Author Archive

Marie Antoinette and Jacques-Louis David at the Clark

April 16, 2014

By Karie Jenkins, Clark Reading Room Assistant

You never know what great treasures you will come across at the Clark. When discussing the art collection with a colleague this morning, he informed me that we have two watercolor sketches of Marie Antoinette by Jacques-Louis David.  The Death of Marat, perhaps David’s most famous painting, has been called the Pietà of the Revolution.

Death of Marat

The Death of Marat

Intrigued and delighted by this snippet of information, I immediately had to see the drawings for myself. Within moments, I was whisked away to the Clark’s “French Green Room” where the sketches are hung adjacent to one another. Once we turned the corner and walked into the room we were greeted by the queen’s image, both faint and partial.

Both sketches seemingly accentuate Marie Antoinette’s exquisite sense of fashion and her imperial disposition. The first image I came across was of her standing and resting her hand gently on the back of a chair. The rendering of her attire and physique looks as though the sketch was taken straight out of a fashion illustrator’s notebook. Each garment is carefully labeled and assigned colors, thus demonstrating David’s creative process in composing this image. The second sketch is a portrait of Marie Antoinette. Detached and disinterested, she gazes away from the viewer with her head turned to the side. And naturally, her hair and head piece are piled high thus granting her the stature and royalty definitive to her essence. Of the two sketches, only the image of her standing is dated 1793, which was the ominous year she met her demise. Right above the date David wrote, “Marie Antoinette dans La Conciergerie.”

131125_07: [Portrait of Marie Antoinette] [art original]. 1793.

If you recall, Conciergerie was the infamous prison which Marie- Antoinette was brought before her trial. She was given less than a day to prepare and received no sympathy from the courts or the public. Once the verdict was reached, she was found guilty of treason and was immediately swept away to the guillotine. David had two months to sketch the queen while she was still alive and living in her cell. Even after she had long fallen from grace, David proceeded to imbue her image with the likeness of an angel or a saint. After all, she was the mother of France and what was a son to do?131125_12: [Portrait of Marie Antoinette] [art original]. 179-?

David’s sketches are fascinating and thanks to Professor Todd L. Larkin at Montana State University they have been the topic of discussion here at The Clark. Larkin contacted us requesting a reproduction of the sketches to which he encountered as a graduate student at UC Santa Barbara. On November 24th his request was fulfilled when a photographer came to The Clark to capture a couple of shots of the jail-bird queen. Unlike most pieces in our collection, the David sketches cannot simply be removed from their frames. A couple of years back, the library decided to bolt the frames to the walls in case of an earthquake to avoid any harm or damage to the sketches.

David’s Marie Antoinette sketches will permanently remain on display and we welcome our guests and scholars to stop by and admire them.

Napoleon (not at the Clark!)

Napoleon (not at the Clark!)


Job Instructions for our Defense Contractors

April 2, 2014

By Nina M. Schneider, Head Cataloger

Recently, the news has been filled with reports of the possibility of a new Cold War, while at the same time updating us about the ongoing search for Malaysian Airlines’ missing jet. It might be a coincidence then, that while cataloging Ward Ritchie’s Library, our interns ran across job instruction booklets from the early days of the Douglas Aircraft Company.

Three-quarters of the way through her 30-month internship, Patricia Garcia discovered an incomplete set of printed instructions published in 1943 by the Education Department of The Douglas Aircraft Company. Job Instruction No. 1: Safetying with Cotter Pins explains the right way to “safety a bolt” and “how to safety a clevis pin” with hand-drawn illustrations, printed in red and black.


Job Instruction No. 2: Riveting, emphasizes the importance of the matching the tool to the rivet and the deadly consequence of laziness, inattentiveness, or hiding a broken part.


The Clark has two copies of the second pamphlet, one produced for Douglas Aircraft, the other for the Education Department of the Consolidated-Vultee Aircraft Corp, Vultee Field Division. Both covers feature a photograph of a female employee (the original Rosie?) using a rivet gun. Interestingly, the copy produced for Douglas Aircraft has an altered cover. The woman’s hair is covered by a hairnet, but a hairnet that is printed letterpress.



The Clark also has two copies of Job Instruction No. 3: Drilling. This time, the model is wearing an actual hairnet for the cover photo as she wields what looks like a 40-pound drill while wearing a cashmere cardigan over a lace-edged blouse. In fact, many of the booklets that we have from the defense contractor feature instructions for women.


Job Instruction No. 9: Hints to Women Aircraft Workers stresses the importance of workplace safety and life-style practices. Looking at this book seventy years later makes us cringe. Of course, some of the advice is common sense; new working habits and different types of physical labor will likely result in sore muscles and fatigue. However, the manual warns that fatigue should be avoided because it leads to mistakes, and mistakes can be deadly. Their advice: Eat something sweet for a boost of energy, stretch, or take a hot bath, and “don’t wear yourself out on exercise.” This booklet also shows some stretches that can be done for “menstrual adjustments.” In the mix of diagrams and cartoons about the proper way to lift heavy loads, work ergonomically, and properly handle tools, are hints on makeup, shoes, and jewelry in the workplace, the importance of daily baths and using deodorant, and the types and proper amounts of food consumed in a daily diet.

Contrast this booklet with Job Instruction No. 11: X Marks the Spot. Fully illustrated in black, red, and blue, employees are menaced on every page by the lurking presence of caricaturized monsters from Japan and Germany.


Long, loose hair can be caught in moving drills bits, zoot suits have too many pockets, neckties invite disaster when operating lathes, and wedding rings can get caught in a revolving chuck.



In fact, all sorts of disasters can happen when employees don’t follow regulations or improperly use heavy equipment. The enemy is just waiting for disaster to happen!



The font is a modern, bold, sans serif face for each booklet. Uniformly sized in an 8×5” format, with rounded fore-edge corners and a stapled spine, these booklets were likely designed and printed by Ward Ritchie.

As stated in the biographical sketch for the Ward Ritchie collection of papers: Ritchie became one of the principal figures in the fine-printing movement in Southern California. [A native of Los Angeles, he studied at Occidental College and Stanford and spent a semester at Frank Wiggins Trade School learning to print. After an apprenticeship in France, he returned to Los Angeles and] printed for the Primavera Press, [while taking] commissions as the Ward Ritchie Press, which he incorporated in 1932. Gregg Anderson entered into partnership, and the printing firm was subsequently called Anderson & Ritchie, with the name Ward Ritchie Press being retained for publishing ventures. At the outbreak of World War II, Anderson joined the Army (he was killed in 1944), and Ritchie left the press for Douglas Aircraft, where he produced technical manuals. … Between 1943 and 1950 Ritchie worked as production manager at the advertising agency Foote, Cone and Belding, though he remained associated with the press and did designs for them. In 1950 he returned to the press full-time, and the firm (renamed Anderson, Ritchie & Simon) kept growing until Ritchie retired in 1972. … In his retirement, in Laguna Beach, he bought a hand press and began printing small editions himself under the name Laguna Verde Imprenta. He died early in 1996 [leaving behind two wives, two children, three step-children and his close friend, Gloria Stuart].

Douglas Aircraft Company was founded in 1921 and was headquartered in Santa Monica. It became McDonnell Douglas when it merged with McDonnell Aircraft in 1967.

For more information on the Ward Ritchie Library, search “Press coll. Ritchie Lib.” as a call number in the UCLA Library catalog. See also the online finding aid for his papers.

For more information about Douglas Aircraft, see the Museum of Flight’s website.


Bookplates, librarians and zombie literature…

March 27, 2014


The Clark recently acquired an early scribal manuscript of Pierre-Corneille Blessebois’ 1676 play L’Eugenie, a work based on the story of St. Eugenia.  Though there are many reasons why L’Eugenie is interesting as a text (onstage nudity, transgender themes, and a libertine author who wrote the first zombie novel, just to name a few), I am particularly interested in one small aspect of our copy’s provenance.



One of the former owners of this manuscript, whose red bookplate can be seen above, was the French writer and librarian Charles Nodier (1780-1844). As the director of the Bibliotheque de l’Arsenal in Paris, Nodier established a literary salon that brought together Victor Hugo, Alexandre Dumas and other young Romanticists, and was a major influence on their work.  Nodier’s own literary work touches on similar themes of the Gothic and fantastic; he was also extremely interested in the vampire novel.  Though L’Eugenie is not part of this genre, it does make sense that he might be particularly interested in work by the author of Le zombie du Grand-Perou!

Though Nodier is best remembered for his influence on the young French Romantics, his work as a librarian was also significant — indeed a 2003 article by Matthew Loving asserts that he should actually be considered “one of history’s great librarians.”  Nodier was a bibliophile from a young age and learned the art of bibliography while working in his father’s personal library.  He made a name for himself by traveling to nearby estates to catalog and inventory their libraries, and worked as a professional librarian in France and in Ljubljana, Slovenia before his appointment as bibliothéquaire de l’Arsenal in 1824. In his work as a librarian, Nodier advocated for the importance of bibliographic control and accuracy in cataloging. In fact, he was one of the first librarians to advocate for better standards for bibliography and cataloging, comparing the “science” of bibliography to the classification of plants and animals (which he knew something about, as he was also an amateur entomologist).  Nodier sold off portions of his library several times over his lifetime and there was also a large sale of his remaining books after his death in 1844.  I haven’t yet been able to find a mention of this manuscript in sales catalogues, but it would be interesting to see how Nodier himself cataloged it — hopefully our cataloging lives up to his standards!

Celebrate Shakespeare’s Birthday at the Clark!

March 26, 2014
Shakespeare’s Bookshelf: New Additions to the Paul Chrzanowski Collection
Wednesday, April 23, 2014, 4:00–7:00 p.m.
A Special Event at the  William Andrews Clark Memorial Library
Please join the Center and Clark Library in celebrating the new additions to the Paul Chrzanowski Collection. Books from the collection will be on display during this special event, which also marks the 450th anniversary of William Shakespeare’s birth. Paul Chrzanowski will give a short collector’s talk at 5:30 p.m., and scenes from Shakespeare plays will be performed by actors from the Independent Shakespeare Company on the library’s beautiful grounds.
The Paul Chrzanowski Collection is the largest gift ever made to the Clark Library. It contains books known or thought to have been read by William Shakespeare, as well as two Shakespeare folios and one quarto edition of a play (Henry the Sixth), among other fine books dated from 1479 to 1731. It also includes the first complete Caxton publication to enter any University of California collection, his Cordyal of the Four Last Thinges of 1479.
Registration Deadline: April 16, 2014
Admission is complimentary, but advance registration is requested:
Please be aware that space at the Clark is limited and that registration closes when capacity is reached. Confirmation will be sent via email.

UCLA Volunteer Day at the Clark

September 25, 2013

On Tuesday, the Clark was lucky to host a group of UCLA students who generously donated their free time for UCLA Volunteer Day.



Working with our groundkeeper, the students helped to weed flower beds, clean up plant debris, and beautify our outdoor space!  We hope that they had a great time visiting and helping the Clark, and will look forward to next year’s UCLA Volunteer Day!


Farquhar’s Vision: Original Plans for the Clark

September 13, 2013

photo 1

We recently had a request from another campus department for access to our collection of original plans (many of them drawn or prepared by architect Robert D. Farquhar) for the Library’s construction.  Most of the staff had never had the chance to see all of them, if any, and it was a great excuse to see how beautiful these renderings are.  The architects who wanted to consult them were impressed too, saying that no one ever makes such detailed or specific plans anymore.  From schematics for electricity and designs for the bookroom shelves, to drawings of all of the woodwork in the drawing room, our set of original plans and drawings is a treasure trove of information about this building and the process of constructing it.

photo 3

We will hopefully be able to soon share some digitized versions of the plans so that you can appreciate them for yourselves!  Until then, you are also welcome to visit and see them in person in our reading room.

photo 2

A Suffolk Treasure in California

August 23, 2013



In 2009, we posted a Clog article about an elaborately made manuscript version of a wedding sermon  in our collection.  Last year, history columnist John Blatchly wrote in detail about our manuscript in his weekly column for the East Anglian Daily Times.  This week he sent us a scan of the article and we thought we would share it with you.   (Click on the image to see it at a more readable size; the full text of the article is below)

Courtesy of John Blatchly and the East Anglian Daily Times:

At the University of California, Los Angeles, there is a rare and delightful Suffolk manuscript [MS.1951.018]. The William Andrews Clark Memorial Library paid less than $14 for it in 1951, a trivial sum even then. It is a unique handwritten copy of a marriage sermon preached on 28 August 1649 in Chilton Church near Sudbury. It was specially commissioned by the preacher and bound in vellum for presentation to the father of the bridegroom, Sir William Armyne, 1st Baronet, of Osgodby Hall in Lincolnshire. Its beauty lies in the way the scribe, John Raymond, wrote it in imitation of printing.

When printing began some two hundred years earlier, the style of manuscripts of the day was imitated. Here the hand mimics print and there is the luxury of two titlepages. There were Raymonds in St Lawrence parish, Ipswich, and it could be that John had gone to London to work as a writing-master and calligrapher. He was not a printer in either place.

The 18 year-old bride was Anne Crane, third of four daughters of Sir Robert Crane of Chilton who had died in 1642 aged 55. Robert was knighted by James I at Newmarket, and created a baronet by Charles I in 1627. As he left no son, his estate was divided equally between his daughters. Anne’s mother was Robert’s second wife, Susan, daughter of Sir Giles Allington of Horseheath and Halesworth, and she later married Isaac Appleton of Holbrook Hall in Waldingfield.

Sir William Armyne chose his protegé Matthew Lawrence to preach the sermon partly because he was local. From 1643 until his death in 1652, Lawrence was Town Preacher of Ipswich, presiding over the Classis of ministers which ran the Town Library and provided Godly ministers for the twelve parishes of the town. But Armyne and Lawrence were also both Lincolnshire men, for Matthew was christened the son of William Lawrence at Saxby All Saints on February 1596. Although Saxby is a parish or two south of the estuary it was then known as Saxby on Humber.

The sermon was some 30 pages long, as one would expect from such a painful Puritan as Lawrence. (His posthumous Use and Practice of Faith runs to 624 pages.) Couples would not put up with it today. In those days, longevity was far rarer than today, and William and Anne were together for only nine years, for the husband died aged 36, having having enjoyed his father’s title for only seven years before his remains were interred in the Armyne family vault at Lenton, Lincs.

Anne, who had borne her husband two healthy daughters, was still only 27, and in 1659 she married another Lincolnshire man, John, 1st Baron Belasyse or Bellasis of Worlaby in that county, where he built, in Pevsner’s words ‘a bizarre brick house in the familiar Fen Artisan Mannerism’. Unfortunately it is no longer there. Clearly Lord Belasyse was wealthy, for he commissioned Anne’s portrait from Sir Peter Lely. She died in 1662, aged 30.

French Theater at the Clark

July 31, 2013

From Reading Room Assistant Becky Ruud

In 2012, the Clark acquired a collection of 548 French plays. These plays were lovingly bound in 42 volumes between 1814-1819. However, the ordering of the volumes seems to have no discernible pattern. The collection includes plays from the 1780s through the early 19th century, although the majority of the plays come from the time of the French Revolution. The collection’s 42 volumes are bound in contemporary calf-backed boards. One volume has a marbled fore-edge where the others are left plain. In addition, each volume includes a handwritten index at the back of the volume, written by the original owner.

An example of an index written at the back of a volume

An example of an index written at the back of a volume

The owner’s love of these plays is evident in his arduous corrections to dialogue and even addition to printed title pages. The example below was repeated many times throughout the collection when title pages were missing from the play.

A title page supplied by the owner

A title page supplied by the owner

Corrections made by the owner

Corrections made by the owner

In addition, he added missing information from title pages and wrote out plays in their entirety!

Additions made to a title page

Additions made to a title page

 Play copied by the owner

Play copied by the owner

Almost all of the volumes include an unidentified armorial stamp at the front of the volume, seen in the first photo above.
Most of the included plays are comedies, which reflect the popular fashion for comedies in France during this period. Also, presumably to circumvent censorship laws, many of the plays were published in the provinces and internationally, including printing shops in Avignon, Toulouse, Carcassonne, London, Amsterdam, and others. The majority of the plays were written by Favart, Sedaine, Desforges, Le Brun, and Marmontel and were composed by Philidor, Gretry (and daughter), Bruni and Dalayrac. Printers of these plays mostly included Parisian printers Chez Barba, Chez Duchesne, and Jacques Garrigan and Berenguier of Avignon.

Interestingly, the volumes include many retellings of Shakespeare, including a French version of Hamlet where Hamlet and Ophelia survive. The final speech is given by Ophelia wherein she describes how wonderful Hamlet is, clearly not Ophelia’s original feelings in the original play. Although it is not clearly not Shakespeare’s Hamlet; it is noted on the title page to be in the style of the English. Also, for those Anne Rice fans out there, including me, the play Arlequin Sauvage featured in her book The Vampire Lestat is included in this collection! This was written into her story as Lestat’s first acting experience where he portrays the main character of this play.

This collection reflects the owner’s taste for comedies and love of theatre, but it also represents the culture of the French Revolution. The dates printed in the plays change to the Republican calendar and then seem to revert back towards the Gregorian calendar. The owner almost always writes the Gregorian date next to the Republican date at the end of each title page. Another example, many printers over time change their names to include “et fils” or become “mme”, perhaps when the printer dies. Finally, the genre and style of plays seems to change over time. It can be seen that over time the genres slowly include more varied styles of comedies including comedy-proverbe, parodie, opera-comique, divertissment, melodrame, vaudevilles, comedie lyrique, and others.

Perhaps my favorite parts of this collection are the original owner’s annotations. I especially like when he seems to be practicing what was appears to be his name on many title pages, and within the leaves of the plays. As seen below, he seems to be writing the name Delmas David Cadet time and time again. I would be curious to know if that name is familiar to anyone.

Name inscription written by the owner

Name inscription written by the owner

This very real connection to history is what I enjoy most about special collections work. I started to feel as though I knew the owner over the time I spent with the collection. I trusted his annotations (they were correct nearly every time), and as the volumes increased in number so did the amount of inscriptions he did. This unique collection should be revered for the owner’s dedication to the genre and the breadth of plays included in this large collection. The UCLA library, at this time, does not include many examples of the minor forms of comedy included in this collection which makes this collection even more special for the Clark.

Montana, Through the Stereoscope

July 24, 2013

From Nicoletta Beyer, Reading Room Assistant

In the less-travelled aisle of the library stacks known for its Montana Collection, I found a tan, medium-sized box. Inside the box live about fifty stereoviews alongside the original housing, a box with the title “Montana: Through the Stereoscope”. These early twentieth century stereoviews vary from sepia-toned rural landscapes to scenes of Native American rituals, although the majority are images documenting a rather dramatic buffalo roundup.

The Last Buffalo Chase in America

Upon further research, I discovered that this particular roundup is regarded as the “Last Great Buffalo Roundup”, a five year battle to move hundreds of bison across the Canadian border led by a 71 year old man with “an impressive white handlebar mustache.”  This mustachioed cowboy, Michel Pablo, was the owner of a large herd of buffaloes that roamed free on the 1.5 million acre expanse of the Flathead reservation of Western Montana. In 1906, the American government opened this reservation to settlers. Pablo encouraged the government to buy the large herd and to establish a buffalo sanctuary to avoid repeating the grave history of the herd’s ancestors of the century before. The American government showed no interest and Pablo was forced to accept an offer from the Canadian government in Alberta, prompting the great roundup from the reservation to the train station.
Making a Last and Fierce Struggle for Freedom

The “buffalo boys” attempted to drive the herd multiple times, each attempt ending with a portion of the herd making an enthusiastic buffalo break for freedom either by violent uprootal of wooden fencing or ramming through the back of the train car wall. The excitement leaked to the community and soon the roundup was attracting spectators, including a photographer from Butte, Norman A. Forsyth. Apparently the photographer positioned himself in dangerous proximity to the herd at various points for the sake of the shot and barely escaped injury — at one point hoisting himself up a fence and into a tree, losing his pants to a bull’s horns.
Unloading Buffaloes at Ravalli Yards

These are the stereoviews Forsyth captured at some point during this last great buffalo roundup, an endeavor that spanned five years, a testament of the wooly beasts’ fierce resistance.
Wild Buffaloes Swimming Pend d'Oreille River

New Acquisition from the London Book Fair: Oscar Wilde Lecture in Dublin, 1883

July 15, 2013

From Head Librarian Gerald Cloud

Last month’s London Book Fair provided the Clark with some choice new acquisitions, including a rare first hand account of Oscar on the podium. The letter, seen below, was written by Hannah Ann Robinson, latter known by her married name, Nannie Florence Dryhurst, 1856-1930. Written to her future husband, Alfred Robert Dryhurst, the letter describes how Wilde addressed his Dublin audience on 22 November 1883.


Along with the letter is included the promotional flier advertising the two talks Wilde gave in Dublin that Fall. The Clark holds examples of other similar advertising fliers from Wilde’s American tour.

Dyrhurst herself would go on to become a schoolteacher, but more adventurously, a strong advocate for Irish Independence and various anarchic causes in Europe in the early-twentieth century.



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