Dayton C. Miller Musical Iconography Collection
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Acknowledgments and Special Thanks
All of the research and writing in this Web site for the 120 prints from the Dayton C. Miller Collection selected for this presentation was done by Jan Lancaster, an art historian, Music Division, Library of Congress. It is my great pleasure to acknowledge those who have made contributions to this project.
I am especially grateful to Robert Bigio, London, a flutemaker and editor of the Journal of the British Flute Society, Pan, for his great-hearted generosity in identifying instruments in the prints displayed here. Robert has been unflagging in his support of this project and has been willing to call upon a host of his friends and colleagues to do likewise. I received information on the identification of instruments in the prints via Robert Bigio from the following people, who have each been credited for their contributions in the individual records for the prints in this Web site. To each of the following, I offer my most sincere thanks and appreciation.
Maurice Byrne, former editor of the Galpin Society Journal, for identification of, or comments on, ancient instruments, Renaissance through 19th-century European instruments, or indigenous instruments of Africa, in six prints.
Jenny Nex, curator, Royal College of Music Museum, London, for the identification of a virginal in an engraving by Crispin de Passe.
Frances Palmer, curator, Royal Academy of Music, London, for the identification of a violone in an etching by Valentin LeFebre, after Titian.
Anthony Rowland-Jones, for information regarding a recorder in a mezzotint by Isaac Beckett.
Peter Spohr, for information on a flutemaker by the name of Loehner or Lehner in a watercolor by Abraham van Stry.
Jon Swayne, for information about Border bagpipes in an engraving by Robert Charles Bell, after Sir David Wilkie.
William Waterhouse, London, editor of The New Langwill Index: A Dictionary of Musical Wind-instrument Makers and Inventors, for information about instruments in a print by Christoph Weigel.
Michael Wright, of Imperial College London, formerly of the Science Museum, London, who also provided information about instruments in a print by Christoph Weigel.
I thank wholeheartedly Nicholas S. Lander, Webmaster, Recorder Iconography, who has kindly offered suggestions and comments on some of the Miller prints which I have taken into account. He mentioned, in particular, that the term duct flute is now preferred to fipple flute when describing an instrument in the recorder family. He also provided information on a painting in the Ashmolean Museum in Oxford that had a remarkable similarity to one of the Miller prints by the engraver, Glairon-Mondet. Mr. Lander also very kindly provided an image of a Jacob Jordaens painting, Adoration of the Shepherds, on which a Miller print by Marinus was based, so that I might compare the painting to the Miller print. Mr. Lander's Web site, Recorder Iconography, is admirable for its extent and the care and thoughtfulness with which it has been assembled over the years. It is cited frequently in the individual entries for the Miller prints in this Web site, as many of the same prints from other collections are included in his own Web site.
I acknowledge with special gratitude the translations from texts in Latin, Greek, German and French which are courtesy of David Shive, Washington, D.C.
For translations from the Dutch, especially the 17th-century proverbs of Jacob Cats, I am particularly grateful to Joost Wellen, Washington, D.C.
A transcription and translation of verse from an old German text on a print by Christoph Weigel were graciously provided by Dr. David Morris, German Area Specialist, European Division, Library of Congress, for which I am deeply grateful.
I am very appreciative, too, for a translation of a German inscription on an etching by Franz Hogenberg, which was given by Fred and Jutta Bauman of Arlington, Virginia.
Molly Rea, of Fairfax, California, granddaughter of Rea Irvin, the renowned illustrator of The New Yorker magazine, kindly granted permission on behalf of The Irvin Estate, to reproduce one of Rea Irvin's illustrations for which I am most grateful.
Amy K. Kimball, Assistant Curator of Rare Books, The Sheridan Libraries, The Johns Hopkins University, verified that a reduced copy of a Gillray by an unknown artist, identical to a print in the Miller collection, did appear in a book, The Caricatures of Gillray... of 1818, in the Garrett Library of Johns Hopkins University at Evergreen House in Baltimore. Her colleague, Heidi Herr, Special Collections & Archives, The Milton S. Eisenhower Library, Johns Hopkins University, kindly sent digital scans of this image and pages with text relevant to it. To both Ms. Kimball and Ms. Herr, I offer my sincere thanks.
Ellen Cordes, Head of Public Services, Beinecke Library, Yale University, reviewed a copy of a book by Winckelmann in the Beinecke Library, and she confirmed that a plate of Hercules and Telephus, identical to an etching in the Miller collection, was included in it. Similarly, Kathryn James, Reference Librarian, also at the Beinecke Library, verified that a small etching by Godefroy, identical to a print in the Miller collection, appeared in a 1798 edition of Cazotte's Ollivier. I am most thankful to Ms. Cordes and Ms. James for their help.
Sincere gratitude is offered especially to Mme Rhea Blok, Curator, Collection Frits Lugt, Fondation Custodia, Paris, who identified the collectors' marks on several of the Miller prints. In particular, Mme Blok kindly provided information about the Arenberg family of Brussels, as well as some background on Charles-Edouard Mewes, the previous owners of an etching by Dassonville; Georg Ràth of Budapest, Hungary, former owner of a mezzotint by Gerard Valck; Friedrich August II, King of Saxony, former owner of two prints, one by Alexander Mair, the other by Lucas Vorsterman; C. Wiesböck and Ed. Schultze, former owners of an engraving by Theodor de Bry; and, D. Bouillard, the former owner of an etching possibly engraved by Jan de Bisschop. Mme Blok is currently preparing a supplement to a book on collectors' marks by Frits Lugt, Les Marques de collections de dessins & d'estampes. Amsterdam, Vereenigde drukkerijen, 1921, for which the first supplement was published in 1956. The new supplement will be published in 2010, together with a database.
I am also very appreciative of the information given by Dr. Jennifer Montagu, The Warburg Institute, London, a specialist on Charles Le Brun (1609-1690), who suggested Jean-Baptiste-Pierre Le Brun (1748-1813), the great-nephew of Charles Le Brun, as the collector mentioned in the inscription of an etching by G. Texier, after van Zyl.
Dr. Ernst Vegelin van Claerbergen, Head of the Courtauld Galleries, London, provided very helpful information regarding the Theatrum Pictorium by Teniers. I am very grateful for his assistance, especially for information and suggestions about the Miller etching, The Finding of Paris, by Theodoor van Kessel. Dr. Vegelin also explained that the Teniers copy of a lost Giorgione painting, on which the Miller print was based, is not in the Courtauld collection, despite a recently published reference indicating that it was there.
Sincere thanks are also given to Erika Ingham, Assistant Curator, Archive and Library, National Portrait Gallery, London, who very kindly provided biographical information on Brownlow North, whose watercolor drawing served as a model for a Gillray etching in the Miller collection. I also thank Paul Cox, Assistant Curator, Archive & Library, National Portrait Gallery, London, for identifying John Hayls as most likely the original painter of a portrait of Richard Low, a mezzotint copy of which is in the Miller collection.
Richard Kuhta, Librarian, Folger Shakespeare Library, was very generous in granting me permission to review the full range of seventeenth- and eighteenth-century editions of the proverbs of Jacob Cats in the Folger's collection. I offer special thanks to each of the following librarians who gathered the many oversize volumes for me: Betsy Walsh, Rosalind Larry, LuEllen DeHaven, Camille Seerattan, and Harold Batie.
A quotation regarding Dr. Miller and his gold flute comes from an article by Robert S. Shankland, "Dayton Clarence Miller: Physics Across Fifty Years." American Journal of Physics 9(October 1941):273-283. LC call number: QC1.A47. It was reprinted here with permission from the American Journal of Physics 9(October 1941):278. Copyright 1941, American Association of Physics Teachers. My thanks to Susann Brailey and Terry Williams of the American Institute of Physics, Melville, New York, for granting this permission. Mrs. Eleanor Shankland, Cleveland, Ohio, also graciously permitted me to quote from this article by her late husband, Robert S. Shankland, a friend and colleague of Dr. Miller at Case School of Applied Science (now Case Western Reserve University).
I also offer a special thank you to the following staff members of the Library of Congress:
Karen Lund, Digital Projects Coordinator, Performing Arts Web team, Music Division, for her kindness and generous support of this project.
Mitsuko Anders, reference librarian, Current Newspapers and Periodicals Reading Room, for her assistance in tracing the newspaper source of the Einstein quotation.
Hans Wang, Preservation Specialist, who graciously reviewed and confirmed the media of the prints in this online presentation.
Sylvia Albro, Yasmin Khan, and Lynn Kidder, conservators, who kindly offered advice or assistance from time to time on some of the Miller prints.
Domenic Sergi, Glen Krankowski, Ronnie Hawkins and Jade Curtis, computer specialists, Digital Scan Center, who scanned the oversize images.
Gail Freunsch, Automation Operations Coordinator, Music Division, who helped me build an Access database in order to record information on individual prints in the Miller Collection.
Morgan Cundiff, Senior Network and MARC Standards Specialist, Elizabeth Fulford Miller, Senior Network Specialist, Nathan Trail and Kevin Ford, Digital Project Coordinators, for providing the technical functionality and programming for the Web site. Morgan Cundiff reviewed the records in the Access database and adjusted fields to Library standards. Nathan Trail created additional fields for enhanced search capabilities in the Access database in which the individual entries for each print were recorded. He and Kevin Ford maintained the same database, and provided indexing for the Web site. Ms. Miller created the Web site’s design and user interface based on user-centered design principles. I am deeply grateful to Ms. Miller for teaching me Dreamweaver and for her kindness and patience in doing so. To Nate Trail, Kevin Ford and Ms. Miller, especially, I offer my sincerest thanks.
Finally, I offer warm thanks to Sue Vita, Chief of the Music Division, and to Jan Lauridsen, Assistant Chief, for permission to publish my research on the Miller prints in this Web site; and to Carol Lynn Ward-Bamford, Curator of Musical Instruments, who asked me to review and research the prints in the Dayton C. Miller Collection in 2004, a request which was enthusiastically supported by the Chief of the Music Division at that time, Jon Newsom.
Music Division, Library of Congress
13 July 2010
Last Updated: July 14, 2010