making prints on a small Multilith offset press. (See their joint U.S. patent, Appendix 1.) In 1936, Carman started his own lithographic workshop. Business was slow at first, but he soon gained a reputation as an outstanding lithographic printer. He spent several years as staff printer for the Metropolitan Museum of Art and produced portfolios of lithographs by a number of famous artists, among the best known of which is the Four Tales from the Arabian Nights of Marc Chagall. (The printer's widow, Mrs. Norma Marks, has kindly provided biographical data.) Prints: nos. 2 5 1 - 2 6 2 , 265, 276, 2 7 8 - 3 1 6 , 3 2 1 - 3 6 2 , 3 6 9 - 3 8 0 , 3 8 3 - 3 8 5 , 3 9 2 - 3 9 3 , 3 9 9 - 4 0 1 , 4 0 4 - 4 4 2 , 445-456, 4 6 0 - 4 6 3 , 479, 521, 525. Lynton R. Kistler (b. 1897) has worked more closely with Chariot and over a longer period than any other printer. His father, Will A. Kistler, was a commercial printer, who changed his Los Angeles plant from relief printing to the new technique of offset lithography in 1928. Lynton, while working with his father, began also to print artistic lithographs in the 1930s. He met Chariot in 1933, and the print Mother with Child on Back (no. 113) was the first color lithograph of both artist and printer. Soon after, they began work on Picture Book, employing a novel use of commercial techniques for art lithography. For a number of years in the 1940s, Kistler was obliged to turn to commercial printing to earn a living. Then from 1947 to 1958, he had his own lithography workshop in Los Angeles, where he taught and printed for many well-known contemporary artists. He returned to commercial

xv

INTRODUCTION

TO THE

CATALOGUE

work in the 1960s, in part because he had developed a painful allergy to the acids used in stone lithography. Most recently (1971), he has again begun printing for artists. His technical contributions to the art are numerous. Some are described, all too briefly, in his book, How to Make a Lithograph (Los Angeles, 1950). Chariot's comments show that he has preferred to work with Kistler than with any other printer. (Lynton Kistler has kindly provided much information here and elsewhere in the catalogue.) Prints (Kistler alone): nos. 113, 115, 1 7 8 - 2 0 7 , 220, 2 2 7 - 2 3 1 , 2 3 5 - 2 3 9 , 2 6 8 - 2 7 0 , 3 8 8 - 3 8 9 , 3 9 4 - 3 9 6 , 504, 5 0 6 - 5 1 1 , 5 2 9 - 5 3 0 , 533, 5 3 8 - 5 4 1 , 5 5 0 - 5 5 7 , 559, 5 7 5 - 5 9 5 , 625, 639, 659, 6 6 1 - 6 9 5 , 7 1 3 ; (Will A. Kistler Company, supervised by Lynton R. Kistler): 114, 1 1 6 - 1 1 7 , 1 1 9 - 1 7 7 , 208-219, 221-226. George C. Miller (d. 1965) was one of the pioneers in printing lithographs for artists, a tradition now continued by his son, Burr G. Miller. Chariot's main work with George Miller was in the years 1 9 2 9 - 1 9 3 1 in New York. They also collaborated on The Bridge of San Luis Key in 1961. " M y father always had a one-man shop," writes Burr Miller (letter to the compiler). He was thus able to give each artist his full attention and expert knowledge. While not an innovator like Kistler, he was a master craftsman, who aided a whole generation of American printmakers. (See also: Michael Knigin and Murray Zimiles, The Contemporary Lithographic Workshop around the World [New York, 1 9 7 4 ] , pp. 1 2 4 - 1 2 9 . ) Prints: nos. 7 9 - 8 3 , 8 5 - 8 7 , 8 9 - 1 0 5 , 110, 317, 391, 5 9 6 - 6 1 0 . 5. Dale Phillips was the last student of the noted lithographer, Bolton Brown. He made only a few prints with Chariot, at Iowa State University. His technical contributions, nevertheless, helped Chariot on many other occasions. Notable among these is his development of a lithographic charcoal, which permits an artist to achieve soft shadings and tones on a stone that can be obtained by no other means. The formula for it, which has never been published, is given here as Appendix 2. (The compiler is grateful to Mr. Phillips for his help.) Prints: nos. 2 3 3 - 2 3 4 , 390, 398. José Sanchez worked with Chariot in 1946 and 1947 at the Taller de Gràfica Popular in Mexico. Chariot had great respect for his lithographic

printing and insisted that his name be included as a collaborator in Mexihkanantli. An unfortunate accident a few years later cut short the career of one of America's finest lithographic printers. Prints: nos. 4 8 5 - 5 0 2 . Other printers: Bailey, Leroy: nos. 6 4 3 - 6 4 5 , 6 4 7 - 6 5 6 Botas, Andres, e Hijo: nos. 5 7 - 6 3 Brownlee, Edward: no. 558 Cahero, Emilio Garcia: no. 26 Chariot, Zohmah: nos. 112, 273 Craig, Thelma: nos. 640, 696 Davidson, Russell: no. 628 Ezra: nos. 4 5 7 - 4 5 8 Franks, Larry: nos. 6 2 6 - 6 2 7 Fraser, Juliette M a y : nos. 549, 5 6 0 - 5 6 2 , 572 Gutenberg Publishing Company: no. 319 Honolulu Sign Company: nos. 6 9 7 - 7 0 8 Hutchinson, Beth: nos. 4 7 7 - 4 7 8 Jobin, Claude: nos. 6 1 5 - 6 1 6 Johnston, Randolph W . : nos. 459, 480, 482 Julich, Reinhold W . : no. 658 Kowalke, Ronald L.: nos. 6 2 2 - 6 2 4 Lai, Thomas: nos. 7 0 0 - 7 0 6 Little Flower Press: nos. 5 3 1 - 5 3 2 , 5 3 4 - 5 3 5 MacCray: nos. 4 0 2 - 4 0 3 McGrawth: nos. 5 2 3 - 5 2 4 Masson: nos. 6 1 3 - 6 1 4 , 6 1 7 - 6 2 0 Metal, Bernard: no. 320 Morikawa, Hiroshi: nos. 6 9 7 - 6 9 9 , 7 0 7 - 7 0 8 Morse, Peter and Marcia: nos. 5 6 3 - 5 6 9 , 623, 627, 6 4 1 - 6 4 2 , 646, 657, 660, 714 Mourlot Frères: nos. 6 1 5 - 6 1 6 Multilith salesman (unidentified) : nos. 2 4 0 - 2 4 2 Okenbloom: nos. 4 4 3 - 4 4 4 Palumbo : no. 387 Papeleria Venepal : no. 638 Schiffer, Louise: no. 386 Scott, William R., Company: nos. 4 6 5 - 4 7 6 Stanford University Press: nos. 5 3 6 - 5 3 7 Tilley, Lewis and Martha: nos. 5 2 3 - 5 2 4 Tipografia Lid: nos. 631, 6 3 5 - 6 3 7 , 7 1 1 - 7 1 2 Triggs: no. 574 Tucker Anthony B.: nos. 6 3 2 - 6 3 3 Vanegas Arroyo, Arsacio: no. 484 Warner, Herbert: nos. 6 2 2 - 6 2 4 , 629 Zalce, Alfredo: no. 503 Unknown intaglio printer: no. 542 Unknown lithographic printers: nos. 7 - 8 , 47-55, 6 8 - 6 9 , 7 1 - 7 3 , 244 Unknown mimeograph printers: nos. 464, 5 4 3 - 5 4 8 , 573 Unknown relief printers: nos. 1 1 - 2 5 , 4 1 - 4 3 , 46, 67, 106, 232, 3 9 7 , 481, 514, 517, 527, 571, 612

S. Dale Phillips pulling a proof of Chariot's print no. 233, Ames, Iowa, 1934. xvi

P I C T O R I A L S O U R C E S . Chariot frequently repeats and re-interprets subjects that he has used before. Both Picture Books, for instance, were deliberately planned as repertories of previous images. Subjects are liable to cross the lines of various media. Drawing to lithograph, litho-

INTRODUCTION graph to oil, fresco to etching, lithograph to wood engraving—any combination is possible. It should be evident that each such change involves much more than a straight repetition. Each necessitates a complete rethinking of the values, scale, colors, and content of the given image in terms of the medium. Because of these many crossrelations, an attempt has been made to give both antecedents and descendants of subjects that appear in the prints, though the listing is far from complete. D a t a have been obtained from published reproductions, information in the artist's files, works still in his possession, his manuscript catalogue of his paintings, his personal recollections, and of course a comparison of the prints among themselves. A R T I S T ' S C O M M E N T S . An unusual feature of this catalogue is the inclusion of Chariot's personal comments on many of his own prints. From an articulate man, both artist and scholar, such comments are of special interest and value. T h e y were made orally. Between March and August 1 9 7 1 , the artist and compiler sat together in the Chariot home in Honolulu on many occasions, with a tape recorder running. More recent prints were similarly discussed in January 1 9 7 5 . W e looked at a series of photographs of his prints in chronological order. His comments were not forced, and some prints have nothing said about them. If he speaks more of technical and historical points, rather than subjective content, this is what he intends, feeling that the latter is already evident in the prints. T h e conversations were in English, which Chariot has spoken since childhood and which is the language in which he has written all his books. He cautions the reader that many of the spoken comments are far removed in time from the prints: " T h e r e is a lot written in the diary. T h a t is a contemporary document. Beware of memories." (JC 1 9 7 1 ) T h e taped comments were transcribed by the compiler and checked by Chariot. T h e y represent, therefore, what he really said and intended to say. O n e thing, however, which cannot be conveyed in print is a smile. Chariot's sense of humor breaks through on many occasions and may surprise the reader, as, for instance, when he says of Pancracio (no. 2 6 2 ) : " I t is Diego Rivera as a child," a comment not intended seriously. T h e artist's inspection and comments, of course, constitute his personal authentication of every print in this catalogue as his own original work. D I A R Y . Chariot has kept personal diaries of his daily activities since 1 9 2 2 . O n l y the book for 1 9 4 5 is now missing, presumably lost. T h e y are written in shorthand, the Systeme Fayet, used by French government agencies. " I t is a French professional shorthand that I learned around 1 9 1 0 from a lady who had been a stenographer for the governm e n t " (JC 1 9 7 1 ) . T h e entries, though basically in French, also include a great deal of Spanish and English. " I t is such a mixture that whoever would want to do a serious job on it later would have a hard t i m e " (JC 1 9 7 1 ) . T h e diaries are tiny books (about 1 0 0 x 65 mm., 4 x V-k inches), of the sort often used as appointment books. T h e entries are extremely terse, recording facts, particularly work accomplished. " I put in it only what I considered important. There's never too m u c h . " (JC 1 9 7 1 ) T h e diary excerpts pertaining to prints, as given in this catalogue, have all been transcribed and translated into English by the artist. (The compiler, who does not read shorthand, is exceptionally grateful for all this labor.) Their value is documentary—establishing dates, printers, and working methods, information often available from no other source. It has even revealed the existence of prints not otherwise known.

U,,.

FRI. FEB. 21, 1930

Ther.

j

! V

-

-

.

!

Wea.

TO THE

CATALOGUE

Mos. FEB. 24, 1930

"v - ••Vi inches) design. No states. Edition: 17. Printer: Unknown. Drawing: Pencil drawing, in reverse, with pinholes.

only state

32

53.

M U J E R Y N I N O (PERFIL) [ W o m a n with child (profile)] 1923. Mexico. Series: " V i g n e t t e s for an attempted p o r t f o l i o . " Lithograph on stone. 1 4 0 x 4 2 m m . (5V2 x 1 3 A inches) design. N o states. Edition: 1 7 . Printer: U n k n o w n . D r a w i n g : Pencil drawing, in reverse, with pinholes, annotated " r e b o z o bleu foncé / r o b e m a r r o n r o s é " (rebozo dark blue / skirt pinkish m a r o o n ) .

only state

54. M U J E R R E C L I N A D A [Reclining w o m a n ] 1 9 2 3 . Mexico. Series: " V i g n e t t e s for an attempted p o r t f o l i o . " Lithograph on stone. 7 0 x 1 2 7 mm. (2 3 A x 5 inches) design.

iilljp pig

N o states. J C proof inscribed " é p r e u v e u n i q u e " on m a t . N o edition. " O n e proof o n l y " (JC card). Printer: U n known. D r a w i n g : Pencil drawing in reverse, with pinholes.

only proof

55. C A B E Z A [Head of a w o m a n ] 1 9 2 3 . Mexico. Series: " V i g n e t t e s for an attempted portfolio." Lithograph on stone. Drawing measures 9 5 x 7 6 m m . ( 3 3 A x 3 inches). N o states. N o proof exists. N o edition. " P r o o f s d e s t r o y e d " ( C a t a l o g u e ) . Printer: Unknown. D r a w i n g : Pencil drawing, with pinholes to help copy the design on the stone. For the illustration, the drawing has been photographed and the negative reversed for printing. Since the other lithographs in this series are the reverse of their pencil drawings and correspond closely, this procedure gives the closest approximation of the destroyed lithograph. drawing (reversed)

33

only state

56.

L O S R I C O S E N EL I N F I E R N O [Rich people in Hell] 1 9 2 4 . Mexico. W o o d c u t . 3 2 6 x 2 6 4 mm. (12 3 A x IOV2 inches). N o states. T w o proofs in black ink on red paper in artist's collection. N o edition. " T w o proofs on red p a p e r " ( C a t a l o g u e ) . Block lost. Printer: J C . " I t is not political, but religious—the eye of the needle. It was a narrow point of contact with the political artists. N o n e of us had much love for the rich. T h e feeling has stayed with me. T h i s folk style may derive f r o m the Images d ' E p i n a l — a n d the discovery of P o s a d a . " (JC 1 9 7 1 ) (Anita B r e n n e r , writing in 1 9 2 9 [Idols behind Altars, N e w Y o r k , 1 9 2 9 , p. 3 0 8 ] , noted its similarity to folk art.) J C D i a r y : M a r c h 2 1 , 1 9 2 4 . " A r t i c l e for El Machete." " T h e article was never published, but the Rich in Hell was meant to illustrate i t . " ( J C 1 9 7 1 )

super-poema

bolchevique

en

S

cantos

only state 57. URBE: COVER 1924. Mexico. Cover illustration for the book: Manuel Maples Arce, Urbe: Super- poema bolchevique en 5 cantos, Mexico, 1924. Woodcut, two colors: A. black. B. red. 140 x 144 mm. (5V2 x 5 % inches) design only. No states. The book is in the artist's collection. Edition: 500. Blocks lost. Printer: Andres Botas. See also Color Plate 1. " I like these prints. I didn't read the poems too carefully, but got in the mood. They represented for me various kinds of farewell." (JC 1971) JC Diary: March 10, 1924. "Draw portrait Maples Arce evening." March 17. "Draw illustrations for Maples." March 24. "Illustrations Maples Arce." [Apparently the drawings, none of which are now located, were done first, followed later by the woodcuts.] May 30. "Two woodcuts for Maples." June 7. " T w o woodcuts for Maples." June 26. " A drawing Maples." July 19. " T w o woodcuts Maples." July 22. "Cover in two colors for Maples." The small linecut of a woman on the title page is not by Chariot, but a mark of the printer. The colophon of the book gives July 24, 1924, as the date of its completion.

58. P O R T R A I T OF MAPLES ARCE Urbe. Woodcut. 170 x 120 mm. (6 3 A x 4 % inches), not including the typeset caption. States: 1. An inverted " V " outlines the right shoulder. One proof on blue tissue. 2. Inner line of the right shoulder removed. Published state. Reproduction: Relief linecut (132 x 91 mm.) on the cover of Maples Arce's Soberana Juventud [Sovereign youth], Editorial Plenitud, Madrid, 1967.

35

only state

59. SKYSCRAPERS Urbe. Woodcut. 1 6 8 x 1 2 1 mm. (63A x 43A inches). No states.

36

published state

60. POET O N AIRPLANE Urbe. Woodcut. 1 7 0 x 1 2 0 mm. ( 6 % x 43A inches). States: 1. Uneven roof-line on building directly beneath poet. Proof on blue tissue. 2. Roof-line cut straight across. Published state.

only state

61. VIADUCT Urbe. Woodcut. 168 x 121 mm. (63A x 43A inches). No states.

published state

62. SEARCHLIGHTS Urbe. Woodcut. 171 x 120 mm. (63A x 43A inches). States: JC's card file mentions one proof of a first state, not now known. He has a proof on blue tissue that does not differ in state from the published print. A linecut reproduction, published in El Universal, August 31, 1924, shows only the upper part of this print, cut off horizontally between the two boats. Though there is no state difference in the parts shown, this picture might possibly represent a first state before additions.

37

only state

64. EMILIO A M E R O , after C O V A R R U B I A S 1924. Mexico. Woodcut. Size unknown. No states. No proof known. Illustrated with the Catalogue sketch. Mr. Amero no longer has either the block or a proof. No edition. "1 proof?" ( C a t a l o g u e ) . Block lost. Printer: JC. " A m e r o is an old friend. I worked with him at the Cane School in New York in the 1930s and again in Oklahoma in 1948. Miguel Covarrubias did the drawing. I carved it. Amero was leaving for New York and thought he could use this for publicity purposes.'' (JC 1971) J C Diary: October 10, 1924. " W o r k at print-making. Engraving after a drawing." ("Travail gravure. Gravure dessin.") October 11. "Finish engraving after a drawing in black-and-white." ("Fini gravure dessin noir-et-blanc.") [The unusual phrasing of "gravure dessin" most probably refers to this print.]

38

Catalogue

sketch

65.

PORTRAIT OF MANUEL MARTINEZ PINTAO 1 9 2 4 . Diary entry below. Mexico. W o o d c u t . 3 0 2 x 2 4 2 mm. ( 1 2 x 9 x /2 inches). States: 1. Line of shading on hat brim above both eyes. O n e proof of head only, without the collar and shoulders ( " 1 e r état, 1 / 2 " ) . 2. End of line of shading removed from above left eye. Light shading removed from beneath both eyes. The final proofs have the entire design. N o edition. J C has six proofs in the 2nd state, of which two appear to be early and four later. The Catalogue says: " W o o d exists," as of 1 9 3 7 , but it has since been lost. Printer: JC. D r a w i n g : Pencil on sheet 3 5 4 x 2 5 1 mm. (14 x 1 0 inches), torn up, but then pasted together on a sheet of 1 9 2 4 Mexican newspaper. Reproductions in linecut: (a) 1 4 9 x 1 5 0 mm., of first state, head only, in Forma, no. 5, Mexico, 1 9 2 7 , p. 2 5 ; (b) 1 2 1 x 1 0 0 mm., of 2nd state entire, in Charlot An Artist on Art, Honolulu 1 9 7 2 , vol. 2, p. 3 8 0 .

second state

" I wrote an article about Pintao as a sculptor [El Demócrata, August 5, 1 9 2 3 ; translated into English, Art from the Mayans to Disney, N e w York, 1 9 3 9 , pp. 9 4 - 9 9 , and An Artist on Art, Honolulu, 1 9 7 2 , vol. 2, pp. 3 8 0 - 3 8 4 ] . In this print, I tried to get the feeling of an actual drawing, with the extra pentimenti, into the block itself. I have the original drawing. I tore it into little pieces one day, but then pasted it together a g a i n . " (JC 1 9 7 1 ) J C D i a r y : November 1, 1 9 2 4 . " W o r k on print of Pintao."

39

only proof 66.

V E N D E D O R A DE P L Á T A N O S [Banana vendor] 1925. Mexico. Woodcut. 264 x 187 mm. (I0V2 x 7V2 inches). No states. One proof, inscribed "épreuve unique." No edition. " 1 proof?" ( C a t a l o g u e ) . Block lost. Printer: JC. " N o w this I did later than the small woodcut figures—after the inspiration was gone. The Catalogue says '1 proof/ which shows I wasn't very successful." (JC 1971) JC remembers that the woodcut was intended for publication in the magazine, Antorcha, which was published by José Vasconcelos, who was Secretary of Education of Mexico. This memory is supported by JC's diary entry for January 12, 1 9 2 5 : " A print for Antorcha." ("Gravure pour Antorcha.") The print, however, was never published. JC and the compiler together searched through a complete set of Antorcha, October 4, 1 9 2 4 , through October 1925 (provided on microfilm by the University of Texas at Austin Library). Although the magazine contains many original woodcuts, Chariot is certain that none is by him.

40

only state 67. MEXICAN FOLKWAYS POSTER 1925. Mexico. Woodcut, printed in green. 241 x 291 mm. (9V2 x I I V 2 inches) including title. No states. One proof, hand-colored. Edition: Unknown. Block lost. Printer: Unknown. " T h i s poster announced the first issue of the magazine, Mexican Folkways [June-July 1925], I was the first art editor of it. Then I was replaced by Diego Rivera while I was away in Yucatán. Cut directly on the wood, this is a theme similar to that of my cover for the magazine." (JC 1971) JC Diary: March 30, 1925. "Woodcut for Frances." ("Gravure sur bois pour Frances.") April 27. " P u t color on poster for Frances." Frances Toor was the editor of the magazine. The typeset text on the lower half of the poster says: " D e voted to the Interpretation of the Indian race soul," and lists contributors to the magazine.

68. DANCE: CHALMA 1925. Mexico. Lithograph on stone. 330 x 227 mm. (13 x 9 inches), the design equaling the sheet size. States : 1. Cross at top has heavy Maltese arms. Hanging birds lack wings. Girl at right rear has a spot for an eye. One proof, annotated "1 e r état, 1 / 1 . " 2. Cross changed to simple crossed lines. Birds have wings. Girl's eye changed to short horizontal stroke. "9" of " 1 9 2 5 " remains reversed. Published state. Edition: 525. Printed on light-blue paper and folded for insertion in the issues of Mexican Folkways, vol. 1, no. 4. " A few unfolded" ( C a t a l o g u e ) and two proofs on white paper. Printer: Unknown. Oil painting of 1925, illustrated in Claudel, Jean Charlot, Paris, 1935, p. 29, believed to come after this print. Also see lithograph no. 143. " T h e dance of the young girls is part of the annual pilgrimage to Chalma. In pre-Hispanic times, there was a shrine there of the Indian God of the Caves. The Spaniards could not stop people from making the pilgrimage, so they built a church on top of the cave. This print was done at the same litho shop and on the same stone as the 1 9 2 3 vignettes. Mexican Folkways had a folded tip-in as a bonus in the center of each issue. The first was a Rivera process print, then an Orozco process print, then an original lithograph by Carlos Mérida. Mine was fourth." (JC 1971) JC Diary: July 30, 1925. "Lithograph shop with Mérida." July 31. " W o r k on litho." August 1. " W o r k on litho. Finish litho." August 3. "Lithograph shop. Received proofs." August 4. " T o the printer of Folk-

ways."

See also Chariot, An Artist on Art (Honolulu, 1972, vol. 2, pp. 1 0 8 - 1 1 3 ) . Chariot made his own pilgrimage to Chalma in January 1 9 2 5 , along with the family of his friend, Doña Luz Jiménez. Since subjects from this pilgrimage occur many times in his prints, the artist has made available his pertinent diary excerpts: January 1, 1925. "Departure tomorrow for Chalma." January 2. "Leave at 3 pm. Arrive 11 pm. at Milpa Alta. Meet family Luz. Sleep there. Also Anita [Brenner] and Frances [Toor]." [Milpa Alta was the native village of Luz, where her mother lived.] January 3. "Leave 2 am. by horse. Arrive 9 pm. at Santa Martha. Seventeen

published state hours horseback. Sleep with family Luz." January 4 (Sunday). Leave 4 am. Arrive Chalma 11 am. See the curate. He offers us a room in the presbytery." January 5. "Los Pastores (Dance of the Shepherds). Los Santiagos (Dance of the Knights). Confession. Evening: Pastorellas. Magnifique, like the mystery plays of the Middle Ages." January 6. "Epiphany. Feast of the Three Kings. High mass. Communion. Los Arabes: masks with golden horns. Dance facing the altar." January 7. "Bathe in the river. Evening: invited to a dance. Adieu to the priest." January 8. "Rise 4 : 3 0 am. Leave Chalma 7 am. on donkey-back. Arrive Tenango 5 pm. Train Tenango-Toluca 6 pm. arriving 7 : 3 0 pm. Three in one room." January 9. "Arrive Mexico City 1 0 : 3 0 am."

41

69. TEMASCAL 1925. Mexico. Lithograph on stone, transfer from paper. 704 x 553 mm. (28 x 22 inches). No states. JC's file card notes "one trial proof on thin paper," not now located. All known proofs are separately retouched by the artist. He used a stick of lithographic tusche to darken further the black areas on each print. Edition: 27. Printer: Unknown. Drawing in sanguine and black ink on tissue, same size as the print, but not the one used for the actual transfer. It lacks the paper texture seen in the lithograph. " 'Temascal' is the Nahuatl word for 'steam bath.' There is a communal one in each Indian village. This is a transfer litho, as you can see from the paper grain on the stone. Some of my later motifs had their beginning in this print. The drawing was done on a very thin paper, held against a blank canvas, so the grain is that of the canvas. Then I gave it to a cranky lithographer who didn't like to do 'art.' " (JC 1971) JC Diary: October 2, 1925. "Sketch temascal." October 3. " W o r k at litho temascal. 4 pm. litho work." October 5. "Litho shop. Good proofs." October 7. "Litho bad. Re-touch litho."

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"

• «R •

only state 70. M A Y A N HEAD 1927. Chichén Itzá, Yucatán. Open stencil, in three colors: A. pink (face). B. turquoise blue. C. black. 48 x 51 mm. ( 2 x 2 inches). No states. Only one proof known. Edition: Unknown. Stencil lost. Printer: JC. " I cut the stencils out of paper, right at Chichén Itzá. I was with Lowell Houser, both doing archaeological copies. W e shared the same hut. This was for a small poster for a theatrical program the archaeologists put on. We played " T h e Rise and Fall of the Mayan Empire," the archaeologists as actors with masks, at night in the old Ball Court. The Mayan villagers came from far-off places to see, and liked it. I have an idea I did other stencils there, but I don't have any trace of them now." (JC 1971) JC Diary: March 17, 1927 (Chichén Itzá). "Cut a stencil for fiesta program."

43

71. N U D E I (to the right) 1927. Mexico. Woodcut. 170 x 110 mm. (63A x inches), not including initials. States: 1. Lines of left arm, stomach, and legs very heavy. Navel circular. One proof only. 2. Lines cut thinner. Navel reduced to a spot. Published state. (Most proofs show random pattern of cut wood in blank areas, not deeply cut.) Edition: Ca. 250 in Forma, no. 5 (Mexico, 1 9 2 7 ) , p. 26, on glossy paper, annotated: "Cedro rojo (Grabados directos)" [Red cedar (direct engravings)]. Probably 10 to 15 separate proofs. The Catalogue says "wood exists," as of 1 9 3 7 , but since lost. Printer of proofs: JC. Edition printer unknown. " T h i s is Luciana, or Luz. I've known five generations of her family—her mother, herself, her daughter, Concha, Concha's children, and the children's children. I visited them most recently in 1968. I thought of her as a sort of earth mother. I had drawings from life to work from, though I don't remember putting them onto the block. I made many drawings of her. [Drawings of Luz are recorded as early as 1922 in JC's files.] There are states of the block from thinning lines and general cleaning. The intention here was not the facsimile of a drawing, as with Pintao, but more of an improvisation on wood." (JC 1971)

published state

JC Diary: July 12, 1927. " W o o d c u t : Nude Luz."

72. N U D E II (to the left) 1927. Mexico. Woodcut. 170 x 120 mm. (63A x 4 % inches). States: 1. Heavy vertical line on right side of mouth. One proof, inscribed "épreuve unique." 2. Line shortened, now next to upper lip only. Line of jaw thinned. White line added across head outline above right eye. Blank areas cleaned up. Published state. (Most proofs have cut-wood pattern in blank areas.) Edition: Ca. 250 in Forma, no. 5 (Mexico, 1927), p. 27, on glossy paper, annotated: "Cedro rojo (Grabados directos) [Red cedar (direct engravings)]. Probably 10 to 15 separate proofs. The Catalogue says "wood exists," as of 1 9 3 7 , but since lost. Printer of proofs: JC. Edition printer unknown. JC Diary: July 1 3 , 1 9 2 7 . " W o o d c u t : Nude Luz."

published state

44

73. SMALL BUILDERS 1927. Mexico. Woodcut. 249 x 134 mm. (93A x inches). No states. First printing (1927): All lines of the design are firm and clear. JC has three early proofs on tissue. Second printing (1948): The lines show a woodgrain pattern running vertically, probably due to moisture and expansion within the block over twenty-one years. JC has two late proofs in black and two in brown. No edition for first printing. Edition size unknown for second printing, which was in brown on gray card (318 x 137 mm.) as an announcement for a Chariot exhibition at the George Nix Gallery, Colorado Springs, July 16 to August 10, 1948. The block clearly existed as recently as 1948, but has since been lost. Printer of proofs: JC. Printer for second printing: Unknown (press-printed). Drawing: Design included in one of the large drawings noted under no. 75. Reproduction in linecut on glossy paper, 243 x 138 mm., in Forma, no. 5 (Mexico, 1927) p. 28. This would be extremely deceptive, being almost the same size as the original, except that the initials " ] " and " C " have been moved upward, level with the knees of the lower man. That this was not a change in the original block is shown by the initials appearing in the lower position in the 1948 printing. The upward shift, therefore, can only have been done photomechanically. The frameline at upper right is short in the reproduction, and longer in all originals. " T h e block was cut in Mexico from drawings made at Chichén Itzá. This shows our Mayan workers lifting carved stones. There's an obvious parallel to the original pyramid builders." (JC 1971) JC Diary: July 15, 1927. "Woodcut: two Yucatán types."

45

74. G R E A T BUILDERS I 1927. Mexico. Alternative titles: Obreros [Workers]; Pyramid Builders. Woodcut on two adjoining blocks, verso of those for no. 75. 475 x 300 mm. (18 3 A x 12 inches) overall. (The blocks were of equal size, with the junction horizontally across the middle.) States: 1. Black square on lower corner of apron of bottom center man. Heavy vertical line between chest and left arm of worker above ladder at upper center. One proof. 2. Black square on apron cut into initials " J C . " Lines of face and arms of bending man at right above center are cut thinner, a white line now separating the face from the arm. One proof in the artist's collection. Another proof illustrated in Anita Brenner, Idols behind Altars (New York, 1929, p. 311), perhaps in Miss Brenner's collection. 3. A break appears in the neck of the water gourd hanging at left above center. Three proofs ( J C 2, Museum of Modern Art). No edition. Three proofs mentioned in Catalogue; six recorded here. " W o o d exists" is stated in the Catalogue, as of 1 9 3 7 , but the two blocks have since been lost. Printer: JC. Drawing: Gray wash, 653 x 496 mm., dated July 1927, reverse of the print. " T h e two blocks were set together for printing, but they were not joined in any way. Dr. Sylvanus Griswold Morley came to Mexico with a full crew and a ten-year contract from the Mexican government to do the work in the Mayan ruins at Chichen Itza. The only thing he lacked was a draftsman to record the Mayan images. I got the job. The publication by the Carnegie Foundation [Morris, Chariot, and Morris, The Temple of the Warriors . . . , Washington, 1931] was perhaps the last such archaeological publication to be illustrated mainly with drawings instead of photographs." (JC 1971) JC Diary: July 17, 1927. "Sketch for workers in the ruins." July 18. "Composition: workers in ruins. W o r k woodcut." July 27 and 28. " W o r k woodcut."

46

second state

75. GREAT BUILDERS II 1927. Mexico. Woodcut on two adjoining blocks, verso of those for no. 74. 475 x 300 mm. (183À x 12 inches) overall. (The two blocks were of equal size, with the junction horizontally across the middle.) States: 1. Thick outlines of three upper men, two men at center, hanging block, and around both bas reliefs. One proof. 2. The mentioned outlines all cut thinner. Three proofs, respectively inscribed: "No. 1—atroce; No. 2—épouvantable; No. 3—horrible." No. 1 shows an unfinished triangle in the upper left corner, which is uninked in Nos. 2 and 3. 3. Vulture carved in triangle at upper left. The hatched outlines of both bas reliefs are cut much thinner. Eye of man with pick at center is reduced from a long curved stroke to a short one. Horizontal shading on steps beside hat of the same man removed. General cleaning in blank areas. Two proofs (JC, Ann Chariot Johnson). 4. Vulture no longer appears (either removed or masked). Long stroke of navel of man at far right center is mostly removed. Three proofs (JC, Museum of Modern Art, Brooklyn Museum). 5. A gap appears in the lower left corner of the suspended rectangular block at upper left. Three proofs, one on yellow tissue. No edition. JC's file card records eight proofs: one each in states 1, 2, 3, 4, 5, and 6; three in a 3rd state. Twelve are catalogued here. The third-state proofs on the card may correspond to those given above as second state, indicating an earlier state proof not now located. "Wood exists," according to the Catalogue in 1937, but the blocks have since been lost. Printer: JC. Drawings: Four gray wash drawings, each 653 x 496 mm., dated July or August 1927. The one closest in design to the first print (reversed) has been squared in pencil. Also one pencil drawing, 280 x 215 mm. third state

"This is also two blocks printed together. I didn't much like it. The lines are too heavy. Vultures are common in the area. They are a Mayan symbol." (JC 1971) JC Diary: August 17, 1927. "Draw project no. 2 for woodcut." August 18. "Draw on the wood." August 20. "Cutting begun." August 23, 24, 25, and 26. "Work on the woodcut." August 27. "Finished work no. 2." August 31. "Pull proofs from the block."

47

76. NUDE III (with arms raised) 1927. Mexico. Woodcut. 150 x 120 mm. (6 x 43A inches). No states. No edition. Probably 10-15 proofs. The Catalogue says "wood exists," as of 1937, but it has since been lost. Printer: JC. JC Diary: September 16, 1927. "Small woodcut: Nude no. 3." See JC's comments under no. 71.

only state

78. WOMAN (profile) Ca. 1928. Yucatán or Mexico City? Woodcut, printed in watercolors (green, blue, and brown) applied directly on the block. 100 x 100 mm. ( 4 x 4 inches). No states. Four impressions on a single sheet. No edition. Block lost. Printer: JC. "This goes together with the landscape with hammocks. It's the same style—cutting out white lines and printing in watercolor. I don't know if it was done right in Yucatán or later in Mexico." (JC 1971) only state

48

only state 77. HAMMOCK 1928. Cuernavaca, Mexico. Woodcut, one block. Watercolors applied on the block: black, gray, green, tan, and brown. 181 x 256 mm. (7 x 10 inches). No states. Only one proof known. No edition. Block lost. Printer: JC. " T h e subject is my own hut at Chichén Itzá, so I must have made a drawing in situ and cut the wood later. I made a number of them but not an edition. Or it is possible this diary entry refers to a Cuernavaca landscape, and the Yucatán theme was done in Yucatán." (JC 1971) J C Diary: July 18, 1928 (Cuernavaca). "Woodcut landscape."

49

published state

50

79. M O T H E R A N D CHILD 1929. New York. Alternative Title: "Mama Spanks." Lithograph on zinc. 363 x 276 mm. (14V4 x 10 3 A inches). States: 1. The Catalogue lists: "First state—one proof." Although this is not in the artist's collection, it may be the proof illustrated in Anita Brenner, Idols behind Altars (New York, 1 9 2 9 , p. 307). This seems to have heavy shading on the child's shirt. It is probably in Miss Brenner's collection. 2. Child's shirt scraped white, leaving only fragments of shading. Edition: 30. Some proofs are inscribed with a limitation of 50, but only 30 were ever actually printed. Printer: Miller. Painting of the same subject: Collection of Alfred Barr, Jr., New York. Dated 1 9 2 6 and illustrated in Paul Claudel, Jean Chariot (Paris, 1 9 3 5 , p. 41). See also no. 150. " T h e first thing I did with George Miller in New York. W e worked very well together. It was Orozco who first told me of Miller. He wrote me from New Y o r k : 'February 23, 1928. . . . There is a Señor Miller here who has a lithographic workshop and who pulls proofs for the art galleries. The plates I bought (26 x 43 cms.) are priced at fifty cents each. T o get the first twelve proofs printed is ten dollars. From then on,

twenty-five cents per proof. For me it is expensive, but I'll try and see if I can afford it.' Like Orozco, when I arrived in New York, I couldn't afford a lot. W e would only make a small number of proofs, hoping to do more later if the print sold. I seem to remember working on stone instead of zinc, which is what the Catalogue says. The title,'Mama Spanks/ is not mine. Alfred Barr called it that. I guess the New York people saw the child's bare behind and thought the mother was scolding. M y own interpretation was quite different; see my 'poem' for the Picture Book version. [For Orozco's letters to Chariot, see Orozco: El artista en Nueva York, Mexico, Siglo XXI editores, 1 9 7 1 ; and The Artist in New York, Austin, University of Texas Press, 1974.] "Miller watched me drawing this subject and told me: 'Some artists go in for technique and some don't. You don't.' " I arrived in the United States first in 1928, to correct proofs for my portion of the expedition report. M y mother and I had an apartment at 12 Union Square, New York, subleasing the upper floor of Morris Kantor's house. Mother died in January 1929. I went to Washington and stayed there until the proofs were ready, then returned to New Y o r k . " (JC 1971) J C Diary: May 7, 1929. " G e t litho material and draw litho: woman and child." May 15. "p.m. Litho shop. W e pull the 10 proofs."

51

80. LEOPARD HUNTER 1929. New York. Lithograph on zinc. 275 x 351 mm. (103A x 133A inches). States : 1. Without frameline on right side. One proof ("épreuve unique"). 2. Light frameline added on right side and lower right corner. (It does not always print clearly.) A few lines of shading removed to right of dog's tail. Published state. Edition: 30. (Some proofs inscribed with a limitation of 50, but only 30 were ever printed.) Printer: Miller. See also no. 136. "That's Yucatan. The Mayan men would come back to the hacienda with the dead animals. I remember one of the hunters had been mauled on the arm. They hunted at night. They would put lanterns on their heads to attract the leopard." (JC 1971) JC Diary: May 10,1929. "Draw litho Tiger Hunter." May 22. "Pull litho—Tiger Hunter. Nice." May 27. "With Anita [Brenner] at Weyhe [Gallery]. I leave a proof of Hunter." May 28. "Bring prints to print room of Metropolitan Museum. They accept three." June 27. To Metropolitan Museum. Great pleasure to see my litho exhibited [this print]."

; sî^ r'Îfti» CHARilir, IJ published state

81. SMALL BUILDERS 1929. New York. Lithograph on zinc. 283 x 205 mm. (11 x 8 inches). States: One proof of a first state is mentioned in the Catalogue. The edition is in the second state. Two proofs known (JC, Museum of Modern Art), both in the same state, presumably the second. Edition: 11. Printer: Miller. JC Diary: May 18 1929. "a.m. Litho Workers on Pyramid." June 24. "Pull two lithos: Nana, Builders." See the woodcut, no. 74.

52

published state

second state 82. LA N A N A 1929. New York. Lithograph on zinc. 280 x 360 mm. (11 x 14V4 inches). States: 1. Picture complete. No signature in plate. Heavy line along lower left side. One proof ( " 1 e r état, 2/2"). 2. Line removed at lower left. O n e proof (Honolulu Academy of Arts). 3. Slight trimming of right edge, most notably removing a lump 175 mm. down from the top. Four proofs: one inscribed " 3 / 5 , 3rd state" (Ann Chariot Johnson), one inscribed " 4 è m e état, 2 / 2 " (JC), and two not inscribed (JC, Metropolitan). The inscribed proofs have been studied together by both artist and compiler, without finding any difference. JC believes he sometimes recorded a re-etching of the plate as a new state, though its effect may not be noticeable on the proofs. 4. Signature scratched in the plate at lower right.

Three proofs: J C - 2 , one inscribed " 5 è m e état définitif, 1st proof," one uninscribed, and Museum of Modern Art, inscribed " 2 / 5 0 . " No edition. JC's file card records 12 proofs: 2 in 1st state, 2 in 2nd, 5 in 3rd, 2 in 4th and one in 5th. Although 3 proofs are known in the final state, the total printing of it is unlikely to be more than ten. Printer: Miller. " I t is not really portraits. They made those little toys of straw, like a cat's cradle. There is something of a mixture of Christian and pagan in it. I know we worked very hard on it, but I do not recall the states." (JC 1971) JC Diary: May 1 8 , 1 9 2 9 . "Began Luz, child, and toy — a litho." May 21. " L i t h o . " June 24. "Pull two lithos: Nana, Builders." July 26. "Pull . . . a new proof of the Nana." See also no. 147.

53

83. GREAT BUILDERS I 1929. New York. Lithograph on zinc, later transferred to stone. 347 x 468 mm. (I3V2 x I8V2 inches). States (given in the artist's numbered sequence): 1. Outline sketch of entire composition. Signed in plate at bottom center. One proof ("epreuve unique"). 2. No state difference has been detected between the annotated first and second states. JC comments that it may represent a re-etch. Edition of seven proofs in this state. One proof ( " 5 / 7 " ) is heavily reworked by hand in gray wash, and is dated July 28, 1929. 3. Heavy reworking, with radial shading in the background, new shading on all figures, on ground at bottom (covering signature) and throughout. The added work closely follows the model of the hand-worked proof of the second state. One proof ("unique"). 4. Overlapping shading removed from two heads at upper left. One proof ("unique"). 5. Slight shading removed from the man's head at top center. One proof (Museum of Modern Art) ("unique"). 6. Shading removed from the waist and shirt of the man at upper right. Edition of seven proofs in this state. One proof ( " 1 / 7 " ) is heavily reworked by hand in pencil and wash, and is dated February 12, 1930. 7. Transfer of design to a stone. Much additional shading throughout, some of it evidently meant to cover areas of unsuccessful transfer. One proof ("unique"). This stone was then abandoned. 8. Second transfer of design to another stone. No additional work beyond that of the sixth state, but the transfer is somewhat pale and blurred in relation to the former. One proof ("unique"). 9. Heavy shading added throughout, including the sky and all figures. The ramp at left center is scratched entirely white. The new work closely follows the model of the hand-worked proof of the sixth state. One proof ("unique"). 10. Blurred shading removed from head at top center. Slight additional white scratches on right hand of second man on rope at lower left. One proof ("unique"). 11. No discrete changes are visible, but the entire central portion of the print appears brighter than before, in relation to the left and right sides. This may denote some wash-out or rubbingout on this portion of the stone. One proof ("unique"). 12. No state difference has been detected between

54

the annotated eleventh and twelfth states. One proof ("unique") 13. Artist's signature (written " J A E N C H A R O T " ) scratched at lower right corner. Final state. Edition: 12 in final state (plus 24 trial proofs noted above). Printer: Miller. Drawings (all on tissue): (a) rough pencil sketch (large pyramid at left); (b) pencil drawing, traced in ink, frameline 330 x 4 6 9 mm. (13 x I8V2 inches); (c) ink drawing similar to (b) but 349 x 4 6 9 mm., same as the print (but still different design details); (d) ink drawing, same size, direction, and design as print, traced on verso in pencil, evidently used to put first drawing on zinc, probably with carbon paper between the drawing and the plate;-(e) drawing in brown crayon, same size and design as this print, reversed direction, with smears on the verso—almost certainly traced from the litho stone of this print, accounting for the smears, and used to put the design onto the stone of Great Builders II (no. 93) by rubbing the back of the crayon lines. There is also an oil painting of this subject, same direction as this print, dated 1930, reproduced in Paul Claudel, Jean Charlot (Paris, 1935, p. 43). " I really struggled with these prints, because I was interested in them. Altogether there were one zinc and two stones. I remember the first one was transferred onto stone, because we couldn't rework the zinc so much." (JC 1971) JC Diary: July 1, 1929. " T o lithog. [Miller] and bring back zincs. Continue draw composition Yucatan." July 3. "Litho composition Yucatan all day." July 4. "Litho composition Yucatan." July 5. "Finish lith. comp. Y u c . " July 26. "Pull litho Great Builders." July 28. "Beautiful chiaroscuro for the Great Builders." [The hand-worked proof of the second state is dated July 28, 1929.] August 9. " A t Miller. I rework litho Great Builders. Pull proofs." [These are probably the 6th state proofs. The plate was then apparently set aside until February 1930.] February 12, 1930. "All day rework in watercolor a proof Great Builders towards final state." [There is such a handworked 6th state proof with this date.] February 17. "Litho. All day work on Great Builders. W e pull proofs but the zinc goes b a d ! " February 18. "a.m. Litho shop. Try again on Great Builders. Work to 2 a.m. Very tired." February 19. "a.m. Litho. Pull proofs, then retouch with whites en frottis (rubbed)." February 20. "Proof Great Builders." [This is apparently the final state of Great Builders I. The next relevant entry is for February 2 2 : "Great Builders No. 2 . " See no. 93.]

second state

55

stilli

published state (thirteenth)

56

detail : first state

detail : second state with hand-work

detail: sixth state

detail : sixth state with hand-work

detail : seventh state

detail : eighth state

only state 84. W O R K E R DRINKING 1929. New York. Woodcut. 148 x 120 mm. (53/« x 43A inches). No states. One proof. No edition. " 1 proof" (Catalogue). Block lost. Printer: JC. "That's from Chichén Itzá—another New York print from a Yucatán theme." (JC 1971) JC Diary: July 6, 1929. "Pull proofs small woodcut."

third state 85. LUZ SEATED (to the left) 1929. New York. Lithograph on zinc. 165 x 119 mm. (6V2 x 43/i inches). On the same zinc as no. 86. States: 1. Large cursive signature in plate. Two proofs ("1st state, - / 2 " ) , both paired with no. 86. 2. Large signature removed. 3. Signature in small capitals added at lower right. Edition: 10 in 2nd state, 20 in 3rd state. (Some proofs are inscribed with a limitation of 30, meaning the total.) Printer: Miller. Printed on the left side of a single sheet with no. 86. "These small lithographs of 1929 and 1930 are connected with the Picture Book later." (JC 1971) See no. 149. JC Diary: July 7, 1929. " A very small litho. Luz seated, from picture painted June 1 9 . " August 9. "Pull proofs . . . the two little lithos Luz."

58

second state 86. LUZ S E A T E D (to the right) 1 9 2 9 . New York. Lithograph on zinc. 1 5 7 x 1 1 5 mm. (6 1 /1 x 4 x /2 inches). O n the same zinc as no. 85. States : 1. Large cursive signature in plate. T w o proofs ("1st state, - / 2 " ) , both paired with no. 85. 2. Large signature removed. (Some proofs show a remnant.) 3. Signature in small capitals added at lower right. Edition: 10 in 2nd state, 20 in 3rd state. (Some proofs are inscribed with a limitation of 30, meaning the total.) Printer: Miller. Printed on the right side of a single sheet with no. 85.

second state 87. MESTIZAS 1929. N e w York. Lithograph on zinc. 355 x 265 mm. (14 x I 0 V 2 inches). States: 1. No signature in the plate. 2. Signature in small capitals added at lower right. Edition: 10 in 1st state; 50 in 2nd state. Printer: Miller. J C Diary: July 1 4 , 1 9 2 9 . " a . m . Watercolor: Two M e s t i z a s . " July 15. " B e g a n litho same subject." July 16. " L i t h o finished." August 9. "Pull proofs 2 mestizas." Chosen as one of the " 5 0 Fine Prints of 1 9 3 0 "

(Catalogue).

J C Diary: July 8, 1 9 2 9 . " A very small litho. Luz seated, after picture of M a y 2 0 . " August 9. "Pull proofs . . . the two little lithos L u z . "

59

88. P A U L C L A U D E L (profile) 1 9 2 9 . M o u n t Kisco, New York. Lithograph on zinc. Size unknown. N o states. Perhaps no proofs were ever printed. N o edition. " I remember sketching Claudel from life directly on a zinc plate, the same angle as the woodcut [no. 108] — I remember a profile. I started the thing in upstate New York and thought, well, it's badly placed or something. It didn't work. It's possible I never pulled any proofs at all from the plate. T h e following portraits [nos. 89 and 92] were done from drawings, not from life. I first met Claudel in Washington, where he was French ambassador from 1 9 2 7 to 1 9 3 3 . " (JC 1 9 7 1 ) J C Diary: September 11, 1 9 2 9 , Mount Kisco, New Y o r k , at Agnes Meyer's home. "a.m. Drawing from life and walk in the garden with Claudel, p.m. Drawing." Paul Claudel's Diary (in Journals, Paris, Gallimard, 1 9 6 8 , vol. 1, p. 8 8 7 ) : September 6, 1 9 2 9 (each entry usually covering several following days) : " M o u n t Kisko. Portrait par Chariot en lithographie." Claudel and Chariot had discussed the portrait project earlier. O n August 1 5 , 1 9 2 9 , Claudel wrote to Charlot: " C ' e s t une excellente idée de faire mon portrait. M a tête est entièrement à votre disposition." ("It's an excellent idea to do my portrait. M y head is entirely at your disposal.") (Letter in the Claudel Foundation, Paris) O n September 15, 1 9 2 9 , before Chariot began the next portrait [no. 8 9 ] , Claudel wrote (in English) to the director of Yale University Press, the publisher of The Book of Christopher Columbus: " M r . Chariot . . . has made a beautiful litho-portrait of myself for the examplaires de luxe." It appears he can only be referring to this print. (Letter courtesy of Yale University Press)

60

only state 89. PAUL CLAUDEL I 1 9 2 9 . New York. Rejected plate for The Book of Christopher Columbus, by Claudel. Lithograph on zinc. O v a l : 1 5 5 x 1 2 1 mm. (6 x 43A inches); entire: 2 1 9 x 1 6 9 mm. (83A x 63A inches). No states. J C has six proofs, two of them with handwork in pen and wash, and one of the latter traced on verso in pencil. Edition: 10. Printer: Miller. " I had done process illustrations for Claudel's Book of Christopher Columbus [New Haven, Yale University Press, 1 9 3 0 ] , which he wrote in English. T h e n they wanted an original lithograph for the limited edition. T h e first attempt was the litho from life [no. 88], Next was this one, done from a drawing. T h e n more struggles with the following version [no. 9 2 ] . " (JC 1971) J C D i a r y : September 16, 1 9 2 9 . " L i t h o : Portrait Claudel." September 17. " R e w o r k on portrait Claudel. I send him p r o o f s . " Claudel replied on September 18, 1 9 2 9 : " J e vous renvoie le portrait héroïque que j'aime infiniment . . . . J'aime aussi l'encadrement tel qu'il est réalisé légèrement dans l'épreuve." (I am returning the heroic portrait, which I like ever so much . . . I also like the framing, if it is done lightly, as in the proof.) (Courtesy of the Claudel Foundation, Paris)

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90. GUITAR PLAYER 1929. New York. Lithograph on zinc. 182 x 122 mm. (7V4 x 4 % inches). On the same zinc (right side) as no. 91. States: 1. Unfinished strip along left margin. One proof ( " 2 / 2 " ) with pen hand-work (Ann Chariot Johnson), paired with no. 91. 2. Additional work, filling out left margin ("2nd state, - / l l " ) . Edition: 11. Printer: Miller. See also print no. 138. "There's a model for this. His name was Léon Venado. He was a sarape-weaver who came to Mexico and played the guitar—a friend of the painters. He did some very nice watercolors himself." (JC 1971) Martin Chariot adds the following story, told him by his father: "They were sitting up in Pablo O'Higgins' studio late one night, and the guy came up and started playing the guitar. They wanted him to go, but he just kept staying and playing. So finally they said —Well, are you going? He said he was staying. They asked why, and he said there were two people down in the street, lying on the pavement, that he had disagreed with. He was hiding from the police." JC Diary: October 31, 1929. "Litho: Guitarist." February 11, 1930. "Proofs of . . . guitar player."

published state 91. MAYA WORKERS 1929. New York. Alternative title: Two Builders. Lithograph on zinc. 185 x 116 mm. (7*/4 x 4V2 inches). On the same zinc (left side) as no. 90. States: 1. Unfinished strip between right man and margin. One proof ( " 1 / 2 " ) (JC), and one ( " 2 / 2 " ) with pen hand-work (Ann Chariot Johnson) paired with no. 90. 2. More shading added along right margin ("2nd state, - / l l " ) . Edition: 11. Printer: Miller. Painting in oils: Ann Chariot Johnson. See also print no. 148. JC Diary: November 1, 1929. "Litho: two workers (Yucatán)." February 11, 1930. "Proofs of two little lithos: guitar player, two workers."

61

92. PAUL CLAUDEL II 1930. New York. Frontispiece for limited edition of Paul Claudel, The Book of Christopher Columbus, New Haven, 1930. Lithograph on zinc, transferred to stone. Oval: 162 x 135 mm. (6V2 x 5V4 inches). States: 1. Lettering weak. " M U N D O " at upper left. Signature lower left of oval. Three proofs (all printed). 2. Most of lettering strengthened. One proof ("épreuve unique"). 3. " E " of " M E N S " strengthened. Two proofs (all printed). 4. Second " N " of " C O N N U B I O " has a second line drawn beside right vertical stroke. " I " and second " N " of " C O N I U N G A M " and " S T A B I " of " S T A B I L I " strengthened. JC has three proofs of a total of fourteen printed. 5. Second line removed from " N . " " M " of " M U N D O " extended below bottom of " U . " " T " of " S T A B I L I " extended above other letters. JC has two proofs, one of them with extensive rework on the face. 6. Transfer to a stone. Very dark throughout—for example, the heavy shading on top of forehead hides the hair. Slight scratching in stone around the mouth. " M U N D U S " at upper left. All lettering evenly written, unlike earlier states. No signature in stone. One proof, annotated "transfer 1 after retouch (discarded), épreuve unique." 7. Transfer to another stone. Tonality close to early states. Lettering shorter and even; with " M U N D U S . " Has signature in stone at lower left of oval. One proof, annotated "transfer 2 after retouch, épreuve unique." 8. Signature removed. Published state. Edition: 14 in 4th state; 250 in 5th state; 262 in 8th state. The 8th state proofs were published in the book. The 5th state proofs were donated to the Claudel Foundation, Paris. Printer: Miller. " T h e edition was rejected because of an error in the Latin inscription. A transfer was made to a stone, and then to a second stone. Miller did it—he's a master. There is a strange story about the print. Claudel had gone to the south of France when the Germans invaded. The Germans occupied his castle. When he came back, he found they had made drawings all over the walls of him with his throat cut—copied from this portrait bust." (JC 1971) JC Diary: February 7, 1930. "a.m. Litho portrait Claudel for the b o o k . " February 10. "Litho frontispiece Claudel." . . . February 22. "Prepare transfer ('rapport') for a new frontispiece." February 24. " R e done frontispiece Claudel." March 8. "Metropolitan Museum. I give them Claudel's book with proofs of the litho." See also Paul Claudel, Journals (Paris, Gallimard (NRF), 1968, vol. 2, p. 323). The Latin inscription is somewhat obscure. Claudel first gave it to Chariot in a letter of September 16,

CONNVBIO C O N I V N G A M STABIL! seventh state 1 9 2 9 , before Chariot's portraits nos. 88 and 8 9 : " J e vous envoie . . . une épigraphe que j'emprunte à Bacon et qui figurera avec honneur dans votre beau portrait: MUNDUS MENS CONNUBIO CONJUNGAM STABILI Le monde l'Esprit Je réunirai par un hymen stable. (I am sending you an epigraph which I borrow from Bacon and which will appear with honor in your handsome portrait: " T h e world—the Spirit—I will reunite in a durable marriage"). The precise source in Bacon has not been found. There is further discussion of the text in Jacqueline de Labriolle, Les "Christophe Colomb" de Paul Claudel (Paris, 1 9 7 2 , p. 134). Claudel wrote Chariot further on February 1 1 , 1 9 3 0 , after receiving a proof with the textual error: " J e vous renvoie l'épreuve. Vous ne m'avez pas fait beau mais héroïque! Pour l'inscription il faut non pas M U N D O mais M U N D U S . C'est le texte même de Bacon. C'est plus beau que les mots soient sans liason comme suspendus dans le vide—comme si le poète faisait d'abord apparaître l'idée du monde puis celle de l'esprit par les noms inscrits. J'aime mieux en effet la disposition actuelle." (I am returning the proof. You have not made me handsome but heroic! For the inscription, it must not be M U N D O but M U N D U S . That's Bacon's own text. It is more beautiful if the words are without any connection, as if suspended in space—as if the poet first caused to appear the idea of the world, then that of the spirit, through the inscribed names. In fact, I like the actual arrangement best.) (Letters courtesy of the Claudel Foundation, Paris. The latter one was misdated September 1 8 , 1 9 2 9 , by de Labriolle, op. cit., p. 133.)

first state 93. G R E A T B U I L D E R S II 1930. New York. Lithograph on stone. 357 x 477 mm. (14 x 183A inches). States: 1. Design complete. Before signature. 2. Signature added in the stone at lower right. Edition: 9 in 1st state; 11 in 2nd state. Printer: Miller. Drawing: Derives from drawing (e) listed under Great Builders I (no. 83), which is traced from that print and then traced onto the stone for this print.

J C Diary: February 2 2 , 1 9 3 0 . "Great Builders No. 2 . " February 24. "Start anew on Great Builders." February 25. "All day long at Miller, litho." February 26. "All day litho." February 27. "All day litho." February 28. "All day litho." March 1. "a.m. Litho." . . . May 23. " A t Miller. The stone of Great Builders is in bad shape!" " O n stone—whites scratched, finer grain than No. 1 . " (JC card)

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published state

published state

94. W O M A N SEATED 1 9 3 0 . New York. Lithograph on zinc. 1 9 0 x 1 2 1 mm. (7 1 /2 x 43/4 inches). O n the same zinc (left side) as no. 95. States: 1. Design complete. Before signature in plate. T w o proofs. 2. Signature added at lower right. Published state. Edition: 20. (A limitation of 30 is stated on the prints, but only 20 were printed.) Printer: Miller. See also no. 129. " T h i s is Luz. Claudel called the corresponding Picture Book print 'Sagesse' (Wisdom), which I like. T h e things he wrote for the Picture Book also apply to these earlier prints." (JC 1 9 7 1 ) J C Diary: M a y 22, 1 9 3 0 . " T w o lithos: W o m a n seated and Tortillera." 95. TORTILLERA 1 9 3 0 . New York. Lithograph on zinc. 1 8 3 x 1 2 0 mm. (7x/4 x 43/4 inches). O n the same zinc (right side) as no. 94. States: 1. Design complete. Before signature in plate. T w o proofs. 2. Signature added at lower right. Published state. Edition: 20. (A limitation of 3 0 is stated on the prints, but only 20 were printed). Printer: Miller. See also print no. 6 6 3 . " T h i s is from a small terracotta folk statue from San Pedro Tlaquepaque which I still have. I've used it at various times for a model." (JC 1 9 7 1 )

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Terracotta statue, Jean Chariot collection.

published state 96. LITTLE BATH 1930. New York. Lithograph on zinc. 165 x 125 mm. (6V2 x 5 inches). On the same zinc (left side) as no. 97. States: 1. Design complete. Before signature in plate. One proof of two printed. 2. Signature added at lower right. One stray line below margin at bottom center is removed. Published state. Edition: 20. (A limitation of 30 is stated on the prints, but only 20 were ever printed.) Printer: Miller. See also prints nos. 69 and 140. JC Diary: May 23, 1930. " T w o lithos: Little Bath, and Jarana." May 26. "Proofs of the litho of the 23rd."

published state 97. JARANA 1930. New York. Lithograph on zinc. 177 x 127 mm. ( 7 x 5 inches). On the same zinc (right side) as no. 96. States: 1. Design complete. Before signature in plate. One proof of two printed. 2. Signature added at lower right. A line below the bottom margin is removed. Published state. Edition: 20. (A limitation of 30 is stated on the prints, but only 20 were ever printed.) Printer: Miller. See also print no. 146. " T h e jarana is the most typical of the folk dances of Yucatán. It has its own special music. It's not her hat. If a man admires a woman, he gives her his hat to wear while she dances. Then afterward she returns it to him. If she's a really beautiful woman, she dances with two or three hats on her head. The Picture Book has a woman with two hats." (JC 1971)

65

98. N U D E RECLINING 1930. N e w York. Lithograph on zinc. 219 x 350 m m . (8V2 x 13V2 inches). States: T h e Catalogue records two proofs in a first state, plus the edition. T h e six proofs studied (four m a r k e d as part of the edition) show no differences a m o n g them. Edition: 12. (The proofs give a limitation of 10.) Printer: Miller. " T h e r e ' s a painting of this nude, about the same time. I d o n ' t k n o w if it is b e f o r e or a f t e r the p r i n t — I would do it either w a y . " (JC 1971) JC D i a r y : M a y 24, 1930. "Litho: N u d e Reclining." June 3. " A t Miller's for the proofs, especially the great n u d e in d a r k n e s s . "

only proof 99. W O M A N WITH WHITE REBOZO 1930. New York. Lithograph on zinc. 355 x 270 mm. (14 x 10V2 inches). No states. O n e proof only, annotated " R a t e , epreuve unique." No edition. Printer: Miller.

" I guess 'goofed' is the appropriate translation of 'rate.' " (JC 1971) JC Diary: May 26, 1930. "Litho: Luz with white rebozo: a dud." May 27. "Litho Luz with white rebozo."

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published state 100. HEAD I 1930. N e w York. Alternative title: Mexicaine. Lithograph on zinc. 354 x 272 m m . (14 x 103A inches). States: 1. W i t h o u t signature. T w o p r o o f s (all printed). 2. Looped lines of shading added on collar b e n e a t h chin. Additional shading on left shoulder, lips, chin, nose, u n d e r right eye, on right ear, and above right shoulder. Signature added in plate at b o t t o m center.

Edition: 20. (Prints m a r k e d with limitation of 30, b u t only 20 were printed.) P r i n t e r : Miller. " B o t h the large heads are interpretations of Lucia n a . " (JC 1971) JC D i a r y : M a y 27, 1930. "Began big head Luz." [See no. 101.] This print was chosen as one of the " 5 0 Fine Prints of 1931." (Catalogue)

published state 101. HEAD II 1930. New York. Alternative title: Luciana. Lithograph on zinc. 285 x 270 mm. (llV4 x 1 0 % inches). States: 1. Without signature. Two proofs printed (JC, Bibliothèque Nationale, Paris). 2. Additional shading on hair at top center, on

neck, and collar beneath chin, on both shoulders, and along bottom of design. Signature and date added at lower right. Edition: 20. (Prints are marked with edition of 30, but only 20 were printed.) Printer: Miller. JC Diary: May 29, 1930. "Litho second big head." . . . October 16. " A t Miller's. Get edition proofs of the two big heads."

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only proof 102. JUANA 1930. New York. Lithograph on zinc. 350 x 260 mm. (133A x 10V4 inches). No states. Only one proof, annotated "Raté, épreuve unique." No edition. Printer: Miller. Painting in oils, dated 1927, illustrated in Paul Claudel, Jean Chariot (Paris, 1935, p. 35).

70

"This is the worst of all. I was trying to copy the tones and values of a painting, and that's what happened. Juana was a maid we had in Mexico. She came from the country to the big town to be employed." (JC 1971) JC Diary: May 30, 1930. "Litho: Began Juana." May 31. "Litho: Finish Juana."

only state 103. FIESTA HEAD-DRESS 1930. New York. Lithograph on zinc. 160 x 118 mm. (6V4 x 4V2 inches). On the same zinc as no. 104. No states. One proof, of two printed. No edition. "Two proofs" (Catalogue). Printer: Miller. " I t wasn't that I disliked them. I probably didn't have the money to pay Miller for an edition. That's why there are only two proofs. Fiesta Head-dress is taken up again in the Picture Book." (JC 1971) See no. 123. JC Diary: May 30, 1930. "Litho . . . two small subjects : Jarana (couple) and head with high comb." June 5. "Proofs from the two little lithos."

only state 104. JARANA (COUPLE) 1930. New York. Lithograph on zinc. 120 x 165 mm. (43A x 6Vz inches). On the same zinc as no. 103. No states. One proof, of two printed. No edition. "Two proofs" (Catalogue). Printer: Miller. See comments for nos. 97 and 103.

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published state

105. T O N D O : NUDES 1930. New York. Lithograph on zinc. 260 mm. (IOV4 inches) diameter. States: 1. Design complete. Before signature. Only two printed (JC, Metropolitan). 2. Signature added in plate at lower right. Published state. Edition: 20. (Prints marked with limitation of 50, but only 20 were ever printed.) Printer: Miller. "This is adapted from a painting in square format. I suppose the idea of a circle came from the old Italian form—Raphael's Madonna of the Chair, and so on. It's an Old-Master sort of thing. There are unusualshaped panels in Mexican churches—baroque things where the wood carving intrudes on the canvas, but not specifically a tondo." (JC 1971) JC Diary: May 31, 1930. "Litho . . . Began two nudes (tondo)." June 1. "Litho: Tondo." June 2. "Bring the plates to Miller." June 3. " A t Miller for the proofs." October 17. " A t Miller: Receive edition Tondo."

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seventh state 106. SELF-PORTRAIT W I T H HAT 1930. New York. Wood engraving. 50 x 40 mm. (2 x IV2 inches). States: 1. Heavy pattern of cut wood in blank areas. Black rectangle in lower right corner. One proof, marked " 1 . " 2. Blank areas cleaned up. Horizontal white scratching across left and right framelines. The hat separated from the frame on all sides. One proof. 3. " J C " carved from rectangle. One proof, marked "4." 4. Hat brim narrowed along right margin. Scratches added along bottom margin, lower part of left margin, and along left edge of hand. Two trial proofs, marked "5" and " 6 , " and all edition proofs are of this state. Editions: 500 printed on the cover of a Chariot exhibition catalogue for the Ansel Adams Galleries in San Francisco, September 18 to 30, 1933. Cream paper with slick surface. The original woodblock was also printed in the French-language newspaper of San Francisco (name unknown) on September 22, 1933. It accompanied an article: "Les Peintures de Jean Chariot," by Jehanne Bietry Salinger, in an edition probably of several thousand. "Block available," according to JC's file card, as of 1937, but since lost. Printer of proofs: JC. Printers of editions: Unknown. "These are on end-grain woodblocks. I had seen the little portrait vignettes in the Nouvelle Revue Française monographs and wanted to make sure I had one when the time came to do a monograph on my work. They did, in fact, publish such a monograph [Paul Claudel: Jean Chariot, Paris, 1935], but they didn't use the woodcut!" (JC 1971) JC Diary: June 16, 1930. "a.m. Go buy tools for wood engraving. Engrave self-portrait."

107. SELF-PORTRAIT II 1930. New York. Wood engraving. 64 x 56 mm. (2V2 x iVi inches). States: 1. Very dark. Only a general sketch of the subject in white line. One proof, marked " 1 . " 2. Background cut away at sides of head. Much additional work on face. Shirt remains black. One proof, marked "2." 3. Shirt lightened with strong vertical cuts and scratching. Forehead, neck, and cheeks considerably lightened. Left ear rounded off. Block trimmed shorter at bottom. One proof, marked " 3 , " was a recent gift from the artist to the compiler of this catalogue. 4. A few white lines added in and around the eyes, within glasses frames. One proof, marked " 4 . " 5. Widened area of white between right side of neck and collar. One proof, marked " 5 . " 6. Wide diagonal cuts added on shirt. Black spots removed from top of right ear and above ear. Additional white scratching on neck below chin and above the nose. One proof, marked " 6 . " 7. More heavy white cuts on shirt, making it almost completely white. Three proofs, one marked " 7 , " one unmarked, and one dated " 1 7 juin 1930." No edition. Nine proofs recorded. "Wood destroyed" (JC card). Printer: JC. JC Diary: June 19, 1930. "Wood engraving: SelfPortrait No. 2, with chiaroscuro."

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second state 108. PAUL CLAUDEL (unfinished) 1930. New York. Wood engraving. 85 x 68 mm. (3x/2 x 23A inches) the head only. States: 1. White profile line only. Otherwise black and uncarved. One proof. 2. Face, hair, and so forth, cut in white line. One proof, illustrated. 3. Slight additional diagonal shading on eyebrow and nose. One proof. 4. White outline widened all around. Chin shortened slightly. One proof. No edition. Four proofs recorded. Block lost. Printer: JC. JC Diary: June 20, 1930. "Attempt portrait Claudel in wood engraving. Failure." See print no. 88.

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second state 109. NAHUAQUES 1930. New York. Woodcut. 149 x 109 mm. (53U x 4XA inches), including title. States: 1. Title in dots on solid black background. One proof. 2. White area cut around title, leaving black letters enclosing white dots. One proof. No edition. Two proofs recorded. Block lost. Printer of proofs: JC. "Nahuaques are Aztec flying sorcerers. Xavier Villaurrutia asked several artists for contributions on the subject. Then the book was never published, so far as I know [confirmed by the Biblioteca Nacional, Mexico], It's a sort of 'manière criblée' in modern style." (JC 1971) JC Diary: October 2 3 , 1 9 3 0 . "Book jacket for Villaurrutia."

only state

110. T O N D O : COIFFURE 1931. New York, "before leaving for Mexico" (JC card). Lithograph on zinc. 257 x 260 mm. (10 inches diameter). No states. Edition: 12. (Prints are marked with a limitation of 10.) Printer: Miller. "I didn't like this." (JC 1971) Apparently no diary entry.

only state 111. DANCE AT DAWN 1931. Mexico. Lithograph on stone. 112 x 148 mm. (4V2 x 6 inches). No states. Edition: 15. Printer: Emilio Amero. Painting in oils of 1930, in reverse, illustrated in Paul Claudel, lean Chariot (Paris, 1935, p. 49), then in the collection of Jean Salles, Mexico. "It is Luz's mother, age about ninety, and one of the grandchildren. It's a sort of private ritual. There's no real explanation." (JC 1971) (But see no. 134.) JC Diary: August 17, 1931, Mexico City. "Litho at San Carlos [Academy]." August 20. "Litho finished." August 24. "To San Carlos. Proofs litho." August 25. "San Carlos. Litho."

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only state 112. SANTA CLAUS IN PARIS 1932. New York. Linoleum cut (black), stenciled color (red). 186 x 158 mm. (7V4 x 61/i inches). Cut by Zohmah Day (Charlot) after a design by JC. No states. Two proofs. Edition: Unknown. Printer: Zohmah Day (Chariot). This Christmas card comes from early in the acquaintance of Mr. and Mrs. Chariot. "It was a long courtship," notes JC. "Eight years. We were always in different places." At this time, JC was in New York and ZD in Los Angeles. Mrs. Chariot has given the following excerpts from JC's letters: October 28, 1932. "I am going to make a series of Christmas card designs for you . . . and you certainly can make linoleum blocks of them if somebody shows you the way, or also make stencils in cardboard with a good knife, and then put watercolor. But that is more complicated." Sunday (probably October 30). "This is Santa Claus in P a r i s . . . . " November 12. "There are your Christmas c a r d s . . . . You can trace the outline and fill in the red." December 15. "Your Santa Claus is simply beautiful. Cutting it as you did gives it much more style than the drawing had." December 19. "All the Santas were to wish you a Merry Christmas, Zohmah dear." December 31. "The red paper underneath matches the red so nicely. You certainly did a good job of it, and the people who received it must have enjoyed it as much as I did." See also no. 273.

113. M O T H E R W I T H CHILD O N BACK 1933. Los Angeles. Color lithograph on stone. 640 x 490 mm. (25V4 x 19V4 inches). Colors: A. red (reddish brown, Indian red). B. black. States: A - l . Faces, arms, and legs completely drawn. Hair blank but both heads outlined. Registration cross on woman's head. Three proofs, the third ( 3 / 3 ) in black on slick transfer paper and dusted with red powder in order to put the image on the second stone. Proofs 1 / 3 and 2 / 3 in black. Not printed with B. A-2. Head outlines and large cross removed. Small registration marks added in upper corners. Eight proofs printed of A-2 alone: trials of different reds and different press pressures (JC-7, SI). B - l . Child's hair has texture of drawn lines. No separate proof. B-2. Child's hair reworked to solid black and slightly enlarged. Additional white scratching on child's back. No separate proof. The black had spread badly, and the print was abandoned at this point, after one two-color proof. Proofs : A - 2 / B - 1 . Four trials (JC-2, both faulty) and eight edition prints. A - 2 / B - 2 . One proof ("épreuve unique"). Edition: 8. There is a total of 13 two-color prints. Printer: Kistler. Painting in oils of 1930, illustrated in Paul Claudel, lean Chariot (Paris, 1935, p. 56). See also print no. 231. See also Color Plate 2. "This was my beginning with Kistler. It was his first color art lithograph print. He had not done any before, but he wished to do art work. I had gone to Los Angeles to visit Zohmah. Kistler and I met—so we started together." (JC 1971) JC Diary: July 11, 1933. " I telephone Kistler." July 12. " A t Kistler. Lithograph. Draw the red plate of Mother, Child on Back, 11 a.m. to 4 p.m. " July 15. " 1 : 3 0 p.m. Kistler. Work litho to 8 p.m. Tired but happy." July 17. "Kistler. Pulled beautiful proofs litho." July 18. " K . Work on litho." July 22. "Noon: printer. K. Work to 5 p. m. First proofs of the litho. The black plate has to be redone." July 25. "Noon: litho." July 29. "Evening at printer. Four good proofs of Mother, Child on Back. The stone is in bad shape." Lynton R. Kistler (1971): " I was a junior partner with my father in the printing business, and used to work with the commercial artists, drawing on both

published state (A-2/B-1)

stone and zinc. Then I decided I would prefer to work with fine-art artists. I ordered one ton of used stones from the Senefelder Company and received a ton of brand-new stones. Stone lithography was already on its way out. I had done some black-and-white work before meeting Chariot, but this was the first color lithograph. I think it was Armitage who introduced us. The workshop was in my garage (and later in the back of the Stendahl Gallery). I remember the image spread very fast on this print, and we only got about thirteen good proofs."

77

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published state 114. HENRIETTA SHORE 1933. Los Angeles. Frontispiece for Merle Armitage, Henrietta Shore, New York, 1933. Color lithograph on zinc, offset. 216 x 165 mm. (8V2 x 6V2 inches). Colors: A. green. B. red. States: A. Only one state. Two proofs in black (of four printed) reversed from final subject, having been printed directly from the plate, on a hand press, instead of by offset. Three offset proofs of A only (of five printed). B. Only one state. Two offset proofs of B only (of five printed). The scratched whites on the hat

78

and right shoulder print at various different intensities, but do not constitute state differences. Edition: 250, of which 200 were used in the edition of the book. Printer: Will A. Kistler Co. " I was asked to do it by Armitage—kind of a lastminute job. She really looked like that. She didn't like it much. I met her first when she went to Mexico. She had asked permission to do my portrait and that of Orozco—so I reciprocated. I did an article on her. She was a good painter." (JC 1971) JC Diary: July 26. " 8 : 3 0 a.m. printer. Finish black plate Henrietta Shore. Lunch with K. Do red plate H. Shore." July 27. " T o printer 9 a.m. H. Shore." July 28. "Pull edition Shore. Very good."

only state 115. T O N D O : BATHERS 1933. Los Angeles. Color lithograph on zinc. 275 x 240 mm. (103A x 9x/z inches). Oval: 225 x 230 mm. Colors: A. reddish brown (Indian red). B. green. States: A. O n l y one state. O n e proof of A in black, dusted with red powder for registering the image on the second stone. B. O n l y one state. Edition: 18. Printer: Kistler. D r a w i n g : Pencil drawing, no. 19 in a series of 27 finished tondos contained in a sketchbook of J u n e July 1933, begun in Ames, Iowa, and continued on the train to Los Angeles and in Los Angeles. " T h e r e were two Kistler places where we did lithographs. The Picture Book was done with the father,

Will A. Kistler, but Lynton, the son, had stones at home. Papa wasn't using stones any more. So I did some stones at Lynton's home, as a change of pace f r o m the Picture Book. . . . These things are very close to the pre-Hispanic things made of terra-cotta, from the western coast of Mexico. M u c h of my inspiration came f r o m Tarascan idols. It's also the first use of a tone plate—to bring the whites out. It's tied up with fresco painting. In fresco, the white lime mortar, the untouched wall, is the most important thing. I passed it on to this lithograph, to oil, and so on. The technique of fresco has a lot to do with my approach to other techniques." (JC 1971) JC D i a r y : August 1, 1933 (while printing Malinche, no. 116). "Printer. Began tondo in two colors for K." August 3. "7:30 a.m. K. Finish litho tondo." September 9. "Pull tondo Bathers in two colors."

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published state 116. MALINCHE 1933. Los Angeles. Prospectus for Picture Book. Color lithograph on zinc, offset. 154 x 203 mm. ( 6 x 8 inches). Colors: Key. A. yellow. B. red. C. light blue (cerulean). D. dark blue (ultramarine). E. brown. F. pink. States: Key. Only one state. One proof, printed direct (i.e., reversed). A. Only one state. Four proofs (JC-3, SI). B - l . Top and bottom bands of skirt both light. Rectangular mark to upper right of design. Registration marks top and bottom. Four proofs ("1st state"). B-2. Top band of skirt shaded almost solid red, leaving end of sash light. Bottom band shaded somewhat darker. Additional shading along 80

lower left margin. Three proofs ("2nd state"). Heavy red shading added on sash end (shows through other colors). Further dark shading on bottom band of skirt. Registration marks removed. White outline scratched in front of right shoe. Three proofs: one with face and hands very light (JC), two very dark (JC, SI). The red on the skirt wears and becomes more blotchy and lighter as the edition printing progresses. In one proof, the red has become so lightened with wear that it closely resembles a first-state red. C. Only one state. Four proofs (JC-3, SI). D - l . No dark blue shading on face. Registration marks on all four sides. One proof, and one of C / D - l . D-2. Shading added on nose and cheeks. Heavy outline added to top of hat. Three proofs. B-3.

E-l.

Strong frameline. Heavy shading in lower left corner. Registration marks on all four sides. Two proofs ("1st state"). E-2. Scratching narrows tip of right shoe, removes heavy shading between feet and margin, and lightens lower left. Frame lightened or removed. Registration marks removed. Four proofs (JC-3, SI). F-l. Face and background dark. Two proofs. F-2. Face lightened. Background left and right, shading beneath child all lightened. White line added along sword blade. Two proofs (JC, SI). Proofs: A/B-l. Two proofs. A/B-3. Three proofs. A/B-3/C. Three proofs. A/B-3/C/D-1. One proof. A/B-3/C/D-2 Four proofs. (Face appears orange.) A/B-3/C/D-2/E-1. Two proofs. A/B-3/C/D-2/E-2. Two proofs. (Face brown; hatband yellow.) A/C/D-2/E-2/F-2. One proof. (No red plate.) A/B-3/C/D-2/E-1/F-2. Two proofs. (Hatband orange.) Edition: 3,000. Printer: Will A. Kistler Co., Lynton R. Kistler supervising. Painting: "I used as a model a little oil of the same size as the print." (JC 1971) Present location unknown. Six small sketches in black pencil (illustrated), models for the separate colors, are in JC's 1933 sketchbook, drawn on the train between Iowa and Los Angeles. Also see print no. 145 and the artist's comments under Picture Book (pp. 88-89). See also Color Plates 4 and 5. JC Diary: July 31, 1933. "At printer. Draw the seven plates for the Malinche in color for the prospectus." August 1. "Pull Malinche's yellow plate." August 2. "7:30 am. Kistler. Pull red plate Malinche. Light blue one begun." August 3. "Pull dark blue plate. Began maroon." August 4. "Pull maroon. Begin pull pink. Nice." The prospectus was printed on sheets of cream laid paper (lines 30.5 mm.), each 278 x 426 mm. (11 x 16 3 /i inches), watermarked "Utopian" and scales in a circle. The sheets were folded in the middle, title on the outside, text on the inside left, and lithograph on the inside right, sideways. The text is in two versions. The first was accompanied by a green order slip, the second by a white one. As noted by the artist, not one prepublication order was received. The text of the prospectus follows. The second version when different from the first is in brackets: Title: "Jean Chariot / 32 Original Offset Lithographs in Full Color / John Becker—520 Madison

Ave.—New York." Text: "Plans are under way for the production of a book which will be unique in the history of the graphic arts. Jean Chariot is at work on a series of thirty-two lithographs in full color of which the enclosed is an example. These will constitute what we believe is a fair record of his oeuvre up to date, with an emphasis laid upon those Mexican scenes for which he is so justly celebrated. These will be original prints in the full sense of the term. The direct drawing of each subject on the five or six plates that go into the making of each print, the corrections or additions necessary in the course of such a complex process of printing, all will be from his own hand. "Merle Armitage will design the typography of this work, which bound into book form, will be 8V2 x 11 inches in size. [Merle Armitage will design the format of this book, which will be 8V2 x 1 1 inches in size. Each lithograph will be 'illustrated' with short epigrammatical rhymes composed by the artist and reproduced in autograph by the same process as the lithographs.] Both the prints and the appropriate text matter will be printed on a fine grade of 80 lb. laid paper, and the book will contain approximately 150 pages. "The edition, published by John Becker, New York, will be 500 copies, each signed by the artist. In spite of the amount of work involved, including the printing of the 32 lithographs which Mr. Chariot will personally supervise at the plant of the Will A. Kistler Company, the book will be ready in a few months [at an early date]. "To help carry the cost of publication, it is proposed to allow subscribers to purchase pre-publication copies at Ten Dollars [Fifteen Dollars], the volume to sell at not less than Fifteen Dollars [Twenty Dollars] after publication. An autograph dedication will also differentiate the subscribed copies. "Those who know the painting and the lithographs of Chariot will be impressed with the artistic value and the relatively low cost of this work. Subscriptions and checks should be sent to L.R. Kistler, Treasurer, Care John Becker, 520 Madison Ave., New York [only Becker's name in the second version]." (The final price was twenty dollars.) This print is the first in which Chariot used a keyplate, and the first with more than two color plates. In order to demonstrate the stages of his working method, illustrations are given here of his preliminary pencil sketch of the color separations, the key-plate alone, and the six separate color plates. Since the artist conceived and drew the color plates entirely in black, they are illustrated in black-and-white here, so that we may see them with the artist's eyes. They are also illustrated in color in the color section, so that we may see how the separate colors come together to produce the finished picture. 81

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A only

B only (B-3)

C only

D only (D-2)

E only (E-2)

F only (F-2)

Key only

PICTURE BOOK Drawn and printed September 7 to December 1, 1933 (see JC Diary below). Thirty-two color lithographs in six or seven colors each on zinc, offset (with woodcut cover vignette and lithograph wrapper, title-page and colophon vignettes). PRINTING The drawing and printing of the Picture Book plates were done at the Will A. Kistler Company plant in Los Angeles. The entire work was done under the technical supervision of Will A. Kistler and his son Lynton R. Kistler. The relief type was hand-set by Lynton R. Kistler and printed on the premises. The Potter offset lithographic press was operated by Edward Broughton. Chariot worked on large commercial zinc plates, 1 1 2 0 x 860 mm. (44 x 34 inches). The plates were ruled into sixteen equal rectangles, and the artist worked in alternate ones: eight subjects per plate. First he made key-plates, with the designs in simple outline, tracing earlier pencil sketches. These were printed direct (i.e., designs reversed from the plate) in black ink on nonporous, nonshrinking paper, using a large lithographic proofing press. These sheets were then dusted with a reddish brown chalk powder, which clings to the wet ink of the design outlines. These red-powder proof sheets were then impressed onto additional zinc plates, one for each separate color, the chalk outlines remaining on the color plates. The artist worked on the color plates, following the design indicated by the red powder lines. The powder comes off when the plate is etched, leaving each color perfectly in register with the others. He had to work out the color separations, sequences, and combinations entirely in his mind, as the work on the color plates was done in black litho crayon and tusche. He has noted that the first three or four colors were generally drawn before any proofs were pulled at all. The colors were then printed one at a time on the offset press, which of course produced a final print in the same direction as the plate. Once in register, the colors stayed in register on the press. The final print could be judged only after all six or seven colors had been printed on each sheet. The key-plates were not included in the final print. The sheets were then cut in half and folded in quarto for binding. Chariot personally supervised all the printing. PLATES Each group of eight subjects is referred to here as a Plate, which includes the key and all colors for the set. In his diary, the artist calls them Plates A, B, C, and D. That designation is avoided here so there is no confusion with the catalogue terminology of A, B, C, and so forth, for separate color plates. The four sets of eight subjects each are called simply First Plate,

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Second Plate, and so forth. The arrangements of the subjects on each plate are illustrated. Chariot actually worked in the sequence: First, Third, Second, Fourth Plates. It is readily seen that the same group of colors had to be used for all eight subjects in a single Plate, but each Plate has its own unique set of colors. The artist's emphasis of different colors for each subject, however, creates such variety that the finished prints of each have little in common. First Plate (nos. 1 2 1 - 1 2 4 and 1 4 9 - 1 5 2 ) . This Plate went through more changes than the others. Chariot had originally planned to accompany each subject with his own text in both French and English, to be hand-drawn on the plates so as to face the pictures. The pictures were to have titles at the bottom and numerals at the upper right. The plan was followed through to completion for the First Plate, resulting in a small and distinctive first edition of these eight subjects. The final text was typeset and printed letterpress in gray ink. The text face is Caslon Old Style, both roman and italic, and the heads are in Ultra Bodoni. Before the final printing, considerable changes were made in the First Plate. Chariot removed the title, numerals, and " J C " initials (but not the printed signature) from each subject. He reworked the blue color of each print before finally rejecting the first blue. It was replaced by an entirely new blue plus, later, an additional blue corrective for the whole set of eight. The sequence of printing the colors and the shade of some colors were changed. Specifically, the small first edition has the color sequence: yellow (A), red (B), first blue (Da), green (C), pink (F), and buff (E). The final edition is printed: yellow (A), red (B), green (C), second blue (Db), buff (E), pink (F), and blue corrective (G). The first edition yellow is pale; the second somewhat brighter. The D a blue is dark; the D b lighter in tone and more greenish. The second pink is slightly brighter than the first. The first brown is deeper and more yellow than the flat brown second. The blue corrective plate in the final edition is the same color as the D b blue. B and C are essentially the same in both editions. The overall differences are subtle but very noticeable. There are proofs marked " 1 s t state" of each of the eight subjects. In two cases, they are early proofs, before the first edition. In others, the inscription denotes first-edition proofs. "Trial proof" or "Trial state," extant in seven of eight cases, refer to proofs made between the editions, with a heavily reworked state of the first blue (Da), before its rejection in favor of the second (Db plus G). The artist has also kept sixteen proofs of assorted First Plate colors and subjects printed on top of each o t h e r — printer's trials that cannot be read as prints. In the first edition, the eight lithographed text pages (nos. 1 5 4 - 1 6 1 ) were included on the same plates, in the spaces between the pictures. They involved the red, blue, green, pink, and buff plates. They were polished

First Plate, Key only off the plates before the final edition printing. On the key-plate, lines were ruled in the text spaces as a guide to the placement of the lettering on the color plates. Next to each of these ruled grids, the artist made a small sketch or "remarque," catalogued as nos. 162-169, which exist only in the small edition of the key-plate printing. They were not carried over to the text plates in any fashion and have no apparent connection with the subject matter of the associated pictures. The following complete sheets of the First Plate are in the artist's collection: • 3 sheets of the key-plate with remarques, printed direct (i. e., reversed) and each dusted with red powder. • 1 sheet of red (B) plate alone, with text. Grace (no. 152) is in State B - l . • 1 set of eight proofs, a cut sheet of the red (B) plate alone, same as the preceding. • 1 sheet of first blue (Da) only, without text. The Rocking Chair (no. 122) and Naval Skirmish (no. 151) are in state Da-2, the latter a unique proof of the state. The other six are Da-1. The color is that of the final edition blue, indicating an intermediate state of the plate between the two editions.

Second Plate, A only • 1 sheet of all six colors of the first edition, including the text, printed on the verso of the first red sheet noted above. It is worth noting that In Church (no. 121) has the C-3 state of green, and The Rocking Chair (no. 122), the Da-1 state of blue. • 1 sheet of A/B/C/Da, four colors only. All the greens (C) are in final state. The blue, however, is intermediate, being the first plate (Da) in the second shade of blue. The only change from the blue sheet described above is that Naval Skirmish (no. 151) has now been reworked to state Da-3. The other blues have not had their final work before being discarded. • Half-sheets: two of Picture Book nos. 1 - 4 , one of nos. 29, 31, and 32, with no. 30 cut out, all in final published edition state. Second Plate (nos. 125-128 and 137-140). Actually the third plate to be drawn, this has no special features. The artist has only one complete sheet: • 1 sheet of yellow ochre (A) alone, verso of a Fourth Plate key. • Half-sheets: one of Picture Book nos. 5 - 8 , three of nos. 17-20, all in final published state.

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Third Plate, Key only Third Plate (nos. 133-136 and 145-148). The second plate to be drawn, this has rulings for text between the pictures on the key-plate. While he was working on this key, the artist abandoned the idea of including hand-drawn texts. At this point he made bold sketches in tusche on the key-plate, across the ruled areas. These sketches (nos. 170-177) were printed with the key-plate but do not appear in the color plates. The artist has: • 3 sheets of the key-plate with sketches, printed direct (reversed) and each dusted with red powder, one on verso of the First Plate blue sheet cited above. • Separate proofs of the black corrective (G) for each of the five subjects that used it, evidently from the same sheet. (No half-sheets.) Fourth Plate (nos. 129-132 and 141-144). The execution of this Plate, like the Second, was quite straightforward. The full sheets the artist has are: • 2 sheets of key-plate, printed direct (reversed), dusted with red powder. • 1 sheet of colors A / B / C (yellow, brown, and black) only. • Half-sheets: one of Picture Book nos. 21-24 lack86

Fourth Plate, Key only ing the brown (B) color and one of nos. 21-24 complete, both with The Rebozo (no. 141) in the D-2 state of blue; three of nos. 9-12 and one of nos. 21-24, all in final published state. Illustrations. The arrangement of subjects on each of the four Plates is shown here in photographs of entire proof sheets. The Key is used for the First, Third, and Fourth Plates. Since each of these sheets is printed direct, that is, reversed, the photographs have been reversed for printing, showing the Plates in the direction the artist worked on them and the same direction as the final print. The only extant sheet of the Second Plate is a proof of color A, yellow ochre, which was printed offset and is illustrated here as it stands. The subjects should be easy to identify. Prakriti Plate. This plate is mentioned here because it contained the Picture Book title-page and colophon vignettes (nos. 120 and 153), along with a number of unrelated lithographs. It is illustrated and described on page 124. The Tortillera on the wrapper (no. 117) was done on a separate smaller plate. Paper. The entire final edition of the book was printed on a cream laid paper, with laid lines 24 mm. apart, and a script watermark, "Linweave Text," wide-

ly spaced on the sheet. Most known trial proofs are printed on a white wove paper of medium weight and with a calendared surface. There are also some proofs in final edition state on this paper. Any trial proofs not recorded here will very likely be on this same proof paper. TEXTS T h e book was originally planned with Chariot's own text, consisting of two-line "rhymed captions" in French and English, both composed by the artist. The text pages completed for the First Plate (nos. 1 5 4 - 1 6 1 ) are drawn in eight lines each, alternating lines of French and English, in red and blue respectively. (This is much easier to read in color than in the black-and-white illustrations here.) The meaning of the texts sometimes differs between the two languages. The artist's English verses (not the French) have been published in a miniature Picture Book (Dawson's Book Shop, Los Angeles, 1974). Its page size is 50 x 37 mm. (2 x IV2 inches). It contains thirty-two color halftone reproductions of the original lithographs of Picture Book. It was printed by Lynton R. Kistler. Paul Claudel's text, which he particularly chose to call "inscriptions," is in French prose of varying lengths. The English version was written by Elise Cavanna, utilizing many of Claudel's detailed suggestions and partial English versions. Chariot had written to Claudel before even the prospectus was finished: " J e vais publier un petit livre imprimé entièrement autographe, en lithographie. C'est un livre d'images: 32 de mes subjets mexicains en 5 ou 6 couleurs chaque. Peut-être pourrais-je vous envoyer les 32 planches et vous leur donner leur titre?" (I am about to publish a small book printed, entirely autographic, in lithography. It is a picture book: 32 of my Mexican subjects in 5 or 6 colors each. Might I perhaps send you the 32 plates for you to give them titles?) (Letter, undated, in Claudel Foundation, Paris) Soon afterward, upon completion of the prospectus lithograph (no. 116) on August 4, 1 9 3 3 (JC Diary below), J C again wrote to Claudel: " J e vous joins une des lithographies pour mon livre de 32 lithographies. Comme vous voyez, c'est tout en couleur, le procédé que l'on appelle 'chromo' en France. . . . L'idée est d'en faire quelque chose pas trop 'artiste' mais plutôt un livre d'images ou une collection de bonspoints comme on en donnait à l'école. Ce que je vous demandais dans ma lettre était beaucoup plus que de me donner un titre. Pour chaque image (32) me faire une phrase. . . . La phrase serait écrite par moi en autographe sur la page faisant face à l'illustration, imprimée en encres de couleurs aussi avec une variante en anglais. Il est bien entendu que c'est une si grosse demande qu'il faut simplement la considérer comme non avenue, si la chose vous ennui." (I enclose one of my lithographs for

my book of 32 lithographs [i.e., no. 116]. As you see, it is all in color, the process which is called " c h r o m o " in France. The idea is to make something which is not too "artistic" but rather a picture book or a collection of little prizes like one is given in school. What I was asking of you in my letter was much more than just giving me a title. For each picture (32) make me a phrase. . . . The phrase will be written by me by hand on the page facing the illustration, printed in colored inks, and also with an English version. Granted that this is such a great request, it must be considered cancelled if the thing bores you.) (Letter, undated, in Claudel Foundation, Paris) Claudel wrote back on September 1 6 , 1 9 3 3 , a letter received by Chariot on September 29 : " J e trouve votre chromo très réussie et tel été l'avis général autour de moi. J'ai même trouvé une légende pour elle. Ce serait: En avant! d'une main elle brandit un sabre de bois et de l'autre elle s'étourdit de son propre bruit. (C'est la Gloire.) Mais vous auriez à vous occuper vous-même de la traduction anglaise, ainsi que pour les autres." (I find your chromo very successful, and that is the general opinion of those around me. I have even found a caption for her: Forward! with one hand she brandishes a wooden sword and with the other she deafens herself with her own racket. (That's Glory.) But you will have to take care of the English translation yourself, as well as for the others.) (Courtesy of the Claudel Foundation, Paris) See print no. 145. Claudel to Chariot, October 2 9 , 1 9 3 3 : "J'espère que vous avez reçu mes trois lots de 'devises' pour vos dessins. Il y en a 5 ou 6 d'idoines, le reste est très mauvais, mais pas plus que ne sont par example les légendes des Caprijos de Goya. L'important était de mettre de la distance entre le texte et le dessin. . . . Pour le pont il faudrait traduire simplement: The way from nowhere to elsewhere." (I hope you have received my three lots of " s l o g a n s " for your drawings. Five or six of them are adequate. The rest is very bad, but no worse than, for example, the captions of Goya's Caprichos. The important thing is to put some distance between the text and the drawing. . . . For the bridge [Arches, no. 1 4 2 ] , the translation should be simply: The way from nowhere to elsewhere." (Claudel Foundation, Paris) Claudel was very pleased with the finished book, as he wrote to J C on January 31, 1 9 3 4 : " J ' a i bien reçu . . . les Picture Book. . . . L'album . . . à la fois puissant et lumineux fait une collection d'images incomparable. Ces êtres massifs que vous nous exposez ont le caractère définitif et convaincant des événements géologiques à qui ils empruntent leur coloration et leur volume. Et tout cela n'est pas triste, c'est au contraire vivace et gai, cela pétille et jacasse comme une matinée tropicale. Ainsi présentées mes inscriptions m'ont parus meilleures que je n'en avais gardé l'impression et en sommes elles peuvent y faire." (I have just re-

ceived . . . the Picture Books. The album . . . both powerful and luminous makes an incomparable collection of pictures. These massive beings which you show us have the definitive and convincing character of geological events from which they borrow their coloration and their volume. And all that is not sad; on the contrary, it is vivacious and gay. It sparkles and chatters like a tropical morning. Presented in this manner, my inscriptions seem better to me than my previous impression of them, and in sum, they'll do." (Claudel Foundation, Paris) EDITIONS The Picture Book was printed in an edition of 500. Each copy was numbered and signed on the colophon page by Chariot, Lynton R. Kistler, and Merle Armitage. The individual prints were not signed. Numbers 1 - 3 2 are special copies, each containing a set of progressive proofs for one print and an original drawing by Chariot (done after the book was finished). The eight pictures with text, called the first edition of the First Plate, were never formally published. There were approximately ten proofs of each printed, most of which the artist still has. (Kistler has two full sets.) In addition, there was a press overrun that left a residue of between 6 and 60 proofs of each subject. These were signed by the artist and inscribed "signed proof" by him. The signed proofs of the First and Third Plate subjects were also individually numbered, there being between 6 and 19 signed proofs of each subject. The signed proofs from the Second and Fourth are between 30 and 60 in quantity and are not individually numbered. The number of signed proofs in final state is noted under each subject (data from JC card and from proofs). These separate signed proofs are all in addition to the regular edition of 500. Occasionally, the artist has signed edition proofs in books for friends. Some of these books have been known to have been split up into separate prints. Such late signed proofs of the First and Third Plates can be distinguished by the lack of numbering. (Incidentally, no final proof, in a book or out, has any printed text on its verso.) John Becker, a New York art dealer, handled most of the sale and distribution of the books. The Weyhe Gallery of New York later took over part of the edition. Progressive proofs. The artist also made up five complete sets of progressive proofs of all thirty-two subjects (excluding the title-page and colophon vignettes). One set was divided up among copies 1 - 3 2 of the edition, as noted, each of which contains the progressives of one print. The other four sets were bound in four volumes each and given to: (1) the artist; (2) the Metropolitan Museum of Art, New York; (3) Lynton R. Kistler; and (4) Merle Armitage. (See the description of progressive proofs on p. xiv.) Each set also contains the key-plates of the thirty-two pictures,

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the eight ruled spaces with vignettes (nos. 1 6 2 - 1 6 9 ) , and the eight additional sketches (nos. 1 7 0 - 1 7 7 ) , all printed offset in black (the same direction as the final prints). Each of these, therefore, has an edition of five. The artist remembers the pulling of the progressives after the completion of the edition, borne out by slight wear seen in some of the plates. Early proofs, including trial states, however, are occasionally included among the later impressions. The compiler has studied the artist's set of progressives and the Kistler set, now in a private collection, and early states found there have been noted. Still others may occur in the other sets. Mr. Armitage no longer has his set, and it has not been located. The artist also has a fifth volume (volume 1 of his set), which may be unique, containing progressives for the pictures and text of the first edition of the First Plate. Each volume of progressives has an individually printed title page, including the small woodcut no. 119. COMMENTS

AND

DIARY

The artist's 1971 comments that follow refer to the entire Picture Book. Individual notes are under the separate prints. The diary entries have been rearranged to cover each separate Plate in sequence. There is obviously a great deal of overlap in the Picture Book work, as well as with other prints (which follow), done in the evenings on stone at Lynton Kistler's home. JC's comments (1971): " T h e idea for the Picture Book may have developed after a conversation with Ben Shahn. He told me that before he was a fine-arts artist he had done commercial plates for posters, sometimes very large posters, to put on a rotary offset press. At that time they used very little photography; the color separations were done by hand. I was intrigued when he explained that the lighter the color, yellow for example, the darker the plate had to be, because they were all drawn in black. So the idea started percolating in my head, and I wanted to do something like that, pictures in full color. " W h e n I was very young, perhaps ten years old, I was in Poissy, Villa St. Louis, the summer place of my grandfather, Louis Goupil (and incidentally, Claude Monet's residence in the early 1880s). W e had a neighbor who had been involved with four-color mechanical reproduction. He would bring over color prints, as souvenirs of his past, and show us children the progressives: yellow, red, blue and black on top. I remember a cavalry charge " a la Detaille." Though I didn't think of it consciously when doing the Picture Book, it was a first visual experience with color separations. " I also had the term 'oleograph' in my head. It was a nineteenth-century word for color litho facsimiles of oil paintings. They even varnished them to fool people further. One of the things that guided me through life is that I don't like 'art.' That is, I don't like 'art for art.' What I am trying to do—tried even

before I went to Mexico—is art for people. That's why I like the Images d'Epinal so much, the Guadalupe Posadas, penny-sheets, pilgrimage sheets, and whatnot. Also, I meant to react against the 'art' lithographs, such as those done by the Nabis: Bonnard, Vuillard, Maurice Denis. Granted that they are beautiful, they are such obvious works of art. All those ideas resulted in the Picture Book. " T h e first mention in my diary is of the Picture Book under the name of Liber Studiorum, after Turner's own picture book. Turner is perhaps the last one who did such a book of motifs. In the Middle Ages and Renaissance, they were taken for granted by the artist and his workshop as source material, like the Jacopo Bellini book. I too wanted to do a repertory of motifs I had used up to then—so the title, Picture Book, is correct. " I met Lynton Kistler in July 1933, and we started on the Picture Book as soon as we finished our first color lithograph. The prospectus picture was really done to reassure Lynton's father, who owned the litho shop, because he was most skeptical. Will A. Kistler was a well-known commercial printer in Los Angeles. He had a grand commercial establishment for all kinds of printing, with two of the largest offset rotary presses. Lynton was working with his father, but was tending toward doing art work, which Will Kistler wasn't. But when I told Will my idea, he was interested in what he considered the impossibility of doing the job as I described it. So the little prospectus was really done to show Will that it could be done. And in case it could not be done—and he had grave doubts about it—the expense would not have been too great. W e had not yet bought the paper for the book, which was expensive, and had only enough at hand to make the prospectus. Lynton and I knew it could be done. "Anyhow, as the copies of the little Malinche came off, the press, Will Kistler was delighted. He gathered together his fellow printers of Los Angeles—they were a pretty crusty group—and he showed them that print. They wanted to know how it had been done. 'It's very simple,' Will Kistler said. 'He's French.' So from then on I had the run of the place. When the paper came in for the book, it seemed to weigh a ton and it cost a great deal. Lynton and I looked at each other as if to say, 'Too late to change our minds!' "Merle Armitage gave us fifty dollars toward expenses. W e were doing the whole thing on a shoestring, so it was a help of a sort. W e didn't get a single advance order from the 3,000 copies of the prospectus we mailed. [Statements in JC's files show a total printing cost of $1,953.13, which probably includes the paper.] One evening at Lynton's and Helen's home, we took sheets of typewriter paper, folded them eight ways, and made a layout for the book—four sets of eight subjects each. The plan went through a number of transformations. My own hand-written text, for in-

stance, proved to clash visually with the facing lithographs. Something less obvious than those blue-andred letters was needed. So we used a Bodoni type and printed Claudel's text in gray, to avoid the black-andwhite contrast. It was typeset by Lynton and printed at Will Kistler's, too. Besides the French, Claudel sent partial translations and suggestions for others. He had an excellent command of English. His version of Christopher Columbus published by Yale University Press in 1930, for instance, was first written in English. Elise Cavanna did the final English version of Claudel's inscriptions. She was a movie actress and also did lithographs. As to the four drawings I gave Zohmah [see nos. 1 4 9 - 1 5 2 ] , they are the originals which were traced onto my key-plate. It is quite possibly the only residue of that stage of the work, four out of thirtytwo. The sketches included in the thirty-two special copies were done after the book was finished. Most of the subjects are taken from earlier works, as was the intent. When I used oils as models for some plates, they were painted the same size as the lithographs. The color plates are built up the same way as a fresco —forms, then lines, then details. The mural approach comes naturally to me. There is a different master color for each print, which avoids monotony." 7C DIARY: July 27, 1933. "Evening, dinner with Kistler. Armitage present. W e discuss a Liber Studiorum." [July 31 to August 4, drawing and printing of Malinche, no. 116.] September 6, 1933. "am. Printer, pm. Decide on the order of plates in the book. Evening at L. R. Kistler home. Merle Armitage present. Talk of the book. Work a dummy." [First Plate] September 7. "Book begun. Text pages A ruled." September 8. "am. Printer. Work on book, pm. Key A : 6, 7, 8 . " September 9. "Book, key A . " September 10. " K e y A, A 3 . " September 11. "Book key A, A 2 . " September 12. "Book. Finish Key A, A4. Draw remarques on text side." September 13. "Book. Begin 'Rocking Chair.' " September 14. " W o r k all day. 'Rocking Chair' finished. Begin ships." September 15. "Ships finished." September 16. "Grace begun." September 18. "Grace finished. Begin seated Mestiza." September 19. "Finished Mestiza seated. Begin Fiesta Head-dress." September 20. "Finish Fiesta Head-dress. Mama Spanks begun." September 21. "Finish Mama Spanks. Begin Coiffure upright." September 22. "Coiffure finished. Brass Bed begun." September 23. "am. Brass Bed finished. One quarter of book is finished, also text." [Printing of First Plate] September 25. "Print yellow A . " September 26. "Print red A . " September 28. "Print blue A . " September 29. "Print green A . " September 30. "Last touching up of buff." October 2. "Print pink and buff. A finished." [This completed the first edition printing of the First Plate, in six colors, with titles, numbers, and text. The final published edition was begun almost immediately, and the

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blue corrective added a bit later, as follows.] October 10. "Print yellow A of book." October 11. "Print red A of book." October 13. "Work on blue A." October 16. "Work at printing blue A . " October 17. "Work at printing blue A ! " October 18. "Work at blue. Blue plate A done anew." October 19. "Work on blue." October 20. "Printing of blue finished!" October 23. " W . A. [Kistler] print buff. pm. Print pink." October 24. "Finish print A for book. Very bad." November 2. "Blue plate for corrections A." November 16. "Print correction plate A, blue. A is finished." [The text was done by Paul Claudel in the meantime.] September 29. " A letter from Claudel. He will write the text." October 2. "Send proofs to Claudel [of First Plate]." October 3. "Sketch the next eight subjects. Sent to Claudel." October 4. "Sketch four subjects from B for Claudel." October 5. "Sketch the remaining four from B. Mail the eight to Claudel." October 8. "Four drawings out of D for Claudel." October 28. "Received text Claudel for book." October 29. "Translated Claudel for book." November 10. " R e ceived the last of Claudel text." November 16. "Evening. With Kistler to Jorgend-Smith a propos translation text Claudel." [Third Plate] September 27. "Begin key C. Trace Malinche." September 28. "Key C . " September 29. "Continue key C. Draw Yellow Robe." October 2 and 3. "Key C . " October 4. "Finish key C . " October 6. "Draw Malinche No. II." October 10. "Builder C . " October 11. "Work on La Nana." October 12. "Leopard Hunter. Yellow Robe." October 13. "Yellow Robe." October 14. "Dance at Dawn. Begin Jarana." October 16. "Finish Jarana. Builders begun." October 17. "Finish draw C . " [Printing of Third Plate] October 31. "Print yellow C . " November 1. "Print light red C . " November 3. "Print dark red C." November 15. "Print correction plate C, black. C is finished." [The intervening colors are not specifically mentioned.] November 27. "Touch up by hand proofs of C . " [JC does not recall what this refers to.] [Second Plate] October 19. "Begin key plate B . " October 20. "Finish key plate B . " October 30. "Begin yellow plate for B . " October 31. "Little Bath B . " November 1. "Guitar Player B . " November 3. "Tondo

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playing bunny B . " November 4. "Woman washing B . " November 6. "Couple with petate." November 7. "Begin Lazarus B . " November 8. "Yellow B finished." [Printing of Second Plate] November 9. "Print yellow B. Finished drawing B . " November 10. "Print red B . " November 13. "Begin print blue B . " November 14. "Finish print blue B . " November 17. "Print pink B. Print green B. Printing of B finished." [Fourth Plate] October 23. "Begin key plate D . " October 24. "pm. key plate D . " October 25. "Finish key plate D . " November 13. "Begin yellow D . " November 14. "Draw yellow D . " November 15. "Worked on red D . " November 18. "Black D . " November 20. "Blue D . " November 21. "Pink D . " November 22. "Pink finished. Begin blue tint D . " November 23. "Finish blue tint D. Finish all Plates of Book!" [Printing of Fourth Plate] November 27. "Print yellow D. Begin brown." November 28. "Brown D. Black D . " November 29. "Blue D . " December 1. "Blue tint D. Finish pink D. Printing of book finished. Mail series to John Becker [i.e., loose sheets]." December 5. "Print the text of the Plates." December 6. "Finish print text Plates. Hung plates book for a show at Stendahl Gallery." December 7. "Lithograph wrapper book." December 9. "Clean book form." December 13. "Print wrapper." December 14. "Print cover. Sign colophons." December 16. "First complete books. Bring one to Zohmah." January 1 6 , 1 9 3 4 . "Arrange progressives of book." January 23. "Arrange 32 special copies." New York, April 23. "Metropolitan Museum print room. See William Ivins, Jr. Buys a Picture Book for Museum, another for himself." New York, June 20. "Received progressive proofs of Picture Book. Bring a copy to Metropolitan Museum. Chose binding for same." [There are also some fragmentary notes on subjects and colors in JC's 1933 sketchbook.] In Lynton R. Kistler's copy of Picture Book, JC wrote: "Dear L. R. This book is as much your achievement as it is mine. So this is just as a testimony of friendship and to repeat to you how much working in common on zinc and stone has brought me some of the most pleasurable moments of my career. Jean Chariot. Los Angeles 1934."

only state 117. TORTILLERA Picture Book wrapper. 265 x 435 mm. (I0V2 x 17V* Brown on salmon paper.

inches).

No states. No trial proofs known. Not in Progressives. "Brush on zinc." ( C a t a l o g u e ) " T h i s was actually the last lithograph done for the Picture Book." (JC 1971)

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only state

third state 118. SQUATTING INDIAN I Picture Book c o v e r v i g n e t t e trial. W o o d c u t . 3 9 x 4 3 m m . (IV2 x 1 3 A i n c h e s ) . States: 1. B l a n k areas of w o o d on b o t h sides o f figure. O n e proof ( " 1 / 1 " ) . 2. B l a n k w o o d cut a w a y , leaving reversed initials " J . C . " on e a c h side o f figure. W h i t e spots added on m a t . O n e p r o o f ( " l / l " ) . 3 . Initials r e m o v e d . E i g h t p r o o f s ( " 3 r d state, - / 8 " ) , o f w h i c h J C h a s seven. ' N o edition. B l o c k lost. P r i n t e r : J C .

119.

S Q U A T T I N G I N D I A N II

Picture Book cover vignette.

W o o d c u t . 4 0 x 4 4 m m . (IV2 x 1 3 A i n c h e s ) . N o states. N o trial p r o o f s k n o w n . Four e d i t i o n s :

1st:

500 on upper cover of Picture

Book.

2 n d : C a . 1 0 0 , printed on p o s t c a r d s c o n f i r m i n g r e s e r v a t i o n s f o r a " J e a n C h a r i o t Farewell D i n n e r , " at T a i x C a f e , Los A n g e l e s , M a r c h 1 , 1934. 3rd:

4th:

C a . 1 0 0 , printed in purple on invitations to " A D i n n e r f o r J e a n C h a r i o t ! " at T a i x R e s t a u r a n t [the s a m e ] , Los A n g e l e s , S e p t e m b e r 9 , 1 9 4 7 . C a . 1 0 0 , p r i n t e d in g r e e n on p o s t c a r d s a n nouncing a show of " 2 5 Prints by Jean Charlot / Kistler G a l l e r y , " A u g u s t 2 7 , 1 9 5 0 .

T h e r e is also o n e p r o o f of a Picture Book cover in French ("Livre d'Images"), apparently considered but n e v e r p u b l i s h e d . J C believes there m a y b e o t h e r uses of the b l o c k on K i s t l e r announcements. B l o c k lost. P r i n t e r s : W i l l A . K i s t l e r C o . ( 1 s t edition), L. R . Kistler ( o t h e r s ) . only state 120.

S Q U A T T I N G I N D I A N III

Picture Book title-page vignette

3 9 x 4 2 m m . (IV2 x 1 3 A i n c h e s ) . C o l o r s (Prakriti P l a t e ) : K e y . A . yellow. B. b r o w n . C . red. D . d a r k blue. N o states. O n e K e y p r o o f (reversed) on sheet of k e y plate. N o separate p r o o f s k n o w n . N o t in P r o g r e s sives. Pencil d r a w i n g on a trial t y p e s e t t i n g o f title p a g e , suggesting that this l i t h o g r a p h w a s done near the end

of the Picture Book work.

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" T h a t little fellow w a s u s e d f o r a n u m b e r of things. It w a s m a d e so it could be printed in relief t o g e t h e r w i t h the t y p e f o r the cover. B e s i d e s , I did not w a n t to c o m p e t e w i t h the l i t h o g r a p h s inside the b o o k . I d o n ' t k n o w w h y there are t w o versions. T h e covers w e r e all printed at o n e time, so o n l y this one was used there." (JC 1971)

final published state 121. IN CHURCH Picture Book No. 1. 202 x 157 mm. (8 x 6 x k inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. Only one state. A and B. Only one state each. C-l. With " J C . " No profile outline, no shading in front of rebozo. C-2. Heavy vertical shading in front of rebozo between neck and right hand, and in front of rebozo above forehead. C-3. Heavy tusche outline of face from top of rebozo to tip of nose. C-4. Profile outline removed. " J C " removed from lower right corner. (B and C print with varying intensity from dark to light, giving different effects to separate proofs without state change.) Da-1. This plate has sharp diagonal lines of blue shading on the neck. Da-2. Diagonal shading added on rebozo over head and across white areas of dress. Db. Final plate. Soft shading only. E-l. With title at bottom and " 1 " at upper right. E-2. Title and number removed. Additional shading across highlights on elbow and ear, reducing the strength of the red. F and G. Only one state each. Proofs: A/B/Da-l/C-l/F/E-1. One proof, not inscribed.

A/B/Da-l/C-2/F/E-l. A/B/Da-l/C-3/F/E-l.

A/B/C-4/Da-l. A/B/C-3/Da-2/E-2/F.

Five proofs, one inscribed "first state." First edition proofs, including two inscribed "second state," and one in proof sheet. One proof in A / B / C / D proof sheet. Four proofs, each inscribed "Trial proof No. 1, - / 4 . "

A/B/C-4/Da-2/E-2/F.

Four proofs, each inscribed "Trial proof No. 2, - / 4 . " A / B / C - 4 / D b / E - 2 / F / G . Final published edition. 16 signed proofs. Painting in oils: Mestiza, 1926, reproduced in Claudel, Jean Chariot (Paris, 1935, page 39). Chariot rhymed caption (see no. 154) : "La dame, à petits vents, berce L'âme que la prière perce!" "The deft fan keeps aground The soul that would soar to heavens round." Claudel inscription: " A ce rayon de lumière elle demande ce de quoi son livre est blanc." "She prays to this light-ray for this which makes her book white." "Claudel objected to 'white' as a translation of 'blanc.' He would have preferred 'blank.' " (JC 1971)

final published state 122. THE ROCKING CHAIR Picture Book No. 2. 155 x 203 mm. ( 6 x 8 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. Only one state. A and B. Only one state each. C-l. " J C " at lower right. C-2. " J C " removed. Da-1. Round light area scratched in hair, allowing red to show through. One proof JC's progressives, vol. 1, also A / B / D / C and A / B / D / C / F progressives. Da-2. Light area on hair filled with hatching. Still only light diagonal lines on floor. O n e proof in Da sheet, also JC's A / B / D and A / B / D / C / F / E progressives. Da-3. Heavy diagonal lines added on floor. Shading added in lower corners of outside arches. Db. Final plate. Has shading in lower leftand right-hand corners, not in Da. E-l. With title at bottom and " 2 " at upper right. E-2. Title and number removed. F and G. Only one state each. Proofs: A/B/Da-l/C-l/F/E-1. Two proofs, and one in proof sheet. The "first edition" consists of proofs

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with Da-1, with the red area in the hair covered by the artist in pen. A/B/Da-2/C-l/F/E-1. Two proofs, inscribed "1st state." A/B/C-2/Da-2. One proof in A / B / C / D proof sheet, one in Kistler progressives. A/B/C-l/Da-3/E-2/F. Two proofs ("Trial State No. 1, - / 2 " ) . A/B/C-2/Da-3/E-2/F. Two proofs ("Before corrective, - / 2 " ) . A / B / C - 2 / D b / E - 2 / F / G . Final published edition. 19 signed proofs. Oil painting, vertical format, 1930 reproduced in Claudel, lean Chariot (Paris, 1935, p. 47). Also oil painting, size and format of the print, collection of Marguerite Brunswick Stande, the actual model for the lithograph. Chariot rhymed caption (see no. 155) : " O h ! paix! La chaise à bascule N'avance, ni ne recule." "Riding on this hobby-chair She goes everywhere, yet nowhere." Claudel inscription: "Cet éventail entre ses doigts suspendu, elle se recueille sur ses possibilités." " T h e fan at her fingers poised, she plumbs its possibilities."

final published state 123. FIESTA HEAD-DRESS Picture Book No. 3. 203 x 155 mm. ( 8 x 6 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. One state only. A. One state only. One separate proof. B. One state only. Two separate proofs. " J C " at lower right. C-l. " J C " removed. C-2. No blue shading on combs. Da-1. Shading added across both combs, and Da-2. on forehead and nose. Loops and lines of shading extend beDb-1. low margin at lower right. Ends of loops trimmed off. Margins reDb-2. main uneven. One separate proof. With title at bottom and " 3 " at upper E-l. right. E-2. Title and number removed. F and G. Only one state each. Proofs : A/B/Da-l/C-l/F/E-1. First edition proofs, including two marked "1st state."

A/B/Da-l/C-2.

One proof in progressives in copy no. 3/500. A/B/C-l/Da-2/E-2/F. Two proofs ("Trial State, - / 2 " ) . A/B/C-2/Db-l/E-2/F. One proof, no inscription. A / B / C - 2 / D b - 2 / E - 2 / F / G . Final published edition. 17 signed proofs. See print no. 103. Also an oil the same size as the print, L. R. Kistler collection. Chariot rhymed caption (see no. 156) : "Sur sa tête, un monceau. Dans sa tête, un trousseau." 'Such pot-pourri in her hair Is inducive to an heir." Claudel inscription: "Entre les dents de cette double fourchette quelle salade sauvage de cheveux!" "What a barbarie salad of hair mingles in the teeth of those twin forks!"

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final published state 124. COIFFURE Picture Book No. 4. 203 x 153 mm. ( 8 x 6 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. Only one state. A and B. Only one state each. C-l. "JC" at lower right. C-2. " J C " removed. Da-1. No blue shading on collar of standing woman. Da-2. Heavy additional blue shading all around standing woman, on her collar, cuffs, and skirt; on neck and body of seated woman; and horizontally at sides, making loops at the right edge. Db. Cross-hatched shading at the left and right, lacking loops at right edge. E-l. Number " 4 " at upper right. E-2. Number removed. F-l. Title at bottom. F-2. Title removed. G. One state only. Proofs: A / B / D a - l / C - l / F - l / E - 1 . First edition proofs, in-

96

cluding two marked "1st state." A / B / C - l / D a - 2 / E - 2 / F - 2 . Four proofs ("Trial State No. 1, - / 4 " ) . A / B / C - 2 / D a - 2 / E - 2 / F - 2 . Three proofs ("Trial State No. 2, - / 3 " ) . A/B/C-2/Db/E-2/F-l. One proof in JC's progressives, vol. 2. A / B / C - 2 / D b / E - 2 / F - 2 / G . Final published edition. 18 signed proofs. Oil painting of similar subject, 1930, reproduced in Claudel, Jean Chariot (Paris, 1935, p. 63). "There is a little oil of this, specifically done towards the print."(JC 1971) (Also a small pencil sketch.) Chariot rhymed caption (see no. 157) : "Laquelle est la parvenue? L'habillée? Eh, non! La nue." "This braid, smooth and strong, do not Twist into a hangman's knot!" Claudel inscription: "Elle trait la nuit." "Milking the night."

only state

only state 125. IDOL Picture Book No. 5. 203 x 158 mm. (8 x 6Vi inches). Colors (Second Plate): Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 5 0 - 6 0 signed proofs. Oil painting, 1930, reproduced in Claudel, Jean Charlot (Paris, 1935, page 59), now in the collection of Dr. Robert M. Browne, Honolulu. " A small oil came after." (JC 1971) Chariot rhymed caption (first published in Mele, no. 20, Honolulu, November 1971): "Tiens la pose, idole, ou je Décampe si tu bouges!" "Made of earth, yet not earth, nor yet bone And flesh. Sculptor, leave it alone!" Claudel inscription: "Assise et la figure à travers la réunion de tous ses membres." "Rooted, her head at the cross-roads of her limbs."

126. TONDO I Picture Book No. 6. Circle: 156 mm. (6V4 inches) diameter. Colors (Second Plate) : Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 3 0 - 4 0 signed proofs. "The theme of mother and child dates from 1924. For this, I made a line drawing, then improvised the colors on the plate. The mother puts her hand like that to make a rabbit's head." (JC 1971) Chariot rhymed caption: "Ce lapin dont tu ris, ma fille, C'est l'emblème de la famille." "Baby laughs at the bunny. Mummy's tummy feels funny." Claudel inscription: "Elle lui promet des jambes." "She pledges it legs."

127. CARGADOR Picture Book No. 7 206 x 165 mm. (81/* x 6V2 inches). Colors (Second Plate) : Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 3 0 - 4 0 signed proofs.

128. WOMAN WASHING Picture Book No. 8. 205 x 159 mm. (8 x 6V4 inches). Colors (Second Plate): Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 40—50 signed proofs.

"Drawings of street types go back to 1922-1923. This was done from a line drawing, the colors improvised on the plate." (JC 1971)

"The original for that was a color pencil drawing. Afterward, in Iowa, I did an oil the same size as the lithograph." (JC 1971)

Chariot rhymed caption: " Trends ton fardeau et suis moi.' 'Seigneur je n'ai pas le choix.' "

Chariot rhymed caption (first published in Mele, no. 20, Honolulu, November 1971): "C'est juste, chemise, confesse Que ce que tu caches te fesse!"

"Dropping his load, he sighed. Kings and dictators died." Claudel inscription: "Crucifié à la pierre." "Crucified to the stone."

"Paddle your shirt; beat your breast, Woman. Let God do the rest." Claudel inscription: "Dans le courant du temps la faute a disparu." "In the stream of time sin is washed away."

129. LUZ Picture Book No. 9. 204 x 155 mm. ( 8 x 6 inches). Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Only one stage of each, except: D - l . Rough edges, with shading extending outward at sides and top. D-2. Edges trimmed straight. Proofs : A / B / C / D - l / E / F . One proof, not inscribed. A / B / C / D - 2 / E / F . Final published edition. 4 0 - 5 0 signed proofs. There is considerable variation in the printing of colors B and C. See print no. 94. Chariot rhymed caption (first published in Mele, no. 20, Honolulu, November 1971): "Réalisant que ses mots tuent, La pythonisse s'est tue." " N o t uneasy and not at ease, Eyes shut, ears stopped, she is." Claudel inscription: " L a Sagesse. Ses pieds sont occupés à ne pas bouger, ses mains à ne rien faire et ses yeux à ne pas voir." "Wisdom. Her feet busy not to move, her hands not to do and her eyes to see not."

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130. S A C R I F I C E OF I S A A C Picture Book No. 1 0 . 205 x 158 mm. (8 x 6^4 inches). Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Only one state of each, except: E - l . Untrimmed edges at upper left and lower right. E-2. Edges trimmed straight. Proofs : A / B / C / D / E - l / F . Two proofs (SI, Achenbach). A / B / C / D / E - 2 / F . Final published edition. 5 0 - 6 0 signed proofs. "Perhaps the first version of a theme that became oils later, three or four recorded." (JC 1971) Chariot rhymed caption: "Isaac grand péril encourut. Ce fut le bélier qui mourut." "Deflect your blade, Abraham, From your son to the ram." Claudel inscription: "Le sacrifice d'lsaac."

only state

published state

only state

published state

99

published state 131. PLAZA Picture Book No. 11. 155 x 203 mm. ( 6 x 8 inches). Colors (Fourth Plate): Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Only one state each of Key, A, B. and C. D - l . Wide rough edges of shading at left and right. Registration marks at corners. D-2. Edges trimmed straight. Registration marks removed. E-l. Wide rough edges of shading at left and right. Registration marks at corners. E-2. Edges trimmed straight. Registration marks removed. F-l. Wide rough edges of shading at left and right. Registration marks at corners. F-2. Edges trimmed straight. Registration marks removed. Proofs: A/B/C/D-1/E-2/F-2. Seven proofs ("Trial State No. 1, -/7"). A/B/C/D-2/E-1/F-2. Nine proofs ("Trial State No. 2, -19"). A / B / C / D - 2 / E - 2 / F - 1 . Two proofs ("Trial State No. 3, - / 2 " ) . A/B/C/D-2/E-2/F-2. Final published edition. 5 0 60 signed proofs.

100

There is no completely logical explanation of a series of trial proofs, each containing one color in a first state, with rough edges and all remaining colors in final state. The artist remembers only that piles of unfinished color proofs were used to print trials of additional colors. Perhaps they came out in the listed sequences purely by chance. The artist has retained all such proofs to date. "The Plaza has no formal model. However, there are some landscapes close enough to that—a small oil in the Phillips Gallery in Washington, which dates from 1924. There is a preparatory line drawing done for the book; the colors were improvised on the plate." (JC 1971) Chariot rhymed caption: "Traverses vite, homme, ou pâtis D'être à ces beaux cubes parti." "What man builds is wrought to stay. Man the builder walks away." Claudel inscription: "Dans leur sommeil multicolore les maisons écoutent sur la place les pieds de cet homme qui apporte la journée." "In their varicolored sleep the houses listen to the feet of this man who brings the day."

only state

published state 132. T O N D O II Picture Book No. 12. Circle: 127 mm. (5 inches) diameter. Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Only one state of each, except: F-l. Narrow area of white above woman's right foot. F-2. White area enlarged with scratching. Additional scratched white along the towel. Proofs : A / B / C / D / E / F - l . Five proofs (JC, SI, NCFA, Achenbach, Marie and Jack Lord collection). A / B / C / D / E / F - 2 . Final published edition. 5 0 - 6 0 signed proofs. Pencil drawing, Los Angeles, July 1933, no. 21 in 1933 sketchbook. Chariot rhymed caption: "Vêtue ou non, vierge ou putain, Quand l'art s'en mêle, c'est tout un!"

133. BUILDER Picture Book No. 13. 206 x 156 mm. ( 8 x 6 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. No states. No trial proofs known. 10 signed proofs. Oil painting, 1930, reproduced in Claudel, Jean Charlot (Paris, 1935, p. 45), now in the Laurance S. Rockefeller collection, Hawaii (large and the reverse of the print). Chariot rhymed caption: "Saura-t-il choisir entre l'une Et l'autre: la pierre ou la lune?" "The man in the moon fell amid A Yucatecan pyramid!" Claudel inscription: " A l'exhaussement de la pierre s'adapte la cathédrale humaine." "The human stone."

cathedral

buttresses

the

uprising

"Flesh and linen spliced tight, Does it mean love or fight?" Claudel inscription: "Elle prend mesure de ce vêtement de chair qu'elle est chargée de fournir à cet homme futur." "She measures this garment of flesh, so as to weave one for the man to be." 101

only state

only state

134. DANCE AT D A W N Picture Book No. 14. 156 x 210 mm. (6 x 2>xk inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. G. black corrective. No states. One proof of A / B / C / D / E / F with black pen corrections. 11 signed proofs. See print no. I l l , and the painting mentioned there.

135. THE YELLOW ROBE Picture Book No. 15. 210 x 155 mm. (8V4 x 6 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. G. black corrective. No states. One proof of A / B / C / D / E / F with black pen corrections. 6 signed proofs. Compare print no. 230.

Chariot rhymed caption: "Avant d'aimer; enfui l'amour, Ce sont vraiment les plus beaux jours."

"There are some early oils." (JC 1971)

"Dusk or dawn for rigadoon. Nobody dances at noon." Claudel inscription: "Au premier rayon du jour les pieds de l'homme se mettent à chanter." "At the first ray of dawn the feet of men sing."

Chariot rhymed inscription: "Ce vampire potelé Suça son sang avec son lait . " "She bore him, born him, fattened him. No wonder he is round, she trim!" Claudel inscription: "Insoucieux de cette introductrice découragée, triomphale apparition de Boniface." "Heralded by his sad begetter, triumphant enters Mr. Goodface."

102

only state

only state 136. LEOPARD HUNTER Picture Book No. 16. 155 x 207 mm. ( 6 x 8 inches). Colors (Third Plate) : Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. G. black corrective. No states. One proof of A / B / C / D / E / F with black pen corrections. 6 signed proofs. See print no. 80. "Also a watercolor of 1926." (JC 1971) Chariot rhymed caption: "Dans le ventre ou sur le dos, Quel delectable fardeau!" "Children and cubs, in home and den, Await a plenteous burden." Claudel inscription: "Il porte sur le dos cet animal féroce et divers que nous portons dans le coeur." "He bears on his back this brute ferocious and mottled that we carry in our hearts."

137. THE PETATE Picture Book No. 17. 155 x 215 mm. (6 x 8V2 inches). Colors (Second Plate) : Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red.) D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 4 0 - 5 0 signed proofs. "An original invention for the book. Some small oils of the same size came after. A petate is a traditional Mexican wedding gift." (JC 1971) Chariot rhymed caption: " 'La vie est dure, l'amour doux,' Ci disent l'épouse et l'époux." "Tonight, little do they dream that Babies will shove them off their mat." Claudel inscription: "Ils étudient la carte nuptiale." "They study the matrimonial map."

103

138. THE IRON BED Picture Book No. 18. 207 x 159 mm. (8V4 x 6V4 inches). Colors (Second Plate) : Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. One separate proof each of A, A / B , and A / B / C . 4 0 - 5 0 signed proofs. See print no. 90 and the artist's comments there. "There was also a large oil, before the 1929 lithograph. One of the first paintings of mine ever bought — b y Lincoln Kirstein. The model is Léon Venado, a sarape weaver from Texcoco, come to the big city." (JC 1 9 7 1 ) Chariot rhymed caption: "Tisserand, tu tisses des sons Qui font aux tyrants la leçon." " T h e weaver, idle his loom, Sings of tyrants and their doom." Claudel inscription: " D u pied il écoute sa main." "His foot listens to his hand." only state

139. RAISING O F LAZARUS Picture Book No. 19. Circle: 134 mm. ( 5 ^ inches) diameter. Colors (Second Plate) : Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 4 0 - 5 0 signed proofs. Pencil drawing, June 1933, done on the train between Iowa and Los Angeles, no. 10 in 1933 sketchbook. Chariot rhymed caption: "Marthe, Marie, pour l'amour De vous j'ai chancé deux morts." "Martha pleads and Mary cries. What choice had I but rise!" Claudel inscription: "Résurrection de Lazare."

only state

104

only state 140. BATHERS Picture Book No. 20. 204 x 156 mm. ( 8 x 6 inches). Colors (Second Plate): Key. A. yellow ochre. B. Indian red (reddish brown). C. dark purple (dark red). D. blue. E. light purple (pink). F. green. No states. No trial proofs known. 3 0 - 4 0 signed proofs. See prints nos. 69 and 96. " A small oil of 1925 suggested i t . " (JC 1971) Chariot rhymed caption: " S i (;a c'est Saint Jean Baptiste Je vous plains, Monsieur l'artiste."

published state (with D-3) D-3. E-l.

Trunk of palm tree drawn much stronger. Wide rough-edge shading and registration marks on left side. Edges trimmed straight. Marks removed. Only one state.

E-2. F. Proofs : A/B/C-l/D-l/E-2/F

A/B/C-2/D-1/E-2/F. A/B/C-2/D-2/E-1/F. A/B/C-2/D-2/E-2/F.

"Earthly rites? Granted. Nevertheless why does the Dove hover?" Claudel inscription: "L'enfant lave la mère." " T h e child cleanses the mother." 141. THE REBOZO Picture Book No. 21. 204 x 146 mm. (8 x 53/t inches). Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Key. Only one state. A and B. Only one state each. C-l. Rough edges on all sides. C-2. Edges trimmed straight. D-l. Rough edge on left side. Registration marks at left top and bottom. D-2. Edges trimmed straight. Registration marks removed. In JC's A / B / C / D and A / B / C / D / E progressives.

A/B/C-2/D-3/E-2/F.

One proof ("Trial State No. 2, 1 / 2 " ) . O n e proof ("Trial State No. 2, 2 / 2 " ) . Seven proofs ("Trial State No. 1, -19"). Seven proofs marked "Trial State No. 3, - / 1 0 . " Also one separate, two in half-sheets, and some edition prints. Final published edition. 5 0 - 6 0 signed proofs.

" T h i s took a long time to evolve. The woman was originally giving centavos to a beggar. Then the beggar disappeared. As it is, it was first drawn for the b o o k . " (JC 1971) Chariot rhymed caption: "Elle voit tout en noir et blanc. Les nuances, c'est trop troublant." "Decked in prisoner's stripes Her heart for escape is ripe!" Claudel inscription: " L a Nuit se retire." "Exit the night."

105

published state 142. ARCHES Picture Book No. 22. 207 x 152 mm. (8V4 x 6 inches). Colors (Fourth Plate): Key. A. yellow. B. b r o w n (brick red). C. black. D. dark blue. E. light blue. F. pink. States: O n l y one state of each, except: C - l . Wide rough-edge shading at upper left and right. Registration marks at top. C-2. Edges trimmed straight. Registration marks removed. E-l. Wide rough-edge shading at upper left and right. Registration marks at corners. E-2. Edges trimmed straight. Registration marks removed. Proofs: A/B/C-l/D/E-2. O n e proof in Kistler progressives. A / B / C - 2 / D / E - 1 / F . Nine proofs ("Trial State, -/9"). A / B / C - 2 / D / E - 2 / F . Final published edition. 5 0 60 signed proofs.

" A n original composition for the book. T h a t is Cuernavaca. It is called the Mountain of the Bishop, because it looks like a bishop's hat. W h e n Chirico was in N e w York, I showed him the Picture Book. T h a t ' s the plate he liked best." (JC 1971) Chariot rhymed caption: "Sans prétention comme sans honte L'architecte et Dieu se c o n f r o n t e n t . " "Needing the mountain, God made her. M a n trusts his compass and ruler." Claudel inscription: "Le Paradis derrière ce viaduc qui conduit d'ailleurs à nulle p a r t . " " T h e way f r o m nowhere to elsewhere." " T h e English version is Claudel's o w n . " (JC 1971) See Claudel's letter of October 29, 1933 (p. 87).

only state

published state

143. PASTORAS Picture Book No. 23. 204 x 152 mm. ( 8 x 6 inches). Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. States: Only one state each, except: E - l . Very rough edges at left, right, and bottom. E-2. Edges trimmed straight. Proofs : A / B / C / D / E - l / F . Two proofs (JC, SI). A / B / C / D / E - 2 / F . Final published edition. 50-60 signed proofs. See print no. 68, and the painting mentioned there. Chariot rhymed caption: "Légères vous soient les années, Pastourelles enrubannées!" "Shepherdesses sweet as sheep Count your flock, but do not sleep!"

144. T O N D O III Picture Book No. 24. Circle: 136 mm. (5V2 inches) diameter. Colors (Fourth Plate) : Key. A. yellow. B. brown (brick red). C. black. D. dark blue. E. light blue. F. pink. No states. No trial proofs known. 5 0 - 6 0 signed proofs. Pencil drawing, July 1933, Los Angeles, no. 17 in 1933 sketchbook. Chariot rhymed caption: "Face à l'objectif ces dames Se dévoilent, corps et âmes!" " O n immortality sold, Two out of three catch cold!" Claudel inscription: "Le voile d'Isis." "The veil of Isis."

Claudel inscription: "Au bout d'un bâton cette étoile qui a servi à allumer le ciel." "Atop a stick this star by which the skies became alight."

107

only state 145. MALINCHE Picture Book No. 25. 159 x 206 mm. (6V4 x 8 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. G. black corrective. No states. One proof of A / B / C / D / E / F with black pen corrections. 8 signed proofs. See Malinche, print no. 116. The present print has a blue skirt, the other a red skirt. " T h i s one came out the least well in the book, probably because the first one had been so successful. I had to use very heavy black to correct the plate. The dancer was seen at a fiesta at Hacienda de la Llave, near Mexico." (JC 1971) Chariot rhymed caption: " T e faudra-t-il choisir, poupée, Entre le hochet et l'épée!" " W o m a n wins every battle With a sword or with a rattle." Claudel inscription: " E n avant! d'une main elle brandit un sabre de bois et de l'autre elle s'étourdit de son propre bruit." "Forward! with one hand she brandishes a wooden sword and with the other she deafens herself with her own racket." See also Claudel's letter of September 16, 1933 (p. 87). 108

only state 146. JARANA Picture Book No. 26. 226 x 155 mm. ( 9 x 6 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. No states. No trial proofs known. 13 signed proofs. See print no. 97. " T h e r e was an early oil of that, about 1926, before the first lithograph. Admirers lent their hats to the ladies of their choice for the dance. Beautiful girls wore many hats." (JC 1971) Chariot rhymed caption: " S o u s ses entrechats vainqueurs Le terre tremble—et les coeurs!" " A t the impact of her entrechats All surrender, from serf to pacha!" Claudel inscription: " T o u s ces chapeaux ne lui ont-ils pas fait perdre la tête?" "Enough hats to make her lose her head!"

only state

147. LA NANA Picture Book No. 27. 158 x 205 mm. (6V* x 8 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. G. black corrective. No states. One proof of A / B / C / D / E / F with black pen corrections. 7 signed proofs. See print no. 82. Also an oil of about 1925. Chariot rhymed caption: "Prêtresse, appaise de rites Ce petit dieu qui s'irrite." "It does deepen one's dimple To own a nurse so simple." Claudel inscription: " A l'enfant émerveillé la Gloire propose son premier hochet." "Fame snares the marveling child with its first bauble."

only state

148. MAYA WORKERS Picture Book No. 28. 203 x 155 mm. ( 8 x 6 inches). Colors (Third Plate): Key. A. yellow. B. red (vermillion). C. purple. D. light blue. E. dark blue. F. green. No states. No trial proofs known. 13 signed proofs. Color E (dark blue) is printed very lightly on occasion. See print no. 91. "There is also an oil painting, around 1926 or so" (JC 1971). (Also a small pencil sketch.) Chariot rhymed caption: "Le temple est en ruine. Les dieux Sont-ils remontés aux deux?" "The gods left in such haste that They forgot this monstrous hat." Claudel inscription: "Au sommet de la pyramide cette langue recourbée est l'emblème de notre convoitise." "Crowning the pyramid this coil is the sign of our concupiscence."

109

final published state

149. THE BRASS BED Picture Book No. 29. Alternative title: Solitude. 205 x 153 mm. ( 8 x 6 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. Only one state. A and B. Only one state each. C-l. " J C " at lower right. C-2. " J C " removed. Da-1. Before added shading. Da-2. Additional blue shading on floor, upper left corner, and on side of bed at lower right. Db. Very similar (with G) to Da-1. E-l. Title ("Solitude") at bottom and number " 2 9 " at upper right. E-2. Title and number removed. F and G. Only one state of each. Proofs: A/B/Da-l/C-l/F/E-1. First edition proofs, including two marked "1st state."

110

A/B/Da-l/C-2 only. A/B/C-l/Da-2/E-2/F. A/B/C-2/Da-2/E-2/F.

In trial sheet of four colors. Four proofs ("Trial State, -/4").

One proof in partial sheet of three subjects. A/B/C-2/Db/E-2/F. Final published edition. Seven signed proofs. Pencil drawing, traced for placing image on key plate. See print no. 85. "There's an early oil of that, too." JC 1971) Chariot rhymed caption (see no. 1 5 8 ) : "L'enfant qui lui vient, sera-t-il, Comme son papa, volatil?" " A s , before him, his daddy, The child kicks already!" Claudel inscription: " A u fond de sa chambre obscure elle se prépare à la Syzygie." "Seated in the depths of her cell, in expectation of the Syzygy."

final published state

150. MOTHERLY CARE Picture Book No. 30. 205 x 153 mm. ( 8 x 6 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key, A, and B. Only one state of each. C-l. " J C " at lower right. C-2. " J C " removed. Da. Child's chin has a light outline. Db. Child's chin has a heavy outline. Otherwise very similar to Da. E-l. Title at bottom and number " 3 0 " at upper right. E-2. Title and number removed. O n l y one state each. F and G. Proofs : A/B/Da/C-l/F/E-1. First edition proofs, including one marked "1st state." A/B/Da/C-2. O n e proof in Kistler progressives. A / B / C - 2 / D b / E - 2 / F / G . Final published edition. Eight signed proofs. Pencil drawing, traced for placing image on key-plate. See print no. 79, and the painting mentioned there. See also Color Plate 3. Chariot rhymed caption (see no. 159): "Sa mère, quoique énorme Lui est n o r m e . " " H a p p y child! A mother wide Does protect on every side!" Claudel inscription: "Elle lui demande qui est son pére." "She asks who is his f a t h e r . "

Ill

final published state

151. NAVAL SKIRMISH Picture Book No. 31. 155 x 205 mm. ( 6 x 8 inches). Colors (First Plate:) Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key. Only one state. A and B. Only one state each. C-l. " J C " at lower right. C-2. " J C " removed. Da-1. No blue shading on sails or hulls. Da-2. Light shading in blue added on hulls, center and right sails; none on left or upper left sails. One proof in blue proof sheet. Da-3. Much broad blue shading added across all sails and both hulls. Db. Tight blue shading on sails and hulls. E-l. Title at bottom and number " 3 1 " at upper right. E-2. Title and number removed. F-l. Much pink shading around sails and hulls. F-2. Horizontal pink shading removed along top, between sails of right boat, and beneath spar at center. G. Only one state. Proofs: A/B/Da-l/C-l/F-l/E-1. First edition proofs. Al-

112

so includes two proofs inscribed "1st state." A/B/C-l/Da-3/E-2/F-2. Four proofs ("Trial State, -/4). A/B/C-2/Da-3/E-2. One proof in Kistler progressives. A / B / C - 2 / D b / E - 2 / F - 2 / G . Final published edition. Seven signed proofs. Pencil drawing, traced for placing image on key-plate. Pencil drawing of 1931 and process end-papers for Monica Shannon, Tawnymore (New York 1931). "There was the drawing for the end-papers; then there was an oil painting. This litho is probably done from a photograph of the oil." (JC 1971) Chariot rhymed caption (see no. 160): "Amiraux ou polissons, C'est tout un pour les poissons." "Though men here are actors, Fishes only are victors!" Claudel inscription: "Ces deux lys dilacérés dans l'azur bataillent à coups de pollens." "Torn asunder on azure two embattled lilies exchange volleys of pollen."

final published state

152. GRACE Picture Book No. 32. 205 x 154 mm. ( 8 x 6 inches). Colors (First Plate): Key. A. yellow. B. red. C. green. D. blue. E. buff. F. pink. G. blue corrective. States: Key and A. Only one state each. B-l. Has solid red dot for pupil of eye. B-2. Red dot removed. C-l. " J C " at lower right. C-2. " J C " removed. Da-1. Without blue shading on bonnet. Da-2. Blue shading, added on bonnet, hair, neck, and background along left side. Loops of shading along left margin. Db. Similar to Da-2, without loops. E-l. Title at bottom and number " 3 2 " at upper right. E-2. Title and number removed. F and G. Only one state each. Proofs: A/B-l/Da-l/C-l/F/E-1. First edition proofs, including two marked "1st state." A/B-2/Da-l/C-2. In trial sheet of four colors, and one in Kistler progressives. A/B-2/C-l/Da-2/E-2/F. Four proofs ("Trial proof No. 1, - / 4 " ) . A / B - 2 / C - 2 / D a - 2 / E - 2 / F . Two proofs ("Trial proof No. 2, - / 2 " ) . A / B - 2 / C - 2 / D b / E - 2 / F / G . Final published edition. Eight signed proofs. Pencil drawing, traced for placing image on key-plate.

Oil painting, 1931, reproduced in Claudel, Jean Chariot (Paris, 1935, p. 60), then in the collection of Salomon Hale, Mexico. "She's an American girl. Pablo O'Higgins and I were going from New York to Mexico in the summer of 1930. She was on board ship. Her family had a duck farm on Long Island. She was the most un-Indian thing we had ever met. I thought she would be nice for a contrast." (JC 1971) Chariot rhymed caption (see no. 161): " S i ses cheveux étaient nus, Ils éblouiraient la nue!" " I f the reader wants a blond too, This is the best I can do." Claudel inscription: " C e n'est point Grâce, c'est Fibi sous sa cornette puritaine dans le froid soir de Janvier qui nous pique de son oeil jaune et bleu." "Not Grace but Phoebe. From under her puritan bonnet in the crisp January evening she stings us with a blue and yellow eye." On November 6, 1933, JC wrote to Claudel: "Le texte pour Grace m'a fait grand plaisir. On a tant critiqué le fait qu'elle n'a pas de crâne. Je savais que c'était bien ainsi mais sans pouvoir l'expliquer. Maintenant je sais, c'est le croissant de lune." (The text for Grace gave me great pleasure. She has been criticized for the fact that she has no skull. I knew it was right this way, but without being able to explain why. Now I know: it is the crescent moon.) (Courtesy of the Claudel Foundation, Paris) 113

only state 153. COLOPHON Picture Book, final page. Combined initials of Merle Armitage and trademark of the Will A. Kistler Company. 51 x 41 mm. (2 x IV2 inches). Colors (Prakriti Plate) : Key. A. yellow. B. brown. No states. One Key proof (reversed) on sheet of keyplate. No trial proofs known. Not in Progressives. TEXT PAGES (Picture Book trials) 154. TEXT to PLATE 1 "La dame, à petits vents. . . ." 212 x 155 mm. (8V4 x 6 inches).

158. TEXT to PLATE 29 "L'enfant qui lui. . . ." 215 x 143 mm. (8V2 x 5V2 inches). 159. TEXT to PLATE 30 "Sa mère, quoique. . . . " 216 x 142 mm. (8V2 x 5V2 inches). 160. TEXT to PLATE 31 "Amiraux ou polissons. . . . " 140 x 202 mm. (5V2 x 8 inches). 161. TEXT to PLATE 32 "Si ses cheveux. . . ." 225 x 152 mm. ( 9 x 6 inches).

156. TEXT to PLATE 3 "Sur sa tête. . . ." 212 x 145 mm. (8V4 x 5% inches).

Colors (First Plate): B. red (French text). Da. blue (English text). C. green (only the word "him" in no. 158). F. pink (only some small chevrons in no. 159). E. buff (numerals, etc.). No states. JC has separate proofs of each color, in addition to the Progressives, vol. 1, and eleven sets of the eight finished pages. Kistler has two sets.

157. TEXT to PLATE 4 "Laquelle est la. . . ." 220 x 151 mm. (8V4 x 6 inches).

" I remember the word 'him' was written wrong, so I had to erase it and pick it up on the next plate." (JC 1971)

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only state

END.

only state

VIGNETTES on Key-plate of text pages (First Plate) 162. W O M A N ' S HEAD (to the right) Plate 1 text. 23 x 49 mm. ( 1 x 2 inches). 163. GUITAR Plate 2 text. 37 x 21 mm. ( 3 A x IV2 inches). 164. MALINCHE Plate 3 text. 26 x 33 mm. (1 x IV4 inches).

only state (offset)

only state (offset)

165. W O M A N ' S HEAD (to the left) Plate 4 text. 29 x 19 mm. (IV4 x 3 A inches). 166. TORTILLERA Plate 29 text. 57 x 22 mm. (2V4 x 1 inches). 167. M A Y A HEAD Plate 30 text. 27 x 52 mm. ( 1 x 2 inches). 168. POTS Plate 31 text. 26 x 49 mm. ( 1 x 2 inches).

only state (offset)

169. W O M A N HANGING W A S H Plate 32 text. 24 x 27 mm. ( 1 x 1 inches).

only state (offset)

No states. Edition: 5 in offset. Also three complete sheets and two extra of each subject printed direct. The illustrations here are of the offset impressions, those which are in the five sets of Progressives, oriented as the artist drew them. only state (offset)

only state (offset)

116

only state (offset)

only state (offset)

only state (offset)

SKETCHES

on Key-plate

of Third

Plate

170. LA L L O R O N A (Weeping W o m a n ) Plate 13 text. 158 x 2 0 7 mm. (6x/4 x inches). 171. G I R L W I T H C H I L D IN A R M S Plate 14 text. 207 x 1 5 5 mm. (8V4 x 6 inches). 172. HANGED MAN Plate 15 text. 2 1 0 x 1 6 1 mm. (8V4 x

inches).

173. M O T H E R W I T H CHILD O N BACK Plate 16 text. 205 x 1 5 7 mm. (8 x bV\ inches). 174. ANGEL CARRYING PROPHET Plate 25 text. 1 5 4 x 203 mm. ( 6 x 8 inches). 175. H O R S E (from the rear) Plate 26 text. 1 8 9 x 145 mm. (7 1 /2 x 53A inches). 176. H O R S E (from the front) Plate 27 text. 1 8 6 x 147 mm. (7V4 x 53A inches). 177. W O M A N WITH BASKET Plate 28 text. 2 0 6 x 1 5 7 mm. (8 x inches). No states. Edition: 5 in offset. Also three complete sheets and two extra of each subject printed direct. T h e illustrations here are of the offset impressions, those which are in the five sets of Progressives, oriented as the artist drew them. only state (offset)

117

only state (offset)

118

only state (offset)

only state (offset)

only state 178. LAVANDERA 1933. Los Angeles. Lithograph on stone. 285 x 240 mm. ( l l V i x 9V2 inches). No states. Edition: 30. Printer: Kistler. Oil painting (done after the print): Dr. Robert M. Browne, Honolulu. " T h i s is one of the lithographs done at Lynton Kistler's home. Most of those nudes are tied up with things I saw when I went on the pilgrimage to Chalma. The stream there is a little bit like Lourdes—there is certain good luck having to do with the water." (JC 1971) J C Diary: September 9, 1 9 3 3 (during Picture Book work). " 5 pm. Litho Washerwoman." September 11. " A t K. Proofs litho. Beautiful." When Chariot writes " A t K . " in these diary entries, he is referring to Lynton Kistler's home, as distinguished from the Will A. Kistler Co. plant, where he was working on the Picture Book.

119

first state of the stone

VIGNETTES 179.

(27) for Kistler Catalogue

ROCKING CHAIR

180. MALINCHE Four proofs only. J C ' s card lists two each of two states, not now identified. 181.

FIESTA

182.

LUZ

HEAD-DRESS

SEATED

183. WOMAN Four proofs only.

BATHER

184.

WOMAN WITH

185.

POLLERO

ROOSTER

186. BUILDER Four proofs only. 187.

DONKEY

188.

W O M A N HANGING

189.

M O T H E R W I T H CHILD O N BACK

190.

M O T H E R W I T H C H I L D IN A R M S

191.

GUITAR

192.

HUT AND MOUNTAIN

193.

JARS

194.

DINAH

195.

TORTILLERA

196.

DOVE WITH RIBBON

197.

BULL

WASH

198. SOMBRERO States: 1. Hat only. Four proofs. 2. Horseshoe added. 199.

M O T H E R A N D CHILD

200.

H E A D O F LUZ

201.

MESTIZA

202.

KISTLER CHOP

203. FOOTPRINT Four proofs only. 204. HORSEHEAD Four proofs only. 205. BUNNIES Four proofs only. 1 9 3 3 . Los Angeles. Lithographs on one stone. Entire image area: 3 3 2 x 2 4 0 mm. (13 x 9Vz inches); stonemark: 3 8 0 x 3 0 5 mm. (15 x 1 2 inches). Each separate subject measures from 45 to 55 mm. (ca. 2 inches) in either direction.

only state

only state

States of entire stone: 1. Contains nos. 1 7 9 - 2 0 2 , with nos. 1 8 0 and 1 9 8 in first state. Four proof sheets printed: one in the artist's collection, one divided into separate subjects. 2. Nos. 1 8 0 , 1 8 3 , and 1 8 6 removed and replaced with nos. 2 0 3 , 2 0 4 , and 205 respectively. No. 1 9 8 in second state. Four proof sheets printed. O n e in artist's collection. 3. Nos. 203, 2 0 4 , and 2 0 5 eradicated with white scratching and not replaced. Edition state. T w o complete sheets (JC, SI). Edition: 25. Printer: Kistler. J C Diary: September 16, 1 9 3 3 (during Picture Book work). " A t K. 24 stickers (2 x ZVi) for his exhibition catalogue." Most of the sheets were cut into separate subjects, which were pasted singly on the front cover of an exhibition catalogue: " L I T H O G R A P H S / Impressions printed by hand from stone and zinc by / Lynton R. Kistler / An Exhibition." T h e exhibition was held at the Stendahl Galleries, Los Angeles, October 9 to 21, 1 9 3 3 . T h e catalogue is a folded sheet, with an introduction by Merle Armitage and a list of thirty-five lithographs of various artists, including Chariot. It also contained this note: " T h e lithograph on this catalogue [is] limited to 24 proofs of each of the 21 subjects included." Both Chariot and Kistler also recall that the small subjects were given to guests at the "Chariot Farewell D i n n e r , " March 1, 1934.

121

206. THREE P Y R A M I D BUILDERS 1933. Los Angeles. Lithograph on stone. 327 x 225 mm. (12% x 83/4 inches). No states. Edition: 25. Printer: Kistler. " T h e classical Mayan moulding is a very beautiful, very impressive thing. It translates into stone the primitive elements of wood architecture, such as the binding together of twigs. I spoke of Tarascan terracotta idols in connection with the Tortillera, but here Mayan art is the base. In Yucatán, I copied hundreds of columnar bas reliefs, for the monograph on the Temple of the Warriors. Beside archaeology, we had the live workers for models, who were of pure Mayan stock. They carried stones with the same gestures we saw in the bas reliefs. In some of the lithographs I made a point of having a bas relief look like a portrait of the live worker." (JC 1971) JC Diary: September 23, 1933 (during the Picture Book work). "Evening at K. with Zohmah. A litho: Yucatan Workers." Lynton R. Kistler (1971): " O n e of the toughest printing jobs I've ever done. The middle face kept getting blacker and blacker, and it had to be re-etched and re-inked many times. I must have pulled a hundred proofs to get an edition of 25 (and destroyed the rest, of course). Probably there had been a heavy piece of work on the stone, and it hadn't been regrained enough. I'm proud of it because I saved it from destruction. " I use a complicated etch described in my book [How to Make a Lithograph, Los Angeles, 1950, pp. 7 - 8 ] . The phosphoric acid takes the rawness of nitric off the stone and allows it to be printed immediately, without delaying a day or two. I usually etch twice: etch, roll with ink, powder with French chalk, and re-etch. Warm weather also makes a stone hard to print. Sometimes I will put the stone in an icebox, or use ice in the water. When it is cold, I will sometimes heat the stone and the water."

122

207. CARGADOR AT REST 1933. Los Angeles. Lithograph on stone. 286 x 236 mm. (llV4 x 9V4 inches). States: 1. Loops of shading extend out on left side. One proof. 2. Loops trimmed off. JC believes the stone was re-etched. Edition: 25. Printer: Kistler. "There is a little anecdote which pleases me in relation to this. I usually had dinner with the Kistlers, either before or after we worked. They watched me very attentively while I was doing that stone. Finally, Mrs. Kistler said, 'You see, he didn't do it.' And Kistler said, 'No, he didn't.' After a while, I asked, 'Well, what is it I didn't do?' They had heard I was copying Mayan antiquities in my prints, so he expected me to bring a Mayan antiquity to copy. It gave him more confidence in me that I hadn't. It is a mixture of things, actually, because the subject is from the plateau of Mexico. The cargador, the sugarcane, and so on, all that is from the plateau. But I was still mixed up with the Mayans as far as the profile goes, though the body and gestures are typical of the Aztec people." (JC 1971) JC Diary: September 3 0 , 1 9 3 3 (during Picture Book work). "Evening at K. with Zohmah. Litho seated cargador."

published state

123

Key only PRAKRITI The following twelve subjects, along with the Picture Book title-page vignette (Squatting Indian III, no. 120) and Colophon (no. 153), were all done from the same set of offset lithographic plates. The only known proof of the key-plate is illustrated. Since it was printed direct (and rubbed with red powder) for putting the image on the color plates, the photograph here has been reversed to show it as the artist worked on it, and as it was finally printed by offset. As with the Picture Book, the key-plate does not appear in the final versions of the prints (except, of course, for the four vignettes, nos. 216-219, which are unique). Ten of the fourteen subjects can be seen; two more (nos. 214-215) are indicated by pencil notes on the sheet; and the remaining two (nos. 212-213) are added by a note in JC's file, and because they use the same blue ink and same paper as the other subjects.

124

PLATE The image area, divided in assorted sizes, totals 935 x 610 mm. (37 x 24 inches), although the entire sheet measures 44 x 34 inches, the same as the Picture Book sheets. Five plates were used in all: Key; A. yellow; B. brown; C. red; and D. blue. The Prakriti Nude used five colors, the four here plus a black printed from a reworked " D " image after the blue had all been printed. The Squatting Indian, Woman Standing, Pulquero, and Hands use four colors. The Colophon has A and B only; the four cards use only blue (D); and the four vignettes are on the key-plate only and were never carried further. Though Chariot clearly did a great deal of work on the subjects in this Plate, only the Prakriti Nude is described in detail in his diary. Otherwise, there is only one brief mention of the cards. It is a remarkable variety of ideas to appear on a single Plate.

208. PRAKRITI: NUDE 1933. Los Angeles. Frontispiece for Paul Claudel, La Légende de Prakriti (Paris: Gallimard [NRF], 1934). Color lithograph on zinc, offset. 162 x 92 mm. (6V2 x 3 3 / 4 inches). Colors (Prakriti Plate): Key. A. yellow. B. brown. C. red. D. blue. E. black (from same plate as D , after extensive re-work). States: Only one state of each, except: E - l . No shading between knees (red triangle showing). Background solid black. E.2. Black cross-hatching added between knees. Background lightened at upper left, upper right, and on right side, allowing some brown to show through. Proofs : A/B/C/D/E-l. Two proofs (of five printed), inscribed " 1 s t state, - / 5 " . A/B/C/D/E-2. Edition proofs. Perhaps 20 signed proofs. The artist has one entire key sheet (illustrated) and one key proof of this print, but otherwise no color proofs nor progressives. The paper is that used for the Picture Book. Edition: 635, of which 500 are regular edition, 100 "hors commerce" for the author and others, and 35 on special "japon impérial" paper. (The lithographs are not on different papers.) Printer: Will A. Kistler Co. Drawing in pencil, dated June 1 9 3 2 , 345 x 310 mm. (I3V2 x 12V4 inches). See also Color Plate 3. " I t is the translation of an oil painting. Marion Cartier, who married Pierre Claudel, was given the choice of a picture as a gift by Paul Claudel. She chose this particular nude. I made the lithograph as a tip-in frontispiece for La Légende de Prakriti. I worked from a photograph, not the actual picture. The colors are what I remembered from the painting. At the same time, because it was a small image on a large plate, I did other prints using the same set of colors." (JC 1971) JC Diary: November 23, 1933. "Began Claudel's Prakriti." [This was the same day and immediately after finishing the last plate of the Picture Book.] November 24. "Keyplate for Claudel. Tired." December 4. " D r a w on Prakriti: yellow and brown. Received letter from Claudel." December 5. "Print the yellow of Prakriti." December 6. "Finish drawing of Prakriti.

published state Print brown of Prakriti." December 7. "Print the red of Prakriti." December 8. "Print blue-black of Prakriti." December 9. "Print black on Claudel job (same plate as the blue-black)." This print had its origin in a specific request from Paul Claudel. He wrote to Chariot on August 1 9 , 1 9 3 3 : "Puisque vous faites des lithos, ne pourriez-vous m'en faire une de la Prakriti achetée pour Marion? Elle me servirait de frontispice. J'avais pensé à la faire photogr. à Bruxelles, mais ce serait beaucoup moins bien." (Since you are making lithos, couldn't you make me one of the Prakriti bought for Marion? It would serve me as a frontispiece. I thought of having it photographed in Brussels, but that would be much less satisfactory.) JC replied (no date): "Pour le 'Prakriti' je ne demande pas mieux que de faire la lithographie. . . . J'aurai besoin d'une photographie (blanc et noir) du tableau, bien contrastée et de la dimension exacte du frontispice. . . . Ce serait une lithographie en couleur, très proche de la tonalité du tableau original." (For the "Prakriti" I ask nothing better than to make the lithograph. . . . I will need a photograph in black and white of the painting, high-contrast and the exact size of the frontispiece. . . . It will be a color lithograph, very close to the tonality of the original painting.) (Letters courtesy of the Claudel Foundation, Paris)

125

209. W O M A N STANDING, CHILD ON BACK 1933. Los Angeles. Color lithograph on zinc, offset. 231 x 179 mm. (9 x 7 inches). Colors (Prakriti Plate): Key. A. yellow. B. brown. C. red. D. blue. No states. Two proofs of Key alone (one in sheet). Three A / B / C / D proofs with D in black instead of blue. Three proofs of A / C / D only (lacking brown). There is a considerable variation in color among the published prints. The two most common varieties are: (a) with a pale brown and dark blue, giving the woman's face a yellowish tone; and (b) with a dark brown and lighter blue, making the face dark brown. Edition: 500. Printer: Will A. Kistler Co. Oil painting of 1925, in the artist's collection, illustrated in Claudel, lean Chariot (Paris, 1935, p. 31). No diary entries.

only state 210. PULQUERO 1933. Los Angeles. Color lithograph on zinc, offset. 55 x 71 mm. (2% x 2% inches). Colors (Prakriti Plate) : Key. A. yellow. B. brown. C. red. D. blue. No states. One proof of Key in sheet. Edition: 7. Printer: Will A. Kistler Co. No diary entries.

only state

211. HANDS 1933. Los Angeles. Color lithograph on zinc, offset. 21 x 64 mm. (1 x 2V2 inches). Colors (Prakriti Plate): Key. A. yellow. B. brown. C. red. D. blue. No states. One proof of Key in sheet. Edition: 7. Printer: Will A. Kistler Co. No diary entries.

126

only state

UrOvi^trniK only state 212. SANTA CLAUS W I T H 1 9 3 3 . Los A n g e l e s . Christmas card.

BAG

L i t h o g r a p h o n zinc, offset. Picture: 145 x 130 (53A x 5 i n c h e s ) . P r i n t e d in b l u e ( P r a k r i t i P l a t e ) . N o states.

N o edition. " A few p r o o f s " (Catalogue). Printer: Will A. Kistler Co. mm.

" F r o m t h e s u b l i m e to t h e r i d i c u l o u s . T h a t is m y h a n d - w r i t i n g , t o o . It w a s p r i n t e d o f f s e t . " (JC 1 9 7 1 ) JC Diary: December 7,1933. "Lithograph . . . Christmas cards."

213. SANTA CLAUS O N 1 9 3 3 . Los A n g e l e s .

HOBBY-HORSE

C h r i s t m a s c a r d f o r M r . a n d M r s . L y n t o n R. K i s t l e r . L i t h o g r a p h o n zinc, o f f s e t . P i c t u r e : 1 6 5 x 1 1 2 m m . (6V2 x 4V2 i n c h e s ) . P r i n t e d in b l u e ( P r a k r i t i P l a t e ) . N o states. N o e d i t i o n . " A f e w p r o o f s " (Catalogue). Printer: Will A. Kistler Co.

only state

127

214. GOOD SHEPHERD 1933. Los Angeles. Announcement card. Lithograph on zinc, offset. 85 x 62 mm. (3V2 x 2V2 inches). No text. Printed in blue (Prakriti Plate). No states. Edition: "Approximately 1 0 0 " (Catalogue). Printer: Will A. Kistler Co. Drawings: Eight versions in pencil on one sheet. "Arlette is my sister's daughter. This was done as an announcement for her first communion." (JC 1971) JC Diary: December 7, 1933. "Lithograph Arlette card, Christmas cards."

only state

215. TIDINGS TO THE SHEPHERDS 1933. Los Angeles. The artist's personal Christmas card. Lithograph on zinc, offset. Picture: 91 x 88 mm. (3V2 x 3V2 inches). Printed in blue (Prakriti Plate). No states. Edition: "Approximately 1 0 0 " (Catalogue). Printer: Will A. Kistler Co.

only state

128

216. PRE-HISPANIC SCENE 217. BULL WITH BANDERILLAS 218. INDIAN COUPLE AND HUT 219. CHILDREN WITH DRUM 1933. Los Angeles. "Key-plates for color lithographs never executed" (JC card). Lithographs on zinc. Printed direct only, from Prakriti key-plate. Sizes: No. 216: 85 x 95 mm. (3V* x 3% inches). No. 217: 80 x 92 mm. (3 x ZVz inches). No. 218: 79 x 100 mm. ( 3 x 4 inches). No. 219: 87 x 103 mm. (3V2 x 4 inches). No states. JC has one proof of each in a sheet and one separate of no. 217. No edition. "Two proofs each" (Catalogue). Printer: Will A. Kistler Co. No diary entries.

only state (direct)

129

220. NUDE SEATED 1 9 3 3 . Los Angeles. Lithograph on stone. 2 4 5 x 1 8 1 mm. (93A x 7 inches). N o states. Edition: 25. Printer: Kistler. " I enjoyed a little black-and-white work after all that color. This litho is done after a drawing from life done in M e x i c o . " (JC 1 9 7 1 ) J C Diary: December 9 , 1 9 3 3 . "Evening at K's home. Litho: nude seated."

LETTERHEADS

(6)

1933. Los Angeles. Lithographs on zinc, offset. Printed in reddish brown, each at the upper left corner of a white sheet measuring 3 2 7 x 206 mm. (12 3 /4 x 8 inches). No states of any of the subjects. Edition: Unknown, probably several hundred each. Printer: Will A. Kistler Co.

only state

J C Diar) : December 11, 1 9 3 3 . " D r a w letterheads." December 13. "Print letterheads." Mrs. Chariot (ZC) has provided several of the comments below. only state only state

221. H O R S E A N D H O R S E S H O E ( " D . W . D . " ) 48 x 43 mm. (2 x 1 3 A inches). " T h a t was for my brother Albert's first w i f e — D o r o t h y W . D a y . " (ZC 1 9 7 1 ) 222. H U M M I N G B I R D A N D F L O W E R ( " Z . D . " ) 37 x 45 mm. (1V2 x 13A inches). " M y own letterhead—Zohmah D a y . " (ZC 1 9 7 1 )

only state

223. I N D I A N D R U M M E R ( " P . P . " ) 44 x 4 1 mm. ( 1 % x IV2 inches). "Prudence Perry Plowe. Before she was married: Prudence Perry. A very good friend of m i n e . " (ZC 1971) only state

only state 130 ily state

224. F L O W E R S A N D B U T T E R F L Y ( " S I S " ) 5 1 x 45 mm. (2 x 1 3 A inches). " S i s was Priscilla D a y , Zohmah's sister." (JC 1 9 7 1 ) 225. P H O T O G R A P H E R A N D B I R D ( " S O N Y A " ) 44 x 38 mm. (1 3 h x IV2 inches). " S o n y a Noskowiak. She was a good photographer, a friend of Edward Weston. W e have a lot of her photographs." (JC 1 9 7 1 ) 226. S E A T E D I N D I A N ( " J . C . " ) 28 x 27 mm. ( 1 x 1 inches). T h e artist's own letterhead.

only state 227. MONTEREY CYPRESS 1934. Los Angeles. ( " 1 9 3 3 " in the stone refers to the original drawing.) Lithograph on stone. 323 x 228 mm. (12 3 Ä x 9 inches). No states. Edition: 30 (An edition of 50 was mentioned in the Catalogue by mistake.) Printer: Kistler. Drawing: Pencil drawing (reverse of the print), 270 x 206 mm., and another large and detailed pencil drawing, different from the print. " T h a t was done at Point Lobos, near Carmel, when we were visiting Edward Weston. I made drawings there from nature. I like my landscapes. Later I made

an oil of the Sacrifice of Isaac—a landscape, not at all like the Picture Book version. It used the same sort of tree as in this lithograph." (JC 1971) J C Diary: August 17, 1933. "Point Lobos. Good drawing of cypress." January 5 , 1 9 3 4 . "Begin Cypress." January 6. "Finish cypress litho. Evening at K. with Zohmah. Print litho cypress." One of Edward Weston's most famous photographs was made at about this time, showing Jean and Zohmah Chariot relaxing on the rocks near Point Lobos. (See Edward Steichen, ed., The Family of Man, New York, 1 9 5 5 , p. 131.)

131

only state 228. FLOWERS IN A VASE 1934. Los Angeles. Lithograph on stone. 290 x 222 mm. (IIV2 x 8% inches). No states. Edition: 10. Printer: Kistler. "I was trying to get my single black to show black, by using overall light values." (JC 1971) JC Diary: January 5, 1934. "At K. . . Print 'flow-

132

/j a

•

•

F / I -

J J

only state 229. T O N D O : AT HOME 1934. Los Angeles. Color lithograph on stone. Tone plate: 277 x 242 mm. (11 x 9V2 inches); oval: 220 x 230 mm. (83A x 9 inches). Colors: A. green. B. red (tone plate). No states. Three proofs of A: two in black, one in green. One proof of B in black. One proof each, A in green, B in red, in SI. Edition: 30. Printer: Kistler. No diary entries.

133

published state

134

230. M O T H E R W I T H CHILD IN F R O N T 1934. Los Angeles. Color l i t h o g r a p h on stone. 665 x 445 m m . (26V4 x Y7Sz inches). C o l o r s : A. buff (yellowish b r o w n ) . B. light green. C. p u r p l e (mauve). D. gray (black). States : A. O n l y one state. O n e separate proof. B. O n l y one state. T w o p r o o f s , and one of A / B . C. O n l y one state. O n e p r o o f , a n d one of A / B / C . This purple appears d a r k in some finished p r o o f s , pale in others. D - l . Child's hair relatively lightly d r a w n a n d t r a n s parent. O n e proof of A / B / C / D - l , inscribed: " 2 è m e épreuve de 4 couleurs, à r e t o u c h e r . " D - 2 . Child's hair d a r k e n e d w i t h additional line shading. Three p r o o f s ( J C - 2 , SI). Edition: 30. " T w o (?) sets of p r o g r e s s i v e s " (JC card). Printer: Kistler. D r a w i n g : Traced pencil d r a w i n g (in reverse), a p p a r e n t l y used to register the images on the stone. Related watercolor of 1926 (see Claudel, Jean Charlot, Paris, 1935, p. 21). See also Color Plate 6. " T h i s was done on big stones, very h e a v y and difficult to move. T h e watercolor d r a w i n g in the Claudel m o n o g r a p h is the one f r o m which I m a d e the lithog r a p h . " (JC 1971) JC D i a r y : February 5, 1934. " A t K. litho. Large size m o t h e r and child in color: s a n g u i n e . " February 10. " A t K. Began black stone f o r large litho." Februa r y 12. "Black of large litho." February 17. " M a u v e a n d green f o r large litho." M a y 14 ( N e w York). " R e ceived lithos in f o u r colors, M o t h e r a n d Child, f r o m K. B e a u t i f u l . " L y n t o n R. Kistler (1971): "I always used pin-hole registration. M y friend, Carl Haverlin, helped m e lay these big p r i n t s o n the stone. It w a s too big f o r one man."

only state

136

231. M O T H E R W I T H CHILD O N B A C K 1934. Los Angeles. Color lithograph on stone. 642 x 470 mm. (25V4 x 18 j /2 inches). Colors: A. reddish brown (Indian red). B. black. No states. Separate proofs of A and B are in SI (with hand-work), NCFA, Achenbach, and Marie and Jack Lord collection. Edition: 30. The proofs appear to have been numbered consecutively in pencil. Printer: Kistler. Drawing: Traced pencil drawing (in reverse). See no. 113, of which this was intended to be a replica. " W e had few, if any, left of the first one, and I wanted to have the subject available. In addition, looking at photographs of the oil painting, I had other ideas about lighting. That's why this one has a much heavier background." (JC 1971) JC Diary: February 24, 1934. "a.m. at K. Mother, child on back No. 2, red plate." March 3. "Black for Mother and Child No. 2 . " June 13 (New York). Received litho in two colors, Mother and Child, from K . " Lynton R. Kistler ( 1 9 7 1 ) : " I recall this didn't print as well as the best of the 1 9 3 3 version. This may account for the variations among the proofs."

only state 232. W O M A N W I T H CHILD O N B A C K March 1934. Rock Island, Illinois (adjacent to Davenport, Iowa). Cover of Invitation: "Jean Chariot, Exhibition of Mexican Color Lithographs . . . Arts Club Gallery, Davenport, Iowa, March 18, 1 9 3 4 . " Linoleum cut. 72 x 51 mm. (23/4 x 2 inches). No states. Edition: Unknown. Block lost. Printer: Unknown.

137

only state 233. WOMAN LIFTING REBOZO 1934. Ames, Iowa (Iowa State University). Lithograph on stone. 202 x 318 mm. (8 x I2V2 inches). No states. Edition: 20 (as stated on proofs; Catalogue says 12). Printer: Phillips. "This was done with the lithographic charcoal of Dale Phillips. Really, it was a marvel—his own invention. I'd never seen anything like it. They were just like regular charcoal sticks, but they could draw on litho stones or plates. I did some of my best things with it. He gave me a bunch, so there are a few more plates done later on with it. It helps the hand to have the feel of the charcoal stick." (JC 1971) JC Diary: April 9, 1934 (Ames, Iowa). "Evening: litho: woman lifting rebozo." See also Appendix 2, which describes the making of the lithographic charcoal.

138

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Tarascan sculpture, from an illustration

234. COIFFURE: IDOLS 1 9 3 4 . Ames, Iowa. Alternative title: Delousing. Lithograph on stone. 1 9 7 x 1 4 8 mm. (7 3 k x 53A inches). No states. There is, however, a cancellation proof in the artist's collection, that is, a print pulled after a large " X " had been drawn across the image on the stone. Edition: 20 (on proofs: Catalogue says 12). Printer: Phillips. " T h e subject is the same as the great Tarascan terracotta I had of two women, one delousing the other one. T h e y didn't allow me to take it out of Mexico, so I exchanged it with Diego Rivera for another beautiful one (a man using a sling that I have here). But that first group is one of the things that really formed me. As for the cancellation proof, Dale Phillips knew more than I did about the best etiquette of printmaki n g . " (JC 1 9 7 1 ) J C D i a r y : April 9, 1 9 3 4 . " T w o small o n e s " [meaning these small idols]. April 10. " D r a w litho: Delousing. Evening at Phillips'." T h e sculpture mentioned by the artist was reproduced in The Arts, vol. 8 (September 1 9 2 5 ) , p. 1 3 3 , from which the present illustration is taken.

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235. C H R I S T B E F O R E PILATE (I) 236. C H R I S T N A I L E D T O T H E C R O S S (XI) 237. C R U C I F I X I O N (XII) 238. D E S C E N T F R O M T H E C R O S S (XIII) Four Stations for a planned Way of the Cross. 1 9 3 4 . Drawn in New York, printed in Los Angeles. Lithographs on zinc, each a circle 1 0 3 mm. (4 inches) diameter, on one plate, the entire platemark measuring 4 2 8 x 3 4 8 mm. (16 3 A x 1 3 % inches). No states. Three trial proofs were printed in black, the edition in green. Edition: 12. Printer: Kistler. " I wanted to do a complete Via Crucis. It was planned with the margins so that it could be folded up to make a small booklet. I mailed the zinc to Kistler in Los Angeles. He wrote me saying he was sending me a few proofs, but that he didn't feel it was worth doing

140

more. He simply didn't like it. So that was the end of that project. I don't know why he didn't like it. I like it. Around that time I was doing a series of big oils for a W a y of the Cross, now in a church near Chicago. These lithographs, however, are more linear and graphic. Later, a whole series of drawings was done in photomechanical linecut for a booklet [Chariot, Way of the Cross, Sower Press, Berkeley Heights, N. J., 1 9 3 5 ; edition: 1 0 0 ] " (JC 1 9 7 1 ) Lynton R. Kistler ( 1 9 7 1 ) : " I t ' s not that I disliked them. T h e y spread very quickly on the zinc, and no more good proofs were possible. It was one of the earliest lithographs on zinc I had ever printed by hand." J C Diary: August 1 3 , 1 9 3 4 . " B e g a n four lithos W a y Cross for L. R. K . " [Continued on August 1 4 ; finished on August 15.]

only state 239. THE OFFERING 1 9 3 4 . Drawn in New York, printed in Los Angeles. Lithograph on zinc. 3 1 5 x 2 6 5 mm. ( I 2 V 2 x IOV2 inches). No states. Edition: 35. Printer: Kistler. J C D i a r y : August 15, 1 9 3 4 (following completion of the preceding prints). " B e g i n second zinc: bust, hands thrust forward." August 17. "Finish second zinc: Luz, hands forward." August 18. " W r a p zincs for mailing to Los Angeles."

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only state 240. TORTILLERA, CHILD, AND D O G 1934. New York. Lithograph on aluminum, offset, Multilith. 190 x 294 mm. (7V2 x 11V2 inches). No states. On all known proofs there is a coarse streak of nonprinting white, extending from the left hand of the tortillera over to the child's left arm, which has been carefully filled in with pencil by the artist. Edition: 20. Printed in blue gray or green. Printer: Unidentified Multilith salesman. "This was the first thing I did on the Multilith. I was teaching at the Florence Cane School, in the RCA Building in Rockefeller Center. W e were considering buying a small Multilith press for the school. The salesman at Multilith was very astonished when we said we wanted to do plates directly by hand. He said: 'Well, I don't know—we've never done that.' Anyway, he gave me a zinc, and I did the drawing and brought it back. They were very careful not to show us how it was done. They went into another room and did mysterious things. They ended by giving me this little edition, right or wrong. And we saw it could be done." (JC 1971) JC Diary: October 25, 1934. "Small litho Tortillera as a trial for Multilith for school." October 27. " T o Multilith salesroom. Print litho drawn Thursday." Mr. Woodrow S. Anderson of the AddressographMultigraph Corporation advises that this first Multilith Offset press was probably their Model 296, which used aluminum plates.

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only state 241. FOUR BATHERS 1934. New York. Lithograph on aluminum, offset, Multilith. 158 x 255 mm. (6V4 x 10 inches). No states. Edition: 14. Printer: Unknown Multilith salesman. " W e got the Multilith press to the school, but we didn't know front from back. So the salesman came. Again, I had done a drawing on a plate, and he printed it. But again he didn't tell us how to print, so we still didn't know. He did everything himself. I don't think he was very sure of himself or us. They'd never done anything like this, but it seemed to work." (JC 1971) JC Diary: November 25, 1934. "Litho." December 3. "Demonstration of Multilith Press at school. Print two lithos: Bathers sideways and tondo small bather."

242. T O N D O : AFTER THE BATH 1934. New York. Lithograph on aluminum, offset, Multilith. 122 x 136 mm. (43A x 5V4 inches). No states. "All proofs defective" (JC card). "Proofs spoiled" (Catalogue). No edition. Five proofs: one good (illustrated here) and four spotty where the image lifted from the plate ( J C - 3 , Ann Chariot Johnson). Printer: Unknown Multilith salesman. Drawing: No. 18 in sketchbook of tondos (see no. 115), Los Angeles, July 1933. " W e still had those guys around." (JC 1971) See also JC's diary entry under the preceding print, no. 241.

only state (good proof)

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only state 243. TIGER LILIES (small) 1934. New York. Lithograph on aluminum, offset, Multilith. 195 x 225 mm. (7 3 h x 9 inches). No states. No edition. Four proofs printed (two in artist's collection). Printer: JC. "Carman and I started working with the Multilith ourselves when the salesman was gone. This is one of our trials. I printed it myself. That doesn't mean it was better, but at least we were finding out how to do it. I had gotten a bouquet of tiger lilies at the florist, made a very elaborate drawing of it, then did the subject both in a large oil painting and the two lithographs." (JC 1971) The diary entries at this time are not entirely clear. JC believes that this print was done while studying the press. It is numbered "Multilith 4 " in his file cards. JC Diary: December 8, 1934. "Send Christmas litho to Claudel. Also edition to K. Study press to 5:30 pm." December 9. "Study press." December 15. "School: print from press." [The litho for Claudel was probably a gift of an earlier print. JC does not recall the meaning of "edition to K " (i.e., Kistler).]

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only state 244. T I G E R LILIES (large) 1 9 3 4 . N e w York. Lithograph on stone. 2 5 0 x 3 3 5 mm. (93A inches). N o states. Edition: 17. Printer: Unknown (see below).

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" N o w this I did on stone. It's another story. W h o printed it I don't know. I was working at the time with one of the government art projects, supervising a mural in a school in New York. O n e of the ways I earned my living. O n e of the boys said he knew a printer, and as long as I made prints, why not do one. He did bring a stone, and I made this, and his friend printed it. It wasn't very well printed." (JC 1 9 7 1 ) J C D i a r y : December 10, 1 9 3 4 . " O n stone a litho of flowers." December 11. "Finish litho flowers." D e cember 17. "Received edition tiger lilies."

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only state 245. MOTHER GIVING BREAST 1 9 3 4 . New York. Alternative title: Temascal. Lithograph on aluminum, offset, Multilith. 2 0 8 x 1 5 4 mm. ( 8 j A x 6 inches). No states. Edition: 18 (several different kinds of paper used). Printer: J C . " T h a t ' s a temascal. T h e subject goes all the way back to the large transfer litho of 1 9 2 5 (no. 69). This is the small entrance to the smoke bath. There's an oil painting of the same entrance: a woman comes from the outside with a market basket and talks to the woman inside with the baby. This one is of the mother and child, coming from inside the hot room to talk with the lady outside. T h e temascal (the Nahuatl term for 'bath house') is very much tied up, like all the things I do, with Indian life, ancient traditions. It's the Aztec way of village communal bathing." (JC 1971) J C Diary: December 1 6 , 1 9 3 4 . School: litho small temascal (steambath)." December 17. " S c h o o l : press. Good impression of temascal." [Other diary entries for December 1 9 3 4 refer to Christmas cards and lithographs by other people, meaning prints drawn by those people and printed for them by JC.]

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only state 246. W O M A N WITH BUNDLE 1 9 3 5 . New York. Lithograph on aluminum, offset, Multilith. 203 x 1 5 6 mm. ( 8 x 6 inches). No states. T h e artist has four proofs, printed in reddish brown (bistre). O n e of these proofs has additional hand-work in black pencil. This was certainly intended as a color print. J C ' s Catalogue records: " S e v e n proofs in bistre, a few with black plate added." His diary entry mentions three colors. No edition. Seven proofs printed. Printer: JC. " T h i s was the first color trial on the Multilith press. T h e small press didn't allow the paper to fall in the same place the second time through. So of course it was a little annoying, and we wondered if we should have bought a better press. But a number of those twocolor prints are interesting. I tried to find a useful way in which we could have a lack of register and still have something which looked right." (JC 1 9 7 1 ) J C D i a r y : January 7, 1 9 3 5 . " P r e s s : essay in three colors" [identified by J C as this print].

only state 247. HEAD (% left) 1935. New York. Color lithograph on aluminum, offset, Multilith. 205 x 158 mm. (8 x 6V4 inches). Colors: A. reddish brown. B. black. No states. Two proofs of A only; two of B only. No edition. JC has two proofs of A / B . Printer: JC. "This is another one we did on the Multilith machine that had no register. It was their cheapest machine. We fed the paper by hand. Of course, we tried to put it in the same place, but that wasn't very successful! In a way, these are precious for me, because out of them came some of our nicest color work. It is possible they already had aluminum plates for the Multilith, not zinc. I'm not sure, but it was a very thin metal." (JC 1971) [The Catalogue descriptions say "zinc," but the plates were very probably aluminum, as confirmed by the manufacturer. See p. 142.] JC Diary: January 10, 1935. "Printing. Head in two colors, to 8:30 pm."

only state 248. HEAD (profile to left) 1935. New York. Color lithograph on aluminum, offset, Multilith. 205 x 160 mm. (8 x inches). Colors: A. reddish brown. B. black. No states. Two proofs of A only; two of B only (one double impression). No edition. JC has one proof of A / B . Printer: JC. JC Diary: January 21, 1935. "Print profile in two colors with Lenore Thomas helping." [See comments to preceding print.]

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A only 249. JUDGE PROSKAUER I 1935. New York. Color lithograph on aluminum, offset, Multilith. 8V2 x 5V2 inches (ca. 215 x 140 mm.) according to JC Catalogue. Colors: A. red. B. green. (C. black, noted in JC Diary.) No states. No edition. Two proofs of A only (sanguine). At the time of his death in 1971, Judge Proskauer no longer had one. JC's file card notes the colors and says: "Intended as a two-color. Very few of both registered (3 copies)." Printer: JC. See also no. 263. "It was miserable—both lithos. Judge Proskauer was financing Mrs. Cane in her school. He was an uncle, I think. So she wanted to do something nice for him. She sent both Amero and me to make portraits of him for prints. He was a well-known judge. He said he was too busy to pose, so we had to make our sketches while he was reading a book. His head was

not too characteristic, so neither Amero nor I could make a masterpiece! We worked more on that than on any other print. There were two different plates of mine, and both were absolute failures. There must be one by Amero, too. He worked at the same time. Anyway, we were sorry we couldn't oblige Mrs. Cane. The intention certainly was worthy." (JC 1971) JC Diary: December 22,1934. "10:30 am. To Judge Proskauer. Attempt portrait." January 19, 1935. "Noon. Judge Proskauer portrait at his home." February 22. "Litho Proskauer all day long." February 26. "Print red plate Proskauer." February 27. "School: black plate Proskauer." February 28. "School: Print green plate Proskauer." Judge Joseph M. Proskauer (1877-1971) was a justice of the Supreme Court of the State of New York, First Judicial District, 1923-1926, and associate justice of the Appellate Division, First Department, 19271930.

only state 250. M A Y A N MURALS 1935. New York. Catalogue for exhibition of Chariot color sketches from Mayan murals, with typeset text on verso. Color lithograph on aluminum, offset, Multilith. Design: 230 x 310 mm. (9 x I2V4 inches), printed on a slightly smaller sheet, 227 x 304 mm. (9 x 12 inches), so that part of the edge of the design is always off the paper. Colors: A. black. B. horizontal bands (usually three, sometimes four) inked in various colors by a rainbow roller, including purple, green, blue, pink, red, and orange. No states. Ten proofs of A only. Edition: 3,000. Printer: JC. (Some prints blindstamped: " C A N E PRESS imp.") JC has a number of the drawings that were exhibited and from which this print is derived (not copied).

Also four preparatory drawings for this subject in India ink. "It's a catalogue for a school show of a series of my sketches done in Yucatán from Mayan murals. Not facsimile copies, but not free interpretations either. In other words, they were not formal archaeological copies; they were done for myself. You can, of course, see some of the origins of my style here. There's an interesting detail. W e didn't have any tusche, so I decided to just use India ink on the plate, and it worked beautifully. For the color plate we had a rainbow roll, a single inking roller with the colors applied freely side-by-side. W e did it to economize. A lot of old posters use this. Toulouse-Lautrec did it, and it also is used in printing Mexican and Spanish bullfight posters." (JC 1971) JC Diary: March 12, 1935. "School: print color on the catalogues Maya show. 3000 proofs. Good."

149

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Catalogue sketch

Catalogue sketch

Catalogue sketch 251. 252. 253. 254. 255. 256. 257. 258. 259.

Catalogue sketch

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Catalogue sketch

Catalogue sketch

ARTIST AND MODEL GIRL P A I N T I N G A R T I S T A N D APPLE FAUNS RABBITS AND CARROT DOG AND BONE RACE-HORSE ROSE PHOTOGRAPHER AND MODEL

Vignettes for Cane School invitation. 1935. New York. Lithographs on aluminum, offset, Multilith. No states. Only three proofs out of nine subjects are known at present, one proof each: Girl Painting: 30 x 57 mm. (lV4 x 2V4 inches), printed in sanguine. Rabbits and Carrot: 32 x 60 mm. x 2V2 inches), printed in black. Race-Horse: 32 x 60 mm. (l1/* x 2V2 inches), printed in black. Edition: Unknown, probably several hundred. Printer: Carman.

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" T h e s e vignettes were done on one plate and used on invitations to a show at the Cane School. I remember the Artist and Model; it was the life class at the school." (JC 1 9 7 1 ) No J C diary entries. The vignettes were cut apart and pasted individually on typeset invitation cards: " Y o u are invited to the opening of the Florence Cane School exhibit of Students' W o r k on M a y 14th [1935], . . . " The Girl Painting in sanguine is mounted on such an invitation. The other two proofs are separate. The remaining six subjects are illustrated from JC's sketches in the Catalogue, which notes that they are all of about the same size.

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only state, verso 261. C A N E S C H O O L P R O S P E C T U S II 1 9 3 5 . N e w Y o r k . (Dated M a y 1 9 3 5 on ] C file card.) Lithograph on aluminum, offset, Multilith. D e s i g n s : R e c t o (tortilleras) 2 0 5 x 2 9 0 m m . (8 x l l V 2 i n c h e s ) ; verso (angel) 1 9 0 x 2 7 1 mm. (71/2 x 1 0 % i n c h e s ) ; on both sides of sheet 2 3 4 x 3 2 0 m m . (9V4 x I 2 V 2 inches). T e x t drawn b y J C . N o states. 152

Edition: 5 0 0 (in dark green ink). Printer: C a r m a n .

only state 262. PANCRACIO 1935. New York. Color lithograph on aluminum, offset, Multilith. Picture only: 190 x 155 mm. (7x/2 x 6 inches). Colors: A. black. B. turquoise blue. C. orange red. No states. Edition of A. One proof each of B and C alone. Edition: 15 of A alone; 3 of A / B ; 20 of A / B / C . Five sets of progressive proofs (JC card). Printer: Carman. (All edition proofs are signed and numbered.) " W e couldn't do much with the little press, so we returned it and bought a better Multilith, one with a color register mechanism. It's the time when Carman and I were applying for the litho patent in Washington (See Appendix 1). As that became known, the people of the Multilith company came to visit while we were printing, looking for our secret. Mrs. Cane decided she should enter into a partnership with us. She stated that we had discovered this secret while at work on the press which was owned by the school, and therefore we owed the school a percentage of the gold we would make. Of course, we never made a cent on it. Anyhow, with the idea we were going to make money, the school shelled out more for an even better press. And of course, we were very able to use a better press. "Pancracio isn't exactly an imaginary fellow, for I have known many young Mexicans who looked like that. But it is not a portrait either—unless it is Diego Rivera as a child! It is a common name for a boy. " W e attempted to make a process print later on from the progressives. W e had plates made from the

black proofs of the color progressives. Anyhow, it was to be a smaller image, so it could not be confused with the original. [This reproduction, 104 x 82 mm., is made from black, blue, and pink halftone plates.] Carman turned out to be excellent with color. At the Cane School, he had the class of offset. Amero, who had the stone lithography class, was also a great expert at color lithography." (JC 1971) JC Diary: May 2 2 , 1 9 3 5 . "am. Print litho Pancracio, black." May 23. "Blue for Pancracio. Print." [The following diary entries pertain to the patent.] June 17, 1935. " 2 pm. Lawyers for contract a propos 'invention' (that the school should receive one-fifth of the profits). I sign. Absurd." June 26. "Lunch with Carman. We sign patent."

263. JUDGE PROSKAUER II 1935. New York. Lithograph on aluminum, offset, Multilith. 8V2 x 5V2 inches, (ca. 215 x 140 mm.) (JC card). States: 1. Head with no background. No proof known. 2. Background added. No proof known. (States are noted on JC card.) No edition. Apparently printed in black only. " R e jected, a few proofs only" (Catalogue and JC card). Printer: JC. See no. 249. JC Diary: May 25, 1935. "Litho Proskauer No. 2. Print." June 13. "Continue Proskauer No. 2 . "

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264. H A P P Y BUNNIES I 1935. New York. Lithograph on aluminum, offset, Multilith. 73k x 93/s inches (ca. 200 x 250 mm.) ( C a t a l o g u e ) . No states. No proof known. "Intended as a color print. Only blue is done." ( C a t a l o g u e ) No edition. "Five proofs" (JC card). Printer: Amero. " T h e title was apparently to be in the plate on a lower tinted margin, the same as ' R h y t h m ' / ' (JC 1971) J C Diary: M a y 28, 1935. "Litho bunnies." May 29. " W o r k on bunnies. Put on press with Amero. Failure. Bad humor." See also no. 278. only state 265. H A P P Y BUNNIES II 1935. New York. Color lithograph on aluminum, offset, Multilith. 7 x 83A inches (ca. 175 x 225 mm.) ( C a t a l o g u e ) . Title apparently in the plate. Colors: A. blue. B. red. C. yellow green. (JC card) No states. No proof of any kind now located. Edition: 10 ( C a t a l o g u e ) . "Five sets of progressives" (JC card). Printer: Carman. "Blanche Bonestell started me on the bunnies. She had an art gallery, and she wanted to sell something happy and suggested bunnies. It was done specifically for her. ["BB exclusive" noted on JC card.] She was a very close friend. She would sell good works of art and bibelots in her gallery. She also had a pipeline to things by masters, Kokoschka, for instance." (JC 1971) See also no. 278.

154

266. CONCHITA 1935. New York. Color lithograph on aluminum, offset, Multilith. Picture only: 206 x 153 mm. ( 8 x 6 inches). Colors: A. brown. B. purple. C. green. No states. One proof of A only, two of B, and one of C, one of A / B . Edition: 30. Five sets of progressives. Printer: JC. Paintings in oil, 1 9 3 5 , reproduced in Carlos Merida, Modem Mexican Artists, Mexico, 1937. "Conchita is the daughter of Luz. But it's not a portrait exactly, more like Pancracio—a couple of young children." (JC 1971) JC Diary: June 10, 1935. "Begin litho: Conchita. Print litho." June 11. "School: Concha 2nd color." June 12. "Continue Concha; print color no. 2 . " June 13. "Concha litho finished."

only state 267. RHYTHM 1 9 3 5 . New York. Color lithograph on aluminum, offset, Multilith. 1 6 8 x 206 mm. (6V2 x 8 inches) including title. Colors: A. brown. B. pink. C. blue. D. brown corrective. No states. O n e proof each of A, B, C, D , and A / B (progressive set no. 4 / 8 ) . Edition: 12. Eight sets of progressives (numbered). Printer: JC. See also Color Plate 5. " T h i s one has been popular. T h e y sold—that was unusual!" (JC 1 9 7 1 ) J C D i a r y : June 1 6 , 1 9 3 5 . " B e g a n litho: Jarana with drum: brown, p i n k . " June 17. " B l u e on R h y t h m . " June 18. " P r i n t litho. . . . Evening: Print last color on Rhythm." See print no. 97 for comments on the jarana, classic folk dance of Yucatán.

only state 268. T O N D O : AFTER THE BATH 1 9 3 5 . D r a w n in N e w Y o r k , printed in Los Angeles. Color lithograph on zinc. T o n e plate: 2 7 5 x 2 3 9 m m . ( 1 0 3 A x 9V2 i n c h e s ) ; circle: 2 2 0 m m . (8 3 A inches) diameter. C o l o r s : A. yellowish brown (beige). B. turquoise blue. N o states. T w o proofs of A only, in b l a c k ( J C , S I ) . Edition: 1 3 . P r i n t e r : Kistler. D r a w i n g : Pencil drawing, no. 1 8 in " t o n d o sketchb o o k , " Los Angeles, July 1 9 3 3 . S e e print no. 2 4 2 . S e e also Color Plate 8. " T h i s is the last of the series of three tondos [see nos. 1 1 5 and 2 2 9 ] , but this one is on zinc. Kistler would send zincs to me in N e w Y o r k . I would draw on t h e m and send them b a c k . " ( J C 1 9 7 1 ) J C D i a r y : August 1 9 , 1 9 3 5 . " L i t h o tondo for Kistler. . . . Finish tondo A f t e r the B a t h . " 269. THE HIGH COMB, YUCATAN 1 9 3 5 (estimated, see below). D r a w n in N e w Y o r k , printed in Los Angeles. T r a n s f e r lithograph, printed f r o m stone. 2 7 3 x 1 3 8 m m . ( 1 0 % x 5V2 inches). N o states. M o s t edition prints are in sanguine, a few in black. 156

only state

Edition: 3 3 . P r i n t e r : Kistler. D r a w i n g used for the t r a n s f e r : SI. " T h e model is a Yucatecan girl, perhaps twelve years old, the age when they start looking for a husband. I did the drawing in N e w Y o r k , using lithographic crayon on Ingres charcoal paper with a grain. T h e r e were some blotches on the girl's left arm. I couldn't erase on a drawing intended for transfer, so I cut out the area with a razor blade. T h e n I mailed it to Kistler for him to do the transfer and printing. T h e r e ' s a much closer relationship between us than usual with artist and p r i n t e r . " ( J C 1 9 7 1 ) Lynton R . Kistler ( 1 9 7 1 ) : " T h e drawing was in crayon on grainy paper. I transferred it to a stone and printed it at m y h o m e . " T h e date of this w e l l - k n o w n print is not clearly established. It is not mentioned in J C ' s diary, nor the Catalogue, nor his card file. Both J C and Kistler recall that it was drawn in N e w Y o r k and mailed to Los Angeles, most probably in 1 9 3 4 or 1 9 3 5 . In one copy of his Catalogue, J C has added a note of it in pencil, giving it the n u m b e r " L . 1 3 6 - B , " which would place it between Tondo: After the Bath and Embrace, as it is listed here.

only state 270. EMBRACE 1935. Drawn in New York, printed in Los Angeles. Lithograph on zinc. 262 x 145 mm. (IOV4 x 53A inches) not including the signature at the top of the plate. No states. "Two trials" noted on JC's file card, not now located. Edition: 20. Printer: Kistler. Painting: Portable fresco panel of 1935, reproduced in Carlos Merida, Modern Mexican Artists, Mexico, 1937. "People say: What a cute little girl and her father. Actually, it's a couple. She married very young. That is the Plateau of Mexico, where people wrap themselves in sarapes at night. It's cold. There is a fresco, and an oil. It has been a very meaningful thing for me as a subject, but people get it wrong." (JC 1971) JC Diary: August 21, 1935. "Litho for Kistler: young girl embracing man in sarape." August 22. "Mailed lithos to Kistler."

only state 271. PILGRIMS 1935. New York. Alternative title: Couple with Cane. Lithograph on stone. 279 x 230 mm. (11 x 9 inches). No states. JC has four "light" proofs (no. 2 illustrated here) and one "heavy." One "light proof": Ann Chariot Johnson. No edition. "Four light proofs; three heavy proofs (after gumming stone)" (JC card). Printer: Amero. "This was on Amero's stone lithographic press at Cane School. We were happy when we got a final proof and never worried about a commercial edition. We were just unworldly, that's all. This was a memory of the pilgrimage to Chalma, which I mentioned. [See no. 68.] I went with the family of Luz. It is a very long trek—three days, more or less, from Milpa Alta, with two nights on the way. There were all kinds of pilgrims. Some had horses; some had burros; other just went on foot. We had a horse and a donkey, but there were many of us." (JC 1971) JC Diary: August 22, 1935. "School: litho couple with sugar cane. Print with Amero to 8:30 pm."

157

only state 272. BED-TIME 1935. New York. Lithograph on stone. 285 x 220 mm. (11 x 83/4 inches). No states. JC has three proofs. No edition. "Three bad proofs; two mediocre ones, before the stone got spoiled" (JC card). Printer: Amero. "There's a painting of that same subject, dated 1938. We had trouble with the press." (JC 1971) JC Diary: August 2 3 , 1 9 3 5 . "Began litho Bed-time." August 24. "School: litho." August 25. "School: finish litho Bed-time. Good." August 29. "Amero prints litho Bed-time. Goes bad."

158

only state 273. SANTA CLAUS IN ENVELOPE 1935. New York. Linoleum cut (black), stenciled color (red). 139 x 110 mm. (5 1 /2 x 4V4 inches). Cut by Zohmah Day (Chariot) after a design by JC. No states. One proof. Edition: Unknown. Printed on tissue and mounted reversed on red paper. Printer: Zohmah Day (Chariot). Drawing: Pen and watercolor. Also other Santas never made into prints. JC letter to Zohmah Day (Chariot), January or February 1936: "Your Christmas card (did I tell you) was a big surprise. Is it after an original J. C. that I had forgotten? I loved it." Zohmah Chariot (1971): "I'm quite sure I cut the two Santas at different times. Santa in Paris was definitely the first. Jean's letter must be referring to the second one. It was printed on the back of the tissue so it would be the same direction as his drawing." See also no. 112.

published state 274. TORTILLERAS 1936. New York. Color lithograph on aluminum, offset, Multilith. 151 x 220 mm. (6 x 83A inches) without title; 179 x 220 mm. (7 x 83A inches) including title. Colors: A. yellowish brown (straw). B. reddish brown (maroon). C. green. D. dark brown (corrective). States: A. One state only. Two proofs, one ( " 4 / 4 " ) with extensive pencil additions. B. One state only. Contains faces of final design and title. One proof ( " 1 / 4 " ) , and two proofs of A / B ( " 1 / 4 , " and " 4 / 4 " with black crayon additions). C - l . Heavy script title, heavy shading on both faces, dresses, and background. One proof ( " 2 / 4 — 1 s t state"). C-2. Some shading removed from both faces, woman's right arm, below tortilla, from arm and leg of child, and from background at upper right. Title removed from C plate. One proof of A / B / C - 2 ("2nd state unique").

C-3.

Vertical line of green removed at left of child's long hair. Heavy shading removed from child's legs, from between woman's chin and hands, at left of tortilla, and from around legs of metate. Some added shading outlining woman's left shoulder. One proof of A / B / C - 3 ( " 3 / 4 " ) . D - l . No proof known. D-2. The corrective plate provides heavy additional shading on woman's and child's hair, on the wall behind the girl, in upper left corner, and lightly over title panel. One proof ("D—2nd state—1/3"). Edition: 50 ( A / B / C - 3 / D - 2 ) . Four sets of progressives. Printer: Amero. "This was done in class, with Amero on the Multilith. There's a large portable fresco of the same subject." (JC 1971) JC Diary: January 14, 1936. "School: pm. litho Tortilleras color 1. Printed evening." January 15. "Tortilleras color 2 . " January 16. "Litho color C . " January 17. "Litho color D. Finished."

159

1

coffee

^

*

* *

only state 275. M O T H E R W I T H CHILD O N BACK 1936. New York. Poster for an exhibition of Chariot's work at Smith College, Northampton, Mass. Color lithograph on aluminum, offset. Design (including blue shading): 109 x 121 mm. (4% x 4 % inches) on light cardboard sheet 228 x 159 mm. (9 x b r k inches). Text drawn by JC. Colors: A. blue. B. brown. C. black. No states. One proof of A only, four of A / B . Edition: Unknown, probably several hundred. Registration is erratic on all. Printer: Amero. " I t was not done on the good Multilith. I don't know what press Amero and I used. He worked with stone as a rule." (JC 1971) JC Diary: January 31, 1936. "School: first color Smith poster." February 1. "2nd color Smith poster, pm: 3rd color."

160

published state (B/C/D-2/E/A) 276. W O M A N LIFTING REBOZO 1936. New York. Color lithograph on aluminum, offset, Multilith. 122 x 139 mm. (4% x 5 x li inches). Colors: A. brown. B. green. C. blue no. 1. D. pink. E. blue no. 2 (same tone as C). States: A. Only one state. Three separate proofs. B. Only one state. Five proofs, and three of A / B . C. Only one state. Three proofs. This plate has the signature at lower right. D - l . Has a loop of shading at the upper right corner. One separate proof, and one of A/B/C/D-l. D-2. Loop removed. Three separate proofs, and two of A / B / C / D - 2 . In finished prints, this plate is often off-register toward the bottom and gives the appearance of an untrimmed edge, but there is no state difference there. E. Only one state. Three separate proofs, and one of C / E (the two blues) together. The general effect of E is to darken the sky and the blue shading on the rebozo. Four proofs of B / C / D - 2 / E only.

Edition prints are of two sorts: (a) A lesser number are printed in the sequence: A / B / C / D - 2 / E , in which the face and arms have a pinkish cast. These appear to have been the first version, judging from the progressives noted above, (b) The majority of the edition prints have the brown printed last: B / C / D - 2 / E / A , giving a strong chocolate-brown flesh tone. Five of the latter version have a pale tan A plate and resemble the first printing variant. Throughout the edition, the registration of colors is somewhat imprecise, but the artist has drawn the plates so that the print remains effective even when out of register. Edition: 500. Printer: Carman. "This is a deliberate case of not limiting the amount of color used. With the extra margin at the top of many of them, it must have been the intention to use it as a prospectus for the litho class, but I have no memory of its being set with type. As color goes, I think it is one of the finest of the complicated ones." (JC 1971) JC Diary: March 1, 1936. "School: with Carman. A color prospectus for the offset class." March 8. "Draw fifth color litho (woman lifting rebozo)."

161

only state

162

man

277. BED-TIME 1936. New York. Color lithograph on stone. Picture only: 560 x 439 mm. (22 x 17V4 inches); including title: 627 x 439 mm. (24% x 17V4 inches); stonemark: 713 x 560 mm. (28 x 22 inches). Colors: A. yellowish brown. B. purple (mauve). No states. Proofs of A only: six in black, one in green, one counterproof in green, one in brown with purple pencil and black ink hand-work. Proofs of B only: two in purple, one in blue. One A / B proof with B in gray. (Proofs were on poor paper and have been mounted for conservation.) One each of A and B: Metropolitan. Edition: 14. Printer: Amero. See also Color Plate 7. " T h e idea was to give a maximum color effect with a minimum of printings. With offset, we knew how to ink the roller very lightly and use transparent colors, so we could go to seven easily, as in the Picture Book. With stone, we couldn't roll that lightly. The difference is more a question of inking than anything else." (JC 1971) JC Diary: March 22,1936. "First color a large litho: Bed-Time." March 24. "School: print first color large litho." March 28. "Second color large litho Bed-Time." March 29. "Finish second color for litho." March 31. "Amero prints second color Bed-Time." April 3. "pm. Print large litho with Amero: Bed-Time second color."

only state 278. HAPPY BUNNIES III 1936. New York. Color lithograph on aluminum, offset, Multilith. 153 x 213 mm. (6 x 8V2) including title; 142 x 213 mm. (5V2 x 8V2 inches) picture only. Colors: A. green. B. red. C. buff. No states. One proof each of A, B, and C. Three proofs of A/B. Edition: 180. Five sets of progressives. Printer: Carman. "For B. B. for Easter," that is, for Blanche Bonestell (JC card). JC Diary: April 3, 1936. "School: litho bunnies for Blanche.... Evening: finish print bunnies with Carman to midnight." April 4. "Bring Blanche edition Bunnies." A small chart may help to distinguish the three versions of Happy Bunnies: 264. (I) 265. (II)

Colors Blue only

Blue, red, yellow green 278. (Ill) Green, red, buff

Size ca. 200 x 250 mm. 7% x 93/s inches ca. 175 x 225 mm. 7 x 83A inches 153 x 213 mm. 6 x 8V2 inches

Version III has the date " 1 9 3 6 " in the plate at lower right. If I and II are dated, the year would be "1935."

163

CHARACTERS OF THE REFORMATION First printing: New York. Drawn: April 10-25, 1936. Printed May 1-June 12, 1936. Second printing: New York. Drawn and printed: September 10-October 2, 1936. Lithographs in two colors on aluminum, offset, Multilith. Printer: Carman. PRINTING Characters of the Reformation, by Hilaire Belloc, published by Sheed & Ward, New York and London, 1936, contains twenty-three original lithographs in two colors each by Jean Chariot. The artist called the experience "harrowing," for a total of thirty-seven subjects and eighty-six color plates were drawn and printed in order to produce twenty-three portraits in at least two distinct editions. The color lithography process used was invented by Jean Chariot and Albert Carman, who had a patent pending on it at the time of this work (see Appendix 1). In brief, it involved drawing the first color of a design on a zinc plate, fixing the design, and printing an entire run of the first color. The image was then removed from the plate, leaving a ghost image that was visible to the artist, but that would no longer print. The artist then drew his next color in register with the ghost image, and this second color was fixed to the plate. It was then printed on the sheets having the first color. In this manner, a precise registration was assured of the two colors. (The process is capable of extension to more colors.) The first printing was achieved in the manner described, the artist and printer working on the Multilith press at the Cane School, New York, where both were teaching at the time. The artist drew multiple versions of eleven of the portraits, one of them, Thomas Cromwell, four times before being satisfied. The first print (no. 279) was done as a two-color trial, to demonstrate to the publisher that the new lithographic process did indeed work. After getting Mr. Sheed's approval, Chariot began immediately on the portraits. It appears that the first eight subjects to be drawn (nos. 280-287) were intended to be selfsufficient works in only one color. The artist recalls that he and Mr. Carman had some doubt whether two colors could be printed on all twenty-three subjects within the budget allowed them. It soon became apparent that all could be done in two colors, and the rest of the subjects were drawn with completely independent A and B plates. For the rejected subjects, only the A plate was ever done. The portraits were drawn and printed in pairs, because the Multilith press could apparently accept a plate and sheet of SVz x 11 inches. The heads were inverted in relation to each other, with their right sides toward the center of the plate. ("There was an advantage somewhere in folding and tipping" [JC

164

1971].) The pairs seem to have little relation either to the chronological order of the drawings or to their placement in the book. Probably rejected drawings were erased and others put in their places until all were done. (The same pairs appear to be retained in the second printing, judging from the printed colors, except for that of Cranmer and James I, which were split.) The first edition of 5,000 books appears to have been an immediate success, for within a few months the publisher was back with a request for a new printing of 4,000. The commission was not easily filled, however, for the Chariot-Carman lithographic process, by its very nature, resulted in the eradication of one of the two color plates used in the first printing. New sets of drawings and plates, therefore, had to be made. In some cases, the B images from the first printing remained on the plates. These were reprinted (usually in new colors), then washed down to the ghost image and a second A plate drawn by the artist to match. In other cases, the B plates had been cleaned off or were too weak to print again, and entirely new A and B plates were drawn, copying the earlier versions. In other cases, the two colors appear to have been done on separate plates from the start, permitting the same plates to be reprinted. In one instance, the A plate seems to have been retained and a new B plate drawn to match it. In another case, a rejected version, drawn earlier but never used, was called into service for the second printing. CATALOGUING The complexities probably appear greater to a cataloguer after the fact than they did to the artist and printer at the time. In the following entries, the subjects are presented in the sequence in which they were drawn, as given in JC's detailed diary notes. The second-printing versions of the published subjects are then described along with the first printings, and illustrated if different from the first. The A plate in each case is the one used for the face of the portrait, and appears to have been the first printed (in the first printing). " A a " and " B a " denote the first version of each plate. " A b " and " B b " are used here, as elsewhere, to identify entirely new plates of the same subject. It should be emphasized that this chronological order of drawing the plates is different from the order in the published book, which is in turn different from the arrangement of pairs on the plates, and from the order of printing. PROOFS

AND

EDITIONS

Trial proofs were pulled from the A plates at the time they were drawn. The artist retains a number of these, almost all of them with pencil additions to indicate his ideas for the B plates. The rejected subjects are known only in A-plate versions, with pencil addi-

tions. The measurements given for these are of the lithographed portion only. O f four subjects no extant proof is known (nos. 281, 296, 309, and 310). J C also has two-color uncut proof sheets of all the published subjects except the Clement VH/Stephen Gardiner pair. These represent the first printings. The sheets measure 210 x 280 mm. (8V4 x 11 inches). All known proofs and published prints of both printings are on a cream laid paper, with chain lines 24.2 mm. apart, running vertically to the picture. The individual subjects, after being tipped (not bound) in the books and trimmed, have a page size of 2 0 3 x 136 mm. (8 x 5Vi inches). T h e editions of the book are not entirely clear. The records of Messrs. Sheed & Ward in both New York and London have been destroyed (by fire and bombing respectively) since 1936. Since the book has gone through many editions, it is most often found in later versions without illustrations. According to JC's notes, the first printing of the portraits was used entirely for the English first edition, published in 1936. The artist does not have a copy, nor has the compiler seen one. The second printing of the portraits apparently went for the first American edition, published in October 1936, when it was reviewed by the New York Times and others. Second-printing portraits appear in Sheed & Ward advertisements at that time. The compiler has also studied examples with " 1 9 3 7 " and " 1 9 3 8 " at the bottom of the title page, with a New York imprint. These have second-printing lithographs. But a slightly later volume, " 4 t h impression, September 1 9 3 8 , London," has no illustrations at all, nor do any subsequent examples that have been seen. The fact that the twenty-three portraits are original lithographs is not mentioned in any of the known volumes. Seven of the subjects appear as two-color illustrations (sanguine and green) in John Farrow: The Story of Thomas More, New York, Sheed & Ward, 1954. At first glance, these might be taken for original lithographs. They are not. Someone (not Chariot) placed tracing paper over the second-printing versions of the originals, and then traced the lines of each color separately by hand. These line tracings were then transferred (probably by photomechanical means) to lithographic plates, and printed in two colors. While the procedure enabled the publisher to avoid the use of halftone and process color, the results are far removed from Chariot's originals. These reproductions are noted under their respective subjects. " T h e portraits of the Reformation characters are simply harrowing. W e used only one plate, so we would do the face first. Then we rubbed that out, so we could see the drawing, though it wouldn't print. Then we put the color image on the same plate. Once we had the color, we couldn't go back to the line plate again. W h e n the publisher said, ' W e like it; we need

a second edition,' we were lost. W e had to do it all again by hand. " I t was more than just a 'job,' the word in the diary. There are very few 'jobs' in that sense in my lithographic work. It was something Carman and I wanted to do, to show what we could do with the Multilith press. Also, I've always been interested in history and historical documentation, and I enjoyed going through the libraries for documentation on this. I don't know if I ever read the book thoroughly. It's not like the illustrations for Claudel, which depend very much on reading the text. I certainly was not trying to show the villains and the heroines. M y sources were mostly in the New York Public Library. I had to find what portraits there were of the historical people, just looking for something to inspire me. O f course, some if not all of them I knew before Belloc wrote about them. I made some sketches in the library and then worked directly on the zinc plates. "Carman and I made the decision to use two colors. It was quite within the range of the money the publisher was ready to pay us. And I liked the idea! W e wanted to put our press to use, to perfect our ideas on the ghost image we were so interested in. There are a number of rejected subjects because it was easy to try them out in lithography. Some of them were awfully bad-looking. I didn't want them to be too original. I mean, I wanted them to look like just an adjunct to the text. The first heads I did lost tremendously from wear in printing. I learned to do it strong, so something would remain" [Nos. 298, 300, 303, and 311 have early proofs that are especially dark and strongly drawn]." (JC 1971) Comments on individual prints are under the separate entries. J C Diary: April 8, 1936. " W i t h Sheed arrange for 24 [sic] portraits for book by Belloc. Begin portrait William of Orange, first color." April 9. "Print second color. Sheed comes after 5 pm. Show him sample." April 10. " S c h o o l : draw Pascal. Draw other head for Sheed: Ferdinand. Failure." April 11. " D r a w Richelieu. Print three heads with Carman. Draw to 5 pm.: William of Orange No. 2, Laud No. 1 . " April 12. " W o r k for Sheed. Three heads: Laud No. 2, Gustavus Adolphus, Ferdinand No. 2 . " April 13. " W i t h Carman print lithos Sheed, trials. Library: documentation for book. pm.: draw Descartes, Louis XIV. Evening: draw Cromwell, Charles I [sic]. Eyes tired." April 14. "Library: documents for book. School: draw Henry IV. Plate fades. Strengthen it. Failure. Evening: draw Cranmer." April 15. "Print Cranmer. Draw Thomas Cromwell. Failure. Re-drawn, but too small." April 16. "Cromwell (No. 3!). Retouch Ferdinand. Henry IV No. 2, W . Cecil, Elizabeth, Ann Boleyn. Tired." April 17. " M o r n i n g : print with Carman, pm.: Catherine of Aragon." April 18. "Henry VIII, Mary Tudor, pm.: Mary of Scots, Gustavus Adolphus No. 2 . " April

165

19. " D r a w Thomas Cromwell No. 4. pm.: W . Orange No. 3, Cranmer No. 2 . " April 20. "Print heads. Library: documents, pm.: Print." April 21. " D r a w St. Thomas More, Clement VII. Print them in b l a c k . " April 22. "Frick Library on Gardiner and Clement V I I . " April 23. " D r a w T h . M o r e No. 2, M . of Scots No. 2, Clement VII No. 2 . " April 25. " S c h o o l : print heads." April 26. " D r a w Stephen Gardiner, the last h e a d ! " April 27. " S c h o o l : Proof Gardiner." April 28. " T h e paper arrives for job S h e e d . " M a y 1. "Begin print job S h e e d . " M a y 5. "Print Sheed." M a y 6. " P r i n t second color of T h . Cromwell, Gustavus." M a y 7. "Print second color W . Orange, Louis X I V . " M a y 8. " S e e Lowes from Sheed. Show samples of job. Satisfied. School: print. Difficulties." M a y 10. " D r a w fourth version of black for W . Orange, Louis X I V ! " M a y 11. " P r e s s is checked. Print black W . of Orange, A of Cromwell." M a y 12. "Print A of Descartes, Pascal, Ferdinand. 1 5 , 0 0 0 copies! T i r e d . " M a y 13. " P r i n t red on Ferdinand, Mary of Scots, Ann Boleyn. Begin black on Pascal, Cromwell." M a y 14. " B l a c k of Pascal goes bad, black Cromwell. Black begun on Descartes, Ferdinand." M a y 18. " p m . : Print." M a y 24. " D r a w Henry VIII No. 2 . " M a y 25. "Finish printing second color on Descartes, Ferdinand." M a y 26. " P r i n t for S h e e d . " June 2. "Print 1 5 , 0 0 0 copies. Began Clement VII, Stephen Gardiner." June 3. "Print Sheed job. Begin Elizabeth, M a r y T u d o r . " June 4. "Print Henry VIII, Laud." June 5. "Print C. Aragon, W . Cecil." June 8. "Print Henry IV, T . M o r e . " June 9.

166

"Print Cranmer, James I . " June 10. "Print Richelieu. Sheed job finished." June 11. " S o r t Sheed prints." June 12. "Still Sheed job, to complete short runs. Second of Louis X I V , Thos. Cromwell, Pascal." June 14. " S o r t extra proofs S h e e d . " July 28. " S c h o o l : plates for extra proofs S h e e d . " August 20. " D r a w extra plate Mary of Scots." August 21, 1 9 3 6 . "Lunch with Sheed and Lowes. T h e y ask 4,000 additional proofs Belloc portraits!" August 23. " S o r t extra Belloc." September 10. " C a r man at Harbor Press, 305 East 45th. Begin to draw second edition Belloc b o o k . " September 11. " H . Press. Draw, print Belloc." September 14. " S h e e d book. Draw and print." September 15. " H . Press. Sheed b o o k . " September 22. " p m . : Press: S h e e d . " September 23. " P r e s s : Henry VIII for jacket of Sheed b o o k . " September 24, 25, 28, and 29. " P r e s s : Sheed j o b . " October 2. " P r e s s : Finish Sheed job.' Excerpts from JC's letters to Zohmah D a y (Mrs. Chariot): April 13, 1936. " I have been working on commercial lithography these days, using a process to print many colors from the same plate, 'patent pending' in Washington, D.C. Am doing a job of 24 [sic] historical portraits for Sheed." April 29. " I am doing the portraits of Henry VIII and Co. for Sheed, still much work ahead." June 3. " T h e school is over now but I still go there, printing illustrations for S h e e d . " September 1 9 3 6 (n.d.): " I am back in New Y o r k , illustrating the second edition of the Sheed & W a r d book."

only state 279. W I L L I A M O F O R A N G E (first version, trial) Characters of the Reformation, trial, not published. 195 x 132 mm. (7 3 /i x 5xk inches) including title; 1 8 3 x 132 mm. (7 1 /i x 5x/4 inches) picture only. Colors: A. sanguine. B. black. No states. One proof. J C Diary: April 8 - 9 , 1936. " T h i s was a trial to show Sheed what we could do as portraits g o . " (JC 1971.)

167

280. PASCAL Characters of the Reformation, facing p. 303. 128 x 1 1 0 mm. (5 x 4V4 inches). Printings: Proofs: Three of A in brown, all with pencil handwork, one numbered " 1 " in circle and dated April 10. First: A in dark brown, Ba in blue gray. Pair with Oliver Cromwell, no. 290. Only known at present without name. See JC's note under no. 290. Second: A in yellow ochre, Bb in blue gray. Differences in collar and shading at the right side. J C Diary: April 1 0 - 1 1 , M a y 1 2 - 1 4 , June 12. A/Ba

281. F E R D I N A N D II (first version, rejected) Characters of the Reformation, trial. See no. 286. Ca. 150 x 120 mm. (6 x 4 % inches given in Catalogue). No proof known. " W i t h hat, heavy shadows" Catalogue. "Buff only, rejected" (JC card). This subject is apparently very similar to the first-state proof of no. 286 (q. v.), as the Catalogue sketch serves for both. That it was indeed printed is indicated by the diary entry of April 11, "Print three heads," only three, including this one, having been drawn to that point. J C Diary: April 1 0 - 1 1 .

282. RICHELIEU Characters of the Reformation, facing p. 257. 1 3 5 x 100 mm. (5V4 x 4 inches): first printing. 125 x 100 mm. ( 5 x 4 inches): second printing. Printings: Proofs: Aa-1. Heavy line along collar over right shoulder. One proof in brown, with pencil hand-work, numbered " 2 " in circle and dated April 11. Aa-2. Line removed, leaving collar blank white. Two proofs in brown, one in black. First: Aa-2 in black, Ba in pink. No pair. Second: Ab in gray brown, Bb in red. Broader shading and heavier lines throughout. J C Diary: April 11, June 10.

ft I C. H £. L I

Aa-2/Ba

168

t

U

Ab/Bb

283.

WILLIAM OF ORANGE (second version, rejected) Characters of the Reformation, trial. See no. 307. 164 x 128 mm. (6V2 x 5 inches). No states. One proof in brown, with slight pencil additions. (The wig and neck ornament are lithographed.) Numbered " 3 " in circle and dated April 11. JC Diary: April 11.

only state, with pencil hand-work 284. LAUD (first version, rejected) Characters of the Reformation, trial. See no. 285. 94 x 77 mm. (3 3 h x 3 inches). No states. One proof in brown, with slight pencil additions. (The hat and ruff are lithographed.) Numbered " 4 " in circle and dated April 12. JC Diary: April 11.

only state, with pencil hand-work 285. LAUD (second version, published) Characters of the Reformation, facing p. 267. 121 x 94 mm. (43A x 3 3 h inches). Printings: No trial proofs. First: Aa in sanguine, B in green. Pair with Henry VIII, no. 315. Second: Ab in red, B in green. Broader shading. JC Diary: April 12, June 4.

L A U D

L A U O

Aa/B

Ab/B 169

286. Characters

FERDINAND II (second version, published) of the Reformation,

f a c i n g p. 2 3 1 .

105 x 93 mm. (4V4 x 33A inches). Printings: Proofs: A - l . With broad brimmed hat (illustrated). One proof in brown with pencil handwork, including the entire ruff, numbered " 5 " in circle and dated April 12. Lithographed portion: 148 x 93 (6 x 33/4 inches). A-2. Hat removed and replaced with laurel wreath. No separate proof. First: A-2 in yellow ochre, B - l in blue gray. Pair with Descartes, no. 288. Second: A-2 in yellow green, B-2 in blue gray, with a few additional laurel leaves and slight added shading on the ruff behind neck. JC Diary: April 12, April 16 (state change), May 1 2 14, May 25.

287. Characters

A-l, with pencil hand-work A-2/B-1

G U S T A V U S ADOLPHUS (first version, rejected) of the Reformation,

trial. S e e n o . 3 0 5 .

138 x 104 mm. (5V2 x 4 inches). No states. One proof with pencil additions. (The ruff is lithographed.) Numbered " 6 " in circle and dated April 12. JC Diary: April 12. JC card: " 'pretty.' "

only state, with pencil hand-work 288. Characters

DESCARTES of the Reformation,

f a c i n g p. 2 9 3 .

108 x 100 mm. (4V4 x 4 inches). Printings: Proofs: Three of A - l in brown, all with pencil hand-work, one numbered "7" in circle and dated April 13. First: A - l in yellow ochre, B in blue gray. Pair with Ferdinand II, no. 286. Second: A-2 in yellow green, with strong additional shading around eyes and mouth and along eyebrows. B in blue gray, very worn. JC Diary: April 13, May 12, May 14, May 25.

170

A-l/B

289. LOUIS XIV Characters of the Reformation, facing p. 3 3 0 . 117 x 1 0 6 mm. (43A x 4V4 inches) in first printing. 1 1 6 x 98 mm. (43A x 4 inches) in second printing. Printings: Proofs: Three proofs of Aa in brown, all with pencil hand-work, one numbered "8" in circle and dated April 14. First: Aa in brown, Ba in green. Pair with William

of Orange, no. 307.

Second: A b in sanguine, B b in green. Both very similar to " a , " but different in detail. J C D i a r y : April 1 3 , M a y 7, M a y 10, June 12. T h e entries of M a y 1 0 and June 12 suggest that there may be additional versions of the two plates, or possibly different combinations than those noted. " T h a t is after the wax medallion which is in Versailles. O n e of my preferred heads." (JC 1 9 7 1 )

Aa/Ba

Ab/Bb

290. OLIVER CROMWELL Characters of the Reformation, facing p. 2 8 0 . 1 1 3 x 95 mm. (4V2 x 3 % inches). Printings: Proofs: Four proofs of Aa in yellow ochre, all with pencil hand-work, one numbered "9" in circle and dated April 14. First: Aa in brown, B a in blue gray. Pair with Pascal, no. 280. J C ' s file card notes states of B a : " 1 ) no names [the only ones known at present]; 2) names wrong placing; 3) right — a few p r o o f s . " Second: A b in brown, B b in blue gray. Differences in eyebrows and shading on armor. J C D i a r y : April 13, M a y 1 1 , M a y 1 3 - 1 4 , June 12.

Aa/Ba

Ab/Bb

171

291. JAMES I Characters of the Reformation, facing p. 219. 1 2 3 x 90 mm. (4 x 3V2 inches). Printings: Proofs: One proof of Aa in yellow ochre, with pencil hand-work. First: Aa in yellow ochre, B - l in purple. Pair with Cranmer, no. 308. Second: Ab in yellow ochre (with broader shading throughout). B - 2 in purple. Elements of Aa have carried over into B-2, most notably the crown, which was in the yellow ochre of Aa in the first printing. The identical crown and other details from both Aa and B - l now appear in B - 2 in purple. The name at bottom is entirely redrawn. (The compiler states the visual evidence without being able to explain it in every particular.) JC Diary: April 13. (The reference to Charles I is clearly just a slip of the pen. On JC's file card, "Charles I " is crossed out and replaced with "James I." No portrait was made of Charles I.) June 9 ("James I"). "This I think is my masterpiece of the series. I don't remember the exact source, but it is one of the finest, as a print, because I didn't have to go too dark. For the second image, we had a purple plate ready-made and had to fabricate a flesh plate. Sometimes our ghost image just refused to disappear." (JC 1 9 7 1 )

second state, with pencil hand-work

172

292. H E N R Y IV (first version, rejected) Characters of the Reformation, trial. See no. 297. 83 x 71 mm. (3*/4 x 23A inches): first state, from forehead to chin. 94 x 5 5 mm. (3% x 2V4 inches): second state, from forehead to beard. States: 1. Very light throughout, including light shading at right side. One proof in brown with extensive pencil additions, including entire hair, beard, and collar. 2. Beard, high eyebrows, and much shading added. Shading at right has disappeared. One proof in brown with pencil additions including hair and mustache. JC Diary: April 14. ("Plate fades. Strengthen it. Failure.")

293.

C R A N M E R (first version, rejected, later published) Characters of the Reformation, trial. See no. 308. 108 x 9 1 mm. (4*/4 x 3V2 inches). Colors: A. orange. B. gray. No states. No trial proofs. This portrait was rejected at the time it was first made. No. 308 was used in the first printing. When the request came for the second printing, this subject was used, a new B plate being drawn to fit the extant A plate. It thus takes the place of a " b " version for the second printing. The identification is clear from JC's Catalogue (where it is listed as a rejected plate), which states: " T h e chin was to be modelled in the second color. Left white." The description fits. Reproduction: Sanguine and green (see p. 165). J C Diary: April 1 4 - 1 5 , the latter entry indicating that there was an early trial printing of this version. only state 294.

T H O M A S C R O M W E L L (first version, rejected) Characters of the Reformation, trial. See no. 306. 100 x 102 mm. ( 4 x 4 inches). No states. O n e proof in brown. The face and hat outline are lithographed. Extensive pencil additions include the hat shading, hair, and collar. JC Diary: April 15. ("Thomas Cromwell. Failure.") JC card: " T o o large. Plate goes wrong. Rejected." The Catalogue appears to describe this print as measuring " 3 x 3 " inches, but that may apply to the following version. J C specifically identified this as the first version.

295.

T H O M A S C R O M W E L L (second version, rejected) Characters of the Reformation, trial. See no. 306. 58 x 67 mm. (2V4 x 2 % inches), forehead to neck. No states. One proof in brown, the face only. Extensive pencil additions, including the entire hat, hair, and collar. J C D i a r y : April 15. ("Cromwell . . . redrawn, but too small.") Catalogue: " S a m e subject . . . smaller." J C card: "Dropped it. Rejected." The dimension of " 3 x 3 " inches, given in the Catalogue, may refer to this print.

only state, with pencil hand-work

only state, with pencil hand-work

296.

T H O M A S C R O M W E L L (third version, rejected) Characters of the Reformation, trial. See no. 306. Ca. 100 x 100 mm. ( 4 x 4 inches given in the Catalogue). No proof is now known. The Catalogue states: "Same. . . . Much stronger shadows than accepted plate." JC card: " T o o ugly. Rejected." This seems unlikely to correspond with the second printing of no. 306 (the case with Cranmer, nos. 293 and 308), for the " b " version of the accepted plate resembles the " a " one very closely. In general, however, it should be similar to the two preceding prints, as one illustration serves for all three in the Catalogue.

J C Diary: April 16. ("Cromwell No. 3 ! " )

173

297. HENRY IV (second version, published) Characters of the Reformation, facing p. 206. 130 x 77 mm. ( 5 x 3 inches). Printings: No trial proofs. First: A in brown, B in purple. Pair with Thomas

More, no. 311.

Second: A in orange, B in purple. Considerable wear is evident in the plates. JC Diary: April 16, June 8. " W e had a hard time with the pupils of his eyes. They are in the second color, and they refused to register. They would move around, so they looked right or left. A lady wrote me from England that he was squinting. We tried, but we never got the dot registered in the center." (JC 1971)

only state (first printing)

W I L L I A M

A only, early proof with pencil hand-work

C E C I L

Aa/B

W I li_ 1 A M

Ab/B

298. WILLIAM CECIL Characters of the Reformation, facing p. 193. 115 x 76 mm. ( 4 % x 3 inches). Printings: Proofs: One proof of Aa in brown, strongly shaded, with pencil hand-work including the ruff, numbered " 1 4 " in a circle, and dated April 16. First: Aa in brown, B in green. Pair with Cath-

erine of Aragon, no. 301.

Second: Ab in sanguine, B in green. Eyes thinner, nose larger. JC Diary: April 16, June 5. 174

C E C I L

299. ELIZABETH Characters of the Reformation, facing p. 166. 105 x 90 mm. ( 4 % x 3V2 inches). Printings: Proofs: One proof of A in greenish brown, with pencil hand-work, including hat, hair, and necklace, numbered " 1 5 " in circle, and dated April 16. First: A in brown, B in blue gray. Pair with Mary Tudor, no. 303. Second: A in greenish brown, B in purple. JC Diary: April 16, June 3. " T h a t ' s from her lead death m a s k . " (JC 1 9 7 1 )

ELIZABETH

only state (first printing)

y J&?gjf:

"

t*;

j iftfifp' j f

A

' .5>

ANN BOLEVM Aa/Ba 300. ANN BOLEYN Characters of the Reformation, facing p. 66. 1 1 5 x 76 mm. (4V2 x 3 inches). Printings: Proofs: Three proofs of Aa in brown: one heavy, numbered " 1 6 " in circle, and dated April 1 6 ; two pale; all three with pencil hand-work, including the bonnet. First: Aa in brown, Ba in blue. Pair with Mary Queen of Scots, no. 312. Intermediate: Aa in brown, B b in green. Apparently the change was made in the course of

Ab/Bb

the first printing. Bb may be a new drawing on the plate of Ba, for while all the lines of the subject are new, the title name in the plate remains identically the same. Second: Ab in orange, Bb in blue gray. Very similar, but wider shading. Reproduction: Sanguine and green (see p. 165). JC Diary: April 16, May 13. "Holbein was an obvious source. Scholars nowadays say that his Ann Boleyn may not be her. I don't k n o w . " (JC 1971)

175

301. CATHERINE OF ARAGON Characters of the Reformation, facing p. 46. 93 x 101 mm. (3 3 A x 4 inches). Printings : Proofs: One proof of A in purple, with pencil handwork, especially the bonnet, numbered " 1 7 " in circle, and dated April 17. First: A in brown, B in green, with narrow band of white cloth between the forehead and upper edge of bonnet. Pair with William Cecil, no. 298. Second: A in sanguine, B in green. The registration of the two plates has been changed to shift the bonnet about 4 mm. toward the upper right, widening the white cloth band between the bonnet and forehead. The shift appears to be consistent, but may be an accidental change. Reproduction: Sanguine and green (see p. 165). JC Diary: April 17, June 5. "Catherine of Aragon comes from a German boxwood bas-relief. I'd never seen anything quite like that of her, and I believe she did look like that." (JC 1971)

CATHERINE

OF

ARAGON

only state (first printing)

302. HENRY VIII (first version, rejected) Characters of the Reformation, trial. See no. 316. 86 x 105 mm. (3V2 x No states. One proof in brown, with pencil hand-work. JC Diary: April 18. Catalogue: "After a sculpture."

only state, with pencil hand-work 303. MARY TUDOR Characters of the Reformation, facing p. 152. 124 x 98 mm. ( 5 x 4 inches). Printings: Proofs: Two proofs of Aa in brown, both with pencil hand-work, one including the bonnet, collar, necklace, and shoulders. First: Aa in brown, B in blue gray. Pair with Elizabeth, no. 299. Second: Ab in greenish brown, B in purple. Eyes larger, shading heavier. JC Diary: April 18, June 3.

MARY

176

Aa/B

TUDOR

MARY

Ab/B

TUDOR

304.

MARY QUEEN OF SCOTS (first version, rejected) Characters of the Reformation, trial. See no. 312. 105 x 116 mm. (4% x 4V2 inches). No states. One proof in brown, including the outline of the bonnet, with additional pencil hand-work, titled "Mary Stuart" in pencil. JC Diary: April 18.

only state, with pencil hand-work

305.

,ff ' if PL '

GUSTAVUS ADOLPHUS (second version, published) Characters of the Reformation, facing p. 246. 101 x 81 mm. (4 x 3V4 inches). Printings: Proofs: One proof of Aa in brown with slight pencil hand-work. First: Aa in brown, Ba in green. Pair with Thomas

Cromwell, no. 306. Second: Ab in brown, Bb in green. Lower brows, wider shading. JC Diary: April 18, May 6.

GU5TAVUS

Aa/Ba

ADC L P H U S

Ab/Bb

177

306.

THOMAS CROMWELL (fourth version, published) Characters of the Reformation, facing p. 83. 91 x 111 mm. (3V2 x 4V4 inches). Printings: Proofs: Two proofs of Aa in brown, with pencil hand-work including hat, hair, and collar. First: Aa in brown, Ba in green. Pair with Gustavus Adolphus, no. 305. Second: Ab in brown, Bb in green. Coarser shading, light collar. Reproduction: Sanguine and green (see p. 165). JC Diary: April 19, May 6.

NOMAS

CROMWELL

Aa/Ba

WILLIAM OF ORANGE (third version, published) Characters of the Reformation, facing p. 313. 126 x 96 mm. (5 x 3 3 h inches: first printing. 128 x 107 mm. (5 x i 1 /* inches): second printing. Printings: Proofs: Two proofs of Aa in brown (face only), with pencil hand-work including entire hair and ruff. JC's file card indicates three states, which cannot be identified in the proofs at hand: "1st—wrong line at the cheek; 2nd—corrected; 3rd—acid bath and extra work." First: Aa in brown, Ba in green. Pair with Louis XIV, no. 289. Second: Ab in sanguine, Bb in green. Heavier shading, hair wider. The May 10 diary note of a "fourth black," meaning the green, may indicate a printing of Bb together with Aa. JC Diary: April 19, May 7, May 10-11.

T NOMA'S

{MMWiU

Ab/Bb

307.

WILLIAM OF ORANGE Aa/Ba

178

•.ViaiAH or OSANGE Ab/Bb

308. CRANMER (second version, published) Characters of the Reformation, facing p. 123. 112 x 95 mm. (4V2 x 3% inches). Printings: Proofs: One proof of A in yellow ochre, face complete, with pencil hand-work including hat and collar. First: A in yellow ochre, B in purple. Pair with James I, no. 291. Second: See no. 293, the rejected first version, which was later put into use as the second printing of this subject. JC Diary: April 19, June 9.

only state

309. THOMAS MORE (first version, rejected) Characters of the Reformation, trial. See no. 311. Ca. 110 x 95 mm. (Catalogue gives "4V4 x 3 3 A" inches). No proof now known. The Catalogue illustration indicates a head facing three-quarters right, like the published version, but tilted more upward. JC Diary: April 21, indicating that this version was indeed printed.

Catalogue sketch

f j d t j F m

M m •if'S®- ' »

l M l 7 -Vi

mi "«fis* il;

*

*0tMki'!' _

310. CLEMENT VII (first version, rejected) Characters of the Reformation, trial. See no. 313. Ca. 85 x 90 mm. (Catalogue gives "3V4 x 3V2" inches). No proof now known. The subject is illustrated with a pencil drawing, which JC sketched in a library and used as a source for the print. It measures 105 x 77 mm. (4V4 x 3 inches). JC Diary: April 21, indicating that this version was indeed printed. "That is Clement VII as a cardinal, when he was a young man. It is in the background of the portrait of the Fat Pope by Raphael." (JC 1971)

pencil drawing

179

311.

T H O M A S M O R E (second version, published) Characters of the Reformation, facing p. 9 8 . 1 0 1 x 1 0 5 mm. (4 x 4 1 /4 inches). Printings: P r o o f s : T w o proofs of A in sanguine, both with pencil hand-work. First: A in brown, B in purple. Pair with Henry IV, no. 2 9 7 . Second: A in orange, B in purple. Both plates have become extremely worn, considerably changing the character of the portrait. Reproduction: Sanguine and green (see p. 1 6 5 ) . J C D i a r y : April 2 3 , June 8. " T h e r e is a painting, a copy after Holbein, that I did for the T h o m a s M o r e Library in Los Angeles." (JC 1971) THOMAS 312.

M A R Y Q U E E N O F S C O T S (second version, published)

MORE

only state (first printing)

Characters of the Reformation, facing p. 1 7 8 . 1 1 5 x 7 4 m m . (4V2 x 3 inches). Printings : Proofs: Three proofs of A a : two in red, one in yellow ochre, all with pencil handwork, including hair, ruff, and neck. First: A a in brown, Ba in blue. Pair with

Ann Boleyn, no. 300. Intermediate : A a in brown, Bb in green. Apparently the change was made in the course of the first printing, although the A u gust 2 0 diary entry m a y place it later. Unlike the case of Ann, the title n a m e in the plate is written differently in Ba and Bb. Second:

A b in orange, Bb in blue gray. Face longer in appearance, hair wider. J C D i a r y : April 2 3 , M a y 1 3 , August 20. " T h i s is in the style of a French portrait painter of the time, copied from François Clouet or some s u c h . " (JC 1 9 7 1 )

MABY

QUEEN

OF

SCOTS

Aa/Ba

313. C L E M E N T VII (second version, published) Characters of the Reformation, facing p. 1 1 1 . 1 0 7 x 8 4 mm. (4V4 x 2>xk inches). Printings: P r o o f s : T w o proofs of A a in sanguine with slight pencil hand-work. First: N o t seen by the compiler. Pair with Stephen Gardiner, no. 3 1 4 (JC card). Second: A b in brown, B in blue gray. Coarser shading, wider nose. Reproduction: Sanguine and green (see p. 1 6 5 ) . J C D i a r y : April 2 2 (library), April 2 3 (drawn), June 2.

Ab/Bb

m

t i l

SP:.

-

^

pft«

,

H,

, .

1

% j --*/

" A f t e r Sebastiano del P i o m b o . " (JC card) Aa only, with pencil hand-work

C L E M E N T

180

VII

A b / B (second printing)

314. STEPHEN GARDINER Characters of the Reformation, facing p. 138. 105 x 77 mm. (4V4 x 3 inches). Printings: Proofs: One proof of A in brown with pencil handwork, including hat and collar. First: Not seen by the compiler. Pair with Clement VII, no. 313 (JC card). Second: A in sanguine, B in blue gray. Shading has spread into solid areas. JC Diary: April 22 (library), April 26 (drawn), April 27, June 2.

only state (second printing) 315. HENRY VIII (second version, published) Characters of the Reformation, frontispiece. 125 x 110 mm. (5 x tf-h inches). Printings: No trial proofs. First: Aa in sanguine, B-l in green. Pair with Laud, no. 285. Second: Ab in red, B-2 in green, with lace collar extended higher on neck, and added shading beside ear. Very similar, shading broader. Reproduction: Sanguine and green (see p. 165). JC Diary: May 24 (drawn), June 4.

Aa/B-1

Ab/B-2 316. HENRY VIII (third version) Characters of the Reformation, dust jacket of second edition. 84 x 84 mm. (3V4 x 2>xk inches). Colors: A. sanguine. B. green. No states. One proof in artist's collection. See also no. 400. JC Diary: September 23. only state

181

only state

317. FIRST STEPS 1936. New York. Lithograph on stone. 352 x 229 mm. (14 x 9 inches). No states. (The Catalogue mentions four early proofs, followed by a transfer to zinc, reversed. It then corrects this comment in a footnote stating that all prints were made directly from the stone.) Edition: Unlimited. Printer: Miller. " T h e four early proofs may have something differ-

182

ent, perhaps rough edges. The transfer to zinc obviously did not work, so I had to make a footnote. I remember writing this while I was in the process of making the print." JC Diary: May 18, 1936. " A t George Miller. Begin litho for Zigrosser." Printed on May 27. All prints are stamped on the verso: "American Artists Group, 106 - 7th Ave., New York. © 1936 Jean Chariot."

only state

318. LAUNDRESS I 1936. New York. Woodcut. 146 x 95 mm. (53A x 3% inches). No states. One proof. No edition. " 3 trial proofs" (Catalogue). Block lost. Printer: JC. JC Diary: May 22, 1936. "Buy set of Japanese tools for woodblock. Wood bought at Friedrix. Do woodcut, Laundress, for Calendar." May 23. "Finish cutting block for Calendar. Print on Japanese paper." [The diary entries do not distinguish between this and the following print.]

319. LAUNDRESS II 1936. New York. (See diary entry for preceding print.) Printed in the "American Block Print Calendar of 1937," on the page with week of September 12-18. Woodcut. 153 x 103 mm. ( 6 x 4 inches). States. JC has one proof each of states 1-14. 1. Lines very thick. 2. Shaded areas on bundle, arms, and left hand reduced in size. Horizontal lines removed from bundle. 3. White areas widened on neck, below chin, and at right elbow. Thumb added and fingers removed from left hand. Notch added above eye. 4. Neck, ear, and lower right arm widened. White dotted shading added to diagonal line

first state

published state (fifteenth)

above forehead. Additional cuts beside thumb and left wrist. 5. Lines thinned at top of bundle. Bundle knot separated from left line. Thumb area joined to left hand. Slight widening of whites above right hand and beside eye. 6. Lines thinned on bundle knot, right side of bundle, and beside left wrist and hand. 7. Line thinned at upper left of bundle. Rear neck line shortened. 8. Outlines of right arm, left hand, and bundle top thinned. 9. Right outline of bundle thinned further. 10. Outside corners of bundle knot rounded. Back of neck and ear widened. 11. Inside of bundle knot rounded off. 12. Shaded area reduced at left wrist. Right line of bundle thinned again. 13. Inside of left elbow widened, leaving a small point of wood. 14. Inside of right line of bundle trimmed, removing small white scratch. 15. Notches cut on left and right outside, between hands and bundle. JC has four proofs and one counterproof. Published state. The only located example of the published calendar is in the Prints Division of the New York Public Library. Edition: Unlimited. "25 proofs of 14 trial states" (Catalogue). Block lost. Publisher and printer: Gutenburg Publishing Co., Milwaukee, Wisconsin.

183

320. LARGE MALINCHES 1936. New York . Alternative title: Toy Fiesta. Color lithograph on zinc, offset. 405 x 590 mm. (16 x 23V4 inches). Colors: The artist's precise ink specifications are noted on trial proofs of each plate. A. yellow ("Lemon Yellow 11243 H. S.—don't reduce"). B. red ("Neutral Red 4984, Cold Red 19558"). C. violet ("Hydrate Purple 2 2 6 - 1 0 1 , Magenta 12388"). D. blue ("Al. Hydrate, Milni Blue 9347"). E. brown ("Indian Yellow 7873, Neutral Red 4984, plus Black"). F. green ("Hydrate Emerald Green 12325, Indian Yellow 7 8 7 3 " ) . No states. The earliest proofs appear to have untrimmed edges, as noted in the Catalogue, but the subsequent trimming is so slight as to be insignificant as a state difference in any of the plates. JC has one each of the color plates in their final color, four each of A, C, and D, and five of B in black (each marked " - / 5 " ) , one each of A / B , A / B / C , and A / B / C / D / E , and two of A / B / C / D . JC remembers making a line drawing, full-size. The line image was placed on the color plates photomechanically. There was no separate key-plate, and thus no key-plate proofs. Edition: 7 proofs of A / B / C / D / E / F , the artist's preferred version, with the faces a light brown tone, and 240 proofs of A / B / C / D / E / F / E , the brown plate having been printed a second time after the others, giving the faces a dark brown tone. Printer: Bernard Metal. Painting in oil, see Claudel, Jean Chariot (Paris, 1935, pi. 55). "This was not quite a pleasant deal, as it turned out. Metal enriched himself doing good facsimile color reproductions, after Renoir and others. They were expensive for the day. Then he asked me to do a lithograph after my painting. He did the final printing, one might say, behind my back, without my giving the OK. And

184

he eventually kept most of the edition, never truly accounting for it. It leaves me with a bad feeling, that's all. He did one thing which I didn't like at all. The brown plate was relatively light. In the edition, he had it printed twice from the same plate, to get a heavy brown. I would not consider it technically successful, even though the plates were very good to begin with, because that man just did not have the flair for dealing with an artist. It was done on the same kind of press on which I did the Picture Book. Everything could have been all right had I supervised the job." (JC 1971) JC Diary: August 7 , 1 9 3 6 . "Received zinc for Great Malinches. Begin red plate." August 8. "Red plate, blue plate. Tired." August 9. "All day. Finish litho plates no. 3 : yellow, no. 4: purple." August 10. "Metal here. I give him the plates to be proofed." August 12. "Metal brings the new plates for Malinches. Begin to draw them." August 13. "Plates Malinches." August 14. "Draw plates 5 and 6. pm: pull proofs of four first colors." August 17. " A t the printer's. Proof two last plates: brown and green. Good." October 6. " A t Metal's. Sign edition 'Toy Fiesta,' 240 copies. JC letter to Zohmah Day, September 1 9 3 6 : " T h e Malinche lithograph was all spoiled by bad printing, because the man pulled the proofs without showing me. I'll send you one anyhow. They are not finished yet." On October 6, 1936, Bernard Metal wrote to J C : "This will confirm the terms of our undertaking with reference to the now completed lithograph T O Y FIE S T A : I am to sell 200 copies, which are to be signed and numbered by you, at the best possible price and on the best possible terms. The net proceeds, over and above the cost of $200.00 is to be divided between us. The last offer was $1,200.00, payable over a period of two years." JC comments: " T h e agreement which was never implemented."

only state ( A / B / C / D / E / F )

185

321-362. CATALOGUE OF PRINTS 1936. New York. (Completed October 1, 1937.) Color lithographs on aluminum, offset, Mutilith. No states. SI, Museum of Modern Art, New York, New York. Edition: 30. Printer: Carman. The Catalogue was drawn as pairs of pages, printed recto and verso of cream laid paper sheets measuring 253 x 356 mm. (10 x 14 inches). These sheets were then given a single fold in the center and stapled together consecutively between gray cardboard covers. There is gray cloth tape on the spine and a typeset paper label pasted on the upper cover. The arrangement of the Catalogue pages upon the 12 sheets, reading left-right for recto then verso, is as follows: Sheet 1 : Sheet 2 : Sheet 3 : Sheet 4 : Sheet 5 : Sheet 6 : Sheet 7 : Sheet 8 : Sheet 9 : Sheet 1 0 : Sheet 1 1 : Sheet 1 2 :

Lavanderas in blue, 3 blanks. (No. 321) Pages 8, 5, 6, 7. ("Lithographs") (Nos. 325, 322, 323, 324) Pages 12, 9, 10, 11. ("Lithographs") (Nos. 329, 326, 3 2 7 , 328) Pages 16, 13, 14, 15. ("Lithographs") (Nos. 333, 330, 331, 332) Pages 20, 17, 18, 19. ("Lithographs") (Nos. 3 3 7 , 334, 335, 336) Pages 24, 21, 22, 23. ("Lithographs") (Nos. 341, 338, 339, 340) Pages 28, 25, 26, 27. ("Lithographs") Nos. 345, 342, 343, 344) Pages 32, 29, 30, 31. ("Lithographs") (Nos. 349, 346, 3 4 7 , 348) Pages 36, 33, 34, 35. ( " W o o d - c u t s " ) (Nos. 353, 350, 351, 352) Pages 40, 37, 38, 39. ( " W o o d - c u t s " ) (Nos. 3 5 7 , 354, 355, 3 5 6 ) Pages 44, 41, 42, 43. ("Index") (Nos. 361, 358, 359, 360) Colophon, in red, 3 blanks. (No. 362)

The frontispiece, Lavanderas, measures 1 6 5 x 1 1 5 mm. (6V2 x 4V2 inches) and is printed in blue only. The text and illustrations are limited to a working area of 1 6 5 x 1 1 5 mm. (6V2 x 4V2 inches) on each page. (Traces of guidelines are seen on some). This main working area in each case is printed in black. Also in black are the page numbers, outside the working area. Printed in red are "Catalogue" and " J e a n

186

Chariot" on the title page. (Erased traces of the same words in black can be seen.) In red on the catalogue pages are the years, places, and first and last print numbers of each page. These are along the sides, outside the main working area. In the Index, catalogue numbers of color prints are printed in red. The entire colophon is in red, measuring 33 x 26 mm. (IV4 x 1 inch), the numbers in black ink. T h e present catalogue numbers follow the pages in numerical sequence. " I did the Catalogue on litho plates because I did not have to go to an outside printer, and there was a minimum of expense. I don't think I sold a single one; in fact I wouldn't know how to sell them. I take myself seriously and think there should be a record. It was planned in such a way that we could do the whole job directly on the Multilith press. I had tried text on some of the Cane School folders and knew it could be done. Later on, when the school folded and we were free-lance, Carman opened up his own small printing shop, Harbor Press. For some time also he was the printer-in-residence at the Metropolitan Museum. He was a very imaginative printer—and that's what some guys at the Metropolitan objected to. T h e y said everything should be automated. So Carman left and did a series of art publications on his own. I like catalogues raisonnes. Beside this, I published one about the portraits of Kamehameha [Jean Chariot, Choris and Kamehameha, Honolulu, Bishop Museum, 1958]. It's a quirk I've had all my life." (JC 1 9 7 1 ) The planning, drawing, and printing of the Catalogue extended over several years, as evidenced by the diary entries. J C Diary: July 30, 1 9 3 3 . " W i t h Z. arrange a catalogue of my prints." July 12, 1 9 3 4 . "Sketches for catalogue of all the lithos and woods." March 20, 1936. " S c h o o l : began catalogue of prints." Continued March 21, 22, and 23. August 11, 1936. "Continue work on catalogue." August 15. " S c h o o l : W o r k at my catalogue." August 21. " S c h o o l : Draw print catalogue." Continued drawing August 22, 23, 24, and 25. October 13, 1936. "Carman press. Print catalogue!" October 14. "Continue catalogue." March 3 0 , 1 9 3 7 . " A t Carman. W o r k on catalogue, red plate." October 1, 1937. " A t Carman, Harbor Press. Finish draw catalogue!" October 9, 1937. " G e t catalogues at Harbor Press ( 3 0 ) . "

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only state 363. T W O FRENCH PEASANTS 1 9 3 6 . New York. Illustration for an article, "France at the C r o s s r o a d s / ' b y John R. Tunis, Scribner's Magazine, vol. 50 (November 1 9 3 6 ) , pp. 2 6 - 2 9 . Drawn lithographically and reproduced in halftone (of good quality) on p. 27 of the article. Caption: " T h e y ask only to be left in peace to earn their living." Lithograph on aluminum, offset, Multilith. 1 8 2 x 1 9 0 mm. (7V4 x 7V2 inches). T h e halftone reproduction is slightly smaller: 1 7 7 x 1 8 4 mm. (7 x 71/4 inches). N o states. Three proofs in artist's collection, one touched up in ink. No edition. " A few p r o o f s " (JC card). Printer: JC. Drawing in blue ink over erased pencil, the size of the lithograph.

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from a reproduction 364. BLUM N o proof known. Reproduction (p. 28 of the article) measures 75 x 63 mm. (3 x 2V2 inches). 365. DORIOT No proof known. Reproduction (p. 28 of the article) measures 67 x 71 mm. (2V2 x 2 % inches). 366. CHIAPPE No proof known. Reproduction (p. 29 of the article) measures 70 x 45 mm. (23/4 x 1 3 A inches). 367. HERRIOT No proof known. Reproduction (p. 29 of the article) measures 65 x 68 mm. (2V2 x 2V2 inches). 368. THOREZ No proof known. Reproduction (p. 29 of the article) measures 76 x 55 mm. (3 x 2Vi inches). 198

" T h e y just asked me to illustrate the article, probably because I was French. Since I was drawing on zinc all those heads for Belloc, I did these lithographically, too. It seemed easier than drawing on paper! T h e y were printed on the Multilith—just enough copies to bring some to the magazine. T h e lithos were probably a little larger than the reproductions. I remember I could cut them in quarter-sheets, whatever the sheet size w a s . " (JC 1 9 7 1 ) T h e article is a speculative piece on the Blum government and the political future of France. Chariot is mentioned only in a credit line at the lower right of

Two French

Peasants.

J C D i a r y : September 18, 1 9 3 6 . " P r e s s : job Scribner's, four portraits [sic]." September 22. " B r i n g the litho drawings to Scribner's pm. Press: Scribner's."

first edition 369. BABY O N CHAIR 1936. New York. Color lithograph on aluminum, offset, Multilith. 257 x 205 mm. (10 x 8 inches). Colors: A. warm brown (1) or gray brown (2). B. reddish brown (1) or bright red (2). C. blue gray (1) or bright blue (2). D. greenish yellow (1) or olive (2). States: A and B. Only one state each. C-l. No printer's initials. C-2. " A C i m p . " added lightly at lower left of picture. D-l. Heavy yellow shading on background at upper right, mostly blending with other colors. D-2. M o s t of this shading removed from upper right. Proofs: A / B / C - l / D - 1 . First edition. Colors noted above. A / B / C - 2 / D - 2 . Second edition. Colors noted above.

J C has one proof of A in warm brown with pencil hand-work, and one complete set of progressives of the second edition print. Mrs. Norma M a r k s has the following printer's proofs of the first edition: two of A, one of A / B , three of C - l , one of B / C - l , two of A / B / C - l , three of C - l / D - 1 , and four of B / C - l / D - 1 , and five complete sets of progressives of the second edition. While the individual color and plate differences are notable between the two editions, the visual difference is slight. First edition: "Approximately 15 trial p r o o f s " (JC card). Second edition: Unknown, but 65 prints have been counted. Printer: Carman. " I was interested in the colors, but as soon as it came off the press, I disliked it heartily. So I never troubled with it very much. It has been popular, however. I have sold a few, though there was no edition." (JC 1 9 7 1 ) J C Diary: October 20, 1936. " P r e s s : begin litho Baby on C h a i r . " October 21. "Second color: B a b y . " October 23. "Finish Baby on Chair in four colors."

199

published state 370. CHURCH UNITY OCTAVE 1936. New York. Alternative titles: Saint Peter and Saint Paul; Peter's Barque. Color lithograph on aluminum, offset, Multilith. 230 x 305 mm. (9 x 12 inches). Colors: A. buff. B. blue. C. red. States: A - l . Halos of both saints are solid arcs. One proof with blue, red, and black hand-work. Three proofs of A - l / B , of which one has red crayon hand-work. One proof of A - l / B / C . A-2. Both halos covered with white scratching to reduce intensity. B. Only one state. One proof. C. Only one state. Edition: 7,500 total, of which 6,600 were for a maga-

200

zine insert (not identified) and 900 for posters, also ca. 15 trial proofs ( j C card). Printer: Carman. Drawing in pencil and ink the size of the print. "Father Fisher was very actively ecumenical at that time, trying to bring together different denominations for a conference. Some of these lithos were used as window posters, but most of the proofs I have seen were folded. It is Peter and Paul on the barque of the apostles, the fish being people caught in the net of the church." (JC 1971) JC Diary: October 24, 1936. " S e e Father Fisher of St. Paul Guild a propos poster." October 30. " D r a w ing for Fr. Fisher." October 31. "Second drawing for Fr. Fisher. He approves." November 3. "Press: Begin Fr. Fisher poster, Peter's boat. Buff." November 4. "Continue. . . . Blue." November 6. "Third color. . . . "

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371. ANGEL W I T H SHEET (shaded) 372. ANGEL W I T H SHEET (line) 373. POSADAS 374. MADONNA 1936. New York. Christmas cards for Blanche Bonestell Gallery. Lithographs on aluminum, offset, Multilith. Four subjects on one plate, printed in purple (mauve). Uncut sheet measures 228 x 305 mm. (9 x 12 inches). Following sizes include texts: No. 371: 100 x 137 mm. (4 x 5Vz inches). No. 372: 100 x 137 mm. (4 x 5ty2 inches). No. 373: 100 x 140 mm. (4 x 5V2 inches). No. 3 7 4 : 122 x 100 mm. (4 3 k x 4 inches). No states.

375. ANGEL W I T H SHEET (line) II 376. POSADAS II 377. M A D O N N A II 378. ANIMALS KNEELING 1936. New York. Christmas Cards for Blanche Bonestell. Lithographs on aluminum, offset, Multilith. Four subjects on one plate, printed in purple (mauve). No states. No proofs are now known. The subjects are presumably similar in size and style to the preceding group. Data are from the JC card. Edition:Ca. 200. Printer: Carman. JC Diary: November 14, 1936. T r e s s : Christmas cards for Blanche redone."

No edition. "A few printed" (JC card). JC has one uncut sheet of four, two extra of no. 373, and one extra of each of the others. Printer: Carman. JC Diary: November 13, 1936. 'Press: Samples for Blanche."

201

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379. SANTA CLAUS DRINKING FROM A TUB 1936. New York. Christmas invitation for Marvin McCord Lowes. Color lithograph on aluminum, offset, Multilith. Picture: 131 x 125 mm. (5^4 x 5 inches); including text: 194 x 125 mm. (7% x 5 inches). Colors: A. red. B. blue. No states. Edition: Ca. 500. Printer: Carman.

380. CUPID ON REINDEER Ca. 1936. New York. (Date estimated, based on style.) Christmas card, probably a Sheed & Ward commission. Lithograph in light blue (probably on aluminum, offset). 110 x 148 mm. (4V2 x 6 inches). No states. Edition: Unknown, probably several hundred. Printer: Carman, probably. "That is a lithograph. I wish you'd forgotten that one. I suppose it was done in the 1930s with Carman. That little old-fashioned house was my image to represent Sheed & Ward. You'll see it in a number of drawings done for them at that time." (JC 1971.) No corresponding diary entry has been found.

" I hoped I had destroyed all my proofs of that thing." (JC 1971) JC Diary: December 1, 1936. "Press: Christmas card for Lowes." Mr. Lowes was the managing editor of the publisher, Sheed & Ward, for whom JC had illustrated Characters of the Reformation, among many other publications.

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202

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381. ADORATION OF THE CHILD 382. MADONNA 1936. New York. (An example of "Madonna" sent to Zohmah Day [Chariot] is dated December 22,1936.) " M y Christmas cards, 1 9 3 6 " (JC card). Lithographs on aluminum, offset, Multilith, printed in black. No. 381: 77 x 115 mm. (3 x 4V2 inches) without text. No. 382: 116 x 90 mm. (4V2 x 3V2 inches) without text. No states. Edition: Ca. 300. Printer: "Cane School," probably by JC. No diary entries.

only state 383. A B S T R A C T (after Carlos Merida) 1936. New York. Catalogue for an exhibition of Carlos Merida's work. Color lithograph on aluminum, offset, Multilith. D e sign: 1 3 5 x 1 1 8 mm. (5x/4 x 4V2 inches). T h e lettering was drawn by Albert Carman. Colors: A. black. B. red. No states. O n e proof. Edition: Unknown, probably several hundred. Printer: Carman. " M e r i d a was in Mexico, the show in New York. This is an attempted facsimile of his work, one of the gouache drawings that were exhibited. It is a tribute to a man whose work I very much admire." (JC 1 9 7 1 ) J C D i a r y : December 2 7 , 1 9 3 6 . " W r i t e foreword for Merida's s h o w . " December 29. " P r e s s : Lunch with Carman. Draw, print, and goof Merida catalogue." December 30. " P r e s s : Merida catalogue." December 31. " P r e s s : get the Merida catalogues and bring them to Georgette Passedoit (Gallery). W e fold t h e m . " January 2, 1 9 3 7 . "Airmail catalogues to M e r i d a . " January 4. "Fold catalogues at Passedoit." January 5. " A t Passedoit. Help with Merida catalogues." January 6. " H e l p with Merida catalogues." January 9. " A l l day help hang Merida s h o w . " January 11. " O p e n i n g Merida."

203

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384. F A T H E R D A M I E N (large) 385. F A T H E R D A M I E N (small) 1 9 3 7 . N e w York. T w o color lithographs on one set of aluminum plates, offset, Multilith. N o . 3 8 4 : 2 1 8 x 1 5 3 m m . (8V2 x 6 inches). N o . 3 8 5 : 1 2 7 x 1 0 8 m m . (5 x 4V2 inches). C o l o r s : A. sanguine. B. black. C. blue. States: Aa. First plate of faces. Five p r o o f s of the p a i r : two with h a n d - w o r k in b l a c k ink on no. 3 8 4 o n l y ; three with h a n d - w o r k on b o t h , in b l a c k ink and blue or red crayon. ( T h e illustrated e x a m ple of A a of no. 3 8 4 has only some slight red shading on the b a c k g r o u n d to the left of the head, the rest being lithographed. T h a t of A a of no. 3 8 5 , f r o m another pair, has no h a n d - w o r k . ) A b . S e c o n d plate of faces. O n e proof of the pair (illustrated), no h a n d - w o r k . B.

N o separate proof. O n e of A b / B of no. 3 8 4 only. C. N o separate proof. T h i s plate is the b a c k g r o u n d tone only. E d i t i o n s : T h e two lithographs were published in the b o o k , Damien the Leper, b y J o h n Farrow. T h e first edition (Sheed & W a r d , N e w Y o r k , 1 9 3 7 ) contains A a / B / C of no. 3 8 4 as a tipped-in frontispiece. N o . 3 8 5 is believed to have b e e n a tip-on illustration for the dust jacket, but no example has b e e n seen. J C ' s file card n o t e s : " r e d plate no. 1 - 9 0 0 0 ? " and only a " ? " for red plate no. 2. T h e publisher's records for this period have been destroyed b y fire. It is estimated that the Aa plate was used for the first three printings of the b o o k for J C ' s diary entry, " D a m i e n N o . 2 , " precedes the fourth printing of A u g u s t 1 9 3 7 . ( T w e n t y printings by Sheed & W a r d b e t w e e n M a r c h 1 9 3 7 and M a r c h 1 9 5 1 are recorded in the p a p e r b a c k edition b y Image B o o k s , N e w Y o r k , 1 8 t h printing, February 1 9 7 0 . ) T h e tenth printing of O c t o b e r 1 9 4 1 contains A b / B / C of no. 3 8 4 , with all color plates very worn (no dust jacket seen). T h e eleventh printing of S e p t e m b e r 1 9 4 2 has a h a l f t o n e

reproduction in sanguine and blue ( 1 8 7 x 1 2 7 m m . , 7V4 x 5 inches), which derives from no. 3 8 4 , but of poor quality. T h e same photomechanical reproduction has b e e n seen on an undated dust jacket. T h e English edition, published b y B. O a t e s & W a s h b o u r n e , London, 1 9 3 7 , does not have the Chariot lithographs. It seems likely that the second ( A b ) plate was made necessary solely b y wear in A a , not b y the g h o s t - i m a g e procedure that was used for Characters of the Reformation. T h e artist drew both A plates very heavily to allow for wear. Nevertheless, the wear and spreading are notable in all plates, and C h a r i o t ' s work can be well appreciated only in early impressions. Incidentally, an example of no. 3 8 4 in A a / B / C kindly supplied by Sheed & W a r d has the A a in green. T h i s appears to be a color change caused by its having b e e n a long period in direct sunlight, and not an artistic variant. T h e measurements given above are of the entire image as printed on proof sheets, including the rough edges of the B and C plates. T h e b o o k frontispieces are trimmed to the page size of 2 1 0 x 1 3 9 m m . (8V4 x 5V2 inches). J C has two p r o o f - s h e e t pairs of A a / B / C , and thirty-five pairs of A b / B / C , all of which appear to be printer's waste, and the b a c k s of which were subsequently used for printing trials of Carmen key-plates. P r i n t e r : C a r m a n . " T h i s was done for Sheed on C a r m a n ' s offset press, the same press we used for the Belloc b o o k . I guess it was my first contact with Hawaii. A m a n who had taken a photograph of D a m i e n sued S h e e d & W a r d , saying I had copied his photo. Sheed preferred to pay him, about $ 3 5 0 , I think, so there would be no public court case. Actually, of course, it is made from quite a n u m b e r of portraits of D a m i e n , and I told Sheed it was quite u n f a i r . " ( J C 1 9 7 1 ) J C D i a r y : February 2 3 , 1 9 3 7 . " D r a w Fr. D a m i e n for S h e e d . " M a r c h 2. " P r e s s , C a r m a n . D r a w Damien. Finish 5 : 3 0 pm. G o o d . " July 6 , 1 9 3 7 . " L u n c h with C a r m a n . Litho Fr. D a m i e n N o . 2 . "

386. HEAD W I T H R E B O Z O 1937. New York. (April 1 9 3 7 on J C card). Color lithograph on aluminum, offset, Multilith. 187 x 221 mm. (71/2 x 83/4 inches). Colors: A. brown. B. blue. No states. Edition: SO. Printer: Louise Schiffer (Cane School). "Carman was away and Louise Schiffer, who was secretary at the Cane School, volunteered to print it." (JC 1971) There appear to be no diary entries.

only state

only state

387. L A V A N D E R A S (horizontal) 1937. Chicago. Lithograph on stone. 195 x 305 mm. (73A x 12 inches). No states. Edition: 15. Printer: " P a l u m b o " (JC card). J C Diary: May 2, 1937. " A t Eli Zimmer. Draw litho." " I was passing through Chicago, and somebody 206

told me he knew a litho printer—I never met h i m — and when the thing was printed, I was not too happy about it. I don't feel it is as close to my drawing as other prints. I'm rather sensitive to printing quality. Eli Zimmer is the same girl at whose place I drew the two square subjects [nos. 388, 389], She is a good painter and had a one-man show at the Chicago Art Institute." (JC 1971)

388. LAVANDERAS (square) 1937. Drawn in Chicago. Printed in Los Angeles. Lithograph on stone, printed in either black, brown, green, or blue. 268 x 257 mm. (IOV2 x 10 inches). No states. Most proofs are on a rough brown mulberry paper of good quality. The number of proofs in each color is not known. Edition: 40. Printer: Kistler. "This was a stone that Eli Zimmer had all ready for me. Kistler printed it, and I think it is one of his best things. It's very beautiful. I worked on both sides of the stone." (JC 1971) Lynton R. Kistler (1971): "I asked Jean to buy a stone for me. I remember having some trouble in printing it, but it turned out all right. The different colors were experiments. I prefer the black and the brown proofs." JC Diary: May 3,1937 (Chicago). "Draw two lithos for LRK, to send to Los1 Angeles." August 30 (New York). "Received lithos from K. The ones drawn in Chicago."

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389. TORTILLERAS (square) 1937. Drawn in Chicago. Printed in Los Angeles. Lithograph on stone, printed in either black, brown, or blue. 275 x 290 mm. (10% x IIV2 inches). No states. Most proofs are on a rough brown mulberry paper of good quality. Edition: 40. Printer: Kistler. Comments and Diary: See preceding print.

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390. LAVANDERA ALONE 1937. Ames, Iowa. Lithograph on stone. 404 x 257 mm. (16 x 10 inches). No states. Edition: 20. Printer: Phillips. "In Ames, I had Dale Phillips' lithographic charcoal stick, which is one of the nicest lithographic tools I know. I wish I had some left. [See Appendix 2.] I went there to visit Lowell Houser, who was my roommate during our archaeological work in Yucatán. He was a painter and printmaker. He and I and Ann Morris did all the copies of the Mayan bas-reliefs and murals." (JC 1971) JC Diary: May 7, 1937 (Ames). "Draw litho Lavandera upright." May 10. "Dinner at Dale Phillips. Print litho. Good. To midnight."

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391. TORTILLA MAKER 1937. New York. Alternative title: Rest and Work. American Artists Group commission. Lithograph on stone. 347 x 224 mm. (13% x 83/4 inches). No states. Edition: Unlimited. Printer: Miller. "Zigrosser asked me for this. It was a regular Miller job—clean edges and clear rendering." (JC 1971) JC Diary: June 29, 1937. "At litho shop Miller." June 30. "At Miller. Draw litho." July 20. "Miller 1:30 pm. print Rest and Work."

only state (first edition)

392. M A Y A N H E A D (profile) 1 9 3 7 . New York. Color lithograph on aluminum, offset, Multilith. 1 3 8 x 1 1 9 mm. (5V2 x 43A inches). Colors: A. brown. B. blue. No states. O n e proof before lettering. First edition: O n catalogue of Artist Color Proof Associates, New York, October 1 9 3 7 , with typeset text in black below picture, " C A T A L O G U E / First showing of proofs. . . . " Second edition: Plate deteriorated, tones run together and blotchy, on catalogue, February 1 9 3 8 , with handwritten (by Carman) lithographed text: "Artist Color Proof Associates" above picture, more text below. Both shows at Charles L. Morgan Galleries, 1 0 6 East 57th Street, New York. Edition: Ca. 5 0 0 in first edition (JC card), probably an equal number in second edition. Printer: Carman. " M o r g a n tried to get together with Carman so that a number of artists would do color lithographs on Carman's Multilith press. T h e n he would make a show of the group. It was not a commercial success. T h e reprinting of the Head was a mess because those plates oxidize so quickly." (]C 1 9 7 1 ) J C D i a r y : October 1, 1 9 3 7 . " A t Carman, Harbor Press. . . . Head for catalogue of print show." J C ' s accounts show a cost of $ 2 4 . 3 0 for " C a r m a n litho printing and paper" for this catalogue (December 8, 1 9 3 7 ) .

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393. COOKING LESSON 1937. New York. Catalogue for Chariot exhibition at Charles L. Morgan Galleries, New Y o r k , November 8 - 2 7 , 1937. Lithograph on aluminum, offset, Multilith, printed in reddish brown, with typeset text in black. Picture: 97 x 95 mm. (33A x 3 % inches); with name: 113 x 95 mm. (4V2 x 33/4 inches). No states. Edition: Ca. 500. Printer: Carman. 394. HAMMOCKS 1 9 3 7 . Los Angeles. Lithograph on stone, printed in black or yellowish green. 1 9 9 x 2 8 2 mm. (73A x 11 inches). States: 1. Rough edges. Perspective lines on floor extend beyond bottom edge of the picture. Part of the edition is in this state. 2. Edges trimmed straight, removing extended lines at bottom. Edition: 32, stated on the prints. " 2 0 black, 1 0 g r e e n " (JC card). Edition proofs of both colors are known in both states. Printer: Kistler.

first state

" T h i s was done in Los Angeles. It is one of the nicest prints. W e made some color proofs in a Nile green. There is a painting, which Edward W e s t o n owned in Carmel, but I think it was done after the lithograph." (JC 1 9 7 1 ) J C Diary: December 11, 1 9 3 7 . " A t K. Draw a litho." January 15, 1 9 3 8 . " A t K. W e print 'Hammocks.' "

395. FIRST STEPS (to the left) 1938. Los Angeles. Lithograph on stone, printed in black or blue. 232 x 325 mm. (9 x 123/4 inches). No states. The blue proofs are much paler than the black. Painting: Lynton R. Kistler collection. Edition: 33, stated on the prints. " 1 6 black, 16 blue" (JC card). Printer:Kistler. " W e did some in a very light blue, perhaps too light." (JC 1971) JC Diary: January 15, 1938. " A t K. . . . Draw and print 'First S t e p s . ' "

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396. REST AND W O R K 1938. Los Angeles. Lithograph on stone. 207 x 295 mm. (8 x IIV2 inches). No states. (Only black proofs are known.) Edition: 31. Printer: Kistler. JC Diary: January 2 2 , 1 9 3 8 . " A t K. Draw and print litho: Tortillera with child."

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397. BED-TIME 1938. Los Angeles. Alternative title: Coiffure. Catalogue for Chariot exhibition at Stendahl Galleries, Los Angeles, February 7 - 1 9 , 1938. Woodcut, printed in black on yellow paper; text typeset. Picture: 102 x 99 mm. ( 4 x 4 inches). States: 1. Frameline solid on right side. One proof. 2. Frameline cut away at lower right. Line removed at base of woman's right arm. Edition: Unknown, probably several hundred. Block lost. Printer: Unknown (press-printed).

published state

" I made a woodcut because it was nice to have something original as a souvenir of the show." (JC 1971) JC Diary: January 28, 1938. "Woodcut for the catalogue of my show." 398. CARGADOR 1938. Ames, Iowa. Etching. 175 x 125 mm. ( 7 x 5 inches) platemark. No states. One early "trial proof": Metropolitan Museum of Art. Edition: 34, printed in 1972. "Three proofs?" (JC card). Plate: JC. Printer (of early and edition proofs): Phillips.

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JC Diary: June 21, 1938. "Arrive Ames 8 pm. Evening at Dale Phillips. Do an etching." JC had not seen Phillips for many years when contact was reestablished in 1972. Phillips discovered this plate among his effects (but no early proof). He printed the edition, and sent the prints and plate to the artist. 399. FATHER D O N O V A N 1938. New York. Lithograph on aluminum, offset, Multilith. Picture: 110 x 94 mm. (4JA x 33A inches). No states. Edition: 60. Printer: Carman. "This was to please Dr. Metcalf, a nice old lady in Los Angeles who had opened the Thomas More Library. The model was a missionary who had been martyred somewhere in Oceania. There was talk of his being beatified. The lady wanted to distribute the picture for pious purposes. She gave me a snapshot, which I copied as best I could. She did not like it too much. Later I visited her, and she had that thing in a little frame. She had forgotten that I did it. She said, 'It's not very good. I would have preferred a photograph.'" JC Diary: August 18, 1938 (New York). " A t Carman. Litho Father Donovan (for Zohmah)." August 19. "Mail edition Fr. Donovan." Letter to Zohmah Day, November 1 0 : " I understand my Maryknoll Martyr was turned down by the fathers."

FATHER,

A

ttOHOVAw.

- n •>» •

only state 400. HENRY VIII (fourth version) 1938. New York. Characters of the Reformation, dust jacket for later edition. Lithograph on aluminum, offset, Multilith. Size unknown. No proof known. Edition: Unknown. Printer: Carman. JC Diary: September 28, 1938. " A t Carman. Draw new plate Henry VIII for cover Belloc book." The diary entry is the only evidence presently at hand for this subject. It is not clear if this is an entirely new design or a second color plate (Ab) for the earlier two-color dust-jacket illustration, no. 316. Also, whereas no. 316 is a two-color lithograph, confirmed by the entry in JC's Catalogue, the corresponding card in JC's file says: "in black on paper cover for American edition." 211

401. TORT1LLERAS 1938. New York. Color lithograph on aluminum, offset, Multilith. 307 x 231 mm. (12 x 9 inches). Colors: A. heavy buff. B. red. C. blue. D. greenish yellow. E. purple. States: A-l. Heavy lines on arms and dresses, including vertical line on upper tortilla. O n e proof, unprinted at top, with heavy lines circled in pencil. A-2. Heavy lines removed from arm and dress of front woman, and from arm, dress and tortilla of rear woman (the same lines circled in the proof of A - l ) . O n e proof. B, C, D , and E. No states. T w o complete sets of progressives: J C , Mrs. Norma Marks. A color lithograph by Albert Carman of a dancing woman appears on the verso of several proofs. Edition: Unknown. Six sets of progressives (Carman note). Printer: Carman. See also Color Plate 8. " T h a t ' s one of the best offset color lithographs." (JC 1 9 7 1 ) J C Diary: September 28, 1 9 3 8 . " A t Carman. . . . Began a litho for Morgan [i.e., for the Artist Color Proof Associates]." September 29. "Continue litho." October 10. " A t Carman. Draw litho, three tortilleras, plate 2 . " October 18. " A t Carman. Finish litho (plate) 2. Print buff and red." October 20. " A t Carman. Litho color 3 . " October 21. " P r i n t color 3, blue." October 28. " A t Carman. Litho plate 4 . " November 9. " L i t h o Tortilleras, colors 4 and 5. Finished."

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published state

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first state 402. FIRST STEPS 1 9 3 9 . Iowa City. Lithograph on stone. 276 x 205 mm. (10 3 A x 8 inches). Stonemark (visible on all proofs): 3 2 0 x 2 5 2 mm. (I2V2 x 10 inches). States: 1. Before lettering. Two proofs. 2. " J e a n Chariot Iowa 1 9 3 9 " added at lower left. Slight additional shading below child. Five proofs. No edition. T e n proofs printed. Printer: MacCray.

403. F I R S T S T E P S (to the right) 1939. Iowa City. Lithograph on stone. 2 0 2 x 2 7 2 mm. (8 x 103/4 inches). No states. Edition: 11. Printer: MacCray. J C Diary: July 24, 1939. " L i t h o : First Steps." July 26. "Print litho with M a c C r a y . "

" T h a t summer I was at the University of Iowa. W e were married in M a y of that year, so Zohmah came to Iowa City with me. I was doing a fresco and had a fresco class. T h e r e was a summer graphics class where I did this stone, with Dale Phillips' charcoal stick, I think. M a c C r a y was the instructor. Grant W o o d was around and very intrigued by what I was doing. I gave him one of these two Iithos." (JC 1 9 7 1 ) J C Diary: June 2 7 , 1 9 3 9 (Iowa City). "Litho keyplate for a three-color." June 30. "Continue litho: First Steps upright." July 10. " L i t h o with M a c C r a y . " Only the black stone was ever done for this print. T h e last entry may pertain to the following print. 213

404. N A T I V I T Y (sketch) 1939. New York. Christmas card. Lithograph on aluminum, offset, Multilith, printed in brown or pink. 160 x 131 mm. (6 x k x S^k inches). States: 1. Design complete. No signature. Two proofs in brown. 2. "Jean Chariot" added at lower right, " A C imp." at lower left. Three proofs in pink. Edition: Unknown. Printer: Carman.

first state 405. N A T I V I T Y (line) 1939. New York. Christmas card. Color lithograph on aluminum, offset, Multilith. 140 x 115 mm. (5V2 x 4V2 inches). Colors: A. brown (lines). B. light blue (rays). No states. One proof. Edition: Unknown. Printer: Carman.

406. N A T I V I T Y IN HUT 1939. New York. Christmas card. Color lithograph on aluminum, offset, Multilith. No proof known. Edition: Unknown. Printer: Carman. JC's file card has the following data: " 3 Christmas cards / a) rough sketch Nativity (1 color) / b) same group line (2 color) / c) Nativity in hut (2 color) / offset Carman imp." The two subjects illustrated are presumed to be the first two on the card (the artist does not recall), because they match the descriptions, are lithographed, and have Carman's chop. The third card is not known. JC Diary: October 5, 1939. " A t Carman. Do two [sic] Xmas cards." October 23. " A t Carman: Xmas cards. Bring them to Blanche Bonestell." December 18. "am. Draw Xmas cards." The last entry may refer to drawings, not lithographs.

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- f e

CARMEN (by Prosper Mérimée) Drawn in New York, November 4, 1939, to January 8, 1940 (see JC Diary below). Published by the Limited Editions Club, New York, 1941, the English translation by Lady Mary Lloyd, with an introduction by Konrad Bercovici. Color lithographs on aluminum, offset, Multilith. Two to seven colors each. Printer of the lithographs: Carman. Edition: 1,500 (confirmed by the publisher). Chariot began his work in 1937, with sketches in pencil and watercolor. One pocket-size sketchbook, now disbound, has mostly drawings of period costumes, many deriving from books in the Los Angeles Public Library. Another, now rebound (292 x 229 mm., llVz x 9 inches), has preliminary drawings for most of the subjects. A third source is a pad of tracing paper (295 x 227 mm., IIV2 x 9 inches) with numerous pencil drawings, testing various compositions for each subject. Apparently the accepted version of each was then traced in India ink for his final key drawings. Then, between February 22 and April 2, 1938, he made a series of twenty oil paintings, the same size as the lithographs, of the major subjects. There are thirty-four illustrations altogether. The prospectus for the book ("The Monthly Letter of the Limited Editions Club," no. 132, April 1941) mentions thirtyseven, but there is no evidence that this is anything but a simple error. In November 1939, the line key drawings were placed photomechanically onto zinc lithographic plates, two per plate. The artist still has all thirty-three key drawings (no. 408 did not use one) and proofs from the unchanged (A-l) plates, identical to the drawings. The key designs were then printed on the color plates. In almost every case, the artist then revised the plate, removing contour lines, framelines, and so forth, which were needed only for the color registration. They then became part of each final design. Chariot next drew all his colors directly on the zinc plates. They were printed as he proceeded, in a manner analogous to that of the Picture Book. He and Carman did not use their special method, as in Characters of the Reformation, of drawing the colors consecutively on the same plate, erasing each after it was printed. As they worked, they printed the lithographs in a small number of proofs, probably no more than ten each. The subjects were arranged in pairs, sideby-side on the plates. These proof pairs are on a cream laid paper, with chain lines 23.5 mm. apart, the sheets 278 x 430 mm. (11 x 17 inches) in size. There is no printed text on any of the proofs. The subjects are catalogued here in the order in which they appear in the published book, and the proof pairs are indicated in each case. The quantities of proof impressions given are those that remain in the artist's collection.

Although the same plates were used in printing both prints of a pair, they did not necessarily both have the same colors; that is, the two images on one plate were sometimes inked in different colors, then printed in one run through the press. This split-fountain inking, plus the large number of plates, allowed an unusual diversity of color combinations. Carmen, for instance, has even more color variety than Picture Book, which had eight subjects per plate and was limited to the same set of colors for each of the eight. In fact, every subject in Carmen has a separate and individual blend of colors. The differences between the colors of a pair are noted under the catalogue entries for the second subject of each pair. The final layout of the book was entirely different from that on which Chariot and Carman had planned. In the edition printing, which was done in February and March of 1941, the new layout did not permit the lithographs to be printed in pairs as they were drawn (except possibly nos. 408 and 409). Instead, they were printed singly, with the second subject blocked off with paper or uninked. The press was large enough to allow the paper to be positioned correctly under the plates. The pairs given for the published edition refer to those on each two-page sheet, as bound, but do not refer to paired subjects on a plate. The artist recalls the method clearly, and that the plates were not cut in half. The colors used in the edition printing are the same as the proof colors of fifteen months earlier. Chariot and Carman mixed full amounts of dry pigment at the beginning and kept them in paper bags until used. The one major difference is that in the proofs the keyplates were printed first, and are thus beneath all the other colors. In the edition, the key-plates were printed last, and are on top of the colors. In actual appearance, the visual distinction is slight, because the colors are transparent. The key-plates are catalogued as color " A " in all but nos. 409 and 419. Wear is apparent in very few of the plates, the last impressions being almost identical to the earliest. The paper was made especially for this edition by the Worthy Paper Company. It is a white laid paper, chain lines 24.0 mm. apart, and is watermarked " C A R M E N " at wide intervals. The text (relief-printed) is set in 18-point linotype Bodoni and was printed by Aldus Printers of New York. The colophon of each book was signed by Chariot. The page size is 279 x 215 mm. (11 x 8V2 inches). The text was printed on the edition sheets before the lithographs. No proofs at all are known of the lithographs in their edition state but without text. The titles given here are Chariot's own working titles and do not fully reflect the direct application of each illustration to the characters, incidents, and milieu of the story. A reading of the book discloses, for example, that the Mandolin Player, no. 413, is Don José,

215

and that Cigarettes, no. 4 1 7 , depicts a meeting between Carmen and the author. Three sets of progressive proofs were printed and bound: J C , Mrs. Norma M a r k s , Metropolitan. There are only the most minor differences among them. These progressives were printed at the time of the first proof printing. T h e y have been invaluable to the compiler in determining the separate colors of each lithograph and the sequence in which they were printed. Chariot also has assorted progressive proofs on separate unbound sheets. N o special note has been made of these unless they differ in some way from those in the complete bound set. " A t first I wanted to do it with Kistler, with whom I had done the Picture Book, but that came to nothing. Perhaps his price was too high. W h e n I returned to New Y o r k , the natural thing was to do it with Carman. T h e n in the middle of the job, Macy tried to get out of it entirely. He didn't like my things terribly much. Once he phoned me and said, 'How is it coming?' I said, ' W e l l , it's going to be the most beautiful printing job in color lithographs ever done in the United States.' 'No, no,' he said. 'I don't mean that. I know the printing is good, but I'm worried about your art.' " I made drawings from books in libraries, particularly costumes. T h e oils were blueprints for my colors. T h a t does not mean I painted them one color at a time. I just did a nice little picture, the size of the print, and then analyzed it in terms of my lithographic colors. T h e key plates were photographic. I drew them on plain paper with a clean India ink line, and they were photographed and placed on sensitized plates. I was a bit annoyed that part of the process was photographic, but it had to be exact, so it had to be mechanical. T h e key-plates needed to be very clear, given the small scale of the images, so that we could put in six or seven tones and keep them within the lines. It is the small scale which decided the style of the lithographs, more than anything else. " W e had the images two-by-two on the plates. T h e entire job was printed on Carman's little Multilith press. Again, the Multilith people descended on us, trying to learn our 'secret.' W e pulled the whole set as proofs first. T h e n we reconstructed them later, from the same color plates, when we pulled the edition of 1 , 5 0 0 . " (JC 1 9 7 1 ) J C Diary and Correspondence: T h e file begins with a letter from Chariot to George M a c y , founder and director of the Limited Editions Club, received on August 19, 1 9 3 5 . " D e a r Sir: Would Prescott's 'Conquest of M e x i c o ' be considered as a possible choice for the illustration contest? I understand that J. B. Neumann showed you a book of chromolithographs of mine and that it did interest y o u . " (The compiler is most grateful to Mrs. George M a c y and the Limited Editions Club for making available copies of all the

216

letters in their files.) T h e club was evidently sponsoring a competition for book illustrators. M a c y replied (August 20) with enthusiasm for Chariot's Picture Book, but not for the Prescott. Chariot thanked him and hoped they could agree on a subject. Nothing further was done for two years. T h e n when Chariot suggested Carmen, M a c y said, " W e leaped upon the suggestion" ( " T h e M o n t h l y Letter of the Limited Editions C l u b , " no. 1 3 2 , April 1 9 4 1 ) . J C Diary: October 7, 1 9 3 7 . " S e e George M a c y . Arrange illustrate Carmen of M é r i m é e ! " M a c y confirmed the agreement in a letter the following day, and asked Chariot to submit a plan for the lithographs to be printed by Lynton R. Kistler. J C D i a r y : October 19, 1 9 3 7 (Los Angeles). " S e e L. R. Kistler. W e talk of b o o k : Mérimée's C a r m e n . " October 26. " L . R. K. See books in view of C a r m e n . " November 1. " L . A. Library. Study Carmen. Drawings. Sterner book on costumes." November 2. " L . A. Library. Study costumes C a r m e n . " November 3. " D i n ner with Kistler. Talk of the b o o k . " December 9. "Kistler visits. Dummy for b o o k . " December 10. " D u m m y b o o k . " December 16. " K . here. All the sketches for C a r m e n . " December 18. "Finish dummy for C a r m e n . " December 20. " D o a second set illustrations Carmen. K. visits." December 22. " M a k e a duplicate of illustrations Carmen for Kistler." O n December 24, Chariot wrote to M a c y : " L y n t o n Kistler is sending you a first dummy containing color sketches for the Carmen illustrations. . . . I would like to keep the slightly gruesome ones as they are, if I may, because I think them to be in the Spanish v e i n . " He had planned the illustrations to be a maximum of 8 x 6 inches in size, and suggested that a small format, of a 9 x 7-inch page size, might be effective. M a c y replied (December 28), enthusiastic about the illustrations, but disagreeing with a small format. J C Diary: January 3, 1938. "Received letter from M a c y . He likes the dummy for Carmen. His letter to Kistler, though, not too good." In February, still in Los Angeles, Chariot started work on a series of twenty oil paintings of the more important Carmen subjects. J C D i a r y : February 22. " O i l study for Carmen no. 1 . " February 23. " C a r m e n oil no. 2 . " February 24. " C a r m e n oil no. 3 . " February 25. " C a r m e n oil no. 4 . " March 1. " C a r m e n oil no. 5 . " March 2. " C a r m e n oil no. 6 . " March 3. " C a r m e n oil no. 7 . " March 4. " B e g i n no. 8 . " March 6. " D r a w for C a r m e n . " March 9. " C a r m e n no. 9 . " March 10. "Finish no. 9 . " O n March 13, he wrote to M a c y : " I have been working for six months on color samples and key drawings. . . , and work can be started on the plates as soon as an agreement is reached. . . . I have enjoyed doing all the work up to now . . . , so it seems you made a good choice in bringing me and Carmen together." He continued work on the oils. J C D i a r y : March 14. " P a i n t Carmen 10 and 1 1 . " March 18.

" C a r m e n no. 1 2 . " M a r c h 20. " C a r m e n no. 1 3 . " M a r c h 23. " P a i n t C a r m e n 1 4 . " M a r c h 24. " P a i n t C a r m e n 1 5 and 1 6 . " M a r c h 26. " C a r m e n 1 7 , s k u l l . " M a r c h 2 8 . " C a r m e n 1 8 . " April 1. " C a r m e n 1 9 , b a t h . " April 2. "Carmen 20."

cept it. Prepare k e y plates for C a r m e n . " O c t o b e r 2 7 . " A t C a r m a n ' s . T e l e p h o n e M a c y . He accepts on the job. Plates prepared for C a r m e n line p l a t e s . " O c t o b e r 28. " P r e p a r e plates C a r m e n . " O c t o b e r 3 0 . " A t C a r man's. L i t h o : Prosper M é r i m é e . "

T h e s u b j e c t s of the twenty paintings are identified in a list in J C ' s files and are noted under their respective catalogue entries. O n April 8, M a c y wrote C h a r lot, explaining that he was unable to commission K i s t ler to print the book, finding his prices out of relation to those he was used to. Chariot replied: " A s y o u suggest, we will m a k e a new start on the b o o k w h e n I a m in N . Y . "

O n O c t o b e r 3 1 , M a c y wrote Chariot, confirming the agreement with him and C a r m a n . T h e work on the lithographs then began in earnest, lasting over the next two m o n t h s . J C D i a r y : N o v e m b e r 4, 1 9 3 9 . " C a r m e n . " N o v e m b e r 5. " D r a w i n g s C a r m e n . " N o v e m b e r 6. " A r r a n g e key drawings to be p h o t o g r a p h e d . " N o v e m b e r 1 5 . " A t C a r m a n . Print six key plates Carm e n . " N o v e m b e r 1 8 . " T h r e e more yellows d r a w n . " N o v e m b e r 20. " C a r m e n : print more key p l a t e s . " N o v e m b e r 2 1 . " D r a w four yellows C a r m e n . " N o v e m ber 2 2 . " A l l day, print C a r m e n . " N o v e m b e r 2 4 . " C a r men. D r a w two red p l a t e s . " N o v e m b e r 2 5 . " D r a w two m o r e . " N o v e m b e r 2 6 . " P l a n color printing for C a r m e n . " N o v e m b e r 2 9 . " A l l day, print C a r m e n , yellows and r e d s . " N o v e m b e r 3 0 . " A l l day, draw plates C a r m e n . Five color p l a t e s . " D e c e m b e r 5. " D r a w six C a r m e n color p l a t e s . " D e c e m b e r 6. " T h r e e color plates C a r m e n . " D e c e m b e r 7. " C a r m e n : p r i n t . " D e c e m b e r 8. " A t C a r m a n : C a r m e n . " D e c e m b e r 1 0 . " A t C a r m a n : draw five color plates C a r m e n . " D e c e m b e r 1 2 . " A t C a r m a n : prepare k e y plates. D r a w p l a t e s . " D e c e m b e r 1 3 . " A l l day C a r m e n . " D e c e m b e r 1 4 . " A t C a r m a n : print. Also draw four p l a t e s . " D e c e m b e r 1 5 . " D r a w four plates C a r m e n . " D e c e m b e r 1 6 . " D r a w six plates C a r m e n . " D e c e m b e r 1 7 . " D r a w four plates C a r m e n . " D e c e m b e r 1 8 . " C a r m a n : print. D r a w one plate. Picador finished." D e c e m b e r 1 9 . " a m : print, p m : bring proofs to M a c y . Finish: O n H o r s e b a c k , Inn, W o u n d e d . " D e c e m b e r 20. " P r i n t . D r a w four p l a t e s . " D e c e m ber 2 1 . " P r i n t . " D e c e m b e r 2 6 . " D r a w i n g C a r m e n . " D e c e m b e r 27. " D r a w plates C a r m e n . " D e c e m b e r 28. " A l l day at C a r m a n : print C a r m e n . " D e c e m b e r 2 9 . " C a r m e n two p l a t e s . " D e c e m b e r 3 0 . " C a r m e n one p l a t e . " D e c e m b e r 3 1 . " D r a w C a r m e n , four p l a t e s . " J a n u a r y 4 , 1 9 4 0 . " P r i n t C a r m e n . " J a n u a r y 8. " C a r men."

In J u n e 1 9 3 8 , Chariot returned to N e w Y o r k , via A m e s , Iowa. D i a r y : J u n e 2 9 . " S e e C a r m a n . Estimates j o b C a r m e n . " July 1 1 . " T o M a r c h b a n k s Press. Estim a t e on C a r m e n . " T h e former was for printing the color lithographs, the latter for printing the type. O n July 18, Chariot included both estimates and some trial pages of type in a letter to M a c y . " T h e color w o r k will be done on a small size p r e s s , " he explained, " t o assure an individual rendering of the color for each plate. . . . I personally favor the B o d o n i - B o o k type as giving a lighter page that will clash less with the color w o r k . " He also recommended K o n r a d Bercovici to write the introduction: " H e is a great authority on gypsy l o r e . " M a c y , h o w e v e r , was out of town (letter of July 2 9 ) and asked Chariot to postpone any action until his return. H e was strongly critical of the typography samples. (A Bodoni type was ultimately used.) Nothing more seems to have b e e n done until N o vember 2, 1 9 3 8 , when J C ' s diary records: " S e e M a c y . He tries to ' w a s h his h a n d s ' of C a r m e n ! " N o v e m b e r 15. " S e e M r . Fast [of the Limited Editions Club] to rearrange C a r m e n in a cheaper e d i t i o n . " O n J a n u a r y 1 8 , 1 9 3 9 , M a c y asked Chariot for new estimates. Chariot replied the same d a y : " Y o u r letter surprised me as you had told me that y o u intended to work out the estimates yourself. . . . I asked A l b e r t C a r m a n to send you both the previous estimate intended for the Limited Editions and a new much reduced estimate which would cover only the full page illustrations." C a r m a n ' s estimate (same date) includes quotations b o t h for " 1 , 5 0 0 each of 3 5 original lithograph illustrations printed in 6 to 7 c o l o r s " and also for " 5 , 0 0 0 each of 8 original lithograph illustrations printed in 6 to 7 c o l o r s " ( J C files). T h e next word is in a letter from M a c y to Chariot in Los A n g e l e s , J u n e 8 , 1 9 3 9 . T h o u g h it deals mostly with the process illustrations that Chariot had just completed for the Limited Editions C l u b ' s Henry the Sixth, Part III, M a c y added that he would like to discuss Carmen again when Chariot returned to N e w York. J C D i a r y : O c t o b e r 2 4 , 1 9 3 9 . " 1 1 : 3 0 am. See M a c y a propos C a r m e n . A r r a n g e p r o o f i n g . " O c t o b e r 26. " T e l e p h o n e M a c y estimate for proofing. D o e s not ac-

T h e plates, with very minor exceptions, were now completed, and the short run of proofs had been printed of each subject, as noted in the catalogue entries. O n M a y 2, 1 9 4 0 , Chariot was paid his fee for the artistic work. M e a n w h i l e , however, problems arose about the designing and printing of the text, which would delay the b o o k for more than a year. O n January 8, 1 9 4 0 , Chariot sent M a c y his dummy of the book for M a c y to take to Los Angeles to discuss with Merle A r m i tage. " I would certainly hate to lose i t , " he added, " a s it contains all my first ideas for the b o o k . " It was returned to him in February, then borrowed again. O n J u n e 2 4 , M a c y wrote Chariot that he had received proofs of the type, but that he was very unhappy with Armitage's design, feeling that the type did not fit

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the pictures. Chariot replied from Iowa City, where he was painting a mural (June 28): "There seems to be a jinx on the printing of 'Carmen.' . . . " He suggested contacting Lynton Kistler, who had by then moved to New York. Macy replied (July 15) that the matter had best wait until Chariot returned. JC Diary: September 20, 1940. " 2 : 3 0 pm. George Macy. Talk about Carmen." Nothing more is recorded until December 31, 1940. " A t Carman's. Show dummy of Carmen to the printers of the text." This was probably Aldus Printers of New York, who ultimately did the job (see colophon of the book). Then came another blow. JC Diary: January 22, 1941. " M a c y telephones a propos Carmen. Refuses to pay Carman's price!" January 23. "Lunch with Carman. Talk of 'affaire Macy.' " Finally, on February 1 4 : " M a c y agrees to Carmen deal." March 3. " A t Carman's. Sort plates for final Carmen printing." March 10. "Carman: Carmen final pull begun: yellows." March 13. "Carman." March 14. " a m : print

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Carmen." March 28. "Lunch with Carman. See pulls on Carmen. Very good. Begin sign colophon Carmen." March 29 and 30. "Sign colophon Carmen." March 31. " A t Carman's. Proofs Carmen." April 4. "Finish sign Carmen." April 23. " A t Carman's. Final pull Carmen finished!" JC Diary: April 2 4 , 1 9 4 1 . " A t the Bercovicis'. Show Konrad the proofs of Carmen." July 21. "Lunch with Carman. To Metropolitan Museum bindery. Order progressives of Carmen to be bound." August 21. "Metropolitan Museum. Give the print room the progressives of Carmen, two volumes." On November 1 1 , 1 9 4 2 , Chariot wrote Macy: " M a y I remind you also that you were to look for the dummy of 'Carmen' with my water-color originals. It could be only with you or with the printers, and I do want it very much." Macy replied that he had looked but could not find it. Its present location remains unknown.

407. PROSPER MÉRIMÉE (first version, rejected) Carmen, trial. See no. 408. 94 x 98 mm. (3% x 4 inches). Colors: A. sanguine. B. black. No states. Five proofs of A only, four of them with pencil hand-work. Four proofs of A./B. No edition. This trial lithograph was done October 30, 1939 (see Diary), before Chariot began the book illustrations.

only state

408. PROSPER MÉRIMÉE (second version, published) Carmen, frontispiece. 156 x 138 mm. (6V4 x 5V2 inches). Colors: A. brown. B. blue gray. (There is no keyplate.) States: A - l . Shading on right (near) collar wing. Two proofs of A - l alone, also in JC and Marks Progressives. A-2. All shading removed from collar wing. B. Only one state. Proofs : A - l / B . Five proofs, pair with no. 409. B/A-2. Published edition, pair with no. 409.

published state

published state

409. Carmen, 39 x 50 Colors: gray. States: Only C_1-

TAMBOURINE WITH KNIFE title page. mm. (IV2 x 2 inches). A. yellow. B. red. C. brown (Key). D. blue

one state of each, except: H a s dashed frameline. Drawing and five proofs in black. C-2. Frameline removed. Retains line of dripping blood (JC and Marks Progressives). C-3. Lower part of line of blood removed. Proofs: A / B / C - 2 / D . Five proofs, pair with no. 408. A / B / D / C - 3 . Published edition, pair with no. 408. 408-A and 409-C, and 408-B and 409-D, are pairs, each of the same colors and were printed simultaneously. 219

410. ROMAN BUST Carmen, p. 17. 89 x 154 mm. (3V2 x 6 inches). Colors: A. brown (Key). B. yellow. C. red. D. green. E. brown. F. gray. States: Only one state of each, except: A-l. Includes contour lines. Drawing and five proofs in black, one with pencil hand-work. A-2. Dotted contour lines removed from bust. O u t lines of flowers and tassels removed from shawl over bust and at lower right. Proofs: A-2/B/C/D/E/F. B/C/D/E/F/A-2.

Five proofs, pair with no. 4 1 1 , inverted. Published edition, no pair.

411. BLUNDERBUSS Carmen, p. 20. 33 x 1 5 1 mm. (IV4 x 6 inches). Colors: A. brown (Key). B. brown. C. gray. States: A-l. Has frameline. Drawing and five proofs in black. A-2. Frameline removed. B and C. Only one state each. Proofs: A-2/B/C. Five proofs; pair with no. 4 1 0 , inverted. B/C/A-2. Published edition, no pair. 4 1 1 - B is equivalent to 4 1 0 - D , and 4 1 1 - C to 410-F.

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published state

published state

A-l only (Key)

412. THE INN Carmen, p. 28. 202 x 151 mm. ( 8 x 6 inches). Colors: A. brown (Key). B. yellow ochre. C. red. D. brown. E. blue. F. purple. G. green. States: A-l. Seated woman at lower right, face in profile. Drawing and five proofs in black (all on verso of proofs of nos. 3 8 4 - 3 8 5 , Ab/B/C). A-2. Figure of seated woman entirely removed from key-plate. B. Only one state. C-l. Line shading on face of arch at upper right and top center. C-2. Shading removed at upper right and top center, remains at left. D. Only one state. E-l. Heavy shadow on woman's jaw and beside her nose and eyes. E-2. Shading evened out on face. Additional shading on woman's shawl and background past the second arch. F and G. Only one state each. Proofs: A-2/B/C-l/D/E-l. Two separate proofs, both roughly printed. A-2/B/C-1/D/E-2/F/G. Two proofs, pair with no. 436, inverted. B/C-2/D/E-2/F/G/A-2. Published edition, pair with no. 414. Painting in oils r Dr. Edmund Wong, Honolulu.

published state

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413. MANDOLIN PLAYER Carmen, p. 30. 103 x 153 mm. ( 4 x 6 inches). Colors: A. brown (Key). B. yellow ochre or bright yellow. C. purple. D. blue. E. brown. States: Only one state of each, except: A-l. Has frameline. Drawing and six proofs in black, one squared in pencil. A-2. Frameline removed. Proofs: A-2/B in yellow ochre/C/D/E. One proof, pair with no. 414, and two separate. B in bright yellow/C/D/E/A-2. Published edition, no pair. Painting in oils: Dr. Edmund Wong, Honolulu.

414. MAN MOUNTING HORSE Carmen, p. 37. 152 x 153 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. bright yellow. C. red. D. blue. E. brown. F. purple. G. green. States: Only one state of each, except: A-l. Frameline on all sides. Drawing and five proofs in black, one with pencil shading and notes on color. A-2. Frameline removed at top and sides. Proofs: A-2/B/C/D/E. One proof, with pencil and green crayon hand-work, and hand scratching on the proof. A - 2 / B / C / D / E / F / G . One proof, pair with no. 413, and two separate proofs. B / C / D / E / F / G / A - 2 . Published edition, pair with no. 412. The B colors of 413 and 414 differ in the early proofs, but are the same in the published edition. Colors A, D, and E are the same. F and G appear only in no. 414. 414-F, incidentally, is a different hue from 413-C. The colors that are described with the same names in nos. 412 and 414 are actually different in each case. Painting in oils: Dr. Edmund Wong, Honolulu.

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published state

published state

published state

published state

415. LANCER Carmen, p. 39. 86 x 120 mm. (31/* x 43A inches). Colors: A. purple or brown (Key). B. yellow ochre or bright yellow. C. green. D. sanguine. E. dark brown. States: Only one state of each, except: A-l. Has dashed frameline. Drawing and six proofs in black. A-2. Frameline removed. Horizontal line removed from feather. Proofs: A-2 purple/B yellow ochre/C/D/E. Six proofs, pair with no. 416. B bright yellow/C/D/E/A-2 brown. Published edition, verso of no. 416.

416. BATHERS Carmen, p. 40. 91 x 151 mm. (3V2 x 6 inches). Colors: A. purple or brown (Key). B. yellow ochre or bright yellow. C. red. D. greenish blue. E. dark blue. F. sanguine. G. dark brown. States: Only one state of each, except: A-l. Has slight dashed contour lines. Drawing and six proofs in black. A-2. Dashed lines removed from neck of left girl and forehead of right girl. Proofs: A-2 purple/B yellow ochre/C/D/E/F/G. Six proofs, pair with no. 415. B bright yellow/C/D/E/F/G/A-2 brown. Published edition, verso of no. 415. Early progressive proofs show that the C (red) of no. 416 was printed simultaneously with the C (green) of no. 415. D and E of this print were not printed on no. 415. F and G of this print are the same as D and E of no. 415. Painting in oils: JC.

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417. CIGARETTES Carmen, p. 43. 153 x 151 mm. ( 6 x 6 inches). Colors: A. purple or brown (Key). B. orange or red. C. light blue or dark blue. D. yellow ochre. E. dark blue or dark brown. F. purple. States: Only one state of each, except: A - l . Woman's face has features and curl of hair on right side of face. Drawing and six proofs in black. A-2. Features and curl removed. Proofs : A - l purple/B orange/C light blue. One proof with black crayon and pencil handwork, pair with first trial proof of no. 439. (Background is gray.) A - l purple/B orange/C light blue/F purple. One proof, pair with second trial proof of no. 439. (Background purple overall.) A - l purple/B orange/C light blue/F purple/E dark blue. Three proofs, all paired with third trial proof of no. 439. (Background now blue gray.) A-2 brown/B red/C dark blue/D yellow ochre/ E dark brown/F purple. Seven proofs: four with C very dark, three with C lighter, all paired with no. 439. B red/C dark blue/D yellow ochre/E dark brown/ F purple/A-2 brown. Published edition, no pair. See no. 439 for notes on color Painting in oils: Collection unknown.

published state

418. M A N ENTERING R O O M Carmen, p. 49. 152 x 151 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. bright red. C. dark blue. D. brown. E. medium blue. F. medium red. States: Only one state of each, except: A - l . Dashed contour lines on cloak over arm. Drawing and five proofs in black, one with pencil shading and notes. A-2. Contour lines removed. Proofs: A - 2 / B / C / D / E / F . Three proofs, pair with no. 420. B / C / D / E / F / A - 2 . Published edition, no pair. Painting in oils: Formerly in the collection of Gypsy Rose Lee, New York. See also Color Plate 9. published state

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419. MONK AND ARCH Carmen, p. 52. 70 x 153 mm. (23/4 x 6 inches). Colors: Key (not in final). A. gray. B. sanguine. No states. Key drawing and five proofs in black, two with pencil shading and notes. Proofs: A/B. Five early proofs, pair with no. 425, inverted. Published edition essentially the same, no pair. published state

published state

420. JOSÉ IN PRISON Carmen, p. 57. 96 x 154 mm. (3% x 6 inches). Colors: A. brown (Key). B. red. C. bright blue. D. brown. E. medium blue. States: Only one state of each, except: A-l. Contour lines on nose and chin. Drawing and five proofs in black, two with pencil shading and notes. A-2. Dashed lines removed from nose and chin. Proofs : A-2/B/C. One proof with brown crayon hand-work. A - 2 / B / C / D / E / F . Three proofs, pair with no. 418, and two separate. B / C / D / E / F / A - 2 . Published edition, pair with no. 423. Early progressives show that the blues of 418-C and 420-C are different, though printed simultaneously. Painting in oils: Joan Gima, Honolulu.

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421. CARMEN WITH ADMIRERS Carmen, p. 60. 154 x 151 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. yellow orange. C. red. D. purple. E. blue. F. gray brown. G. pink. States: A, B, and C. Only one state each. Drawing of A and six proofs in black. D-l. Purple covers solid area of orange (B) between Carmen's right elbow and waist. D-2. Purple removed from this area, allowing orange (the back side of the shawl) to show through. Ea. Rejected plate. Has blank area in sky between Carmen's head and man at right, no blue shading below Carmen's left arm, has loose shading in area below Carmen's right elbow. Eb. Areas in sky and below left arm are shaded. Solid triangle of blue shading below Carmen's right elbow. Many other differences. F and G. Only one state each. Proofs: A/B/C/D-l/Ea. One proof, with pencil hand-work. A/B/C/D-l/Eb. One proof, with pencil hand-work. A / B / C / D - l / E b / F dark gray. One proof. A/B/C/D-2/Eb/F/G. Five proofs, pair with no. 435. B/C/D-2/Eb/F/G/A. Published edition, no pair. Painting in oils: Private collection, Colorado Springs.

422. ROSE AND CHAIN Carmen, p. 62. 38 x 139 mm. (1V2 x 5V2 inches). Colors: A. brown (Key). B. yellow. C. red. D. green. E. blue gray. States: Only one state of each, except: A-l. Has rose, chain, and frameline. Drawing and five proofs in black, one with pencil shading and notes. A-2. Chain and frameline removed, leaving only the rose. Proofs: A - 2 / B / C / D / E . Five proofs, pair with no. 423. B / C / D / E / A - 2 . Published edition, no pair. In the book, Carmen's flower is an acacia. In the opera, it is a rose.

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published state

published state

published state

423. CARMEN ESCAPES FROM THE LANCERS Carmen, p. 68. 202 x 135 mm. ( 8 x 6 inches). Colors: A. brown (Key). B. yellow. C. red. D. green. E. brown. F. blue. G. purple. States: Only one state of each, except: A-l. Has various lines, as noted below. Drawing and five proofs in black. A-2. Lines removed: eye of upper right lancer, dashed contours on all cuffs, straps on Carmen's ankles, and frameline beside Carmen's arms. Proofs: A-2/B/C/D. One proof with pencil shading and notes. A-2/B/C/D/E/F. One proof with hand-work in purple crayon, pair with no. 422. A - 2 / B / C / D / E / F / G . Four proofs, pair with no. 422. B/C/D/E/F/A-2. Published edition, pair with no. 420. Early progressives show that 423-E was printed without adding a color to no. 422. 422-E and 423-F were printed simultaneously, but differ in color. 423-G is not used at all in the published edition. Its effect in the proofs is to darken the tonality of several areas, notably Carmen's skirt. A similar effect is produced in the later instance by slightly darkening the red of C. The difference is most clearly visible at Carmen's waist, which is completely white without G. Painting in oils: Mrs. Spencer Penrose, Colorado Springs.

424. T W O DANCERS WITH ARCH Carmen, p. 75. 198 x 151 mm. (7% x 6 inches). Colors: A. brown (Key). B. yellow. C. brown. D. pink. E. green. F. blue. G. purple. States: Only one state of each, except: A-l. Outlines of shadows on floors. Drawing (with white ink corrections) and six proofs in black. A-2. Shadow outlines removed. Proofs: A - 2 / B / C / D / E / F / G . Four proofs, pair with no. 427, inverted. B / C / D / E / F / G / A - 2 . Published edition, pair with no. 425. Painting in oils: Mrs. Spencer Penrose, Colorado Springs.

published state

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425. HEAD IN CAGE Carmen, p. 78. 86 x 52 mm. (3V2 x 2 inches). Colors: A. brown (Key). B. black (cage). C. gray (head). States: Only one state of each, except: A-l. Includes chain. Drawing and five proofs in black, one with pencil shading and notes. A-2. Chain and dashed contour lines removed. Proofs: A-2/B/C. Five proofs, pair with no. 419, inverted, and one separate. B/C/A-2. Published edition, pair with no. 424. Progressive proofs show that 425-C is equivalent to 419-A.

published state

426. DANCER IN YELLOW Carmen, p. 81. 204 x 155 mm. ( 8 x 6 inches). Colors: A. brown (Key). B. yellow. C. yellow ochre. D. pink. E. green. F. blue. G. brown. States: Only one state of each, except: A - l . Has frameline. Drawing and six proofs in black. A-2. Frameline removed at left, right, and top. Lines removed from helmet plume and girl's mantilla. Proofs: A - 2 / B / C / D / E / F / G . Four proofs, pair with no. 428. B / C / D / E / F / G / A - 2 . Published edition, no pair. Painting in oils: Mrs. Walter Dillingham, Honolulu.

published state

228

published state

published state

427. PHILTERS AND O U R LADY Carmen, p. 86. 67 x 155 mm. (23A x 6 inches). Colors: A. brown (Key). B. yellow. C. brown. D. pink. E. green. F. blue. States: Only one state of each, except: A - l . Has frameline. Drawing and six proofs in black. A-2. Frameline and horizontal line in left flask removed. Proofs: A - 2 / B / C / D / E / F . Five proofs, pair with no 424, inverted. B / C / D / E / F / A - 2 . Published edition, pair with no. 431. The colors are the same as those of no. 424, without a G plate here.

428. S W O R D FIGHT Carmen, p. 89. 153 x 150 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. yellow. C. pink. D. green. E. blue. F. brown. States: A-l. Has dashed contour lines. Drawing and six proofs in black (all on verso of proofs of nos. 3 8 4 - 3 8 5 , A b / B / C ) . Dashed lines removed from face and A-2. cuff of man at bottom. B, C, and D. Only one state each. Open doorway at top center is solid E-l. blue (JC and Marks Progressives). Doorway area removed from blue E-2. plate, leaving light yellow and green showing through. Only one state. F. Proofs: A-2/B/C/D. One proof with pencil shading and notes. A-2/B/C/D/E-l/F. Four proofs, pair with no. 426, and two separate. B/C/D/E-2/F/A-2. Published edition, pair with no. 430. This print lacks the yellow ochre (C) of no. 426. The colors are otherwise the same. Drawing in ink and wash (grays only), 153 x 153 mm. ( 6 x 6 inches), with notable differences from this final design. Painting in oils: Tom Keailipahomoku, Honolulu.

229

429. COUPLE ON HORSEBACK Carmen, p. 93. 204 x 152 mm. ( 8 x 6 inches). Colors: A. purple or brown (Key). B. yellow. C. red. D. blue. E. brown. F. purple. G. green. States: Only one state of each, except: A - l . Full features on face of woman. Drawing and eight proofs in black (all on verso of proofs of nos. 384-385, A b / B / C ) . A-2. Eyes and brows removed from woman's face. Proofs: A-2 purple/B/C/D/E. One proof with green crayon hand-work. A-2 purple/B/C/D/E/F/G. Five proofs, pair with no. 438. B / C / D / E / F / G / A - 2 brown. Published edition, no pair. Painting in oils: Mrs. Stefan Hirsch.

published state

430. AMBUSH Carmen, p. 96. 45 x 152 mm. (1% x 6 inches). Colors: A. brown (Key). B. green. C. maroon. D. blue. E. brown. States: Only one state of each, except: A - l . Has complete frameline. Drawing and five proofs in black. A-2. Pieces of frameline removed at left and right. Proofs: A-2/B/C. One proof with blue crayon handwork. A-2/B/C/D. One proof with brown crayon handwork. A - 2 / B / C / D / E . Five proofs, pair with no. 431. B / C / D / E / A - 2 . Published edition, pair with no. 428.

230

published state

published state

431. MAN CARRYING WOUNDED Carmen, p. 99. 153 x 153 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. yellow. C red. D blue. E. brown. F. purple. States: Only one state of each, except: A-l. Complete frameline. Drawing and five proofs in black. A-2. Frameline at top and line of woman's hair at lower right removed. Proofs: A-2/B/C. One proof with blue crayon hand-work. A-2/B/C/D. One proof with brown crayon hand-work. A - 2 / B / C / D / E / F . Five proofs, pair with no. 430. B/C/D/E/F/A-2. Published edition, pair with no. 427. The red of 431-C is different from the maroon of 430-C, but was printed simultaneously. Colors A, D, and E are the same in both subjects. Colors B are different. Painting in oils: The Reverend Francis Ivers.

432. WOMEN ON DONKEYS Carmen, p. 101. 205 x 153 mm. ( 8 x 6 inches). Colors: A. purple or brown (Key.) B. yellow ochre. C. reddish brown. D. blue. E. pink. F. light green. No states. Drawing of A and five proofs in black (verso of nos. 384-385, Ab/B/C). Proofs: A purple/B/C. One proof with pencil and blue crayon handwork. A purple/B/C/D/E/F. Five proofs, pair with no. 433. B / C / D / E / F / A brown. Published edition, verso of same sheet with no. 435. Painting in oils: Dr. Edmund Wong, Honolulu.

published state

231

433. W I N D O W WITH ORANGE VENDOR Carmen, p. 106. 205 x 154 mm. ( 8 x 6 inches). Colors: A. purple or brown (Key). B. yellow. C. red. D. blue. E. pink. F. yellowish green. States: Only one state of each, except: A - l . Dashed contour lines on Carmen's skirt. Drawing and six proofs in black. A-2. Contour lines removed from Carmen's skirt. Proofs: A-2 p u r p l e / B / C / D / E / F . Five proofs, pair with no. 432, and one separate. B / C / D / E / F / A - 2 brown. Published edition, pair with no. 434. In the early proofs, plate F is printed very strongly, giving a generally greenish cast to the entire print. In the published edition, plate F is printed more lightly. Colors B, C, and F differ between nos. 432 and 433, though printed simultaneously. The other colors are the same. Painting in oils: Mrs. Walter Dillingham, Honolulu. published state

434. VENETIAN BLIND Carmen, p. 111. 80 x 76 mm. (3V4 x 3 inches). Colors: A. brown (Key). B. yellow. C. red. D. green. States: Only one state of each, except: A - l . Has framelines at left and right. Drawing and four proofs in black. A-2. Framelines removed. Proofs: A-2/B/C/D. Eight proofs, pair with no. 437. B/C/D/A-2. Published edition, pair with 433.

232

published state

435.

DUEL WITH KNIVES

Carmen, p. 115.

pencil sketch

153 x 154 mm. ( 6 x 6 inches). Colors: A. brown (Key). B. yellow. C. red. D. purple. E. green. F. blue. G. brown. States: Only one state of each, except: A-l. Right man has hair net. Drawing and six proofs in black (verso of proofs on nos. 384385, Ab/B/C). A-2. Hair net removed. Proofs: A - 2 / B / C / D / E / F / G . Eight proofs, pair with no. 421 (some progressives). B / C / D / E / F / G / A - 2 . Published edition, verso of same sheet with no. 432. Early progressive proofs show that 421-B and 435-B are different colors, printed together. Colors A, C, and D are the same in both. 435-E was printed with 421-Ea, though the colors are different. 421-Ea was then erased, and 421-Eb was printed with 435-F, the colors the same. 421-F and 435-G were printed simultaneously, though the colors are different. 421-G was printed alone. Painting in oils: JC.

oil painting

published state

pencil drawing

233

436. WOUNDED M A N DRINKING Carmen, p. 119. 80 x 150 mm. ( 3 x 6 inches). Colors: A. brown (Key). B. yellow ochre. C. red. D. brown. E. blue. F. dark purple. G. green. States: Only one state of each, except: A-l. Includes dashed line of falling wine. Drawing and seven proofs in black. Also included in brown in A/B, A / B / C / D / E , final proofs of JC Progressives, and A / B / C / D / E / F of Marks Progressives. A-2. Line of falling wine removed from key-plate. Proofs: A-2/B/C. One proof with blue crayon hand-work and extensive notes. A - 2 / B / C / D / E / F / G . Two proofs, pair with no. 412, inverted, and three separate proofs. B / C / D / E / F / G / A - 2 . Published edition, verso of same sheet with no. 440. All colors correspond with those of no. 412, except for F, in which the purples are different, though printed together. Painting in oils: Marcia Morse, Honolulu.

437. BULLFIGHT POSTER Carmen, p. 121. 68 x 152 mm. (23A x 6 inches). Colors: A. gray or brown (Key). B. red. C. green. D. brown. E. gray. States: A-l. Dashed frameline at lower corners. Drawing and five proofs in black. A-2. Corner framelines and contour lines on cape and head removed. B, C, and D. Only one state each. Ea. Rejected plate. Nearly solid gray, with heavy shadows beyond turned-up lower corners. Eb. Much light-and-dark shading throughout. Partial shadows at lower corners. Proofs: A-2 g r a y / B / C / D / E a . One proof, paired with no. 434 final. A-2 g r a y / B / C / D / E b . Five proofs, pair with no. 434. B / C / D / E b / A - 2 brown. Published edition, verso of same sheet with no. 439. Progressives show that 434-C and 437-B are different reds, though printed together. 434-D is the same as 437-C. The key-plates (A) of both were printed together, in different colors for the proofs. The other colors of each were printed separately.

published state

published state

438. FALLEN PICADOR Carmen, p. 124. 152 x 153 mm. ( 6 x 6 inches). Colors: A. purple or brown (Key). B. yellow. C. red. D. blue. E. brown. F. purple. States: Only one state of each, except: A-l. Frameline on all sides. Drawing and eight proofs in black. A-2. Frameline removed at top. Proofs: A-2 purple/B/C/D/E. One proof with pencil shading. A-2 purple/B/C/D/E/F. Five proofs, pair with no. 429. B / C / D / E / F / A - 2 brown. Published edition, no pair. The colors are the same as those of no. 429, except F, which is a different purple, though printed simultaneously. Painting in oils: Dr. Edmund Wong, Honolulu.

published state

439. HERMIT Carmen, p. 127. 204 x 67 mm. (8 x 2V2 inches). Colors: A. purple or brown (Key). B. brown or gray. C. green or dark blue. D. reddish brown or purple. E. pink. F. yellow (trials only). G. blue green (trials only). States: Only one state of each, except: A-l. Has frameline. Drawing and six proofs in black. A-2. Frameline removed. Proofs: A - l purple/F yellow/C green/D reddish brown. One proof, pair with first trial proof of no. 417. A - l purple/F yellow/C green/D reddish brown/B brown. One proof, with hand-work in green crayon, pair with second trial proof of no. 417. A - l purple/F yellow/C green/D reddish brown/B brown/G blue green. Three proofs, one canceled in pencil, all paired with third trial proof of no. 417. A-2 brown/B gray/C dark blue/D purple/E pink. Seven proofs, pair with no. 417. B gray/C dark blue/D purple/E pink/A-2 brown. Published edition, verso of same sheet with no. 437. The progressive proofs appear to indicate a total of seven plates used in the printing of the 417/439 pair. The A, C, and D plates are the same for both. 417-B was printed with 439-F, the latter then erased. 439-E was a later addition to the plate of 417-F. 439-B was printed alone, and 439-G was originally on the plate with 417-E, then removed. The colors A and C are the same in the second version of both prints; the others differ. Only A is the same as in the trial proofs.

440. HORSE Carmen, p. 129. 51 x 154 mm. ( 2 x 6 inches). Colors: A. brown (Key). B. yellow green. C. purple. D. brown. E. dark green. States: Only one state of each, except: A-l. Has frameline. Drawing and five proofs in black, one with pencil shading and notes. A-2. Frameline removed at top and sides. Proofs: A-2/B/C/D/E. Five proofs, pair with no. 441. B/C/D/E/A-2. Published edition, verso of same sheet with no. 436.

441. STILL-LIFE WITH SKULL Carmen, p. 132. 72 x 150 mm. ( 3 x 6 inches). Colors: A. brown (Key). B. yellow. C. red. D. brown. E. dark purple. States: Only one state of each, except: A-l. Has arched frameline. Drawing and five proofs in black, one with pencil shading and notes. A-2. Frameline, fan spokes, and numerous contour lines removed. Proofs: A-2/B/C/D/E. Five proofs, pair with no. 440. B/C/D/E/A-2. Published edition, no pair. The colors A and D are the same in both 440 and 441. The others differ. Painting in oils: JC. See also Color Plate 9.

236

published state

published state

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only state 442. HOME 1940. New York. (February 1940 on JC card.) Catalogue of Chariot exhibition, Bonestell Gallery, New York, February 1940. Color lithograph on zinc, offset. Picture: 98 x 81 mm. (4 x 3V4 inches); full sheet: 330 x 229 mm. (13 x 9 inches). Text drawn by JC. Colors: A. buff. B. blue. No states. Edition : Unknown, probably several hundred. Printer : Carman. " T h e text is my lettering. Carman printed it." (JC 1971)

443. MOTHER W I T H CRADLE I 1940. Iowa City. Etching. Platemark: 125 x 175 mm. ( 5 x 7 inches). No states. JC has two proofs ( " 1 / 4 " x " 2 / 4 " ) . No edition. "Four proofs—plate cancelled" (JC card). Plate lost. Printer: Okenbloom. "This is Iowa City again. Okenbloom was the graphic arts instructor in 1940. I was doing a fresco in the basement of the building—the same subject, a mother with cradle. It was a group fresco, with different students, each getting a portion of the wall, and myself working with them. The first etching was drawn the same direction as the fresco, so it printed in reverse." (JC 1971) JC Diary: July 23, 1940. " I make an etching: W o man with Candle." July 24. "Print etching."

444. M O T H E R W I T H CRADLE II 1940. Iowa City. Etching, drypoint and aquatint. Platemark: 125 x 175 mm. ( 5 x 7 inches). States: 1. Pure etching. Light appearance. One proof ("1st state—1/1"). 2. Heavy drypoint shading added on all areas. One proof ("2nd s t a t e — l / l " ) . 3. Horizontal drypoint shading added across mother's foot at lower left, on left edge of cradle, and along inner edge of rebozo. Further shading on rebozo, vertical above mother's arm, diagonal at lower right. 4. Strong aquatint shading added throughout the print. Edition: 12 in 3rd state; unknown in 4th state. Plate lost. Printer: Okenbloom.

only state

third state

"No. 2 is the same direction as the fresco. I surprised myself with how complex etching is. I found the more aquatint you put, the less line you see, which was quite a discovery for me. I think the only aquatints I knew were Goya's. There was a very beautiful series of the "Desastres" in the Metropolitan in both pure line and aquatint. I learned there." (JC 1971) JC Diary: July 24, 1940. " . . . Draw another." July 25. "Print etching no. 2 . " July 26. "Add aquatint. Print same."

fourth state 238

445. V E R O N I C A ' S VEIL 1940. New York. Catalogue for Chariot exhibition of " R e l i g i o u s P a i n t i n g s , " Bonestell Gallery, N e w Y o r k , D e c e m b e r 1 9 , 1 9 4 0 , to January 4 , 1 9 4 1 . Lithograph on zinc, offset. Picture: 5 1 x 6 0 mm. (2 x 2V4 inches), on sheet: 2 6 0 x 4 0 2 m m . (I0V4 x 15 3 /4 inches). Lithography in red (including framelines, letter " C , " and " F r . M . A. Couturier O . P . " drawn b y J C ) . T e x t typeset. N o states.

JEAN CHARLOT DECEMBER 19

JANUARY 4, 1941

RELIGIOUS I N C L U D I N G

THE

PAINTINGS WAV

BONESTELL 106 E A S T

FIFTY-SEVENTH

OF

THE

Edition: U n k n o w n , probably several hundred. Printer: Carman.

CROSS

GALLERY STREET-

NEW

YORK'

only state

" I t was an exhibition of my religious subjects. It included the Way of the Cross, fourteen tondo paintings n o w in a church, St. Cyprian, River Grove, near Chicago. Father Couturier, who wrote the introduction for this show, is famous now for bringing modern artists to do liturgical art. He was a good friend of Léger and Braque. He is responsible for the church at A s s y and the M a t i s s e chapel at Vence. Just last year ( 1 9 7 0 ) , M s g r . M a c c h i , private secretary to the pope, was here. H e asked, would I help him to bring modern art into the V a t i c a n . I said, ' B y all m e a n s ; I'll fresco a chapel for y o u . ' S o he said, ' W e l l , m a y b e that's a little big.' I said, ' W e l l then, I'll be glad to give you a portrait I made f r o m life of Father C o u turier.' He was delighted. Couturier is the patron saint, in a m a n n e r of speaking, of modern art in the church. In the war, he was stranded in N e w Y o r k with other French D o m i n i c a n s , until the collapse of the V i c h y regime." (JC 1971) J C D i a r y : D e c e m b e r 5 , 1 9 4 0 . " A t C a r m a n . Prepare catalogue exhibit religious p a i n t i n g s . " D e c e m b e r 9. " A l l day at C a r m a n . Print catalogue. . . . " D e cember 1 0 . " A t C a r m a n . Print red on c a t a l o g u e . " J a n u ary 6, 1 9 4 1 . " A t C a r m a n . Print extra catalogues."

239

446. MOTHER AND CHILD 447. PLOW 448. CAT 449. BIRD WITH SCROLL 1940. New York. Letterheads for family and friends. Lithographs on zinc, offset. Four subjects (presumably on one plate), printed in reddish brown. The following sizes include the lettering: No. 446: 12 x 56 mm. (V2 x 2V4 inches). Done for Zohmah Chariot. No. 447: 40 x 63 mm. (IV2 x 2V2 inches), lettering separate. Done for Prudence Plowe. No. 448: 12 x 41 mm. (Vi x iVz inches). Done for Dorothy Rhoads. No. 449: No proof known. Done for Mr. and Mrs. Lincoln Hobson. Mrs. Hobson (1971) has no more examples and has kindly drawn the illustrated sketch from memory. No states. Edition: Unknown, probably several hundred each. Printer: Carman. JC Diary: December 16, 1940. "At Carman. Do 4 letterheads for friends of Zohmah — Z / Prue / D. Rhoads / Lil and Line." The compiler is particularly grateful to Mrs. Charlot for writing to her friends and obtaining samples for study and illustration, and to Mrs. Plowe, Miss Rhoads, and Mrs. Hobson for responding. Mrs. Plowe has used her "letterhead" exclusively as a bookplate (JC has one sheet). The subjects are printed in the upper left corners of 220 x 165 mm. (8V2 x àVi inch) letter-sheets.

only state

only state

only state

sketch

450. SURVIVAL TILL SEVENTEEN 1940. New York. Dust jacket for the book of this title, by Leonard Feeney, New York, Sheed & Ward, 1941. Color lithograph on zinc, offset. Picture of boy: 112 x 135 mm. (4V2 x 51/* inches); including text: 189 x 135 mm. (7V2 x 5V4 inches). The rest of the jacket (text only) is done photomechanically. Colors: A. green. B. red (butterfly and bottom line only). No states. Edition: Unknown (publisher's records destroyed). Printer: Carman.

SURVIVAL EN

"A strictly commercial job, but drawn directly on the plate. The title was drawn by Carman, the author's name by me. The butterfly, I would guess, is by Carman. It isn't quite me—but maybe." (JC 1971) JC Diary: December 30, 1940. "At Carman. Decide colors for cover Father Feeney's book, 'Till 17.' " January 6,1941. "At Carman. Print. . . cover Fr. Feeney." 240

only state

only state 451. TORTILLERA W I T H CHILD 1 9 4 1 . New York. Alternative title: Rest and Work. Color lithograph on zinc, offset. 3 1 7 x 4 7 2 mm. (I2V2 x I8V2 inches). Colors: A. gray. B. sanguine no. 1. C. blue black. D . sanguine no. 2. In the final printing, plate A in the same gray was printed a second time on top of the previous four printings, that is, A / B / C / D / A . N o states. O n e proof of A only, with sanguine, blue, and black hand drawings. O n e proof of A / B with hand drawing in black. O n e proof of A / B / C . Plate D contains the signature at lower right. Edition: Unknown. Printer: Carman.

Drawing in black charcoal, sanguine, and blue crayon, same size as print. See also Color Plate 10. " T h e gray is printed twice. It starts as the key-plate and ends as the tint. I shall not try to guess the edition size. It was enough so the print went into galleries to be sold." (JC 1 9 7 1 ) J C D i a r y : February 11, 1941. " A t Carman. Began large litho: Tortillera with Child." February 15. " C o n tinue litho." Continued February 16, 1 7 , 18, and 19. February 20. " D r a w litho at home. At C a r m a n : print red no. 1, blue." February 21. " A t C a r m a n : print red no. 2, gray no. 2. Large litho finished."

241

published state published state

published state published state

452. VIRGIN AND CHILD 453. SHEPHERDS 454. NATIVITY WITH STAR 455. NATIVITY WITH BASKET 1941. New York. Christmas cards commissioned by Commonweal magazine. Color lithographs on zinc, offset. No. 452: 85 x 115 mm. (3V4 x iVz inches). No. 453: 77 x 111 mm. (3 x 4V4 inches). No. 454: 102 x 84 mm. (4 x 3V4 inches). No. 455: 107 x 88 mm. (4x/4 x 3 % inches). Colors: A. buff (Key). B. yellow. C. red. D. blue. E. buff no. 2, uniform tone. States: A. Three proofs in black of uncut sheet of four subjects. B. Two uncut sheets of A (buff)/B (yellow), and pencil hand-work. C-l. One proof, A / B / C - l / D / E , of no. 452 only. Heavy red shading on both faces, rebozo, and background. C-2. Red reduced on faces, hair, and rebozo;

242

A only (Key)

removed from background at top and right, leaving a small amount in lower right corner. The red plate carries many of the outlines of the final design, which overpower the lines of the buff A plate, originally the key-plate. D and E. No separate proofs. No uncut sheets of A / B / C - 2 / D / E are known. Edition: Unknown, presumably a large quantity. The subjects were cut apart, trimmed, and tipped onto pale blue folded cards. They have "Copyright The Commonweal" printed on the back and are numbered, respectively: 1 0 1 , 1 0 2 , 1 0 4 , and 103. Printer: Carman. Drawing: Small watercolor similar to no. 453. JC Diary: December 23, 1940. "At Carman. Plan Christmas cards for Commonweal Magazine." February 13, 1941. "At Carman. Begin Christmas cards for Commonweal. February 14. "Four cards Commonweal." February 22, 23 and 24. "Litho Christmas cards." February 25. "Lunch with Carman, pm: finish Christmas cards Commonweal."

ItU

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J

^INE ANNE P< only state 456. THE ITCHING PARROT 1941. New York. Dust jacket for José Joaquin Fernandez de Lizardi: The Itching Parrot, translated and introduced by Katherine Anne Porter, Doubleday, Doran & Co., Garden City, N. Y., 1942. Color lithograph on zinc, offset. Man in frame: 158 x 1 3 5 mm. x inches); entire color area (not flaps): 217 x 335 mm. (8V2 x 13V4 inches). Text typeset. (A similar drawing on the title page is a photomechanical reproduction.) Colors: A. red. B. green. C. yellow. D. black (including spatter). No states.

Edition: 3,700 (2,700 in March 1942, and 1,000 in June 1942). Printer: Carman. " T h i s cover, average though it is, was done by us. I remember the crachis (spatter). I think I used a toothbrush, as did Lautrec, the only time I did that. Carman probably drew the lettering. It is better than my own. The registration is poor. It's so badly printed it couldn't be a true American commercial job. El Periquillo Sarniento is a Mexican classic." (JC 1971) JC Diary: July 15, 1941. " A t Carman. Began cover Periquillo." July 16. " A t Carman all day. Cover Periquillo. Draw plates and print proofs."

243

457. THE GLASS BALL 1941. Athens, Georgia. ("December 1941?" on JC card.) Lithograph on stone. 185 x 155 mm. (7^4 x 6 inches). No states. JC has no proof. Metropolitan Museum of Art. No edition. "Appr. 6 proofs—very light" (JC card). Printer: Ezra. "I was artist-in-residence at the University of Georgia. Ezra was a student who knew how to work the press. I did a painting of that subject too." (JC 1971) No diary entry.

only state

458. NEGRO HEAD 1942. Athens, Georgia. ("March 1942" on JC card.) Lithograph on stone. 220 x 165 mm. (8% x 6ty2 inches). No states. Five proofs (JC-4, and Metropolitan). No edition. "Appr. six proofs—unequal" (JC card). Printer: Ezra. Derives from a figure in the mural done for the McDonough, Georgia, Post Office in January-February 1942, first painted November 1941 (JC diary). See Chariot Murals in Georgia, University of Georgia Press, Athens, Georgia, 1945, plates 4, 13-16. See also print no. 628. There is a replica drawing in pencil, done in 1971. "A detail from the mural at McDonough. I reused the theme recently, but of course, it came out differently." (JC 1971) No diary entry.

only state

244

second state

459. MOTHER TYING CHILD IN CHAIR 1942. Berkeley, California. (Summer 1942 on JC card.) Etching and drypoint. Platemark: 175 x 125 mm. (7 x 5 inches). States: 1. Pure etching. Nearly complete. One proof ("1st state—1/1"). 2. Drypoint shading added on mother's right hand and elbow, in fold of rebozo below hand, below child's left hand, and beside bottom of left chair leg. JC has three proofs (one inscribed " 4 / " ) . This work done in 1945 (see below). No edition. Four proofs noted. Plate lost. Printer: Randolph W . Johnston. The plate was made in 1942 with the intention of having it printed by a friend, Justin Murray, in San Francisco (JC card). This, however, was not done, and the plate was not printed until April 3, 1945, the date which appears on the single first-state proof. The printing was done at Smith College, Northampton, Massachusetts. The second-state work was then done on the plate, which was subsequently printed on April 10, 1945, as inscribed on one of the latter proofs. The inscription " 4 / " on one proof suggests that only four were printed in the second state. " I was a summer instructor in History of Art at the University of California. I wasn't doing those prints to give to dealers. I found I couldn't sell them, unless it be a few of the color lithographs. Randolph John? ston gave classes in sculpture at Smith. He was very good—sort of an artisan-artist. He wrote a book on artisanship, tools, and so on [Book of Country Crafts], A very good man." (JC 1971) No diary entries in either 1942 or 1945.

245

published state 460. HOLY FAMILY IN A HUT 461. SHEPHERDS AND ANIMALS 462. M A D O N N A HOLDING UP CHILD 463. M A D O N N A EMBRACING CHILD 1942. New York. Christmas cards—Cartier, Inc., commission. Color lithographs on zinc, offset. Four subjects on one plate. Uncut sheet measures 342 x 262 mm. (13V2 x IOV4 inches). The separate subjects are: No. 460: 87 x 140 mm. (3V2 x 5 x k inches). No. 4 6 1 : 114 x 104 mm. (4V2 x 4 inches). No. 4 6 2 : 155 x 102 mm. ( 6 x 4 inches). No. 463: 71 x 112 mm. (23A x 4V2 inches). Colors: A. buff. B. blue. C. red. D. purple (Key). States: A, B, and C. No states. No separate proofs. A is a line plate, different from D - l . D-l. Four subjects surrounded by framelines, dividing plate into equal rectangles each 160 x 120 mm. (6 x k x 4 % inches). Two proofs in black, one

246

D - l only (Key)

of them with blue, orange, and red crayon hand-work. This is the keyplate. D-2. Framelines and most outlines removed, leaving only highlights in purple. JC has two uncut sheets, A/B/C/D-2. Edition: 1,000 of each subject. Printer: Carman. J C Diary: May 2 6 , 1 9 4 1 . " A t Cartier with Carman. Arranged to do Christmas cards. See Marion Cartier." [ " M y student, Marion, married Pierre Claudel." (JC 1971)] October 1 5 , 1 9 4 2 . "Draw keyplates for Christmas cards for Cartier." November 11. "Litho Christmas cards for Cartier." November 12. "Bring litho plate to house. Evening: finish litho." Account in JC's files: "November 1 8 , 1 9 4 2 / Cartier, Inc., 5th Ave. at 52nd St., New York / 1,000 Christmas Cards—printed on 1,000 sheets—from lithographic plates made by Jean Chariot . . . $65.00 / Order No. 1424 / For re-sale."

464. THE INDIVIDUALIST 1942. Athens, Georgia. Mimeograph print. Frame: 168 x 246 mm. (6Vz x 9Vz inches). N o states. O n e proof, with " P a g e T h r e e " on right side, typed on stencil. Edition: Unknown, probably several hundred. Printer: Unknown. " I drew that directly on the mimeograph stencil. It was actually a joke borrowed from a friend, Owen Plowe, but the drawing is mine." (JC 1971) J C D i a r y : October 30, 1942. " M i m e o g r a p h cartoon for school paper [University of G e o r g i a ] . "

247

full sheet ( A / B / C / D )

A CHILD'S GOOD NIGHT BOOK D U S T J A C K E T (double) 465. C O V E R (double) 466. N I G H T F A L L (double) 467. BIRDS 468. FISH 469. SHEEP 470. 471. LION 472. KANGAROO 473. CATS 474. RABBITS 475. CHILDREN PRAYING 476. D R E A M (double) 1 9 4 3 . Athens, Georgia. Illustrations for Margaret W i s e Brown, A Child's Good Night Book, first edition, New Y o r k , William R. Scott, Inc., 1 9 4 3 . Color lithographs on zinc, offset. Twelve subjects on one plate. Printed area of uncut sheet measures 8 8 0 x 5 6 3 mm. (34V2 x 2 2 inches). Each single-page subject is 1 7 0 x 1 4 1 mm. (6 3 A x 5ty2 inches). T h e subjects are drawn without spaces between, so are slightly trimmed in binding. T h e text on the recto of the sheet and the text and line illustrations on the verso are photomechanical additions to the D (gray) plate after J C ' s hand-work on it. T h e single sheet, recto and verso, constitutes the entire book. Colors: A. yellow ochre. B. red (carmine). C. cobalt blue. D. gray. No states. J C has two full sheets each of A, B, and C ; one of D ; one of A / B ; two of A / B / C ; and two trial sheets of A / B / C / D . Edition: 1 5 , 0 0 0 . Printer: Bauer Lithograph Co., New York. "Process prints from drawings on acetate did not as yet exist commercially. All my earlier commercial book illustrations were reproduced by photomechanical linecut—with my own color separation, and drawn on paper. I've always done things at the actual size. In this case, I drew the four colors directly on the lithographic plates. Later, I used the acetate light-print method; the first time was for the second edition of this same book, redrawn in larger size on acetate [New Y o r k , 1 9 5 0 , et seq., the pages measuring 2 4 4 x 2 0 0 mm., 9V2 x 7 3 A inches]. T h e black-and-whites in this first edition are line process. It was a problem to get the colors right. W h e n they sent me the first proof sheet, I was horrified. T h e colors were all brutally wrong. So I wrote them about corrections which they m a d e . " (JC 1 9 7 1 )

York, has very kindly provided the information on printing and printer from the publisher's files. Though J C had had the impression that photomechanical copies had been made of the original lithographic plates for a second printing, Mrs. Stevens advises: " T h e r e was no second issue involving the original plates. T h e printer destroyed the original plates by mistake a few years after the first printing." All copies of this book in its first edition, therefore, may be presumed to have been printed from the artist's original lithographic plates. J C Diary: April 5, 1 9 4 3 (Athens, Georgia). " R e ceived plates for Good Night b o o k . " April 6. " p m . Begin to draw plates for Good Night b o o k . " April 7. " p m : litho b o o k . " Continued April 12, 1 3 , 1 4 , 1 5 , and 16. April 17. " L i t h o book, p m : began gray plate." Continued April 19, 21, and 22. April 23. "Line drawings for book. Mail t h e m . " Continued April 24 and 26. April 27. "Finished lithos b o o k ! " M a y 29. " R e ceived letter from Scott about proofs book. Is satisfied." M a y 31. "Received proofs Scott book. Seems to me very bad. Correct p r o o f s . " June 1. " W r i t e Scott [about color corrections]." See also: "Illustrating Children's B o o k s " in Chariot, An Artist on Art (Honolulu, 1 9 7 2 , vol. 2, pp. 3 6 3 - 3 6 7 ) .

472

471

473

470

474

469

475

468

467

476

476

465

466

Mrs. Carla M . Stevens of Young Scott Books, N e w

249

>:.im.

v

only state 477. MEXICAN KITCHEN 1943. Athens, Georgia Color lithograph on stone. 337 x 230 mm. (13V4 x 9 inches) including title. Colors: A. black. B. brown. No states. There are considerable variations in strength of impression and in registration. Two proofs of A only. Three proofs of B only. A lithograph of a boy's head in profile, not by Chariot, is on the verso of several proofs. No edition. "Very few proofs, all bad" (JC card). JC has six proofs. Printer: Beth Hutchinson, a University of Georgia student. "This is one of those primitive types. There were problems with inking and everything. It reminds me of the first Multilith proofs. The child is holding a basketry fan, made of straw, fanning the fire." (JC 1971) JC Diary: April 19, 1943. "Beth pulls proofs litho Mexican Kitchen." April 29. "Watercolor over litho Mexican Kitchen for auction." June 1. "Litho room with Beth working." June 10. "Help print color on Mexican Kitchen."

only state ("A" proof) 478. TORTILLERAS W I T H ROLLED PETATE I 1943. Athens, Georgia. Lithograph on stone. 335 x 248 mm. (13V4 x 93A inches), without title. No states. The proofs printed were lettered A, B, C, or D, in descending order of quality. "None good" (JC card). There were six of A ( J C - 5 ) , four of B ( J C - 3 ) , four of C ( J C - 1 ) , and two of D (JC has none). The file card further notes: " A number of proofs colored by hand," apparently a means of saving the C and D impressions. None of the nine proofs in the artist's possession has coloring added, but there is one in the Seattle Museum of Art with extensive watercolor work (and without a letter). No edition. 16 proofs pulled. Printer: Beth Hutchinson. " I did a much better one of this theme later on with Barrett." (JC 1971) JC Diary: June 10, 1943. "Begin litho: Tortilleras with petate." Continued June 1 1 ; finished June 12. The stone was not printed until October 1943 (JC card). See also print no. 512.

251

479. NATIVITY 1943. Athens, Georgia. Color lithograph on zinc, offset. 310 x 212 mm. (12V4 x 8V4 inches). Colors: A. yellow. B. red (carmine). C. cerulean blue. D. ultramarine blue. E. brown. Apparently C or D was the key-plate. See JC diary below. No states. The magazine edition was printed so that the design bleeds off the bottom edge of the paper. It has a typeset biographical note on the verso. The private edition has a margin at the bottom. Edition: 2,000 as frontispiece in Liturgical Arts, vol. 12, no. 1 (November 1943). 75 as the artist's Christmas card, inscribed in pencil: "Wishing you a holy Christmas. The Chariots." 50 for Father Kelly, of which 25 were signed and retouched by hand (none of the last has been seen). Also three sets of progressives (none now located). (JC card) Printer: Carman. "It's an attempt at a facsimile of a watercolor. It is one of the few things I have done as a facsimile. At least that was the intention. It was traced from the watercolor. That is why there are so many reserves of paper, as happens in a watercolor. The color separations were done mentally, as I usually do." (JC 1971) J C Diary: August 4, 1 9 4 3 (Athens, Georgia). " B e gan watercolor Lavanoux." [Maurice Lavanoux is the editor of Liturgical Arts magazine.] August 5. "Finish same." August 6. "Began Lavanoux no. 2, with allowance for text." August 25. "Trace new litho for Lavanoux." August 26. " D r a w key-plate for litho Lavanoux." September 15. " S e n d Carman key-plate for Lavanoux." September 24. "Carman [key] plates for Lavanoux litho arrive. Began litho: red and blue plates." September 25. "Continue litho: brown and yellow." September 26. "Continue litho." September 27. "Finish litho Lavanoux. Mail plates to Carman." November 12. "Received proofs . . . 75 plus progressives." November 22. "Received Liturgical Arts with my litho." November 29. "Received lithos Fr. Kelly. Begin retouch by hand." December 28. " W r i t e letter to Lavanoux in answer to criticism of my frontispiece."

only state

480. NATIVITY 1944. Northampton, Massachusetts. The artist's own Christmas card, inscribed "Christmas 1 9 4 4 / The Chariots." Woodcut. 107 x 76 mm. ( 4 ^ x 3 inches). States: 1. Roof solid black. Vertical lines at bottom. O n e proof ("1st s t a t e — 3 / 3 " ) . 2. White strokes added on roof. Shading removed at bottom. Pillars trimmed at left and right sides. Small white areas cut above and to right of ox's head. (A false state is made by blocking off the rays at left and right of roof with paper; JC has one proof). Edition: Unknown, probably ca. 100. Block lost. Printer: Randolph W . Johnston.

Chariot's reply to those who found his work " u g l y " is an important (and witty) statement of artistic principles. It was published in Liturgical Arts, and reprinted in Chariot: Art-Making from Mexico to China (New York, 1 9 5 0 , pp. 2 7 2 - 2 7 6 ) .

252

published state

JC Diary: December 9, 1944. " D o a woodcut for Christmas card. Proof it on Johnston press." December 11. "Give woodcut to printer."

only state

481. MALINCHE 1945. Northampton, Massachusetts. ("January 1 9 4 5 " on card.) Invitation to a Chariot exhibition at Smith College Museum of Art, January 29, 1 9 4 5 . Woodcut printed in reddish brown. 35 x 5 1 mm. ( I V 2 x 2 inches). Text typeset. No states. Edition: Unknown, probably several hundred. Block lost. Printer: Unknown (press-printed). T h e artist's diary for 1945 has been lost.

482. REST AND W O R K 1 9 4 5 . Northampton, Massachusetts. Color lithograph on stone. 3 0 0 x 205 mm. (11 3 A x 8 inches). Colors: A. sanguine. B. gray green. No states. O n e proof of A only. No edition. " A few p r o o f s " (JC card). Six known: J C - 4 , Metropolitan, Ann Chariot Johnson. Printer: Johnston. " I t ' s a beautiful drawing, not too well printed. Personally, I like those poor badly printed things." (JC 1971) " D r a w n on stone as demonstration for Johnston graphic class. Smith College, Northampton, April 3, 1 9 4 5 . " (JC card)

only state

253

483. CHILD IN M O O N I 1945. Mexico. (December 1945 on JC card.) Rejected illustration for Poema del Niño. Woodcut. 100 x 95 mm. (4 x 33A inches). States: 1. As illustrated. O n e proof. 2. Facial features thinned. Additional lightening on robe and moon. O n e proof, underinked ("probably printed with the t h u m b " — J C 1971). N o edition. T w o proofs. Block lost. Printer: JC. "First I tried to do it directly on the wood, but I was u n h a p p y . I didn't like the effect." (JC 1971)

third state

484. CHILD IN M O O N II 1945. Mexico. (December 1945 on JC card.) Cover illustration for Atanasio Pérez Vargas, Poema del Niño, Mexico, Arsacio Vanegas Arroyo, 1945. W o o d c u t ; edition printed in light blue. 100 x 100 mm. ( 4 x 4 inches). States: 1. D a r k , with areas of uncut wood at bottom and right. O n e proof ( " 1 / 1 " ) . 2. Excess wood removed. Face, arms, and all corner areas lightened. O n e proof ( " l / l " ) . 3. Additional white hatching between face and flower, beside star at upper left, and along left and right margins. O n e proof ( " 1 / 1 " ) . Illustrated. 4. Slight additional white hatching above flower. Lower left cut white, leaving a point at bird's wing tip. Metropolitan ("4th state, 1 / 2 " ) . 5. Light lines removed between child's head and upper bird. Published state. Fifty extra proofs printed for artist's personal Christmas card. Edition: 1,000. Block not located, possibly with publisher. Printer: Arsacio Venegas Arroyo. D r a w i n g : Brown ink, traced in pencil, 100 x 95 mm. (4 x 33A inches). Reproduction in linecut: 102 x 101 mm. ( 4 x 4 inches) in Chariot: An Artist on Art (Honolulu, 1972, vol. 2, p. 362). Potentially very deceptive, but published with text on verso. Second state of the print ( " l / l " ) . " A f t e r the first try on wood, I made a drawing, reversed it, traced it on wood, and then improvised details. This is my pride and joy because it was done with the Vanegas Arroyo firm. I have k n o w n the f a m ily for three generations, very well. This was done with Arsacio Vanegas Arroyo. His father was Don Bias. The father of Don Bias was D o n Antonio, Guadalupe Posada's publisher. I knew D o n Antonio's widow, Doña Carmen. A n y h o w , I very much wanted to do something with Posada's own publishers. At that time also, we did a folio of one hundred prints by Posada, that Don Bias published." (JC 1971)

485. FIRST STEPS 1946. Mexico. Associated American Artists commission. Lithograph on stone. 3 5 1 x 2 5 6 mm. (14 x 10 inches). States: 1. " B e f o r e straightening line, before scratching." 2. " A f t e r straightening line, before scratching." 3. " A f t e r straightening line, after scratching." J C has no proofs. T h i s information is from his file card, which notes, " S o l d o u t — 1 9 4 7 . " Photo: Print Department, Boston Public Library. Edition: 2 5 0 (A.A.A. records). Printer: José Sanchez, Taller de Gràfica Popular. "Notice the folded-paper chicken, a child's toy. 'Straightening line' means trimming the edges straight for the A.A.A. 'Scratching' is just cleaning up the s t o n e . " (JC 1 9 7 1 ) A letter from Reeves Lowenthal of the A.A.A. to J C , dated April 2 7 , 1 9 4 6 , says, " I ' m delighted to learn that 'First Steps' is being printed with square edges and minus signature. You will, of course, pencil sign the edition and please ship the prints flat and packed well." J C D i a r y : (Mexico) January 1 1 , 1 9 4 6 . " R e e v e s Lowenthal, director A A A . To do lithos at $ 2 0 0 each stone, as Grant ( W o o d ) used to do." January 12. " T a l l e r e s : begin 1 4 x 1 0 litho for Lowenthal: First S t e p s ! " January 1 3 . " C o n t i n u e large stone: First S t e p s . " January 15. " T a l l e r : finish large litho: First Steps for Lowent h a l . " January 17. " T a l l e r : trial proofs of the large black stone for Reeves, six proofs, one to send to New Y o r k . " April 16. " S t o n e cleaned for black-and-white First Steps for edition A A A , with J o s é . " April 25. " S i g n edition 2 0 0 First Steps." April 30. " I help pack edition stone 1 for Reeves." May 22. " C h e c k edition First Steps for Reeves." August 8. " T h e first litho sent is held at customs and did not reach R e e v e s . "

published state

255

486. MEXICAN KITCHEN 1946. Mexico. Associated American Artists commission. Lithograph on stone. 339 x 254 mm. (I3V2 x 10 inches). States: 1. With rough edges and signature in stone at bottom center. T w o proofs, inscribed " 1 s t s t a t e . " 2. N o proof seen. J C ' s card says : "before straightening line [i.e., trimming edges], after reworking." 3. All edges trimmed straight, removing signature. One proof, inscribed: " 3 r d state, trimmed, no scratching." N o other changes have been found between this state and the first that might constitute " r e w o r k i n g . " 4. N o proof seen. J C ' s card records a 4th state, which may have all the changes described below except the scratch on the child's robe, which is specifically noted as a 5th-state characteristic. 5. Strong white diagonal scratching added at child's hip. More scratching on mother's nose and on spoon handle. Additional dark shading below child's chin, along profile, and above stool, beneath mother's chin and along her hairline. Right outline of child's fan strengthened. Edition: 250. Printer: José Sanchez, at Taller de Gráfica Popular. See no. 487, the drawing of which precedes this print.

published state

" I remember the last thing I did was to scratch a highlight on the child's robe. I like to end work with a stronger accent. This became the frontispiece of Zigrosser's book on prize prints." (JC 1971) J C Diary: January 23, 1946. "Begin large stone, Cocina, black-and-white, Lowenthal no. 2 . " January 24. "Continue black-and-white." February 8. "Taller. Finish large stone black-and-white: Kitchen, for R e e v e s . " February 14. "Talleres, to get proofs litho: Kitchen. Very g o o d . " April 27. "Taller. Prepare Mexican Kitchen for edition. José pulls." M a y 4. "Talleres. José did not return. Last state Mexican Kitchen not proofed y e t . " M a y 11. " J o s é pulls final proof Kitchen. To begin edition tomorrow." July 15. " J o s é finishes printing Kitchen." July 20. " S i g n first proofs edition Kitchen for Reeves A A A . " August 8. " S i g n part of edition Kitchen." A u g u s t 23. "Finish sign litho for Reeves." A letter from Reeves Lowenthal, director of the A.A.A., dated April 27, 1946, said: "I'm very sorry that I haven't sent you word about 'Mexican Kitchen.' Please do proceed with the printing of this subject."

256

MEXIHKANANTLI D r a w n and printed between January 7, 1 9 4 6 , and March 13, 1 9 4 7 (see J C Diary below). D o n e at the Taller de Grafica Popular in Mexico City. Printer: Sanchez. Sixteen lithographs in three colors each. Published in a portfolio of blue cardboard, ca. 4 0 0 x 3 4 0 mm. (16 x 13V2 inches), with the final lithographed title page (dated 1 9 4 7 ) trimmed and pasted on the cover. Each folio contains ten color lithographs in paper mats. Nos. 1, 3, 6, and 9 exist in two versions each; one or the other of each is in every folio. T h e sixteenth subject is a rejected title page, dated 1 9 4 6 . A typeset index of titles is on the inside of the cover, and includes the colophon: " T h e ten chromolithographs in this portfolio have been hand-pulled by Jose Sanchez, lithographer, under the personal supervision of the artist, in the 'Taller de Grafica Popular' (Workshop of Popular Graphic Art), Mexico, D. F., in 1 9 4 7 . T h e portfolios are signed by the artist and the edition is limited to 1 5 0 numbered copies. N o — . " As noted in the artist's diary, the sheets containing subjects 1, 3, 6, and 9 became mildewed and waterstained in storage between January 1 9 4 6 and January 1947. M a n y of them had to be destroyed, and their edition is therefore limited to 100. A new version was made of the four subjects, of which 50 were printed to complete the folios. T h e only proof of the rejected title page now recorded is in the artist's book of progressive proofs. T h e title, Mexihkanantli (pronounced M e z h ish-ka-nan-tli), is the Nahuatl for " M e x i c a n M o t h e r . " Every print in the series shows at least one Mexican mother and child. It is indeed, as the artist notes, a collection of his various ways of approaching the motif. Since there are numerous antecedents and successors to most designs, it seems unnecessary to list them all here. Each subject (except the title pages) has a lithographed number ( 1 - 1 0 ) in the upper right corner, outside the design area. All published prints are on a heavy wove paper, usually known as " j a p o n . " T h e artist has a bound volume of progressives, which has each color of each subject in both black and the final color (except the First Set A, which is gray), plus A / B and A / B / C proofs, and tracings of the repeated subjects. In all cases where there are state differences, the black proofs are in the first state. T h e proofs listed here under the individual subjects are to be found in this volume of Progressives unless noted otherwise. T h e Metropolitan Museum of Art, New York, also has a set of progressives, not seen. T h e subjects were drawn and printed in four sets of four each. All the work was done on lithographic stones, which measured about 24 x 19 inches, ca. 6 0 0 x 4 8 0 mm. (The stonemark on a proof sheet of the B stone of the Fourth Set is 6 0 2 x 4 8 5 mm., which may be taken as typical.) Some of the color registration was achieved by the " g h o s t i m a g e " method (see Appendix

1), using a single stone for successive colors. In other cases, the image was transferred to successive color stones by conventional methods. T h e lithographs were printed a full set at a time, and the sheets cut into quarters later.

FIRST SET T h e subjects on the printed sheet (reverse of the stone) are: Upper left: Mexican Kitchen, no. 1, catalogue no. 487. Upper right: Rest and Work, no. 3, catalogue no. 488. Lower left: First Steps (vertical), no. 6, catalogue no. 489. Lower right: Tortilla Lesson, no. 9, catalogue no. 490. It is not entirely clear from the artist's diary whether the stones were drawn in the same sequence as they were printed. His initial notation of " r e d " would seem to indicate the purple stone (B) as the first to be drawn. O n the other hand, the colors appear from the diary to have been printed as they were drawn. In any case, the artist has only one state of stone A represented in his collection, although there may be more. T h e B stone was drawn rather darkly and lightened in rework in each subject. Finally, the artist's signature, which was in B at lower left, outside the image area of each, was removed from B and included within the subject area of A. Conversely, the C stone was drawn relatively lightly and then given strong additional points and lines of emphasis in lithographic tusche. After about 1 7 0 finished sheets were printed, they were stored away. Over the course of a year in storage, they became seriously water-stained and mildewed. About 70 sheets were in such bad condition that they were destroyed. M a n y of the remaining 1 0 0 show some signs of water-staining, though not seriously enough to affect their quality. T h e color of B is a deep reddish purple in trial proofs, which is changed to a paler and bluer purple in the finished prints. T h e artist has two complete sheets: • one sheet of stone A only in gray, torn into separate subjects but reconstructed. There are small crosses that delineate the subject areas on the stone. • one sheet of A / B - 3 , the final state of both. T h e sheet is dated January 13, 1946.

SECOND SET T h e subjects that appeared on the printed sheet are: Upper left: Title Page (1946), catalogue no. 491. Upper right: First Steps (horizontal), no. 5, catalogue no. 4 9 2 . Lower left: Return from Market, no. 2, catalogue no. 4 9 3 .

257

Lower right: Sunday Shoes, no. 8, catalogue no. 494. T h e two horizontal subjects were drawn with their top edges toward the outside of the stone. T h e artist now has no early state proofs of any of the colors of any of the four subjects. It seems evident, from his diary entries of April 25 and October 24, 1 9 4 6 , that there are such states of colors B and C at least. It may be worth noting that the A stone of each subject shows points of emphasis drawn in tusche, similar to the late additions to the C stone of the First Set. T h e proofs of B and C in all subjects show scratching in the stone to lighten areas of color. T h e artist has no full sheets of the Second Set, and it has been reconstructed from the notes on his file card. THIRD

SET

T h e subjects on the printed sheet are: Upper l e f t : Trio, no. 7, catalogue no. 495. Upper right: Title Page (1947), catalogue no. 4 9 6 . Lower l e f t : Chalma Pilgrims, no. 10, catalogue no. 497. Lower right: Preparing for the Dance, No. 4 catalogue no. 4 9 8 . Stone A shows no states in the artist's proofs, and may have none. Stone B shows facial features on all the people in the first state of all subjects. In the second state, the features are removed from B (blue) in every case, allowing them to show through from A (yellow ochre). There is also considerable scratching and lightening of tone in B. Stone C (yellow) shows some lightening and creation of highlights in the second state, as compared with the first. T h e artist has two complete sheets: • sheet of B in the first state of each, printed in black. • sheet of three colors: only state of A, final state of B, and first state of C. FOURTH

SET

T h e subjects on the sheet are: Upper left: Rest and Work, no. 3, catalogue no. 4 9 9 . Upper right: Mexican Kitchen, no. 1, catalogue no. 500. Lower left: Tortilla Lesson, no. 9, catalogue no. 5 0 1 . Lower right: First Steps (vertical), no. 6, catalogue no. 5 0 2 . As noted, this set was made as a second version of the First Set, to replace those that had been ruined by water and mildew. It may readily be seen that the four subjects are reversed from those of the First Set, and in color and many details are entirely new works. Tracings were made on tissue paper from the First Set and the designs traced onto a new stone. Color A was completed and printed in full, after the trimming of the very rough edges and some slight lightening in all subjects. T h e stone was then almost entirely erased,

258

leaving only a suggestion of the design. Color B was then drawn on the same stone. It, too, had a narrowing and straightening of rough edges, with added emphases in tusche and some scratching of highlights. Color C was done on a separate stone (as shown by a proof state with first states of both B and C ) , probably kept in register with a ghost image. Again, there were edge-trimming and re-work. T h e artist has the following complete sheets: • sheet of B only, in first state, printed in black, on good paper. • sheet of B only, in first state, identical to the preceding, in black, poor paper. • sheet of B only, in final (second) state of each, in bright purple. • sheet of three colors: A - 2 in greenish gray, B - l in bright purple, C - l in black. • sheet of three colors, each in final state and color: A - 2 in blue gray, B - 2 in dark purple, C - 2 in red. It is instructive to view the last two sheets side-byside, to see exactly how the artist changed the colors and reworked the stones between the early trial proof and the published prints. " W e were doing this on the hand press at the Taller de Gráfica Popular in Mexico, whenever the spirit moved us. That's the way we still did things in M e x i co in the 1940s. I was on a Guggenheim Fellowship to write the book on the mural renaissance [The Mexican Mural Renaissance 1920-1925, Yale University Press, New Haven, 1 9 6 3 ] , In fact, they renewed it for two years. T h e grant was to go to Mexico to look for documents. I went as an author, not as a painter! At the same time I was taking lessons in Nahuatl, the Aztec language, from Robert H. Barlow at the Museum of A n thropology. Luz, my friend and favorite model, was a well-known Nahuatl speaker, so we could practice. She has been an 'informant' for the Department of Anthropology on the subject. [See, for instance, De Porfirio Díaz a Zapata: memoria náhuatl de Milpa Alta, dictated by D o ñ a Luz Jiménez, compiled and translated by Fernando Horcastilás, published in Nahuatl and Spanish by the University of Mexico, 1 9 6 8 ] . Naturally, I wanted to use Nahuatl when I could. I wrote a puppet play in Nahuatl to help the Ministry of Culture in its work in the villages where Spanish is not spoken [Mowentihke Chalman, published in Mele, Honolulu, 1 9 6 9 , in Nahuatl, Spanish, and English]. And that is why the titles of this folio are in Nahuatl. The English and Nahuatl are as nearly equivalent as language construction allows. " I t can be considered as a follow-up of the Liber Studiorum idea begun with the Picture Book, a collection of motives I had used up to then. As I said, it was all done by hand and printed on a hand press. Sometimes, there were very long gaps between when the printer and I could get together. José Sanchez was

a very wonderful artisan. I put his name in the colophon, to the astonishment of most of my friends. I think it was the first time the printer had been credited by name. Poor José got in an accident shortly after we had finished the job and had to have an arm amputated. At the beginning, there was something very similar to our Multilith problems in the 1930s. W e had a simple stone lithographic press, with no way of registering colors properly. I had to work out a style of drawing in which approximate register would do nearly as well as exact register. We used the ghost image to put the image on the different color stones. I like this portfolio for the results, but particularly because we did it in the old-fashioned way, which I like best. It was really nice for me to go back to hand-work after all the machinery of the United States." (JC 1971) JC

DIARY

[First Set] January 7, 1946. "Talleres. Begin trace line 'red' on stone. Very faint ghost image." January 8. "pm: Taller. Continue red plate." January 9. "Continue stone second color." January 10. "Finish color 2, set 1 . " January 11. "Reeves Lowenthal, director AAA [Associated American Artists] . . . would buy 100 copies of the current portfolio." January 13. "Check printing 2nd c o l o r . . . A few early states. 2nd stone was re-etched, added and scratched. José a very good printer. I bring proofs home." January 15. "Printing of color 2, stone 1, in process." January 17. "José finishes pull color 2 . " January 18. " M y stone for color 3 is ready." January 20. "Trace color 3 . " January 22. "Finish draw color 3. Print proofs in black for progressives." January 24. "Began print color 3. Too light but will do." February 12. "Discussion as to title album. Best: Mexican Mother, 10 chromolithographs." [Second Set] March 12, 1946. "Continue color 1, set 2 . " March 14. " W o r k on stone." April 5. "See José, who continues edition colors plate 2 . " April 11. "José nearly finished." April 25. "2nd color stone ruined. Have to re-work it." May 21. "Finish color 2, set 2 . " August 8. "José at T a l l e r . . . . Also proofed color 2 for set 2 of album: deep orange." October 15. "Begin

color 3, set 2: cerulean." October 22. "Finish drawing color 3, set 2 . " October 24. " W i t h José begin print color 3, set 2. Retouch tusche." [Third Set] November 6, 1946. "Begin set 3 . " November 22. "José pulls one proof new stone." November 23. " W i t h José, first color proofs color 1, set 3 . " November 29. "Print 4 black proofs. José not there." December 27. "Begin color 2, set 3 . " December 29. "Taller with John. Finish color 2, third set." January 2 , 1 9 4 7 . " T o Taller. See black proofs of color 2 . " January 6. "Proofed color on two stones, series 3, with José." January 7. "José printing further corrections." January 10. "Taller. Stone ready. Draw third color, 3rd set: lemon yellow." January 11. "Stay late. O.K. after corrections yellow of third set. Finished!" January 15. "Taller. José has just finished printing last color! Collate, find some sheets mildewed." [Fourth Set] January 16, 1947. "Taller. Find that over 70 proofs of first set are mildewed. Would limit edition at 1 0 0 . " January 30. "Taller. We will do again first set of four." February 10. "Trace and draw two subjects on the stone to be re-done." February 11. "Litho color 1, a retake of set 1. Stone finished. José prints black proofs of gray-blue." February 17. "For portfolio. Do what I can with Stein: color of cover and format." February 20. "José finished printing color 1 on retake of set 1. Drawing nearly erased. Begin retracing for color 2 . " February 21. "Continue retracing. Great difficulties and no security." February 22. "Continue red." February 23. "Continue stone. Tired." February 24. "Finish stone." February 27. "Taller. No José, but cut one set of progressives up to now (80)." February 28. "José arrives and stays to work on color. Heavy changes for register. Work to 8 pm." March 6. "Begin drawing third color." March 7. " A little work on third color." March 10. "Color 3 finished." March 13. "Continue print color trials third color with José." April 23. "Taller. Cut defective sheets to give Virginia Stewart prints for her gallery [in Pasadena], Also my progressives." May 9. "Finish cut progressives. Put them in order." June 7. "Discuss contract with Leopoldo [Mendez] and two 'managers.' "

259

487. YECHIWALO Mexihkanantli No. 1 (1st version). English title: Mexican Kitchen. 2 3 5 x 1 8 5 mm. (9V4 x 71/-i inches). Colors (First S e t ) : A. gray. B. purple. C. yellow ochre. States: A. O n l y one state. Edges already trimmed straight. B - l . Strong shading on mother's face, child's hands, dog's neck and body. Signature at lower left. O n e proof, black. B-2. Shading lightened on mother, child, and dog. O n e proof, purple. B - 3 . Signature removed from B stone. C - l . Before solid tusche additions. O n e proof, black. C - 2 . Heavy tusche color areas added on the top of the jar, in the triangle between the mother and stove, at the bottom of the child's seat, and in a line across the bottom of the print. Line tracing on tissue, used to trace the design onto the Fourth Set stone (verso of the following tracing). There is a halftone color reproduction (190 x 1 5 1 mm., 7V2 x 6 inches) in Armin Haab, Mexican Graphic Art (New Y o r k , 1 9 5 7 , pi. 88). Edition: 1 0 0 .

488. NANTLI TEKITI NOKA KONETL KOCHI Mexihkanantli No. 3 (first version). English title: Rest and Work. 2 3 7 x 1 8 4 mm. ( 9 % x 7 1 /1 inches). Colors (First S e t ) : A. gray. B. purple. C. yellow ochre. States: A. O n l y one state. B-l. Strong shading on front woman's arms and face and on baby's face. Signature at lower left. O n e proof, black. B-2. Shading largely removed from faces and arms.

489. KONENEHNEMITIA Mexihkanantli No. 6 (first version). English title: First Steps. 2 4 7 x 1 8 5 mm. ( 9 % x 71/4 inches). Colors (First S e t ) : A. gray. B. purple. C. yellow ochre. States: A. O n l y one state. B-l. D a r k shading on mother's face and dog's head. Mother's left hand is wide and has fingers. Signature at lower left. O n e proof, black. B-2. Mother's face and dog's head lightened. Left hand narrowed with shading on both sides and lines of fingers removed. O n e proof, purple. B-3. Signature removed from B stone. C - l . Crayon work only. O n e proof, black. C - 2 . Heavy tusche line added across baby's chest. Line tracing on tissue, used to trace the design onto the Fourth Set stone. Edition: 1 0 0 . See also Color Plate 12.

490. KIMACHTIA TLAXKALMANAS Mexihkanantli No. 9 (first version). English title: Tortilla Lesson. 2 4 6 x 1 8 2 mm. (93A x 7xh inches). Colors (First S e t ) : A. gray. B. purple. C. yellow ochre. States: A. Only one state. B - l . Eyes drawn in mother's face. Heavy shading at lower left. Signature at lower left. O n e proof, black. B-2. Eyes removed. Shading lightened. O n e proof, purple. B-3. Signature removed. C. O n l y one state. Line tracing on tissue, used to trace the design onto the Fourth Set stone. Edition: 1 0 0 .

260

O n e proof, purple. Signature removed from B stone. Before solid color additions in tusche. O n e proof, black. C - 2 . Heavy tusche lines added at baby's neck, on baby's eyes (with white scratching), along upper edge of front woman's right arm, and below the arm of rear woman. (The scratching on the baby's eyes wears quickly, and the eyes appear solid in most proofs.) Line tracing on tissue, used to trace the design onto the Fourth Set stone (verso of the preceding tracing). Edition: 100. B-3. C-l.

published state

published state

261

491. TITLE PAGE (1946) Mexihkanantli rejected title page. 234 x 183 mm. (9V* x 7xk inches). Colors (Second Set): A. green. B. orange. C. blue. No states. No edition. One final proof in Progressives.

itti

" W e had this in the color trials. Then, before I gave the bon a tirer, we did something to annihilate it." (JC 1971) l l l p s p i f l

i

r

a

'

¡ffiNVj/' A M M

Wsmm %Mmm

492. KONENEHNEMITIA Mexihkanantli No. 5. English title: First Steps (horizontal). 184 x 229 mm. (7V4 x 9 inches). Colors (Second Set): A. green. B. orange. C. blue. No states seen. JC's diary, however, indicates re-work on both B and C. Edition: 150.

only state

published state 262

493.

TLATIANKIZOSKEH

Mexihkanantli N o . 2. English title: Return from

Market.

247 x 183 mm. (93A x 7J/4 inches). Colors (Second Set): A. green. B. orange. C. blue. No states seen. JC's diary, however, indicates re-work on both B and C. Edition: 150.

494.

KIKAHTIA CIWAKONETL

Mexihkanantli

N o . 8.

English title: Sunday Shoes. 184 x 247 mm. (7J/4 x 93A inches). Colors (Second Set): A. green. B. orange. C. blue. No states seen. JC's diary, however, indicates re-work on both B and C. Edition: 150.

published state

published state

263

495.

TLAZOHTLALISTLE

Mexihkanantli

N o . 7.

English title: Trio.

Alternative title: Playing with the Dog.

230 x 183 mm. (9 x 7% inches). Colors (Third Set): A. yellow ochre. B. dark blue. C. bright yellow. States: A. Only one state. B - l . Baby's face has features. Two proofs in black: one in Progressives, one in sheet. B-2. Features removed from baby's face, leaving a white area. Shading removed from front chair. Diagonal white scratching above the arm in the upper left corner. C-l. Chair legs are solid yellow. One proof in black. One proof in three-color trial sheet: A/B-2/C-1. C-2. Vertical highlights burnished along the near leg of each chair. Edition: 150.

497.

MOWENTIHKE CHALMAN

Mexihkanantli

No. 10.

English title: Chalma

Pilgrims.

234 x 176 mm. {91/t x 7 inches). Colors (Third Set): A. yellow ochre. B. dark blue. C. bright yellow. States: A. Only one state. B-l. Woman's face at upper left has features. Two proofs in black: one in Progressives, one in proof sheet. B-2. Woman's face lightened, removing features. Shading lightened across man's eyes. Highlight scratched on the front of man's hair. One proof, blue. B-3. Diagonal highlight scratched on child's scarf at center. C - l . Has pentimenti lines around the cross. One proof in black; one in trial sheet of A/B-3/ C-l. C-2. Lines removed from around cross, leaving only solid color. Bottom of staff narrowed with scratching. One proof of A / B - l / C - 2 . Edition: 150. Published proofs include examples of both A/B-2/C-2 and A/B-3/C-2.

264

496. TITLE PAGE (1947) Mexihkanantli final title page. 229 x 186 mm. (9 x 7ty4 inches). Colors (Third Set): A. yellow ochre. B. dark blue. C. bright yellow. States: A and B. Only one state each. One A / B proof on cover of JC's progressives. C-l. Rough edges on all sides. One proof, black; one in trial sheet A / B / C - l . C-2. Edges trimmed straight. Edition: 150.

498.

MOMALIN IHTOTIHKE

Mexihkanantli

No. 4.

English title: Preparing for the dance.

232 x 177 mm. (9V4 x 7 inches). Colors (Third Set) : A. yellow ochre. B. dark blue. C. bright yellow. States: A. Only one state. B - l . Features present in all faces. Two proofs in black: one in Progressives, one in proof sheet. B-2. Features removed from all faces, leaving white areas. Highlights scratched on forehead and hair-part of mother. C - l . Has yellow shading all over the hat. One proof in black; one in trial sheet of A/B-2/ C-l. C-2. Shading removed from hat, leaving the strong yellow ribbon. White highlight scratched along arm of girl at right. Edition: 150.

j

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,

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La ^ s VaAwW^ rAcj5xk inches); No. 548: 41 x 19 mm. (IV2 x 3A inches). Edition: Unknown, probably several hundred. Printer: Unknown. Drawings on tracing paper in red pencil, traced. "Though it is not dated, it would come very close to the Lei of Lent posters. We had a group of active church people around. As long as I did the posters for them, I probably did this, too." (JC 1971) No diary entry discovered.

only state

only state

only state

only state

309

549. DRUMMER IN OVAL I 1950. Honolulu. (1950 in stone.) Lithograph on stone. Oval: 307 x 390 mm. (12 x 15V4 inches). No states. Two good proofs (JC, Ann Chariot Johnson), and three defective ones that have a horizontal white line across the top, apparently caused by the lithographic scraper. A remarque, lightly drawn at lower right, shows a drummer in side view. No edition. " A few bad trial proofs" (JC card). Printer: Juliette May Fraser. JC Diary: October 30, 1950. "Print class. Continue litho." November 1. "Class. Continue litho drummer in oval no. 2 . " November 15. "Print class. Finish litho drummer III [sic] in oval." November 29. "Print class at Academy print workshop. Begin print my litho: oval drummer." The several references are evidently all to the same print, Hula Drum (no. 541) being no. 1.

550. D R U M M E R IN OVAL II 1951. Honolulu. Lithograph on stone. Oval: 265 x 345 mm (IOV2 x 13V2 inches); stonemark: 293 x 395 mm. (11V2 x I5V2 inches). States: 1. Dark tonality. No details on drum. Two proofs (JC, private collection).

only state (good proof)

2.

All facial features drawn in more distinctly. Drum-head and strings added. Outlines of arms and fingers strengthened. White scratching added behind head, on both wrists, and at right side. Margins cleaned. Signature added at bottom center. Five proofs ( J C - 3 , NCFA, private collection). No edition. Seven proofs recorded. Printer: 1st state, Louis Pohl; 2nd state, Kistler. "It wasn't exactly a print class at the Academy of Arts. It was the printmakers getting together and making prints. Some of them are sort of demonstrations. This one was sent to Kistler, but for some reason we didn't make an edition." (JC 1971) "A few unfinished state proofs of stone. Sent by Pohl to Kistler from Honolulu. Attempt at finishing in Hermosa Beach, California. A few proofs late state." (JC card) JC Diary: December 11, 1950. "Received litho stones. 500 pounds! We carry upstairs." December 18. "Received litho accessories from K. for art department." April 30, 1951. "Begin litho for K., stone." May 2. "Continue K. litho at print class." May 9. "Continue litho drummer." September 9, 1951 (Los Angeles). "Lithos K. a) finish drummer. . . . " Lynton R. Kistler (1971): " T h e stone filled in quickly; I could not hold it open enough to print an edition. Also it was warm weather, which is bad for litho printing."

first state

second state

311

published state

312

551. T H E D I S T A F F SIDE 1951. Tempe, Arizona. Alternative title: Mexican Kitchen. Associated American Artists commission. Lithograph on stone. 251 x 341 mm. (10 x 13V2 inches). States: 1. Signature at lower right and year ( " 5 " reversed) at lower left (SI, Achenbach, Joyce O. Roberts). 2. Signature and year removed. Edition: 250. Printer: Kistler.

zona. W e would suggest as a possible subject one of your Mexican Kitchens, and I am sending herewith a photograph of it, since there are several kitchens you have done, and this one seems to us especially appropriate. . . . W e would like to have the finished lithograph in hand by August 1 0 t h . " JC Diary: July 26, 1951 (Tempe, Arizona). " A l l day litho K. for A A A : Mexican Kitchen after oil painting. Repack litho stone. Mazey will express it." August 2. "Received proofs A A A litho K. Sign and return." August 26 (Hermosa Beach, Calif.). " K . brings edition AAA. Sign."

" T h e r e was a painting of this; the A A A sent me a photograph and asked me to make a lithograph. You see if you divide it in two in the middle, you have the theme of one of my prints on one side, another on the other side; there's still a third one in the middle. Those are my favorite subjects. Incidentally, the sculptor, Tony Smith, recently saw this broom handle and was so interested in the form he said he would do a sculpture of it, which he did." (JC 1971) O n July 9, 1 9 5 1 , Robert L. Parsons of the A.A.A. wrote to J C : " W e would like to know whether you would do [a lithograph] for us while you are in Ari-

"Here I've depicted the activities of women in a Mexican kitchen. A pot of beans is cooking on the charcoal fire. The woman standing stirs the pot and prepares to add some herbs. The little girl sitting on a box is fanning the flame with a straw fan, while the dog sleeps by the warmth of the fire. In the background a mother is showing her daughter how to pat the round tortillas, while the grandmother in the foreground is grinding the meal on a stone metate. As she is working, the youngest in the family has gone to sleep, wrapped up in the grandmother's rebozo." (JC in AAA Bulletin)

only state 552. SNAKE DANCE 1951. Los Angeles. Color lithograph on stone. Design (uneven edge): 350 x 280 mm. ( 1 3 % x 11 inches); stonemark: 400 x 300 mm. (153A x 11 3 A inches). Colors: A. purple. B. yellow ochre. No states. Four proofs of A : three in black, one in purple. One proof of B. One each of A and B in Metropolitan. Edition: Marked 250, but probably only 35 printed. Printer: Kistler. Drawings: An entire sketchbook of 1 9 5 1 , done in color pencil. " T h e theme is connected with the Tempe fresco which I had finished that summer. One of my sources was a very lovely series of chromolithographs in J. G. Bourke, The Snake-Dance of the Moquis of Arizona, published in 1884. I made sketches from them in the University of Hawaii Library. Then I went to Tempe

and did the fresco, then saw the actual Hopi Snake Dance ceremony, then did this litho in California. It's a successful thing for a two-color." (JC 1 9 7 1 ) Lynton R. Kistler ( 1 9 7 1 ) : " I t is marked with an edition of 250, but I doubt if more than 35 were printed. W e hoped to sell a lot of them to students at the University of Arizona at five dollars each, but no one was interested." J C Diary: April 20, 1951 (Honolulu). " R e a d on snake dance." April 22. "Sketches snake dance." June 4 to August 18. Painting frescos at Arizona State College, Tempe, Arizona. August 18. " T o Mishongnovi, day before snake dance." August 19. "Visit with Kabotie [Fred Kabotie, famous Hopi artist], and to snake dance, Kaboties with us. O f great interest. Not unlike mural." September 9 (Hermosa Beach). "Lithos K. . . . b) snake dance." September 10. " G u m stones." September 13 (Los Angeles). " A t K. W o r k on pull of Snake Dance. Make yellow plate. Print b o t h . "

313

Aa/B

314

553. DARK MADONNA 1 9 5 2 . D r a w n in Honolulu. Printed in Los Angeles. Color lithograph on zinc. 4 3 5 x 3 2 8 mm. (17V4 x 13 inches). Colors: A. maroon. B. green. States: Aa. T h e light area across the baby's face extends all the way beneath both eyes. T h e image measures 4 3 5 x 3 2 8 mm. N o separate proofs. J C has the original zinc plate of this image, which has mottled flaws all over it. There are gripper holes down the left side. This plate is used in all known two-color proofs, including the one illustrated in a Kistler sales brochure dated January 1 9 5 3 . Ab. Entirely different from Aa. T h e light area extends only beneath the baby's right eye (i.e., the side farthest away from the mother). T h e image is 1 0 mm. wider than Aa, measuring 4 3 5 x 3 3 8 mm. J C has one proof of A b alone in black, inscribed " T r i a l before color 1 / 1 , " and the original zinc plate (without gripper holes). B. —

N o states. No separate proofs. T h e r e are also a full-sized photographic negative and two photostatic contact prints from it (one in each direction). T h e y correspond in detail to Aa, except that they also contain a few features of the B plate in addition to all of the A-plate image. This suggests that: (a) they were made with a filter from a two-color A a / B proof, and (b) they are not the source of Aa and the prints from it. Edition: A few proofs only. J C has three proofs of A a / B . A Kistler sales brochure, dated January 1 9 5 3 , gives an edition of 2 0 0 , and says: " T r a n s f e r to stone from zinc plate." This was written in error, anticipating an edition that it was never possible to make. Printer: Kistler. " I certainly remember doing it. It is a hand-made lithograph, not process. Something went wrong with it, but I don't know what Kistler did with that nega-

tive he gave me. I had confidence in him to handle it. He is still his father's son, and like his father he is really good at commercial lithography, as well as art prints. I remember we never had a real edition in any case." (JC 1 9 7 1 ) Lynton R. Kistler ( 1 9 7 1 ) : " T h e zinc filled in rapidly. M y catalogue was written before the trouble started. There were only a few good proofs, nothing like two hundred. I tried a transfer from the zinc to stone, as it says in the catalogue, but it was no good, and there were no proofs. Then I tried a photo-lithographic plate, but that didn't work either, and there are no proofs of t h a t . " J C Diary: April 21, 1952. "Begin litho for K., zinc, H e a d . " April 23. "Continue K. litho." April 25. " F i n ish, pack, mail K. litho: Dark M a d o n n a . " August 28. "Letter from K. Red plate, Dark Madonna, gone bad. Sends another plate!" September 4. " R e d r a w red plate, D a r k Madonna, for K. Mail i t . " T h e following sequence of events seems the most probable to the compiler. First, J C drew two color plates on zinc, one of which is the extant Aa plate with holes down the side. Second, after printing only a few proofs, Kistler must have seen the mottled defects appearing in the plate, rendering it useless for further printing. Next, JC drew an entirely new A b plate, as indicated in his diary, which is very likely the second extant plate. For some reason which neither man now remembers, this plate would not print well, and there may be only the one proof from it. N e x t , Kistler, on his own, attempted a direct transfer from the defective zinc to stone, which must have been an evident failure before proofs were pulled. He then tried making a photographic replica of the plate, via the negative made from a good proof. (The photostats may have been a form of protection for the basic image.) T h e photographic plate must also have been a failure, with no proofs, and the project was abandoned at this point. There seems to exist, therefore, only the few good proofs made from the artist's original lithographic plates.

315

only state (early proof)

554. SNAKE DANCE 1952. Honolulu. Alternative title: Indian Snake Dance. Associated American Artists commission. Lithograph on zinc. 340 x 246 mm. (13V2 x 93h inches). No states. In early proofs, the man at right has relatively light hair and the shading throughout is light and subtle. Later proofs have dark hair on the right man and more mottled, coarser shading, due to spreading. Edition: 250. Printer: Kistler. There are proofs that are marked with an edition of 25. This is inaccurate. Most of the proofs of the edition of 250 are not marked with the edition size. Although the signs of wear noted above may indicate two separate printings, the proofs marked " - / 2 5 " and the unmarked proofs each include among them both early and later varieties. "It looks just like the Snake Dance looked." (JC 1971) JC Diary: July 21, 1952. "Received zinc from K. Began litho for AAA: Snake Dance, front view." July 22. Draw two lithos. For AAA, snake dance, front view. . . . Give to Ing to mail." October 14. "Mail lithos to AAA, regular mail." 316

only state

555.

W O M A N WITH CHILD AND SUGARCANE 1952. Honolulu. Lithograph on zinc. 344 x 246 mm. (13V2 x 9% inches). No states. Edition: 50 (Proofs in terracotta noted in a Kistler brochure of 1953.) Zinc plate in JC collection. Printer: Kistler. " A very primitive one, close to the Street Scenes in style. I think I wanted to see how I could keep the line strong and have appreciable modeling also." (JC 1971) JC Diary: July 22, 1952. "Draw two lithos. . . . For K.: Woman, Child, and Sugarcane."

only state

only state

556. REST ON THE FLIGHT INTO EGYPT 1 9 5 2 . Honolulu. Lithograph on stone. 3 5 1 x 2 6 2 mm. (13 3 /4 x 10V4 inches). No states. Edition: About 60. (Proofs in black, purple, or blue noted in a Kistler brochure of 1953.) Printer: Kistler.

557. FLIGHT INTO EGYPT 1 9 5 2 . Honolulu. Lithograph on stone. 3 5 5 x 2 6 0 mm. (14 x 10 J A inches). No states. Edition: About 60. (Proofs in black, purple, or blue noted in a Kistler brochure of 1953.) Printer: Kistler.

J C D i a r y : July 24, 1952. "Received stone from K . " July 29. " B e g a n litho: Rest on Flight." July 31. " C o n tinue litho." August 1. "Finish litho. G u m . " "Scratched on pencil g r a y . " (JC card) Lynton R. Kistler ( 1 9 7 1 ) : " T h e s e two prints were listed in my catalogue with an edition of 100, but the stone broke after about 60 were printed."

" T h e s e are two sides of one stone. Instead of rolling, I used crayon all over it, then scratched out the highlights. I don't remember what I scratched with. I never use very complicated tools." (JC 1 9 7 1 ) J C Diary: August 2, 1952. " B e g a n verso K. stone: Flight into Egypt." August 3. "Finish litho. Pack stone for K . " August 4. " M a i l stone to K . " "Scratched on pencil gray." (JC card.) Small halftone reproductions of both subjects were used as Christmas cards published by the Honolulu Academy of Arts. 317

558. REST AND W O R K 1953. Honolulu. Lithograph on stone. 3 6 3 x 255 mm. (14V2 x 10 inches); stonemark: 4 0 2 x 2 9 3 mm. (15 3 /4 x l i y 2 inches). No states. J C has four proofs, numbered 13, 1 7 , 19, and 20. No edition. " A few copies" (JC card), possibly as many as 20, judging from the numbers noted above. Printer: Edward Brownlee. " T h a t ' s the type of thing we were doing in print demonstrations." (JC 1 9 7 1 ) "Demonstration litho drawn for 'printmakers.' Printed at University of Hawaii by Brownlee." (JC card) J C D i a r y : June 12, 1 9 5 3 . " A t Printmakers. I draw lithograph on stone: Tortillera, with tusche and scrapi n g . " October 8. "Brownlee prints my demonstration litho: Rest and W o r k . "

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559. DARK MADONNA 1954. Drawn in Honolulu. Printed in Los Angeles. Color lithograph on zinc. 5 1 0 x 3 3 6 mm. (20 x 14V2 inches). Colors: A. dark brown. B. turquoise blue. C. pink or buff. D. light olive green. States: A-l. Ghost outline of mother's hand and shoulder under rebozo. " 1 9 5 4 " reversed at lower right. N o signature. No separate proofs. A-2. Ghost outlines removed. Date removed. Signature added at lower right. N o separate proofs. B, C, and D. Only one state each. N o separate proofs. T h e D plate primarily adds shading on the rebozo and the child's shoulder. Proofs: A-l/B/C-pink. A-l/B/C-pink/D. A-2/B/C-pink/D. A-2/B/C-buff/D. Edition: About 100.

Four proofs ( J C - 2 , SI, Achenbach). O n e proof (Joyce O . Roberts). Edition proofs, proportion unknown. Edition proofs, proportion unknown. Printer: Kistler.

" A s I have done a number of times, I drew the zincs in Hawaii and sent them to Kistler. I remember drawing it as a demonstration in a graphics class I had at the University, but we didn't print it here. T h e n I saw the first pull of three plates in Los Angeles and didn't like it too well, so we added the fourth plate. I think it is better with the buff than with the p i n k . " (JC 1971) Lynton R. Kistler ( 1 9 7 1 ) : " I ran off about 1 0 0 in three colors, some with the pink, some with buff. T h e n Jean decided on the olive plate, so we added it to all the proofs. It was originally intended as an unlimited edition." JC Diary: October 4 , 1 9 5 4 . " B e g i n large litho, Dark Madonna No. 2, for K . " October 5. "Continue large litho for K . " October 6. "Finish litho K. second color." October 7. "Finish and mail large litho, three colors, to K . "

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560. SHEPHERDS 561. HOLY FAMILY 562. THREE WISE MEN Ca. 1 9 5 4 . Honolulu. ( T h e stencils were printed in 1954.) Cut paper stencils. M e a s u r e m e n t s : No. 5 6 0 : 2 8 1 0 x 1 1 3 0 mm. (IIOV2 x 44 V2 i n c h e s ) ; No. 5 6 1 : 2 8 2 0 x 1 1 2 5 mm. ( I l l x 44V2 i n c h e s ) ; No. 5 6 2 : 2 8 0 0 x 1 1 2 5 m m . ( 1 1 0 x 44V4 inches), on sheets ca. 3 0 0 0 x 1 3 6 0 m m . (ca. 1 0 x 4V2 feet). N o states. O n e proof of each in white on blue paper. N o edition. J C has stencils. P r i n t e r s : J C and Juliette M a y Fraser. " T h e stencils were originally cut as Christmas window decorations for Richard D e n n i s , the architect. T h e light shone through f r o m the rear. I've done cutpaper work since I was nine years old. It's an old Mexican folk art form. M y g r a n d f a t h e r had some fine examples. For me, it was a similar technique to that of the silk-screens, cutting in reserve. T h e n I thought of printing them for the Printmakers show. M a y Fraser and I did so by pouncing the gouache on with cloth b a l l s . " (JC 1 9 7 1 ) J C D i a r y : O c t o b e r 1 5 , 1 9 5 4 . " W i t h M a y , get paper, etc., to print Christmas c u t - o u t s . " O c t o b e r 1 6 . " W i t h M a y , stencil center panel of Christmas cut-outs, 4 x 1 0 f e e t . " O c t o b e r 1 9 . " W i t h M a y , stencil panel 2 : K i n g s . " O c t o b e r 21. " W i t h M a y , print panel no. 3 : S h e p h e r d s . " N o v e m b e r 4. " E v e n i n g . O p e n i n g show Printmakers, with my three Nativity prints: 1 0 x 1 5 feet."

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563. J O S E P H W I T H SHEPHERD'S C R O O K 564. C H R I S T CHILD W I T H A N I M A L S 565. M A R Y PRAYING Ca. 1954. Honolulu. (Estimate of date.) Cut paper stencils. Measurements: No. 5 6 3 : 990 x 1210 mm. (39 x 47Vz inches); No. 5 6 4 : 990 x 1205 mm. (39 x 47V2 inches); No. 5 6 5 : 1 0 0 0 x 1205 mm. (39V2 x 47V2 inches). No states. Two complete sets of three, and two additional proofs of no. 564, all in white on blue paper. No edition. JC has stencils, of heavy green paper. Printer: Morse et al. Further printings are possible. At the artist's request, the second and third sets of stencils were printed in April and May 1971 by the compiler of this catalogue. None of the seven stencils had ever been printed before. The stencils were entirely clean. Sheets of blue-gray Japanese paper (Tetsuro O T - 5 ) were pasted together to the requisite sizes. The stencils were temporarily affixed to the surface of the paper with wheat paste and then sprayed with white paint. (One of the extra proofs of no. 564 was done as a trial with brush and poster paint. The proof was given to the compiler by the artist.) The help of the artist's sons, Dr. John Chariot and Mr. Martin Chariot, in the printing is gratefully acknowledged.

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566.

THREE WISE

MEN

567.

JOSEPH AND

DOG

568.

MARY AND CHRIST

569.

ANGEL AND

N o s t a t e s . O n e c o m p l e t e set o f f o u r , a n d o n e addit i o n a l p r o o f o f n o . 5 6 7 r e v e r s e d , all in w h i t e o n b l u e

CHILD

paper.

ANIMALS

Ca. 1 9 5 4 . Honolulu. (Estimate of date.)

N o edition. J C has s t e n c i l s , o f h e a v y b l u e p a p e r (cut

Cut paper stencils. M e a s u r e m e n t s :

f r o m the s a m e s o r t o f p a p e r o n w h i c h the p r o o f s o f

N o . 5 6 6 : 1 7 6 5 x 8 5 0 m m . (69V2 x 33Vz i n c h e s ) ;

n o s . 5 6 0 - 5 6 2 w e r e p r i n t e d in 1 9 5 4 ) . P r i n t e r : M o r s e .

No. 5 6 7 : 1 7 5 0 x 840 mm. (69 x 33 inches);

Further printings are possible. T h e

printing

tech-

N o . 5 6 8 : 1 7 6 0 x 8 4 0 m m . (69V4 x 3 3 i n c h e s ) ;

n i q u e is the s a m e as t h e p r e c e d i n g set. ( n o s .

563-

N o . 5 6 9 : 1 7 7 0 x 8 2 0 m m . (693A

565).

x 32Vt

inches).

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" I believe these were d o n e f o r N e s t a O b e r m e r , an English friend w h o used to live in H a w a i i . I took the m e a s u r e m e n t s of her w i n d o w s , but I got the w r o n g w i n d o w s o b v i o u s l y and had to do it all over again. T h a t is w h y there are the t w o sets. T h e square ones were discarded, as they did not fit on the w i n d o w s . I e x p e c t to have the prints m o u n t e d as C h i n e s e scrolls, as has been done with some of m y large mural c a r t o o n drawings." (JC 1 9 7 1 )

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f

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VIRGIN A N D CHILD

1954 (?). There is no evidence concerning the date of this subject, and it is placed here solely as a matter of convenience. Block probably cut in Honolulu. Linoleum cut. 153 x 130 mm. ( 6 x 5 inches). No states. One early proof, in dark green, of the central portion of the block on a small card, 140 x 89 mm. (5V2 x 3V2 inches). One proof in black pulled by the artist in 1971, and given by him to the compiler. No edition. JC has the block. Printer: JC. "I may have done it as a Christmas card trial and then never used it. That is all that comes to mind." (JC 1971)

(OF THE

C A AVAY R N ¡I3 -V A L Iit-t5 published state (black only) 572. STAR OF. THE SEA CARNIVAL 1955. Honolulu. Lithograph on stone, hand-colored. Picture: 305 x 300 mm. (12 x ll 3 /4 inches); including text 390 x 300 mm. (151/4 x 11% inches). States: 1. Black line on grayish background. One proof. 2. Gray background mostly scraped away, the lines remaining. Two proofs in black only, and one with hand-coloring added. Edition: Ca. 25. Printer: Juliette May Fraser and JC.

only state 571. VIRGIN A N D CHILD 1954. Honolulu. The artist's personal Christmas card. Linoleum cut. 64 x 52 mm. (2V2 x 2 inches). No states. Printed in dark brown, with tan tone, and text typeset. Edition: Ca. 200. Block lost. Printer: Unknown. JC Diary: November 22, 1954. 'Make lino Christmas card."

"This was done with May Fraser. The Star of the Sea is our parish here—where we go to mass. Every year they have a carnival to raise money. Somehow, I said I would do a poster for the occasion. They were hung in churches and so on, to tell people about it. It's interesting. I think it was the last thing I did along the lines of my Images d'Epinal idea: hand-coloring the print and multiplying the picture for popular consumption. It is very close in spirit to folk prints, though not technically so." (JC 1971) JC Diary: May 1, 1955. "Draw litho poster for Star of the Sea Carnival: ferris wheel." May 4. " W i t h May. I help print the carnival posters by h a n d . "

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573. FLIGHT INTO EGYPT 1955. Notre Dame, Indiana. Announcement of a Chariot exhibition, July 1 7 , 1 9 5 5 . Mimeograph, drawn by the artist directly on the stencil, printed in purple. Picture: 95 x 146 mm. (3% x 53A inches) on sheet 280 x 216 mm. (11 x 8V2 inches). The artist's name drawn by himself, the remaining text by someone else. No states. Edition: Unknown, probably several hundred. Printer: Unknown. " I had two summers at Notre Dame University, doing frescoes and teaching. This subject was part of the fresco mural I was painting in the O'Shaughnessy Building." (JC 1971)

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574. CHRIST CHILD 1955. New York. The artist's personal Christmas card. Linoleum cut on two blocks, one with picture, one with text, each 38 x 38 mm. (IV2 x IV2 inches). Printed in green, with red tone block, and remaining text typeset. No states. Edition: Ca. 200. JC has both blocks. Printer: "Triggs." JC Diary: December 5 , 1 9 5 5 (New York). Christmas card linoleum." December 6. "Triggs printing for Christmas cards, West 18th Street." J C letter to ZC, December 1955. "Christmas card very nice. I had paid for a one-color job, though I asked the price of the two-color. So they really gave us the second color!"

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published state 575. W O R K AND REST 1956. Los Angeles. Color lithograph on zinc, offset. 382 x 505 mm. (15 x 20 inches), including title. Colors: A. yellow ochre. B. red. C. blue (originally Key). D. olive green. E. pink (tone-plate). F. purple (corrective plate drawn in 1958). States: Only one state each, except: C - l . Line only. Key plate, photomechanically produced. No proof known. C-2. Extensive shading added by the artist throughout the design. Proofs: A only (JC, SI, Kistler), B only (SI, Kistler), A / B (JC, SI, Kistler), C-2 only ( J C - 2 , Kistler), A / B / C - 2 (SI, Achenbach, Kistler), D only (JC, Kistler), A / B / C - 2 / D (SI, Achenbach, Kistler), E only ( J C - 2 , Kistler-2), A / B / C - 2 / D / E (SI, Achenbach, Kistler), F only (no separate proofs). Edition unlimited; 3 0 0 - 4 0 0 printed of A / B / C - 2 / D / E/F. Printer: Kistler. See color lithograph no. 451.

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"These prints were done on large zincs and a rotary offset press. Kistler had given up art lithographs and was concentrating on commercial lithography. He just couldn't make any money on fine printing. Few artists

were interested, and few people bought lithographs. He also had an allergy in his hands for some of the materials he used in stone lithography." (JC 1971) Lynton R. Kistler (1971): "These 1956 lithographs were done in my commercial plant. Jean made line drawings, which were then photographed and put on the color plates with a blueprint solution. It gave a blue line, which was faintly visible but didn't print, or printed only a little, as you see in the progressives. W e did about three or four hundred of each and then destroyed the plates. I had developed a very painful allergy to litho acids and could not work personally on stones any more." JC Diary: August 3, 1956. " T o Kistler workshop. Line drawings for Work and Rest, Mock Battle, Mock Victory. Take them to be line photographed." August 6. "Kistler. Yellow plates for Work and Rest and both Malinches." August 7. "Work on plates all day, 7:30 am to 5 pm. Red plates on both." August 8. " W o r k all day to 11 pm. Blue plates." August 9. " W o r k on plates all day to 1 am. Finish plates Malinches. Gray on Work and Rest." August 10. "Finish print both plates." August 13. "Sign editions, etc." June 24, 1958. " T o Kistler's. Corrective plates for two oval Malinches and for Rest and Work."

ia-^X-U published state 576. M O C K BATTLE 577. MOCK VICTORY 1956. Los Angeles. Color lithographs on zinc, offset (two subjects on one set of plates). Sizes: no. 576: 456 x 309 mm. (18 x 12 inches), including title; no. 5 7 7 : 459 x 310 mm. (18 x 12 inches), including title. Colors: A. yellow. B. pink. C. dark red. D. blue (originally Key). E. olive green. States of the pair: Only one state each, except:

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D-l.

Line only. Key plate, photomechanically produced. No proof known. D-2. Extensive shading added by the artist throughout the design. Proofs of the pair: A only (JC, Kistler), B only (Kistler), A / B (Kistler), C only (JC, Kistler), A / B / C ( J C - 3 , Kistler), D-2 only (JC, Kistler), A / B / C / D - 2 (JC, SI, Kistler-2), E only (JC, Kistler). Edition unlimited. 3 0 0 - 4 0 0 printed of A / B / C / D - 2 / E . Printer: Kistler. Comments and Diary: See no. 575 above.

329

VIA CRUCIS 578. 579. 580. 581. 582.

TITLE PAGE S T A T I O N I (Jesus is condemned to death) S T A T I O N II (Jesus receives the cross) S T A T I O N III (Jesus falls the first time) S T A T I O N IV (Jesus is met by His Blessed Mother) 583. S T A T I O N V (Simon of Cyrene) 584. S T A T I O N VI (Veronica) 585. S T A T I O N VII (Second fall) 586. S T A T I O N VIII (Women of Jerusalem) 587. S T A T I O N IX (Third fall) 588. S T A T I O N X (Jesus is stripped of His garments) 589. S T A T I O N XI (Jesus is nailed to the cross) 590. S T A T I O N XII (Jesus dies on the cross) 591. S T A T I O N XIII (Jesus in the arms of His Blessed Mother) 592. S T A T I O N XIV (Jesus is laid in the sepulchre for "three days") 1956. Los Angeles. Lithographs on zinc, offset. Each design: 252 x 304 mm. (10 x 12 inches), each with solid tone plate in light buff of the same size, and mounted on cardboard sheets 2 mm. thick and 265 x 318 (IOV2 x 12V2 inches) in size. No states. Drawn on plates and printed in groups of four (the sixteenth space left blank). No uncut sheets now known. The artist's signature and edition number on the Title Page are written by hand, as are the titles sometimes seen on the separate stations. The Roman numerals are in the plate. Edition: 100, of which most are now lost. Printer: Kistler.

Ifta Ctuols ¿feu-lot fuÒ Ìi eA ^ l^nt^R.Ktfler QJZOJT)

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Drawings of the fourteen Stations in brown ink wash and black "crachis" (spatter) on cardboard, related but not identical to the lithographs. See also nos. 1 1 - 2 5 , 2 3 5 - 2 3 8 , and 521. " I had wanted for a long time to do a set of Stations of the Cross which would be available for small churches." (JC 1971) Lynton R. Kistler (1971): " W e printed these in sheets of four. I added the solid buff tone as Jean requested. Then the sheets were sent out to be mounted on cardboard and subsequently cut apart. Many of them remained in my shop, and I'm afraid they may have been lost when I moved in 1 9 6 9 . " JC Diary: August 9, 1956. "Evening: draw Way Cross." August 10. "Number Way Cross. . . . Begin print Way Cross." December 18. "Received K's Way of the Cross. Nice." The fourteen stations were reproduced in small linecuts in Today (National Catholic Magazine), April 1957, pp. 1 8 - 2 2 , with a short article by Carl Merschel. Mrs. L. R. Kistler wrote JC on October 16, 1956: "He has been working on the mounting of the Stations of the Cross but the company he had do it made a mistake, and he is having them done over." 330

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593. VERONICA'S VEIL 1956. Los Angeles. Color lithograph on stone. 254 x 340 mm. (10 x 13V2 inches). Colors: A. black. B. pink tone. No states. Three proofs (JC-2, NCFA). No edition. Three proofs known. Printer: Kistler. "It is done with a hard litho pencil, no. 5, I think, on stone. Kistler gives up easily on religious things, I don't know why, and we dropped it at this stage." (JC 1971) Lynton R. Kistler (1971) comments: "No, it is not any special dislike of religious subjects. I think it is just a coincidence. The Veronica's Veil, for instance, was so delicately drawn on the stone there was no way to hold it. An edition just was not possible. I still had my old stone press in the plant at that time." JC Diary: August 10, 1956. "Begin stone: Veroni-

ca's kerchief." August 13. "Evening: work on stone, Veronica's kerchief, with Kistler." December 7 (Honolulu). "Received proofs Veronica from K." Mrs. Kistler had written JC on October 16: "Lynton has been so rushed that he has had no time yet to hand print the stone. . . . The poor guy has been working night and day." After receiving the proofs, JC wrote Kistler, on December 15: "Dear L. R. Thanks for the Veronica. Even the light pink is too heavy; half that strength and in a buff greenish would be better. The stone is much lighter than I believed it to be." He added two sketches indicating trimming of the A stone on the left side, of the B stone at top and right, and an added band of tint at the bottom of the B stone, to bring the two into perfect register. This, however, appears not to have been done, because, as Kistler explains, the image did not hold on the stone.

only state 594. HAWAIIAN DRUMMER 1958. Los Angeles. (Year date in stone.) Lithograph on stone. 350 x 237 mm. (13 3 A x 9V4 inches). No states. Edition: 25. Stone: Private collection. Printer: Kistler. " T h i s is the last one I did with Kistler on stone. It is not mentioned specifically in my diary, but I remember doing it the same time as the corrective plates for the Rest and Work and the Malinches, which would date it June 24, 1 9 5 8 . " (JC 1971) Lynton R. Kistler ( 1 9 7 1 ) : " T h i s is the last stone I have printed for anyone. The image remains, but it would be difficult or impossible to print from it again." The stone, the only extant Chariot lithograph stone has been studied with some care. It is in the same state as the published print. O f particular interest is the artist's deep scratching of white highlights into the stone surface. This technique is next to impossible on metal plates.

334

only state 595. HAWAIIAN SWIMMER 1 9 5 9 . Drawn in New York. Printed in Los Angeles. Commissioned by Honolulu Printmakers Society as gift print to members. Color lithograph on zinc, offset. 5 8 0 x 4 2 5 mm. (22 3 A x 16 3 A inches). C o l o r s : A. sanguine. B. yellowish green. C. turquoise blue. D. dark blue. E. purple. N o states. T w o proofs of A / B / C / D (JC, Metropolitan). T h e most evident effect of plate E is the shading added on the fish. Edition: 1 0 0 ( J C Diary). Printer: Kistler. " I was in N e w Y o r k at the time and sent the plates to Kistler in Los Angeles. T h e heavy purple tint plate was done by him on my indications." (JC 1 9 7 1 )

Lynton R. Kistler ( 1 9 7 1 ) : " I don't remember the details of the tone plate, but he must have sent me a drawing. I certainly wouldn't have done a tone plate without it. I have just a slight recollection that there was an edition of 1 0 0 in addition to that for the Honolulu Printmakers." T h e size of the edition is not stated on the known proofs. J C Diary: September 10, 1 9 5 9 (New York). " R e ceived zincs from K . " September 11. "Begin litho K. for Hawaii Printmakers: Swimmer with fish." September 14. "Continue litho." September 15. "Finish litho (four colors). Pack and send by air express to K. T i r e d . " September 28. " S i g n 1 0 0 proofs K. litho. Air expressed to L. A . "

335

THE BRIDGE OF SAN LUIS REY Drawn in Honolulu, April 30 to May 12, September 14 to October 29, 1961 (see JC Diary below). Published by the Limited Editions Club, New York. Fifteen color lithographs on zinc, offset. Seven colors each for first edition (Limited Editions Club). Three or four colors each for second edition (Heritage Press, subsidiary of the Limited Editions Club). Printer of the lithographs: George C. Miller. Edition: 1,500 for Limited Editions Club, 20,000 for Heritage Press. Drawings: Notebook with numerous pencil sketches, 259 x 198 mm. (10 x 7% inches). Chariot first drew his designs in black ink, line only, on acetate. These drawings were sent to New York. After he had made revisions on several, the line drawings were placed photomechanically onto zinc plates. Nine plates were made of each subject. One of each remained in New York, was etched for printing, and became the key-plate that was printed as part of each lithograph. The other eight plates were sent to Chariot in Honolulu. (The fifteen original key drawings have not been located.) The subjects were arranged on three large plates (i.e., sets of plates), approximately 28 x 23 inches each (sheet size: 710 x 585 mm.). Although no complete proof sheet is now known, the arrangement may be reconstructed by matching the cut edges of proofs in the artist's collection, as illustrated, p. 338. First Set: Nos. 599, 600, 605, 606, 609 and 610. Second Set: Nos. 597, 598, 601, 602, 607, and 608. Third Set: 596, 603, and 604. Chariot then drew six color plates for each set, drawing them in black on the plates, and returned them to New York. Miller printed them, together with the key-plates, and sent proofs to Honolulu for correction. In two cases, the D plate (green) of no. 596 and the F plate (purple) of no. 607, Chariot suggested changes, which were then made on the plates by Miller in New York. For the First Set, he drew an entirely new color corrective plate (Db), using one of the extra plates at hand. He drew it to be an additional plate to the six colors plus key-plate already done. Through a misunderstanding, it was printed instead as a substitute plate for the first one of the same color (Da). There is, therefore, no proof of the First Set subjects that shows the artist's finished concept, with both Da and Db. In his own set of progressives, there are also finished proofs of nos. 607 and 608 inscribed "(Less Corrective)." This may indicate that he also contemplated a corrective plate for the Second Set, but it apparently was not done. The artist drew the color plates in such a manner that just two colors of each, plus key-plates, could be printed to produce a meaningful picture, for use in the trade edition of the book, under the imprint of the Heritage Press. In the end, three colors plus the keyplate were used for the First and Third Sets, including 336

a change of color for one First Set plate. Except for that one case, the individual color differences between the two editions are minimal. There is some wear, spreading, and loss of quality in the plates in the Heritage Press edition. The paper of the Limited Editions Club edition is a cream laid paper with chain lines 22.8 mm. apart, watermarked "Curtis Rag." That of the Heritage Press edition is white laid paper, chain lines 25.0 mm. apart. The titles are taken from the list of illustrations on page vii of the book. The eight full-page illustrations (nos. 599, 600, 602, 604, 605, 606, 609, and 610) also have the title printed below the picture. There is no text on the verso of the full-page subjects; there is on the others. The book was designed by Peter Oldenburg. The text was printed (subseq uently to the lithographs) by Bert Clarke and David Way of the Thistle Press, New York. The colophon is signed by the artist. The artist's personal set of progressives is bound as a book. It contains an almost complete series of progressive proofs for both editions. For the First Set, there are separate impressions of both the Da and Db plates. A similar book of progressives is in the Metropolitan Museum of Art, New York. " I suggested Kistler, but they decided Miller was easier because he was in New York and they had worked with him before. I had worked only in blackand-white with Miller. I have a great respect for him, but he wasn't an expert on color. Kistler is. There is the texture of the ink, for instance. With both Kistler and Carman, we could vary the texture and get true tints—transparent and still strong. After all, printing is an art. "Then the man at the Limited Editions Club refused to print a complete set of correctives which I sent, saying there was no time. Miller didn't mind adding correctives at all. It's the other fellow who stopped it. So I never knew what Miller could really do, because they stopped before the end. " I did the plates with the specific idea of using two color plates out of each set for the popular Heritage Press edition." (JC 1971) JC Diary and Correspondence: Mrs. George Macy of the Limited Editions Club wrote to Chariot on June 8, 1960, asking him to illustrate The Bridge of San Luis Rey, by Thornton Wilder, without specifying the medium, and suggesting a deadline of one year. (The compiler is most grateful to Mrs. Macy and the Limited Editions Club for making available copies of all the letters in their files.) On June 20, the artist accepted the commission and requested details of technique and printing budget. Mrs. Macy then suggested color lithography, and Chariot replied with a strong recommendation of Lynton R. Kistler for printer. Mrs. Macy explained that they preferred to work with George C. Miller.

September 1, I 9 6 0 , Chariot wrote: " I have worked with George Miller since 1930, so I know what a good craftsman he is. It is just that most of my color work lately has been done with Lynton Kistler. . . . However, I shall leave the choice of printer to you. On the Carmen [see nos. 408-441], the galley proofs came first, and I synchronized the illustrations to fit the style of the text. I would very much like to work the same way. . . . I expect my color to be powerful." On September 30, Mrs. Macy said that cost factors would set the number of color lithographs at sixteen, at least eight to be of full-page size. On October 3, Chariot made another plea on behalf of Kistler, but Miller had already been commissioned. He continued: " I expect to work in five or six colors, and the key plate in line only could better be worked out photographically for absolute accuracy." The deadline was agreed to be July 1, 1961. Paper and type specimens were sent to Chariot in January 1961. He again requested a full layout before planning his illustrations. " I was not planning to do piecemeal sketches as you seem to expect. I would very much like to do all the sketches at once when the whole lay-out is complete. . . . How much color can be included in your budget?" Max M. Stein, production manager of the Limited Editions Club, agreed to provide the layout, with some flexibility in placing the drawings, and outlined the procedure of placing the key drawings onto the color plates. On April 19, a complete paste-up dummy was sent. Stein listed fifteen suggestions of subjects for illustration (the title page to be double-page size). All but two of these were ultimately adopted by Chariot. The exceptions were: "p. 6 1 : The barber-surgeon tends Manuel's wound," replaced by Esteban Goes to Fetch the Surgeon (no. 602), and "p. 105: Camila with her son Don Jaime," replaced by Camila Goes to Church" (no. 607). Stein suggested that the full-page designs be extended completely to the edge of the paper, with an additional Vs-inch to be left for bleed. Chariot preferred, however, to limit those designs to the size of the block of type, "given the old-fashioned suggestion in the lay-out and the excellent margins." On May 5, Stein sent a list of the three different sets of illustrations, so that Chariot could plan his different colors accordingly. On May 12, Chariot sent off the set of line drawings for the key-plates and stated his intention to use the key-plates as part of the final designs. The July 1 deadline was approaching. "There is enough time, but I hope for a minimum delay before I can start the actual work on the zinc plates," he wrote on April 24. When Stein offered a one-month extension, Chariot explained that he had been commissioned to paint a mural in July and August. "Any work left unfinished at the end of June would have to wait until September. As there are approximately 100 color plates to be drawn, I feel that time is an important element!" In the end, the zinc plates did not arrive until

after he had departed for the mural work. After receiving the key drawings, Mrs. Macy wrote (May 17) with praise for them and with several suggestions. Three small improvements were reworked as she had recommended. Chariot, however, defended two changes of subject (May 21) : "Esteban looking for a surgeon should be quite effective in color, with the effect of the street lamp, and I would like to keep it as it is." In the other case, the illustration for p. 37, he wrote: "The Marquesa by the fountain I chose because the author mentions llamas, and there is so little local color in the book about Peru. Don't you think your readers would enjoy my llama? I do." Soon, nevertheless, he returned to the original idea, the Marquesa being carried across the bridge (no. 600).

drawing The plates and proofs of the key-plates were in Honolulu when he returned in September. Diary: September 14, 1961. "Work in watercolor for Bridge." September 15, 16, 17, 18, and 19. "Continue Bridge watercolors." September 20. "Finish watercolors Bridge. [These watercolored proof sheets have not been located.] September 21. "Twenty color swatches for Bridge." September 22. "Arrange zincs." September 23. "All day: zincs Bridge. Very tiring work with magnifying glass." September 29. "Zincs Bridge. Send Stein swatches all colors book." Along with the color samples, Chariot wrote (September 29): "Be sure to tell George Miller that all colors should be transparent so as to realize the blends I have in mind. The exception is the key plate; that should be opaque and printed last of all. You could experiment with a color key plate other than black—blue or brown, but this could only be decided by trying it on the press. Perhaps this would detach the illustrations further from the text than using black for the key plate. When the time comes, be 337

sure to tell George to send me two complete sets of progressive proofs so as to suggest corrections if any." Diary: October 12. "Take zincs [First Set] to pack and airfreight to Miller." October 20. "All day, zincs Bridge." October 22. "All day, zincs Bridge." October 23. "Finish zincs, set B. Bring to airfreight to George Miller." October 25. "Zincs, set C . " October 27, 28, and 29. "Zincs Bridge." October 30. "Mail last batch zincs Bridge." Progressives of the First Set were mailed to Chariot on November 3. He apparently made detailed notes and a suggestion for an entirely new corrective plate. These proofs and accompanying letter, if any, are not now located. On November 17, Stein wrote back that the cost for printing an additional plate on all proofs of the First Set would be "prohibitive." He enclosed progressives of the Second and Third Sets. Diary: November 20. "Received proofs B and C of book. Better." On November 22, Chariot replied: "The new proofs are received. I am rather pleased with a first look at them. The lighter work is there this time." Regarding the First Set, he insisted: "Unless you have a very pressing deadline, I would prefer to do a corrective of sorts for the A series. Truly, some of the light pencil work vanished, as you can see by comparing A with B and C. I have at hand two A plates left. Could re-do one of the colors, so as to avoid the expense of an extra printing." Diary: November 29. "Correct proofs Bridge. Roll and mail." Finally, on December 11, Stein wrote back, approving " a corrective plate for the A series." Chariot interpreted this as an additional plate, the meaning of "corrective" that he had always used. He drew the plate to be used in this fashion. Diary: December 13. "Letter from Limited Editions. Yes on corrective plate." December 18. "Zinc corrective for Bridge. Mail it." Miller, however, printed it as a substitute plate (Db), following Chariot's suggestion of a month earlier. The misunderstanding did not become evident until the middle of January, when Chariot saw the finished proofs. By then, the edition had been printed and it was too late to do anything about it. On January 17, 18, and 19, 1962, Chariot signed 1,600 colophon sheets for the Limited Editions Club edition. Progressive proofs of the Heritage Press versions of the lithographs were sent to him on January 12. Stein felt that the Second and Third Sets were successful, but that the First Set appeared weak, with the colors specified. Chariot made a new choice of color, and the plates were printed, as noted in the catalogue entries.

338

First Set, Key

Second Set, Key

THORNTON WILDER

THE BRIDGE O F SAN LUIS REY with an introduction by G R A N V I L L E

HICKS

Illustrated with lithographs in color by JEAN

CHARLOT

THE L I M I T E D EDITIONS CLUB NEW YORK • 1962

first e d i t i o n

596. T I T L E PAGE Bridge of San Louis Rey, pp. ii-iii. 283 x 345 mm. ( l l V i x 1 3 % inches) untrimmed. Double-page spread, trimmed, measures 276 x 342 mm. in Limited Editions Club edition, 272 x 334 mm. in Heritage Press edition. Colors (Third Set): A. yellow. B. red. C. blue gray. D. green. E. light brown. G. brown (Key). (Lacking F, purple, present in others of Third Set.) Only one state each, except: D-l.

D-2. G-l.

Lower part of monk's robe and top of far right bundle are green. Proofs with D - l in J C Progressives. Green removed from robe and bundle, leaving them a yellowish brown. Without text. Area at right is solid color. One

G-2.

G-3.

proof in black and one final in brown in J C Progressives. Title Page text added (photomechanically) in white reserve, including imprint: " T h e Limited Editions Club / New York 1 9 6 2 . " (The title, " T h e Bridge of San Louis R e y , " is printed over a yellow-brown tone, different from any single color in the picture. T h e rest of the text is in white.) Imprint changed to " T h e Heritage Press / New Y o r k " [n.d.]. All text in white.

Proofs : No separate proofs. A/B/C/D-2/E/G-2. E/C/B/G-3.

Limited Editions Club edition. Heritage Press edition.

339

597. BROTHER JUNIPER SEEKS THE TRUTH Bridge of San Luis Rey, p. 7. 139 x 104 mm. (5V2 x 4 inches). Colors (Second Set): A yellow. B. red. C. blue gray. D. bright green. E. brown. F. purple. G. brown (Key). No states. Proofs: A/B/C/D/E/F/G. Limited Editions Club edition. E/C/G. Heritage Press edition. G black. Four separate proofs, paired with no. 598.

first edition

598. DONA MARIA WRITES A LETTER Bridge of San Luis Rey, p. 18. 112 x 105 mm. (4V2 x 4 inches). Colors (Second Set): A. yellow. B. red. C. blue gray. D. bright green. E. brown. F. purple. G. brown (Key). No states. Proofs: A/B/C/D/E/F/G. Limited Editions Club edition. E/C/G. Heritage Press edition. G black. Four separate proofs, paired with no. 597.

first edition

599.

THE PERICHOLE CALLS UPON THE MARQUESA. Bridge of San Luis Rey, p. 28. 165 x 104 mm. (6V2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. Lightly drawn except the background. White areas on Perichole's dress and mantilla, and on Marquesa's kerchief, hands, and neck. Db. Heavily shaded throughout. White highlights only on Marquesa's face and jewelry, and on girl's face. Proofs: A / B / C / D a / E / F / G black. JC Progressives and two separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. Db/F/G. JC Progressives for Heritage Press. D b / B / C gray/G. Heritage Press edition. G black. Seven separate proofs, paired with no. 600. 340

first edition

600.

first edition

THE MARQUESA IS CARRIED ACROSS THE BRIDGE Bridge of San Luis Rey, p. 37. 165 x 104 mm. (6V2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. Finely shaded. White highlights on front porter's arm and below parasol. Db. Coarse shading. No highlight on porter's arm. Shading across center background. Proofs: A / B / C / D a / E / F / G black. JC Progressives and four separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. Db/F/G. JC Progressives for Heritage Press. D b / B / C gray/G. Heritage Press edition. G black. Seven separate proofs, paired with no. 599.

601.

MANUEL WATCHES THE PERICHOLE PERFORM Bridge of San Luis Key, p. 52. 112 x 103 mm. (4V2 x 4 inches). Colors (Second Set): A. yellow. B. red. C. blue gray. E. brown. F. purple. G. brown (Key). (Lacking green, D, present in others of Second Set.) No states. Proofs: A/B/C/E/F/G. Limited Editions Club edition. E/C/G. Heritage Press edition. G black. Five separate proofs, paired with no. 602. See also Color Plate 12.

first edition

602.

ESTEBAN GOES T O FETCH THE SURGEON Bridge of San Luis Rey, p. 61. 164 x 104 mm. (6V2 x 4 inches). Colors (Second Set): A. yellow. B. red. C. blue gray. D. bright green. E. brown. F. purple. G. brown (Key). No states. Proofs: A / B / C / D / E / F / G . Limited Editions Club edition. E/C/G. Heritage Press edition. G black. Five separate proofs, paired with no. 601.

first edition

341

603.

CAPTAIN ALVARADO INTERVIEWS ESTEBAN Bridge of San Luis Rey, p. 71. 125 x 103 mm. ( 5 x 4 inches). Colors (Third Set): A. yellow. B. red. C. blue gray. D. green. E. light brown. F. purple. G. brown (Key). No states. Proofs: E / C / G blue. One proof in JC Progressives. E / C / G brown. Two separate proofs. A / B / C / D / E / F / G . Limited Editions Club edition. E/C/B/G. Heritage Press edition. G black. Five separate proofs, paired with no. 604.

first edition

604. THE LIMEANS CELEBRATE A FEAST DAY Bridge of San Luis Rey, p. 82. 165 x 104 mm. (6V2 x 4 inches). Colors (Third Set): A. yellow. B. red. C. blue gray. D. green. E. light brown. F. purple. G. brown (Key). No states. Proofs: E / C / G blue. One proof in JC Progressives. E / C / G brown. Two separate proofs. A / B / C / D / E / F / G . Limited Editions Club edition. E/C/B/G. Heritage Press edition. G black. Five separate proofs, paired with no. 603.

first edition

605.

UNCLE PIO DISCUSSES THE PERICHOLE'S PERFORMANCE Bridge of San Luis Rey, p. 92. 165 x 103 mm. (61/2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. Uncle Pio's face shows mainly yellow. White highlight on kerchief. Db. Similar to Da. Uncle Pio's face entirely shaded in reddish brown. No white on kerchief. Proofs: A / B / C / D a / E / F / G black. JC Progressives and five separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. JC Progressives for Db/F/G. Heritage Press. Heritage Press edition. D b / B / C gray/G. Seven separate proofs, G black. paired with no. 606. first edition

606.

first edition

first edition

A PRIVATE SUPPER AT THE VICEROY'S PALACE Bridge of San Luis Key, p. 101. 165 x 104 mm. (6V2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. White highlights on girl's face and wrist. Reddish brown under purple on wall at left, over yellow on pitcher, and so forth. Db. Shading across girl's face and wrist. Reddish brown under green of girl's cloak, but not on pitcher nor purple wall. Proofs: A / B / C / D a / E / F / G black. JC Progressives and four separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. Db/F/G. JC Progressives for Heritage Press. D b / B / C gray/G. Heritage Press edition. G black. Seven separate proofs, paired with no. 605.

607. CAMILA GOES T O CHURCH Bridge of San Luis Rey, p. 105. 115 x 103 mm. (4V2 x 4 inches). Colors (Second Set): A. yellow. B. red. C. blue gray. D. bright green. E. brown. F. purple. G. brown (Key). Only one state each, except: F - l . Paper area of fan is entirely white. F-2. White area of fan filled in with solid purple. Proofs: A / B / C / D / E / F - l / G . JC Progressives and two separate proofs. A / B / C / D / E / F - 2 / G . Limited Editions Club edition. E/C/G. Heritage Press edition. G black. Five separate proofs, paired with no. 608.

608.

UNCLE PIO CARRIES D O N JAIME T O THE BRIDGE Bridge of San Luis Rey, p. 116. 149 x 103 mm. ( 6 x 4 inches). Colors (Second Set): A. yellow. B. red. C. blue gray. D. bright green. E. brown. F. purple. G. brown (Key). No states. Proofs: A / B / C / D / E / F / G . Limited Editions Club edition. E / C / G. Heritage Press edition. G black. Five separate proofs, paired with no. 607.

first edition

343

609.

BROTHER JUNIPER IS GIVEN T O THE FLAMES Bridge of San Luis Rey, p. 127. 165 x 103 mm. (6V2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. Prominent white highlight on face. No reddish brown shading on entire left (blue) side of body. Db. Shading all across face and over blue on left side. Proofs : A / B / C / D a / E / F / G black. JC Progressives and three separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. Db/F/G. JC Progressives for Heritage Press and one separate proof. Heritage Press edition. D b / B / C gray/G. Six separate proofs, G black. paired with no. 610.

DONA CLARA VISITS MADRE MARIA AT THE CONVENT Bridge of San Luis Rey, p. 134. 165 x 104 mm. (6V2 x 4 inches). Colors (First Set): A. yellow. B. red. C. blue. D. reddish brown. E. purple. F. gray. G. brown (Key). Only one state each, except: Da. Kerchief is white. White highlights on Madre Maria's face. Db. Kerchief is shaded reddish brown. Shading all across Madre Maria's face. Proofs: A / B / C / D a / E / F / G black. JC Progressives and four separate proofs. A / B / C / D b / E / F / G brown. Limited Editions Club edition. JC Progressives for Db/F/G. Heritage Press and one separate proof. Heritage Press edition. D b / B / C gray/G. Six separate proofs, G black. paired with no. 609.

first edition

610.

344

first edition

third state

611. MOTHER W I T H CRADLE I 1965. Honolulu. Trial for a Christmas card. Linoleum cut, printed in brown. 90 x 128 mm. (3V2 x 5 inches). States: 1. Heavy features on mother. Solid form between arm and body has squared corners. O n e proof. 2. Lines thinned of mother's eye, nose, and forehead. Corners rounded on solid form. O n e proof. 3. W h i t e channels separate both arms from mother's head. Her mouth widened. White line cut between lower arm and solid form. T w o proofs, one with rays added in white paint. No edition. Four proofs known. Block lost. Printer: JC. J C Diary: September 22, 1 9 6 5 . "Linoleum cut for Christmas." September 23. "Finish linoleum line Christmas c a r d ? "

£HB1ST

only state

612. M O T H E R W I T H C R A D L E II 1965. Honolulu. T h e artist's own Christmas card. Color serigraph. Tone screen: 1 0 2 x 143 mm. (4 x 53A inches); picture only: 90 x 128 mm. (3V2 x 5 inches). Colors: A. turquoise blue tone. B. brown line. No states. T h e white rays by the Child's head are reserved in the A screen. Edition: Unknown, probably about 300. Printer: Unknown. JC Diary: October 21, 1965. "Begin cut silkscreen Christmas card." The close correspondence between this subject and no. 6 1 1 suggests that the artist printed the block directly on his silk screen (B) as a guide for his cutting.

345

only state

613. W O M A N W I T H B A S K E T (horizontal) 1 9 6 8 . Malzeville, France. Color lithograph on stone. 3 8 4 x 4 8 5 mm. (15 x 19 inches). Colors: A. brown (sepia). B. blue. C. yellow ochre. No states. T w o proofs of A only; two of A / B . Edition: 50. Printer: Masson (hand-stamped " M a s s o n Malzeville" in black). " W e went to Nancy for the birth of John's and Dominique's first baby. I had written the de Mahuets, the in-laws of John, before I went, that I was interested in contacting lithographers. T h e y found the names of two. I never went to the second one, because Masson was so good—just perfect. His work-shop was outside Nancy at Malzeville, and he owned the most wonder-

346

ful collection of litho stones I had ever seen. T h e y were his father's commercial stones, and he hadn't used them for a generation, literally. T h e y were piled up around the sides of the shop like a Breton stone wall. His regular business was more like printing labels on a rotary press. He enjoyed turning back the clock. Masson and I had a real collaboration." (JC 1971) J C Diary: July 16, 1 9 6 8 . " W i t h John, visit to lithographer, Masson, Les Grosses Terres, Malzeville. M a n y stones. Good conversation. Go to work tomorr o w ? " July 17. " A l l day lithograph. W o m a n with basket, sepia plate. Blue stone b e g u n . " July 18. " Z o h m a h drives me to lithograph shop. Finish blue. Draw yellow. Final pull litho: W o m a n with Basket. N i c e . "

only state (A/B) 614. W O M A N W I T H BASKET (vertical, to left) 1968. Malzeville, France. Color lithograph on stone. Picture only: 517 x 375 mm. (20V4 x 143A inches); tone plate: 540 x 381 mm. 2 1 % x 15 inches). Colors: A. sanguine. B. greenish buff tone plate. No states. Two proofs of A only in black, one of B only. The ghost images of old commercial lettering on the A stone appear in all prints, notably the word " J E U N E S S E " at lower right. The addition of B, however, masks the effect to a considerable extent. Editions: 30 of A only, 60 of A/B. Printer: Masson

("Masson Malzeville" scratched at bottom of B). " I thought both versions were nice, so we made editions of both. On this lithograph, the tone plate was done by rolling up the stone and then scratching the whites in it. Compare this with Mourlot's method on the next print." (JC 1971) JC Diary: July 19, 1968. "Lithograph, subject 2, stone 1 . " July 22. "Lithograph, stone no. 2, tint. Ca. 5 pm: pull final: 30 sanguine, 60 in two colors (cameo)." July 23. " W i t h John to lithographer. Sign, number editions. Make three packages. . . . Pay. Adieu."

347

615. W O M A N WITH BASKET (vertical, to right) 1968. Paris. Color lithograph on stone. Picture only: 544 x 380 mm. (21V2 x 15 inches); tone plate: 559 x 390 mm. (22 x \5xk inches). Colors: A. blue. B. buff tone. States: A-l. Dark area of rebozo at lower right shaded with line work. " 9 " of " 1 9 6 8 " at lower right is reversed. One proof in black. A-2. Dark area shaded further, becoming almost solid. " 9 " corrected. Edition proofs only. B. One state only. N o separate proofs. Edition: 33 of A only; 34 of A/B. Printer: Claude Jobin, at Mourlot. " I just went there, unannounced, and they almost threw me out. Then I mentioned Siqueiros. They were just doing a big series of his lithos. So I saw the founder, the old Monsieur Mourlot. (The son is in New York.) It's a factory. I must have seen thirty or thirtyfive men at work, each one with his own press. They make beautiful posters. We ended by being quite friendly. "Mourlot is 'perfect/ with both the qualities and limitations of being perfect. I said I would like to do a two-color print. I told them I'd like to do a two-color litho, line on one stone and 'tableau noir' [blackboard] on the other—and then I would scratch my whites in it. 'You can't do that,' they said. 'We couldn't make a proper edition from a thing like that.' I said, 'I've just done it.' But they didn't believe me. So they gave me gum instead, and I gummed the whites. Then they rolled over it, the stop-out method. I could hardly control those fellows at Mourlot. They knew too much." (JC 1971) J C Diary: September 10, 1968. " T o Mourlot, lithographer. Talk with Mourlot, Sr. Very nice." September 11. "Mourlot. Plate 1, blue, of a woman with basket." September 16. "Proofs two colors: subject, Woman with Basket." September 17. "Mourlot. Pay edition 1 . "

348

published state ( A / B )

616. M O T H E R TYING CHILD IN CHAIR 1968. Paris. Color lithograph on stone. 560 x 390 mm. (22 x 15V4 inches). Colors: A. reddish brown. B. green. No states. No separate proofs. Edition: 50. Printer: Claude Jobin, at Mourlot. JC Diary: September 17, 1968. ". . . 1:55 pm. Begin subject 2: Tying Child to Chair." September 19. "Stone no. 2 (red) of subject 2. My printer: Claude Jobin." September 20. "Mourlot. OK edition on stone 2, in 3 colors. $150.00."

only state

349

617. CHRIST CHILD WITH ANIMALS 618. CHRIST CHILD AND TREE 619. SHEPHERD AND STAR 620. MANGER AND STAR 1968. Malzeville, France. The artist's personal Christmas cards. Color lithographs on one stone. Each subject: 110 x 140 mm. (iV* x 5V2 inches). Colors: A. red line. B. green tone. (A appears brown beneath the green.) No states. One proof each of A in black, three of four subjects with pencil additions outlining ideas for B. Edition: 100 of each. Printer: Masson.

only state

"These little things I did with Masson when we went back to Nancy. When John's baby was born, we went back to Honolulu." (JC 1971) JC Diary: September 12, 1968. "To Masson. Plan Christmas cards." September 13. "Masson. Draw two colors of four Christmas cards." September 14. "Masson. Print 400 Christmas cards in two colors."

only state

only state

--— only state

350

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