Here are some more recent acquisitions from the rueful “Island of Misfit Books” project.

You probably know all about William Wordsworth, the English Romantic poet who was friends with Samuel Taylor Coleridge, with whom he visited Rheinland-Pfalz where they first got the idea to translate Goethe’s Faustus.

This volume is called Poems of Wordsworth Chosen and edited by Matthew Arnold. Arnold was an English professor (at Rugby and then Oxford) who was also a poet; “Dover Beach” is often referenced by Ian McEwan and appears in Fahrenheit 451. This book is a printing from 1893. The spine is very bent and there are fingerprints and some faint traces of pencil on almost every page…someone really liked this book.

Crime novelist and short story writer Edgar Wallace was also quite a character and became, in 1927, one of the first authors to secure a deal with a movie studio for stories and scripts. This turned out to be a good thing because Wallace was also, earlier, the creator of King Kong. (In the scene in the basement tavern in Inglourious Basterds during the “Who Am I?” game there are references to both King Kong and Wallace.) As you can see by the cover of White Face, Wallace was also academically ahead of his time, having devoted several hundred pages lo in 1930 to the exploration of the astonishing theory that, indeed, some segment of the population — perhaps even you — is in fact white. A film was made of White Face as well; it premiered in March 1932, just a few weeks after Wallace’s death in February of the same year.

Speaking of trends in scholarship, of course it is no longer necessary to speak French or go to France in order to become a person of letters on French subjects. Nonthetless, my favorite book in this trio is the Brief French Grammar. It was the property of a the New York Public Library in the second decade of the 1900s, and then of the Board of Education of the City of New York where it circulated until 1936. A very enthusiastic student marked a routing slip left inside the book with an emphatic red date: Le Juin 22, 1920. Completely adorable.

 

 

 

 

 

 

 

 

The Horse Fair by Rosa Bonheur

The Horse Fair: It’s not Nivernais
“Labourages Nivernais (Ploughing in the Nivernais)” by Rosa Bonheur

If 19th century French painter Rosa Bonheur believed in reincarnation, she would surely have chosen to return to life not as one of the regal lions or leggy gazelles she shared her Bordeaux estate with, but as a sturdy, common barnyard bull. The slyly successful painter had great affection for domestic animals, and enjoyed her greatest artistic success depicting them.
Bonheur was especially adept at imbuing cattle with nobility without giving them airs of humanity.
Though best known for The Horse Fair (1853), a canvas from a few years later in her career, Labourages Nivernais, completed in 1850, is actually a less derivative, more personal, visually individualistic image of Bonheur’s favorite creatures. Nivernais also marks the beginning of a period of commercial and public success for Bonheur, a good fortune enjoyed by few women artists then as now.
At first glance, Nivernais seems a relatively innocuous, though beautifully rendered, ode to agrarian life, and there is nothing “incorrect” with that interpretation. However, Nivernais offers much more to viewers who, like the team of oxen shown, take the time to turn over the well-trodden earth.
Rosa Bonheur, was born in Bordeaux, France on March 16, 1822, the eldest child of Sophie Marquis and Raimond Oscar-Marie Bonheur. The couple called the baby Marie Rosalie, but she almost immediately came to be known as Rosa.
Her father, himself a painter and philosopher, and artists with whom he was friends captured many images of the youthful RB.
Her father shows RB the infant idolized as a cherub in a crib in a painting in 1823. By the time Raimond Bonheur captured Rosa at Four, the child had the set jaw, solemn gaze, erect posture and short tousled hair that would identify her for the rest of her life.
One alleged portrait of RB, showing a square-jawed, serious child in a brimmed hat with feather trim, was painted by Jean Baptiste Camille Corot. After RB’s death, though, her companion Anna Klumpke, came forward to say that she thought the sitter for the portrait was instead a male. Such confusion regarding appearance and gender shadowed RB all her life.
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