AKELEY, MARY L. JOBE (MARY LENORE JOBE) (1878-1966) Rumble of a distant drum : a

Description: First edition (harrap) 1948. Book is very good, clean, with fantastic woodcuts by Jannson. Dust wrapper is mostly there, but split (see photo) FREE SHIPPING WIKIPEDIA: Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain (unlike wood engraving, where the block is cut in the end-grain). The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas. Multiple colours can be printed by keying the paper to a frame around the woodblocks (using a different block for each colour). The art of carving the woodcut can be called "xylography", but this is rarely used in English for images alone, although that and "xylographic" are used in connection with block books, which are small books containing text and images in the same block. They became popular in Europe during the latter half of the 15th century. A single-sheet woodcut is a woodcut presented as a single stand alone image or print, as opposed to a book illustration. Since its origins in China, the practice of woodcut has spread around the world from Europe to other parts of Asia, and to Latin America.[1] Division of labourThis article includes a list of general references, but it lacks sufficient corresponding inline citations. Please help to improve this article by introducing more precise citations. (February 2018) (Learn how and when to remove this message) Block Cutter at Work woodcut by Jost Amman, 1568 In both Europe and East Asia, traditionally the artist only designed the woodcut, and the block-carving was left to specialist craftsmen, called formschneider or block-cutters, some of whom became well known in their own right. Among these, the best-known are the 16th-century Hieronymus Andreae (who also used "Formschneider" as his surname), Hans Lützelburger and Jost de Negker, all of whom ran workshops and also operated as printers and publishers. The formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks. This is why woodcuts are sometimes described by museums or books as "designed by" rather than "by" an artist; but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, without needing to learn the use of woodworking tools. There were various methods of transferring the artist's drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block (often whitened first), or a drawing on paper was glued to the block. Either way, the artist's drawing was destroyed during the cutting process. Other methods were used, including tracing. In both Europe and East Asia in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga (創作版画, creative prints), as opposed to shin-hanga (新版画, new prints), a movement that retained traditional methods. In the West, many artists used the easier technique of linocut instead. Methods of printingThe Crab that played with the sea, Woodcut by Rudyard Kipling illustrating one of his Just So Stories (1902). In mixed white-line (below) and normal woodcut (above). Compared to intaglio techniques like etching and engraving, only low pressure is required to print. As a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe, a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used;[2] in Japan, the wood of the cherry species Prunus serrulata was preferred.[citation needed] There are three methods of printing to consider: Stamping: Used for many fabrics and most early European woodcuts (1400–40). These were printed by putting the paper/fabric on a table or other flat surface with the block on top, and pressing or hammering the back of the block.Rubbing: Apparently the most common method for Far Eastern printing on paper at all times. Used for European woodcuts and block-books later in the fifteenth century, and very widely for cloth. Also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top. The back is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton".[3] A traditional Japanese tool used for this is called a baren. Later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colours were introduced and had to be applied with precision atop previous ink layers.Printing in a press: presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, and before that for woodcut book illustrations. Simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking. A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines ... cum 14 aliis lapideis printis"—"an instrument for printing texts and pictures ... with 14 stones for printing". This is probably too early to be a Gutenberg-type printing press in that location.[3] HistoryMadonna del Fuoco (Madonna of the Fire, c. 1425), Cathedral of Forlì, in Italy A less sophisticated woodcut book illustration of the Hortus Sanitatis lapidary, Venice, Bernardino Benaglio e Giovanni de Cereto (1511) Woodcut originated in China in antiquity as a method of printing on textiles and later on paper. The earliest woodblock printed fragments to survive are from China, from the Han dynasty (before 220), and are of silk printed with flowers in three colours.[4] "In the 13th century the Chinese technique of blockprinting was transmitted to Europe."[5] Paper arrived in Europe, also from China via al-Andalus, slightly later, and was being manufactured in Italy by the end of the thirteenth century, and in Burgundy and Germany by the end of the fourteenth. In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using, on paper, existing techniques for printing. One of the more ancient single-leaf woodcuts on paper that can be seen today is The Fire Madonna (Madonna del Fuoco, in the Italian language), in the Cathedral of Forlì, in Italy. Initially religious subjects, often very small indeed, were by far the most common. Many were sold to pilgrims at their destination, and glued to walls in homes, inside the lids of boxes, and sometimes even included in bandages over wounds, which was superstitiously believed to help healing. The explosion of sales of cheap woodcuts in the middle of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather later than engraving. Michael Wolgemut was significant in making German woodcuts more sophisticated from about 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to do than engraving or etching). Both of these produced mainly book-illustrations, as did various Italian artists who were also raising standards there at the same period. At the end of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the "single-leaf" woodcut (i.e. an image sold separately). He briefly made it equivalent in quality and status to engravings, before he turned to these himself. In the first half of the 16th century, high quality woodcuts continued to be produced in Germany and Italy, where Titian and other artists arranged for some to be made. Much of the interest was in developing the chiaroscuro woodcut, using multiple blocks printed in different colours. Because woodcuts and movable type are both relief-printed, they can easily be printed together. Consequently, woodcut was the main medium for book illustrations until the late sixteenth century. The first woodcut book illustration dates to about 1461, only a few years after the beginning of printing with movable type, printed by Albrecht Pfister in Bamberg. Woodcut was used less often for individual ("single-leaf") fine-art prints from about 1550 until the late nineteenth century, when interest revived. It remained important for popular prints until the nineteenth century in most of Europe, and later in some places. The art reached a high level of technical and artistic development in East Asia and Iran. Woodblock printing in Japan is called moku-hanga and was introduced in the seventeenth century for both books and art. The popular "floating world" genre of ukiyo-e originated in the second half of the seventeenth century, with prints in monochrome or two colours. Sometimes these were hand-coloured after printing. Later, prints with many colours were developed. Japanese woodcut became a major artistic form, although at the time it was accorded a much lower status than painting. It continued to develop through to the twentieth century. White-line woodcutUsing a handheld gouge to cut a "white-line" woodcut design into Japanese plywood. The design has been sketched in chalk on a painted face of the plywood. This technique just carves the image in mostly thin lines, similar to a rather crude engraving. The block is printed in the normal way, so that most of the print is black with the image created by white lines. This process was invented by the sixteenth-century Swiss artist Urs Graf, but became most popular in the nineteenth and twentieth century, often in a modified form where images used large areas of white-line contrasted with areas in the normal black-line style. This was pioneered by Félix Vallotton. See also: Provincetown Printers JaponismMain article: Japonism In the 1860s, just as the Japanese themselves were becoming aware of Western art in general, Japanese prints began to reach Europe in considerable numbers and became very fashionable, especially in France. They had a great influence on many artists, notably Édouard Manet, Pierre Bonnard, Henri de Toulouse-Lautrec, Edgar Degas, Paul Gauguin, Vincent van Gogh, Félix Vallotton and Mary Cassatt. In 1872, Jules Claretie dubbed the trend "Le Japonisme".[6] Though the Japanese influence was reflected in many artistic media, including painting, it did lead to a revival of the woodcut in Europe, which had been in danger of extinction as a serious art medium. Most of the artists above, except for Félix Vallotton and Paul Gauguin, in fact used lithography, especially for coloured prints. See below for Japanese influence in illustrations for children's books. Artists, notably Edvard Munch and Franz Masereel, continued to use the medium, which in Modernism came to appeal because it was relatively easy to complete the whole process, including printing, in a studio with little special equipment. The German Expressionists used woodcut a good deal. ColourOdawara-juku in the 1830s by Hiroshige, from his series The Fifty-Three Stations of the Tōkaidō Coloured woodcuts first appeared in ancient China. The oldest known are three Buddhist images dating to the 10th century. European woodcut prints with coloured blocks were invented in Germany in 1508, and are known as chiaroscuro woodcuts (see below). However, colour did not become the norm, as it did in Japan in the ukiyo-e and other forms. In Europe and Japan, colour woodcuts were normally only used for prints rather than book illustrations. In China, where the individual print did not develop until the nineteenth century, the reverse is true, and early colour woodcuts mostly occur in luxury books about art, especially the more prestigious medium of painting. The first known example is a book on ink-cakes printed in 1606, and colour technique reached its height in books on painting published in the seventeenth century. Notable examples are Hu Zhengyan's Treatise on the Paintings and Writings of the Ten Bamboo Studio of 1633,[7] and the Mustard Seed Garden Painting Manual published in 1679 and 1701.[8] Bijin (beautiful woman) ukiyo-e by Keisai Eisen, before 1848 In Japan colour technique, called nishiki-e in its fully developed form, spread more widely, and was used for prints, from the 1760s on. Text was nearly always monochrome, as were images in books, but the growth of the popularity of ukiyo-e brought with it demand for ever-increasing numbers of colours and complexity of techniques. By the nineteenth century most artists worked in colour. The stages of this development were: Sumizuri-e (墨摺り絵, "ink printed pictures") – monochrome printing using only black inkBenizuri-e (紅摺り絵, "crimson printed pictures") – red ink details or highlights added by hand after the printing process；green was sometimes used as wellTan-e (丹絵) – orange highlights using a red pigment called tanAizuri-e (藍摺り絵, "indigo printed pictures"), Murasaki-e (紫絵, "purple pictures"), and other styles that used a single colour in addition to, or instead of, black inkUrushi-e (漆絵) – a method that used glue to thicken the ink, emboldening the image; gold, mica and other substances were often used to enhance the image further. Urushi-e can also refer to paintings using lacquer instead of paint; lacquer was very rarely if ever used on prints.Nishiki-e (錦絵, "brocade pictures") – a method that used multiple blocks for separate portions of the image, so a number of colours could achieve incredibly complex and detailed images; a separate block was carved to apply only to the portion of the image designated for a single colour. Registration marks called kentō (見当) ensured correspondence between the application of each block. Children's book illustration by Randolph Caldecott; engraving and printing by Edmund Evans, 1887 A number of different methods of colour printing using woodcut (technically Chromoxylography) were developed in Europe in the 19th century. In 1835, George Baxter patented a method using an intaglio line plate (or occasionally a lithograph), printed i Mary Jobe Akeley (January 29, 1878 – January 19, 1966) was an American explorer, author, mountaineer, and photographer. She undertook expeditions in the Canadian Rockies and in the Belgian Congo. She worked at the American Museum of Natural History creating exhibits featuring taxidermy animals in realistic natural settings.[1][2] Akeley worked on behalf of conservation efforts, including her advocating for the creation of game preserves.[2][3] She founded Camp Mystic, an outdoor camp for girls.[4] BiographyEarly life Akeley was born Mary Lenore Jobe on January 29, 1878, in Tappan, Harrison County, Ohio; the town was submerged below Tappan Lake in 1938.[5] (Although several printed sources, including her death certificate, give Akeley's birth year as 1888, the 1880 census and records at the Bryn Mawr College Archives confirm the 1878 date.[6]) Both of her parents were of English descent; her father was a veteran of the American Civil War.[6] Jobe attended Scio College from 1893 to 1897, graduating with a bachelor's degree, after which she taught at the elementary and high school level in Uhrichsville, Ohio. She went on to study at Bryn Mawr College from 1901 to 1903, while teaching at Temple University (1902–1903).[6] She taught history and civics at the normal school in Cortland, New York from 1903 to 1906, and then taught history at the Normal College of the City of New York (now Hunter College) from 1906 to 1916.[3][7] She earned a master's degree in History and English from Columbia University in 1909.[2][3][8] During her time at Bryn Mawr, Jobe had her first opportunity to join a scientific expedition, joining a botanical expedition to the Selkirk Mountains in British Columbia. It was the first of many expeditions to the mountains of British Columbia.[8] Mountaineering Jobe was an accomplished mountain climber and was a member of the Alpine Club of Canada (ACC)[9] and the American Alpine Club.[1][2] From 1905 to 1918 she made ten expeditions to the Canadian Rockies. In 1913, she left her teaching job at Hunter to undertake an ethnographic expedition to study and photograph the Gitksan and Carrier Indians living between the Skeena River and the Peace River.[9]: 87 [10] Jobe concluded the summer of 1913 by meeting up with the annual camp of the ACC. There she heard of a distant mountain northwest of Mount Robson that had been glimpsed by members Samuel Prescott Fay and Donald 'Curly' Philips.[9]: 88 In 1914, she returned to the Canadian Rockies in search of the mountain, hiring Philips as her guide. At the time, Jobe called their destination "Big Ice Mountain", but in her later reports she referred to the peak as Mount Kitchi (from a Cree word meaning "mighty"[9]: 89 ); the mountain was officially named Mount Sir Alexander in 1916.[8][9][11] Joining Jobe and Philips on the expedition were Margaret Springate and Philips's assistant (and brother-in-law), Bert Wilkins.[8] From their starting point near Mount Robson, the trip to and from Mount Sir Alexander took six weeks on foot and on horseback, during which time they saw very little evidence of prior human activity along the route. They reached the base of the peak on August 21, 1914, and reached their highest point on the mountain on August 25, stopping at about 8,000 feet (2,400 m) above sea level, well short of the summit, which Jobe estimated to be between 11,000 feet (3,400 m) and 12,000 feet (3,700 m). She took about 400 photographs on the trip. Upon her return, the New York Times hailed her as "the first white person and probably the first human being" to explore the remote mountain.[11] The Times article overstated some of Jobe's accomplishments on the expedition, and she wrote a letter to the editor a few days later to correct the errors.[12] Jobe reported on the expedition in both scholarly and popular publications after her return home.[13][14][15] In 1915, she took a commission from the Canadian government to explore and map the Fraser River in British Columbia and the Mount Sir Alexander glaciers.[16] She was joined by fellow ACC member Caroline Hinman; they again hired Curly Philips as a guide, as well as several of his staff as cooks and porters. Jobe and Philips became romantically involved during that summer.[9]: 96 The expedition made another attempt to climb Mount Sir Alexander, and came within about 30 metres (98 ft) of the summit.[9]: 98 In honor of Jobe's work in the Rockies, the Geographic Board of Canada renamed one of the south-eastern peaks of Mount Sir Alexander as Mount Jobe (2,271 metres (7,451 ft)) in 1925.[3][9]: 106 [17] Camp Mystic In 1914, Jobe purchased 45 acres near Mystic, Connecticut, and in 1916 she founded there the Mystic Camp for girls aged eight to eighteen.[16] Campers typically numbered "over 80 or more" at any one time,[18]: 1 and were mainly from wealthy and influential families. Campers included Hawai'ian princesses Abigail Kapiolani Kawānanakoa and Lydia Liliuokalani Kawānanakoa, as well as the daughters of artist Howard Chandler Christy, radio sportscaster Grantland Rice, cookbook author Ida Bailey Allen, and publisher Bernarr Macfadden.[18]: 2 Advertisements for the camp appeared in popular magazines such as Vogue and St. Nicholas.[18]: 2 [19]: 5 A 1916 advertisement in Scribner's Magazine promised campers experience with backcountry camping, boating, swimming, horseback riding, dancing, music, drama, and field athletics.[20] Jobe owned a 30-meter (98 ft) boat that she used to take campers to Mystic Island (now called Ram Island (Connecticut)) in Fishers Island Sound.[9]: 101 In 1921, Jobe purchased the southern half of Mystic Island, and later bought the rest of the island.[18]: 5 In addition to giving girls first-hand experience with the outdoors, the camp was visited by famous explorers and naturalists of the day such as Vilhjalmur Stefansson, Herbert Spinden, George Cherrie, and Martin and Osa Johnson.[6][18]: 7 [19] The fee for campers in 1923 was $375.[19]: 5 In a brochure for the camp, Jobe wrote that "girls find health, happiness and their highest development out-of-doors, where they leave behind them the artificialities of towns and cities for the joyous realities of the wooded hills and seashore."[8]: 298 Another stated that "girls of today have a right to freedom, health, and happiness."[19]: 5 Although she did not describe herself as a feminist or suffragist, she has been so identified by others, and she declared herself to be "very much in sympathy with the [suffrage] movement."[19]: 4 The camp closed in 1930 due to the Great Depression.[21] She remained the camp's director throughout its existence.[19]: 5 Marriage and African expeditions In 1920, fellow explorer Vilhjalmur Stefansson introduced Jobe to naturalist and taxidermist Carl Akeley. Akeley was married to Delia Akeley at the time, but Mary and Carl began an affair. Delia and Carl concluded a bitter divorce in 1923, and Jobe married Akeley on October 28, 1924, at All Souls Episcopal Church in New York City.[7][8][16][22] He was deeply involved with a project to collect specimens for a new Africa exhibit at the American Museum of Natural History, and she wrote later that he expected Mary to abandon her own work and devote her time to his African project. Although she described this as "startling," she largely complied.[19]: 6 In 1926, she accompanied him on his fifth expedition in Africa (and her first) to collect specimens. On the trip, known as the Akeley-Eastman-Pomeroy Expedition, he became sick on Mount Mikeno of the Belgian Congo and died of a fever.[2][20][23] She completed the expedition, mapping parts of the Belgian Congo as well as Kenya and Tanzania, and collecting plant specimens, taking hundreds of photographs.[3] Upon her return to the United States, the museum named her to be her husband's successor as the Special Adviser to the development of their African Hall, a role she held until 1938.[8] In that role, she lectured, wrote, and raised funds for the hall.[19]: 8 The hall was renamed in Carl Akeley's honor in 1936.[3][22] (Upon her death, the New York Times incorrectly stated that the hall was named after Mary.)[2][22] Part of the purpose of the 1926 expedition was to map the area around the new Belgian game preserve Parc National Albert. Following the end of the expedition, Akeley collaborated with Belgian zoologist Jean Marie Derscheid to complete a report on the park. She was awarded the Cross of the Knight, Order of the Crown by the Belgian king for her efforts. From 1929 to 1936, Akeley also served as the American secretary for an international committee organized to preserve the Park.[16] Akeley returned to Africa in 1935 to Transvaal Province, Southern Rhodesia, and Portuguese East Africa, as well as Kruger National Park in South Africa. There she photographed Zulu people and Swazi people.[3] She returned again in 1947 at the behest of the Belgian crown to inspect the wildlife reserves in the Congo, and to film endangered species.[3] Photography Akeley began her photographic work in the Canadian Rockies on a 1909 expedition led by Herschel C. Parker for the Canadian Topographical Survey.[19]: 1 The results of her early work are preserved on hand-colored lantern slides she used when lecturing about her expeditions.[10] Her ethnographic work records people and their customs, including ceremonial objects.[10] Her work in Africa focused on wildlife, as well as on their environment.[8]: 298 [10] On the 1926 trip to the Congo, her husband Carl was in the process of developing a gorilla scene for the American Museum of Natural History. Carl died before completing the research for the exhibit, so Mary used his reference photos to identify the particular spot he was trying to re-create, taking hundreds of photos of the scene, both of individual plant species and the larger scene. She also collected specimens of the plants.[22]: 112 She also took a side-trip to Lake Hannington in Kenya to photograph flamingos.[16] Her photos were used in the Akeley African Hall of the American Museum of Natural History.[6] Over 2000 of Akeley's lantern slides survive.[10] Her photographic output is preserved at the American Museum of Natural History and the Mystic River Historical Society.[8][10] Biographer Dawn-Starr Crowther describes Akeley's photography as representing an important period for women, revealing Akeley to be "resolving for herself the dilemma of many women who were struggling to shake off the tenets of Victorianism and find meaningful ways through which to express themselves."[10] She describes Akeley's photographic style as "straight-forward... direct and powerful," as well as "stable and balanced," documenting the people and places she encountered on her expedition.[19]: 14 Authorship and public life Akeley spoke frequently about her work. In 1912, she is reported to have given over 40 lectures about her early expeditions.[19]: 3 Following her return from Africa in 1927 and throughout much of the rest of her life, Akeley worked for conservation causes, lectured extensively, and appeared on the radio. She dined at the White House with first lady Eleanor Roosevelt, who noted Akeley's conservation and education work in Roosevelt's daily syndicated newspaper column, "My Day".[7]: 5–6 [24] Akeley was the author of seven books, some of them posthumously co-authored with her husband by making use of materials he had written before his death. The first book, Carl Akeley's Africa (1929), was Mary's account of the expedition that cost Carl Akeley his life, documenting the animals and native peoples encountered on the expedition to the Congo. The following year, she published Adventures in the African Jungle (1930), with Carl listed as a co-author, in keeping a plan they had made while both were still alive. Chapters are signed either by Mary or Carl; Mary assembled Carl's chapters from his field notes and from stories related by his friends. Her chapters include her accounts of experiences from their journey to the Congo, both before and after his death on the expedition.[25] Lions, Gorillas, and their Neighbors (1932) also lists Carl as a co-author and also covers their expedition, using the story to convey a message of conservation, noting the decline in large animal populations over the previous 30 years. A review in the Times of London of the book tells a thrilling tale of the hunt, but emphasizes that their purpose was scientific, not thrill-seeking. The reviewer writes, "they show how greater and more lasting pleasure [can] be had by restrained and intelligent hunt than by indiscriminate killing... the big game of Africa is presented as something of real value to the human race."[26] In The Wilderness Lives Again, Akeley recounts her late husband's work as a taxidermist, including his expeditions in Africa. A review in The New York Times calls particular attention to the story of development of the gorilla exhibit for the American Museum of Natural History, describing both the taxidermy process and the moving effect of the life-like exhibit.[27] Congo Eden (1950) was published following Akeley's final trip to Africa in 1947, and relates the story of that journey.[28] Historian Jeannette Eileen Jones identifies the "Eden" of the book's title as part of Carl and Mary Akeley's campaign to challenge the public perception of Africa as "hellish" or "dark."[29] Death Akeley's health declined toward the end of her life, with Akeley suffering from hip problems and arthritis. She was in and out of hospitals and nursing homes from 1959 to 1966.[19]: 12 Akeley lived her last years at the former site of Camp Mystic, decorated with souvenirs of her African adventures, retaining an independent spirit despite illness and a "failing mind."[19]: 12 She died of a stroke in 1966 at the Mary Elizabeth Convalescent Home in Mystic, Connecticut[3][9]: 106 [18]: 11 [22] Although she had expressed a wish to be cremated and buried next to her late husband on Mt. Mikeno, she was buried in Deersville, Ohio near where she was born, in the same cemetery as her parents.[22]: 112 Following her death, the former camp became the Peace Sanctuary under the stewardships of the Mary L. Jobe Akeley Trust & Peace Sanctuary. It is now maintained by the Denison Pequotsepos Nature Center.[30] Akeley left an extensive record of her work. Her papers are held in the Mary L. Jobe Akeley Collection at the Mystic River Historical Society,[16] the American Museum of Natural Histor

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