Selected emails with Terrance Lindall on collecting, art and other topics
Copyright Yuko Nii Foundation 2016
INTRODUCTION BY Terrance Lindall Robert J Wickenheiser (Bob) was very special to me in ways that I cannot describe. We were kindred spirits who recognized John Milton as a figure of philosophical, literary and visionary merit surpassing nearly any other figure in history. Bob was a major scholar, a great transformational leader in education. Bob was the 19th President of St. Bonaventure University. Bob died November 25th 2015 in Olean General Hospital. He was 72, my age today. He was known for his scholarship, exuberant leadership and financial guidance, but also for the NCAA scandal that ended his tenure in 2003. Bob told me about that, the first thing he wanted me to know when we had our first telephone conversation. My opinion was that he was shanghaied and made a scapegoat, a tragedy that affected his entire family and placed an unfair judgment on him that caused him grave feelings of having failed , having fallen from a glorious height of self sacrifice and service to the academic and educational community. “I’ve always ached over that,” said Riley, a former campus minister at the school. “I think that was a personal tragedy for him and a time of great sadness and difficulty for the university.” And one might add “for his family.” “I found in him a sort of unique personality who wanted to engage people on the level of excitement,” said the Rev. Dan Riley, president of the Mount Irenaeus Franciscan Mountain Retreat. “It would not be unusual to have met over a cup of coffee at a meeting and immediately plunge into something that was exciting for the university.” Bob was born in Bismark, N.D., and was a Benedictine monk for four years. He earned his doctorate in English literature from the University of Minnesota and specialized in the works of 17th-‐century English poet John Milton. I was also at the University of Minnesota around this time specializing n philosophy. We never met back then, but we would later recount tales of visiting bookstores around the campus looking for interesting titles. Bob was an assistant professor at Princeton University for seven years and later president of Mount St. Mary’s University in Emmitsburg, Md. During his 16 years there, he was the youngest college president in the United States and recognized by the Maryland State Senate for “exemplary leadership.” His nine years as St. Bonaventure president were described in the school’s online history as “leading the University into the 21st century.” Wickenheiser was credited for developing a new curriculum, described by experts as “groundbreaking” and a “national model,” according to his online St. Bonaventure profile. He solved the school’s “grave financial problems,” it said, and expanded the school ministries program and established an arts center and the Franciscan Center for Social Concern. And then they all left him hanging when he needed support. For years thereafter until 2008 when we finally came into contact, he was suffering and feeling isolated. I think that when we got together and started making great plans, he was reinvigorated and realized that life had much more in store.
In 2008 I created the largest birthday party for John Milton in history celebrating his 400th Birthday. It was an unrivaled arts festival bridging classic literature and contemporary fine art, performing arts and poetry reading, opening with THE GRAND PARADISE LOST COSTUME BALL. At that time I did not know Bob Wickenheiser. I wish I had. He would have been delighted to see how the artists and performers celebrated Milton and we would have been delighted to have one of the greatest Milton scholars and collectors participate in the opening ceremonies.
ABOVE: At the 2008 Milton Festival: At the opening ceremonies Terrance Lindall with famed illustrator Rich Buckler unveiling Rich’s painting of John Milton
I got to know Bob Wickenheiser because he saw an Ebay listing of some of my 1979 Paradise Lost postcards. He ordered them and I recognized his name as a major Milton collector. I sent him a lot of extra items. We began a correspondence that became a major partnership in Paradise Lost productions. He thought I was Yuko, so his email was to her: From: Robert J. Wickenheiser Re: Message from eBay Member Regarding Item #270310265268 Date: December 8, 2008 10:35:47 PM EST To: Yuko Nii Dear Yuko, Thank you for your kind response. I hope you saw my message to you that I bought another set already Above: Postcard listed, so I am okay in that regard. Wish I had looked more carefully at the listing, but in any case, I have made payment for another set and I am grateful about that. I am buying another set of the pictures for me to keep since the set you sent me here will be united with the first 1983 edition of Paradise Lost, signed by the illustrator. It is recorded in my book as No. 1481. I am extremely glad I bought that signed copy of the first edition when I did. You mention something about "originals." Are any of the originals for sale, and if so, could I please have an opportunity to know which one or ones will be on sale and also an opportunity to purchase one or more for my Milton collection, which is now, as you know, at the University of South Carolina? I don't know which "Professor Fallon" you mean, but I had the privilege of teaching Steve Fallon at Princeton (way back when I taught there). He now teaches at Notre Dame. There seems to be much going on and perhaps there has never been as much interest in Milton as there has been in more recent times. Your mention of doing a "one day mini festival for Milton's Paradise Lost" next year sounds most interesting and I appreciate your invitation to join you. Depending on when the mini festival is held, I would be very happy to attend. Warmest best wishes, Robert
Subject: Dear Robert To: Robert J. Wickenheiser Date: Tuesday, December 9, 2008, 11:19 AM From Terrance Lindall: Dear Robert: Yuko & I share the same email. She told me that a Robert Wickenheiser had inquired about originals and, of course, I recognized the name of the great Milton collector! I am pleased that my little book has been included in your famed U of SC collection! This has been a great year for Milton and a great year for me personally. My fellow artists have done or are doing portraits of me as a contribution to our own collection. A famed hymn writer is writing my requiem because of my dedication to Milton! And for the festival we had, we received major international coverage, mostly very positive. I do indeed have some of the original concept drawings for the final oils in my little book. Would you be interested in a few those? I do not receive money myself personally from the sales, but our Yuko Nii Foundation would be glad of the income, since our $500,000 capital grant from the city for our national landmark building was postponed from FY 2009 to 2013 because of the economic problems. If you did acquire some, I would wish you to have a set. I did about 50 concept drawings and a few finished drawings. Twenty i am saving for a possible touring show. I could of course do a painting on Paradise Lost especially for your collection. I would love to have an original in your U of SC collection! Right: Terrance
From Terrance to Bob, continued: Two other projects I am currently working on: The elephant folio: With 12 signed Giclee prints and one original drawing. I have immediately begun to find the printers and binder who can do the work. I will be using the world's foremost luxury binder, Weitz. They can do anything that I require. I still have to find the type setter. Fortunately the high end craftsmen are mostly located in the NYC area. The book will be 23 X 16 inches. Each of the five or ten copies that I produce will be uniquely different bindings, and each personally dedicated to the owner (in this case you, if you buy one). I am thinking that the covers may be identified by different motifs, such as the "Archangel Michael" or the "Lucifer," etc. I will see as things progress. Each copy will have one conceptual or finished drawing from the original project. The four paneled altarpiece: It will be about 40 X 24 inches each panel, gold leaf binding set with precious and semiprecious stones. Inside with verses from Paradise Lost. I already did a triptych altarpiece of the The Revelation of St. John the Divine. Our one weekend mini festival is always Mother's day weekend. With Appreciation and Admiration! Yours Truly, Terrance Lindall
Above: Lindall’s Revelation of St. John
So, as I had a habit of doing, I painted the great collector Bob into one of my paintings, the Par Altarpiece The altarpiece, completed in 2009, is in the form of a large book whose cover has gilt ormolu mounts and semiprecious stones. When opened, the panels might be seen as pages from an illuminated manuscript of the Renaissance. This panel (one of two) shows the gates to the Garden of Eden, which gates look like a book being opened to the story of Adam & Eve. The second panel (not pictured) shows the gates to Hell, which looks like a book being opened to the story of Satan’s escape to Earth from his designated prison. In both panels, pages from the poem “Paradise Lost” lie revealed. Vignettes of people who have been important to Terrance Lindall’s engagement with Milton’s epic over time are in the panels. They include God, Satan, Adam & Eve, John Milton, William Blake, Yuko Nii, Peter Dizozza, Amanda Husberg, Professor Karen Karbiener, Arthur Kirmss, Orin Buck, Terrance Lindall and Dr. Robert Wickenheiser. You will also see in the panels: Heaven, Hell, The Bible, Eden, The Infernal Serpent, WAH Center’s building, the St. Croix River in Afton (Minnesota) where Lindall grew up, Nemo’s submarine Nautilus, Flannagan’s Mirror, an Apple computer, a real estate salesman, and Josephine Baker costumed for the Danse banane from the Folies Bergère production Un Vent de Folie in Paris in 1927, among others.
From: Terrance Subject: Robert Wickenheiser immortalized in a Lindall Paradise Lost painting! To: Robert Wickenheiser Date: Thursday, January 8, 2009, 3:41 PM Dear Bob: Here you are. That's you with your hand on Williams Blake's back... appropriating him for your collection, no doubt. This is a detail from a painting that is about 20 times the size of the detail. You may not think it looks like you. Gertrude Stein told Picasso that his portrait of her did not look at all like her. He replied" It will...it will." Best Regards, Terrance
From: Robert J. Wickenheiser Re: Robert Wickenheiser immortalized in a Lindall Paradise Lost painting! Date: January 8, 2009 9:38:59 PM EST To: Terrance Dear Terrance, I just have to respond and tell you how great your "Lindall Paradise Lost" painting is. It is really marvelous, and I consider myself very honored to be included among the many others who should buy. I feel so badly that I haven't yet been able to respond as I would like to, to all that you have written and passed along to me. Please know that you are very much in my thoughts. Aside from everything else I want to ask you about or respond to you in terms of your important emails, and now including what your plans are for this remarkable painting, let me just ask about your painting here, will you consider a duplicate (by some process) of the painting to hang with my collection in South Carolina? Also, is it possible for me to get hold of a copy of me? As I said to you when we talked, there have been some remarkable developments with respect to my collection, the kind of development, as with yours here and earlier, which I believe the collection will attract and having attracted some of the major items it attracts, will attract even more as time goes on.
I can't yet tell you about what is happening with respect to my collection, but let me just say that a truly singularly important painting is coming to the collection, to be a part of the collection so long as the collection remains together. What a way of ensuring that the collection stays together and is used and respected in generations to come. Besides this most remarkable development, there is of course your own interest in contributing to the collection in various ways which we need to talk about and define, such a wonderful development for the collection; then your drawing here; and then the major development presently underway which I will tell you about as soon as I can do so. Another kind of development presented itself just before Christmas. I'm sure you know John Shawcross. He has become a very good friend and supporter and someone who throughout my writing of my book on the collection discussed any and every issue I brought to his attention. He has cancer (on the positive side of this kind of bad news: he has a very good chance of beating it). In any case, he offered to give all of his duplicate editions to my collection, especially early editions, which Kentucky already has. This will be a great boon in its own way, but we both hope, of course, that it will show his respect for the collection and thereby establish a model for others to follow.
I can't tell you how excited I am about your response to the collection as well as to me, and to the good fortune that is developing because of my giving my collection to the public to be used in various ways. I want so much, of course, to talk with you about all of this and about your own response, our growing relationship, and so much more. But rather than wait to respond to you later, I wanted to tell you immediately how much Pat and I love your painting, and how much we would like to have a small, frameable picture, with your signature on the painting of course. More anon, but please accept my warmest thoughts now about your painting and how proud I am to be included (I really don't belong in that group of poets and artists, but I'm surely not going to request that you change it and drop me out. I wouldn't be surprise if you decide to do that sometime. Meanwhile, I will enjoy every moment of the painting and what it means, and how you brought it into existence – all of which impresses me so much while simultaneously humbling me. Let's stay in touch. I owe a response or two to your previous emails, and I will get those to you. Since we seem to be on the same wave-‐length, I strongly believe that only good things will come of our association and friendship in the future. With much thanks for your interest in the collection, especially for your speaking about it and otherwise reacting to it as wonderfully as you do, I will always remain most grateful, Bob Robert J. Wickenheiser
Re: Robert Wickenheiser immortalized in a Lindall Paradise Lost painting! Date: January 9, 2009 9:55:28 AM EST To: Robert J. Wickenheiser From: Terrance Dear Bob, Now I am VERY curious about the major painting coming into your collection...Fuseli? Blake? I am eager to hear of the progress! And if you come to talk in May for my festival about your adventures and achievements in this collecting arena it will be a coup for WAH Center and my festival. I am sure your talk will attract a lot of attention. I am VERY pleased you liked the detail from my painting. If you are in the city sometime, let me know. You can come to see my progress on the paintings I am currently working on and discuss how I can "paint a major work of my own into your collection." I think what we are both doing is making important history and adding to Milton's already substantial legend as one of humanity's greatest figures. I was at Amanda Husberg's last night. She played sections from the Requiem she is working on for me. It is spectacular! She is in my painting too, along with Dizozza, Yuko Nii, Professor Karen Karbiener etc. It's a history of my time with Milton. It is part of a two panel alter piece. Conceptually it is a book within a book within a book. Nothing has ever been done like it. It is based on the idea of a book of hours. They were the greatest art productions of their time. Here is what the large painting currently looks like, although I am still working a bit on it. You can see yourself at the bottom in that detail. The second panel, which is still in basic formation, has Satan stepping on a page from paradise lost and leaping into the void per the caption at the gates to hell " Open fly the infernal doors redounding smoke and ruddy flame before vast illimitable ocean. And now his sail broad vans he spread for flight and through the shock of fighting elements he wins his way."
The important acquisition mentioned in the preceding Wickenheiser email: Two historic portraits of the poet John Milton and his mother Sara have been given to the University of South Carolina's rare book collections by Drs. Peter and Caroline Koblenzer, of Philadelphia. The portrait of John Milton at the age of 21, by Benjamin Vandergucht (1753-‐1794) dates from 1792, based on the earlier "Onslow" Milton portrait of 1629. The portrait of Sara Milton, dating from 1621, has been identified in recent scholarship as the only known portrait of the poet's mother. Scholars have attributed the painting to various artists, notably Cornelius Janssen or Jonson (1593-‐1661), Robert Walker (1595-‐1658), or one of the Hilliard family. Acquiring the Portraits: The portraits have been donated to the University by two distinguished art collectors Dr. Peter S. Koblenzer and Dr. Caroline S. Koblenzer, of Philadelphia. The Koblenzers selected the University for this gift when they learned of the library's Robert J. Wickenheiser Collection of John Milton, one of the leading collections in the world, acquired for the University in 2006 with the leading support of William R. Richter and the William R. Richter Family Foundation.
From: Terrance Subject: From Terrance...Important! To: "Robert J. Wickenheiser" Date: Thursday, March 26, 2009, 12:13 Dear Bob: I am canceling the luncheon event. I had intended the luncheon to be a celebration of all of my happy experiences with the Milton project with which I have been involved for over 30 years. I know that you too have been, like me, involved in your Milton project for a considerably longer time. My Milton adventures have been a great joy to me. I began to illustrate Paradise Lost, not in order to make money or achieve fame, but because I loved the fantastic visual and conceptual qualities of the great work. I was pleasantly surprised when I was rewarded with it’s appearing in Heavy Metal magazine and the paintings being exhibited at B. Dalton’s flagship store on 5th Avenue in Manhattan when I self published my Paradise Lost Illustrated. The books consigned to B. Dalton sold out! My project was in quietus for a while until Yuko and I opened the Williamsburg Art & Historical Center, her gift to the people of America in return for the kindnesses shown to her when she came to this great country. Shortly thereafter I began to annually recite Paradise Lost for fun and displaying my illustrations. Over a few years my audience began to grow and I was happily surprised by that, selling a few postcards and books at these events.
Then last year I got a call from the book designers from Random House who wanted to use my art for the cover of their “Essential Milton.” And following that, Holt Rinehart wanted to use another illustration for their 2009 high school English literature textbook. Finally, with the smashing success of my Paradise Lost exhibit and ball in September 2008, with the major New York Times article and several other articles around the world, I knew that my project had run its course and was now part of history. The Wickenheiser luncheon was to be a happy celebration of the culmination of my Paradise Lost adventure, celebrated with good friends who have helped me along the way: Yuko Nii, Peter Dizozza, Amanda Husberg and Orin Buck, among others. What was particularly pleasing about that luncheon was the fact that you are a Midwesterner like myself. Our paths crossed at the University of Minnesota. We may have even attended the university at the same time! And you studied under Thomas Clayton who wrote the introduction to my book! Remarkable. And subsequently you included my book in your great collection. Truly serendipitous!
In any case, the internal politics at the WAH Center impinging on my trying to do this happy little luncheon and celebration has completely taken the joy out of dong it for me. And if it is not to be a happy production for me personally, I think it is better not to do it. Unfortunately, my colleagues Peter Dizozza and Amanda Husberg were to present their work on that day along with the many artists who contributed work to the Yuko Nii Foundation’s Milton collection. That will all have to happen at another time to be arranged by Yuko. I am sure it will happen in it's own good time. So, in any case I will be printing a greeting card to celebrate the consummation of my Milton project and it will also commemorate your achievement, since it was supposed to be the invitation to the luncheon celebrating your collection. Sometime when you are in the city, we can go out to lunch and talk. Or maybe, if I drive upstate you will allow me to call, and perhaps go out to lunch and then maybe I can see your Herbert collection. With Great Appreciation and Highest Regards, Your Friend and Colleague in John Milton, Terrance Lindall
On Mar 27, 2009, at 2:48 PM, Robert J. Wickenheiser wrote: Dear Terrance, I read your email yesterday when I returned home early in the evening and I was shocked as well as disappointed. Not for me, but for you and for the Center. Perhaps I misread your email and why you had to cancel the May 10 Mother's Day fete, but I don't think so. I sincerely hope that things you and I talked about doing didn't anger fellow Board members. I also hope that whatever happened doesn't have a long term effect; and more: that you emerge from whatever has happened or is happening with the deep respect you deserve. Let me know if you want to talk. No matter what else has happened, I consider myself very fortunate to have come to know you as I have; to have become a friend of someone as talented as you and as sensitive as you are in your appreciation of Milton and his great English epic, Milton having done for England what Virgil did for Rome and Homer for Greece (to reference Dryden's great epigram). Now as for your "project!" First of all, your work is far more than a "project;" moreover, your "project" is never done as no great work ever is, but rather it is at a point where it is beginning to influence others in new and substantive ways; to be appreciated by an ever-‐ increasing audience of admirers; and the increasing appreciation of your work means more to me, as one who sees Milton brought to life in new ways by you, than anything else you might be doing just now. Let's stay in touch, please, and if there is anything I can do for or with you, please, by all means let me know. You have become a special friend as we have begun to share our mutual admiration for Milton. In response to your questions, you are always, always welcome to stop and see me, anytime; you are also more than welcome to see my library and remaining collections, Herbert being the most comprehensive and exciting because I put that collection together in the same way and over the same time frame that I collected Milton. My next book will be on Herbert. There are a few other collections: Hopkins, Francis Thompson, and the Rubaiyat – the newest of my collections, but a very exciting one in its own right and becoming increasingly more and more important with my selective and careful buying since Milton left my shelves somewhat bare, although I always collected the Rubaiyat over the years, but only in a small way.
My Bunyan collection, really quite a nice collection and fairly extensive, from the early 18th to the 21st centuries, went to South Carolina a short while ago. I collected Bunyan in the same way and over the same time frame that I collected Milton. Like Milton, collecting Bunyan kept me involved with illustrators, many of whom also illustrated Milton; allowed me to collect and enjoy a wide range of bindings, again as with Milton; opened the door to some important press books; and more. I first began collecting Bunyan on a trip to England in the early 1970s, justifying my broadening out this way by collecting another author, that Bunyan was and remains an important 17th-‐century writer and someone who was read by the masses from the beginning and through the succeeding centuries. My Bunyan collection will not be received in the same way that my Milton collection was, but each book in the collection of about 800 editions & a few important critical studies has my general book label in it. My wife, Pat, and I have long planned to move to New Hampshire and we are going to see if we can make that dream come true this spring or summer. After raising five children we don't need big homes anymore and the cost it take to run them is much more than we can bear -‐ but alas, this time it means leaving my dream library behind, which I designed and which Pat and I carefully watched over to ensure the best construction possible. [My book contains everything it does, including partial color pictures of my library as end-‐papers for the book, so that I can take it with me wherever I go. I will keep you posted if and when we ever sell our home and move to NH. I hope you can see now why I felt your invitation was so providential: coming at exactly the right time and from someone I admire greatly. I would still gladly come to talk, as you initially wanted me to talk: about collecting one author over 40 years and what that means, especially when the author is Milton. I certainly would also like to carry forth on the "book selling" arrangement we had, and which I will put on hold until you advise me otherwise. I don't need more money to come and talk, and we could do everything you had envisioned without a luncheon. It may be very unfair and unfeeling of me to ask you about some things at this moment, but I really became VERY excited when you alluded to having found another copy of your "illustrated Paradise Lost" – illustrated and self-‐published! That excitement and enthusiasm have not waned one iota, particularly since the copy I bought of your rare and very special book is in the collection and therefore no longer just a reach away from where I am sitting and writing at the moment. You have no idea how excited I became over the possibility of having a copy (especially a signed copy) to place with my very special and very select Milton items I have kept for myself (for now at least): fore-‐edge paintings; rare and gorgeous bindings; special associated and illustrated copies, where your copy would rank the highest. The last section in my book has photos and descriptions of some of my rare holdings which I couldn't sell or give up to anyone just yet.
All of the above – my speaking at the Center and my being given a copy of your truly special and very rare book – meant more to me than I can possibly say, so if the luncheon is the issue, forget about having one; if my speaking at the Center however is the issue, I can live with that because I know your own feelings about my coming to the Center to speak and to have some time to spend together both before and after the talk. . .and the music if you want to include that as well (I had very much looked forward to hearing and seeing all of the other things you have/had planned for the day). If everything is cancelled, then might I ask if you would be willing to send me an inscribed copy of your illustrated Paradise Lost as a generous gift in advance of my doing something you might want me to do sometime down the road. Your book is genuinely priceless, and I assure you that it will be shelved in a very special place, with select other copies of Milton's epic and his works I have, to be shown to select visitors in whom I believe I can generate new enthusiasm for Milton and for illustrated Milton through the ages. You mentioned that "a major New York Times article and several other articles around the world" showed you just how welcome your artistic vision is, especially when brought to bear on Milton. I refuse to believe, as I said above, the these articles convinced you "that [your] project had run its course." I disagree and would love to have the chance to discuss what I mean by this with you sometime. [I have reached a certain point in my own “project” with Milton, but I will never be completely done with that “project.”] Might I have a copy of each of these articles, please. If my request goes too far "above and beyond" I will most assuredly understand, but if possible, I would love to have a copy of each of the articles you mention. I have several copies of the 2008 Modern Library “Complete Poetry and Essential Prose of John Milton,” with your illustration on the front cover, and actually, I have been planning on how I might get an inscription from you on one copy. I will happily send a copy to you for you to inscribe to me, with funds to cover the cost of returning the book to me. If you think this is feasible, please let me know. I am sure that you have a copy of this college text book, but if you do not, I will be glad to send you one. I will also search to find a copy of “the Holt Rinehart 2009 high school textbook” which, as you say, also uses your illustrations. I haven’t seen this anywhere yet, but I’ll find it. I am a little confused about these texts you mention because you state that “last year [you] got a call from the book designers from Random House who wanted to use [your] art for the cover of their “Essential Milton” [the only “Essential Milton” I know of appears in the title of the Modern Library edition of Milton (identified in the preceding paragraph)], with one of your illustrations on the cover of the dust jacket. I’ll keep checking on this. I have kept your attention (perhaps off and on) for too long now and I apologise for my long email, but I felt this was the right time for me to respond in full to you as you have in your email to me. [My monastery life I will save for another time.} With much esteem and fondest personal regards, Bob
From: Robert J. Wickenheiser Re:: Thought you might like to see the last reception and show on Youtube: Date: April 2, 2009 5:13:41 PM EDT Terrance: I forgot to say in my earlier email today that my admiration for you only deepened when you wrote me the following about why you have had your own long relationship with Milton: "My Milton adventures have been a great joy to me. I began to illustrate Paradise Lost, not in order to make money or achieve fame, but because I loved the fantastic visual and conceptual qualities of the great work. " Someone to be admired for your own reasons for loving Milton's Paradise Lost, and inspiration for others – now and in the years to come. Your illustrations have inspired me and now that I know your reason for devoting a lifetime and all of your talents to Milton I am all the more inspired and all the more committed to working with you in any capacity you see fit. Best always, Bob
From: Robert J. Wickenheiser Subject: Re: Thought you might like to see the last reception and show on Youtube: Date: April 2, 2009 7:08:36 PM EDT Terrance: Speaking of "parallel universes," I have been searching your emails since we first started writing to each other. I don't think I realized something VERY important in several of your early emails, referenced once again in your suggested wording for my presentation inscription, namely, the Center's having celebrated Milton's 400th birthday and in doing so "having generated a wide public awareness of the importance of the work of John Milton in the history of human thought and literature by their producing the largest Milton festival in the world in honor of Milton's 400th birthday, September/October 2008." I missed your celebration (without knowing about it, alas!) by only a few months. Would that our beginning to contact one another had begun in August, 2008. In any case, since I missed such an important and historic celebration of Milton and his works, I wonder if there might be some material left over from that celebration that you might be able to pass along to me, with your presentation and signature, attached. Ever the collector!, as by now you well know, but seeing in your celebration yet another milestone in celebrating Milton as an icon down through the ages (and a great deal more, to be sure). If my request starts bordering on that of being a pest, forget it and concentrate on my amazement over your continued concentration on Milton and you and the Center celebrating Milton so beautifully in the year just past. With much esteem and admiration, Bob
From: Robert J. Wickenheiser Subject: Heartfelt thanks for signed copy of your illustrated Paradise Lost & much more Date: April 13, 2009 6:32:08 PM EDT Terrance: Last week ended Friday when I received your package. I spent the time I had after the mail arrived that day enjoying each item, enthralled by the remarkable enclosures and each of your truly wonderful gifts. First, your illustrated book, which I remembered so well from the pristine copy I have in my Milton collection now in the Thomas Cooper Library on the main campus of the University of South Carolina. Not only does the presentation copy of your book, which you sent me and which I received last Friday, allows me to enjoy anew your telling of the story in word and illustration. I was truly overwhelmed when I held your book, not only because it allowed me to enjoy once again what I no longer had so close at hand in my Milton collection, but because it has come to mean so much more to me due to our growing friendship and my increased admiration for what I have come to recognize and respect in your profound love of Milton's great epic. Then there was the splendid card you are working on which includes me in your love of Milton and in your splendid tri-‐fold "altar piece" featuring the temptation of Adam and Eve in the center panel, with art and music celebrated on the side panels, and the great epic itself in the sacred book down stage surrounded by vital images through the ages of those who have admired and loved Milton's great work in various unique ways.
Hardcover: 44 pages, Lindall’s synopsized Paradise Lost 1983
I do not yet know what you plan to do with the card, but I am profoundly grateful for the copy your included in your great package. Also in this package was your hand-‐drawn copy in pencil of the snake wound around the tree in nature, with apple and butterfly above and Eden identified below, with your kind comment to me. I will have this special gift framed so that I can hang it in a special place in my library here and in my study in our new home in New Hampshire when we sell our home here. The two copies of the front page of the New York Times on September 26, 2008, signed in a special way, with presentation copy to me, make me wish all the more that I had known about your celebration in September. I would most certainly have come to join in the festivities, presenting to you, Yuko Nii, and the Center itself a copy of my book which had appeared in print only a couple of months before. The various coverage in the Times allows me to understand better and so thoroughly more all that the Center did to celebrate Milton's 400th birthday and all that the Center stands for in doing so. I would have thanked you for all of these splendid and very meaningful gifts immediately had our oldest son and his wife and family of three (including the first of our nine grandchildren) not arrived to spend several days with us just about the time I finished reviewing my treasured new gifts. I did, of course, proudly show them how a famous artist had included me in his painting honoring Milton’s great epic, something all of my five children know about to the degree that most undergraduates do today, but undoubtedly with greater respect because of their father’s collecting Milton all of the days of their lives. Please forgive me for not thanking you for your remarkable gifts before now, but every one of the three plus days since the arrival of my son and his family has been filled with travel (to Niagara Falls and other places of interest around here). All of my time was taken up, minute by minute and hour by hour during this special visit, and my age has begun to show itself when I had little energy at midnight after everyone went to bed to write and express my heartfelt thanks to you.
Above: Ticket to Lindall’s Milton bash
My gratitude, though, is indeed real and I will always be profoundly grateful to you for the special gifts you have given me. Each of your gifts will not only be cherished, truly cherished, but given prominent display in one way or another in my library now and my study after we move. Please forgive my tardiness in not responding to you before now, and please know how genuinely grateful I am and shall always be for the special gifts you have given me which draw me closer to “our” Milton and his great epic in a variety of important ways, including art, word, and music. Many thanks for allowing me to share your affection for the greatest English poet and epic writer who has brought to life the great story of creation and the fall of woman and man. It is truly a pleasure beyond words to share affection for Milton and his poetry with someone who is in his own right a genuinely remarkable artist and someone who has devoted a great part of his life to this great poet, who is to England what Virgil is to Rome and Homer to Greece. With heartfelt gratitude always, Bob
From: Robert J. Wickenheiser Subject: Re: Announcing new illustrated Milton (& some related suggestions) Date: April 14, 2009 5:22:26 PM EDT To: Terrance Dear Terrance, Thank you for your kind response back to me. I am genuinely grateful – for that, for our growing friendship, and for the manner in which Milton has brought us together. I admire your paintings and your strong commitment to Milton, and I sincerely hope that we will be able to work together on several projects in one manner or another. Your paintings bring Milton’s great epic alive in an electrifying new way in a new day and age. You mention the “broadsheets” in your email and also “some cards.” I have wanted to ask you ever since I received your earlier email regarding the broadsheets for high schools whether or not there might be a way in which I could join you in this project – and let me assure you that I want only to work with you and, God willing, to help raise some money for the Center and its endowment – all while advancing the cause of Milton. The honor would be mine to join with you in whatever way or ways you think possible. I recall sending you some of my thoughts regarding raising money in an earlier email. I believe we can work together to help advance the cause and mission of the Center while sharing the poetry and visionary effect of that great blind poet Milton. I would love to write a short new introduction or foreword, with a little different thrust than that of Tom Clayton, but only if I step on no one’s toes or do not go beyond anything I should be suggesting. I long ago learned that you can’t get ahead or raise money if you aren’t strong enough to ask for it, and to ask for it, as my closest and most generous donor friend said to me back in the early 1980s when I asked him for 5 million dollars, in less than two minutes. He told me that the pleasant lunches, dinners, or meetings are all well and good, but in each context a donor expects the "asker" to know and believe in what he is requesting support for, so strongly that he can make the “ask” in full and with enthusiasm in two minutes or less. I have never forgotten this early education from a donor who ultimately gave me/the institution I was president of a great many million dollars in the years that followed.
So let me know any thoughts you might have about our working together in any of your projects; please let me also know when I am not wanted. I care only about Milton, your work, and however I might work with you to educate readers and viewers of all ages about each since art brings Milton’s visionary poetry alive as little else can, with the possible exception of music. One last request, if possible. I thought your idea of providing original cards of your drawings unbound for hanging or bound in solid leather a splendid idea. I think the price tags are also fair and certainly shouldn’t scare anyone away. May I put in my order now for a bound set for $2,500, with the plea that I be allowed a two-‐year period (max, I believe it will be much less) in which to make payments. Could I also be considered for the purchase of one or two of your illustrations separately so that I can frame them. Retirement at just the wrong time has sort of shattered the plans Pat and I put in place prior to the collapse of the market and Wall Street. If my request for a longer period to complete my payment is out of line, then I’ll figure out another way to pay all at once; in either case, I want you to sign me up, please, for the earliest copy, realizing that some copies often are reserved for others or for other purposes (such as for Yuko Nii and for the Foundation, perhaps also for members of the Board who wish to purchase a set – no freebees here). I want very much to be an early supporter. I have given you much to think about with the understanding that I want you always to tell me what you want or don’t want, like or don’t like, as well as what will work or won’t work, and so forth. Warmest regards, Bob
J OHN M ILTON ’ S
P ARADISE L OST Synopsized & illustrated by Terrance Lindall
This special edition printed on the occaision of the 400th Birthday of John Milton, and in honor of
DR. ROBERT J. WICKENHEISER 19th President of President of Saint Bonaventure University
Celebrating his achievement in bringing together one of the the world’s largest collections of John Milton books, related original illustrations and Miltoniana, now housed in the Thomas Cooper Library at the University of South Carolina
©2009 Yuko Nii Foundation
Sing Heavenly Muse! Say first, for Heaven hides nothing from thy view – nor the deep tact of Hell – say first what caused out parents in that happy state of Eden to fall off from their creator. Who first seduced them to that foul revolt? The Infernal Serpent, he it was whose guile stirred up by envy and revenge deceived the mother of mankind. What time he trusted to have equaled the Most High if he opposed, and with ambitious aim, against the throne and monarchy of God, raised impious war in Heaven and battle proud with vain attempt. Him the Almighty Power hurled headlong flaming from the ethereal sky with hideous ruin and combustion, down to bottomless perdition, there to dwell in penal fire who durst defy The Omnipotent to arms. Now the thought of both lost happiness and lasting pain torments him. Round he throws his baleful eyes that witnessed huge affliction and dismay. A dungeon horrible on all sides round as one great furnace flamed, yet from those flames no light, but rather darkness visible served only to discover sights of woe where peace and rest can never dwell. Hope never comes that comes to all, but torture without end still urges. Said then the Lost Archangel: “Hail horrors! Hail infernal world! Meet thy new possessor: A mind not to be changed. The mind is its own place and in itself can make a Heaven of Hell, a Hell of Heaven. To reign is worth ambition though in Hell. Better to reign in Hell than serve in Heaven!” SATAN BUILDS A CITY IN HELL Nigh on the plain with wondrous art a fabric huge rose like an exultation, with the sound of dulcet symphonies and voices sweet, built like a temple. Meanwhile, the heralds by command of sovereign power, with awful ceremony and trumpet sound, throughout the host proclaim a solemn council to be held in Pandemonium, the high capital of Satan and his peers. Satan exalted thus displayed: “Powers and Dominions! I give not Heaven for lost. Whether for open war or covert guile we now debate. Who can advise may speak.” Moloch, the strongest and fiercest spirit that fought in Heaven, these words thereafter spake: “My sentence is for
open war. Turning our tortures into horrid arms, He shall see black fire and horror shot among His angels, which if not victory is yet revenge.” On the other side rose up Belial. Though his tongue dropped manna, to nobler deeds timorous and slothful: “What if from above should intermitted vengeance arm again His red right hand to plague us, and Hell should spout her cataracts of fire threatening hideous fall upon our heads? This would be worse. War therefore dissuades.” Beelzebub, than whom, Satan except, none higher sat, seemed a pillar of state. On his front engraven deliberation sat while thus he spake: “Thrones and Imperial Powers! War hath determined us and foiled with loss irreparable. What if we find some easier enterprise? There is a place, the happy seat of some new race called ‘man’ to be created. Thither let us bend our thoughts and where their weakness seduce them to our party that their God may prove their foe. This would surpass common revenge.” The bold design pleased highly. With full assent they vote. Satan, whom now transcendent glory raised above his fellows thus spake: “Long is the way and hard that out of Hell leads up to light. But I should ill become this throne if aught of difficulty or danger could deter me from attempting. Wherefore mighty powers, intend at home against a wakeful foe while I abroad through all the coasts of dark destruction seek deliverance for us all. This enterprise none shall partake but me!” And Satan, with thoughts inflamed of highest design, puts on swift wing and toward the gates of Hell explores his solitary flight. At last appear Hell-bounds and the gates impaled with circling fire, yet unconsumed. Before the gates there sat on either side a formidable shape. The one seemed woman to the waist and fair. The other shape, black as night it stood, terrible as Hell. The monster came fast with horrid strides. Hell trembled as he strode. Satan undaunted thus began: “What art thou that dare’st athwart my way to yonder gate? Retire or taste thy folly!” The goblin replied, “Art thou that traitor angel? Reckonest thyself with spirits of Heaven where I reign king – thy kind and lord?!” So spake the grisly terror. So matched they stood, for never but
once more was either like to meet so great a foe. And now the Snakey Sorceress with hideous outcry rushed between: “O father, what intends thy hand against thy only son? What fury, O son, possesses thee to bend that mortal dart against thy father’s head?” To her Satan returned: “Why thou call’st me father and that phantasm my son? I know thee not, nor ever saw sight more detestable than him and thee.” The portress of Hell-gate replied: “Hast thou forgot me then, once deemed so fair in Heaven when in sight of all the seraphim with thee combined in bold conspiracy against Heaven’s King? All of a sudden miserable pain surprised thee, while thy head fast thick flames threw forth till out of thy head I sprung. All the host of Heaven recoiled and called me ‘Sin.’ But I with attractive graces won the most adverse, thee chiefly, who becam’st enamored. And such joy thou took’st with me that my womb conceived a growing burden. At last this odious offspring whom thou see’st, thine own begotten, tore though my entrails, that all my nether end thus grew transformed. I fled and cried out ‘Death!’ Hell trembled at that hideous name and sighed from all her caves. I fled but he pursued, and in embraces forcible and foul begot these yelling monsters.” Satan, now milder, thus answered smooth: “Dear daughter, since thou claim’st me and my fair son here show’st me, know I come no enemy but to set free from this dark home of pain both he and thee, and myself expose to tread the unfounded deep to search and bring ye to the place where thou and Death shall dwell at ease.” Both seemed highly pleased. Thus from her side the fatal key she took. On a sudden open fly the infernal doors, redounding smoke and ruddy flame before a vast illimitable ocean. The wary fiend at last his sail-broad vans he spread for flight. Into the expanse and through the shock of fighting elements he wins his way. Now at last the sacred influence of light appears that Satan now with ease wafts on the calmer wave and weighs gladly to behold far off the emphereal Heaven with opal towers, once his native seat, and, fast by, hanging in a golden chain this pendant world. Thither he hies. So on he fares and to the border comes of Eden where nature crowns with her enclosure green. Blossoms and fruits
Above: The front of The Paradise Lost Broadsheet with a picture of Bob Wickenheiser in his library holding his Milton collection catalog
My Broadsheet got a news article "Who said the newspaper industry Is dead? A condensed version of Milton's Paradise Lost is now available in broadsheet format, courtesy of the Williamsburg Art & Historical Center." Brooklyn Courier
From: Robert J. Wickenheiser Subject: Re: Milton Broadsheet to be featured at the Book Expo America Date: April 26, 2009 1:55:27 PM EDT Dear Terrance, When I first received the information in your email sent only a short while ago (4/20/09), I was genuinely very excited, hopeful that I might play some small part in helping you, Yuko Nii, and the Center launch what I wish I had had available to me when I taught literature in my Abbey's Prep School years ago. Now that you have sent me my box with copies of what you described in your earlier email, I am genuinely in awe of what you have prepared for teachers of literature in high schools. [Originally, I included your email here, but it was apparently too large to include in just an email manner. such as this; either that, or something is not working well with our email provider]. You are correct in every respect in that email and I applaud you for providing a new and most exciting manner for making Milton come alive for all of (or at least a great many) high school students. As I held your broadsheet in front of me I was transformed into that student who sees visually for the first time drawings/illustrations for the great English epic Milton wrote, Paradise Lost, a highly visionary epic, doing for England what Virgil did for Italy, and Homer for Greece (a briefly stated summary of Dryden’s great epigram). Citizen Milton
4/22/08 12:10 PM
Left: Lindall painting on Oxford University’s web page for Milton’s 400th Birthday
14. Exhumations and Destinies: 'For Books are not absolutely Dead Things' While many have found Milton's words to be spur to an ongoing project of civic emancipation, others have sought a touch of the divine power. Relics, exhumation, and revivals are all part of the complex legacy of this provocative and powerful writer. Exhumations and Relics Milton's Writing Case.
Milton's Tortoise shell writing case, with a pair of dividers; and a fish skin case with geometry implements, purportedly came from his widow Elizabeth Minshull (1638-1727). The Bodleian Library was also given a circular box, partly of tortoise-shell, alleged to have been given the poet by the Duke of Richmond, perhaps a snuff-box, though there is no evidence Milton took snuff. The relics were given to the Bodleian Library by the Bridger family, who have claimed a connection by marriage with Milton family. (84) [MSS.] Cons. Res. Objects 66-79 Milton's Horoscope. Cast by John Gadbury the famous almanac-maker (16271704), presumably for Milton himself. MS Ashmole 436, pt. 1, at f. 119 Philip Neve, A Narrative of the Disinterment of Milton's Coffin… Wednesday, 4th of August, 1790 (1790)
The leaden coffin opened, and beneath the shroud were taken teeth, bones and hair from the corpse, the coffin and body exhibited by the grave digger, Elizabeth Grant. Neve recounts this "sacriligious scene" with horror--although Neve himself took some hair, bone and a tooth. Some thought the corpse was instead that of a woman. Leigh Hunt and John Keats obtained a lock, now at the Keats Memorial, Rome. On seeing a lock of hair taken from Milton, Keats became "mad with glipmses of futurity." Gough Lond. 42(13) Destinies and Revivals Geoffrey Hill, A Treatise of Civil Power (2005). In a direct quotation from one of Milton's pamphlets on toleration, Geoffey Hill engages with Milton's legacy. M05.E17525 Philip Pullman, His Dark Materials trilogy (1995-2000).
The title of this series taken from Milton's Paradise Lost, where "His dark materials" of Chaos are there "to create more Worlds." A modern master http://www.cems.ox.ac.uk/citizenmilton/xiv_destinies.shtml
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Your broadsheet (with images beyond compare) are your grand gift to all students (of all ages) – now and in the future. They are worth far, far more than they or anyone, really, could afford to pay. If Milton has been brought to a new life in the 20th century, particularly the last half of that century, then surely special interest in Milton’s epic will take hold in high school students and will prepare those students far more for study of Milton in college than perhaps any class of high school students before now. Thus, not only are your images beyond compare, but they are also part of a gift beyond compare in the form of the published broadsheets provided by the Centre. I was likewise in awe of your warm and most welcome presentation copies to me. I need guidance, however, as to what you would like done with the pieces printed in my honor, which are far beyond anything I deserve, but which I humbly accept and dearly admire. I hope that the sincerity of my gratitude is not lessened in any way by these publications; nonetheless I remain grateful beyond words. I will, of course, send some of the materials to Steve Fallon, as we discussed, but what do I say or request of Steve about the personal pieces related to me. You advice and guidance here will be deeply appreciated. One last and slightly different question, if I may. Is there any place at any given time when you might want me to do a brief essay on Milton, Milton’s great epic, and the illustrations of Milton down through the centuries, expressing here that I am an ardent admirer of your illustrations and why, and where would such an essay appear? I want to be fair to what you might like to have from me, as well as on target in writing what you want and how you want it done in providing you something fresh and spirited in writing about Milton and then about your stunning drawings or illustrations. When we spoke about this a short while ago, you said go ahead and write anything I might like to write. Alas!, much as such advice is a writer’s dream and wonderful to hear, it can rapidly become a nightmare, difficult to do without either some further direction from or discussion with you. I sincerely hope I have expressed myself clearly in this email and that I have touched upon the major issues for discussion when next we speak or you send me an email in response to my email here. With much esteem and abiding gratitude, Bob
Robert J. Wickenheiser Subject: Renewed expression of gratitude and a question Date: May 11, 2009 8:12:32 PM EDT Dear Terrance, I have spent the day going through all of the remarkable things you have given me along with the cards I have purchased and also the many other cards that you have so graciously signed for me. I am truly grateful and renewed in my enthusiasm for sharing your illustrations and retelling of Paradise Lost with others (in particular the young). More on that later, but I remain committed to doing what we talked about last Sunday evening; I am also grateful for that call and the gift of your time in discussing a shared passion for Milton and for your retelling his great epic and even more, your compelling illustrations of Milton's grand epic. After sorting things out (postcards, original sketch of me, signed original piece of musical score by Peter Dizozza, and so much more), I know that I never thanked you sufficiently for your gracious gifts. Please let me remedy that now by telling you how moved I was, and will remain, and how genuinely grateful I am. I’ve also determined that whenever we move, we will have to have the “Lindall Area,” featuring the great original gifts you have given me together with the things I have managed to purchase. Would that I could purchase more.
Above: Composer Peter Dizozza with Terrance
I am also sorting things to make sure I send Steve Fallon some interesting items beyond your own enclosures for him. I will send you a copy of my cover letter to him so that you will know firsthand what I send him and related commentary here and there throughout the letter, and that I have in fact accomplished that task. My question is one I am somewhat embarrassed to ask, but anyway, I thought I recalled your telling me that you had found (most happily) a last copy of your book which you were going to send to me. I have searched and searched everywhere today for the book and I cannot find it anywhere. Did you send me a copy? Am I remembering correctly: that you did indeed find a last copy and that you did indeed plan to send it to me. I am terribly confused about this, especially since I had looked forward to using the book in writing my essays; the original copy I bought being with my Milton collection at the University of South Carolina. I would have that copy sent to me for my use now, but as I reported to you some time ago, your illustrations won hands down among students who were asked to review the illustrated Milton exhibition, and thus your book and illustrations have achieved a stature that would never allow the book to be sent to me without some kind of commotion occurring among students and faculty. On that particular note, I would love to have you spend some time on the campus (at their invitation), meeting with students and perhaps also lecturing on your “Adventure into Paradise Lost” through imagery and painting. I would be there for that! If my recollection about your sending me a last copy of your book is incorrect, please do not give it a second thought – with one exception: just set me straight and forgive me for being so wrong in my recollection. Thanks much!
Above: The 2008 High School English textbook with Blake and Lindall
Incidentally, I am also sorting out what will go to my collection at the Thomas Cooper Library: a few things now (all duplicates) and later (after I am gone) your signed cards, the sketch you drew of me, the original page of music, etc. Pat and I have talked about doing a collage of your things for framing. After all, not everything can go to my collection just yet. I need to have Milton around me and so I have held back on some substantive things with me for my use and admiration in the years ahead. The last chapter in my book shows you some of the things I have retained, and they may or may not be reunited with the collection. I have added a couple of fore-‐edge paintings (gifts of a friend in England who is currently taking two of my books and rebinding them in rich leather after he has painted a thick coating of gilt on each edge and then painted edge paintings (at my request) on as many edges as possible. He is a remarkable and widely recognized fore-‐edge painter, an art which is dying for lack of talent being committed to it, as I am told. I wish you could see my library and everything in it before we move, which remains a big IF given the housing market, the size of our house and acreage. We have drastically cut our original sale price in order to sell and so that we can move on – a decision which will either turn out well or not so well; only time will tell). Sorry for going on so long, but after spending the day with your illustrations I have discovered once again what it is that I admire so much about them and about the artist. Best always, Bob
Bob wrote a letter to Professor Steve Fallon, one of the greatest Milton scholars and his former student: May 14, 2009 Dear Steve, Terrance Lindall sent some of the enclosed in a package to me with the request that I pass those items along to you (enclosed here). I happily agreed to do so. Alas, I have had the enclosed material with me for some time now, despite my best intentions of wanting to send them to you in a more timely manner. Please accept my apologies for failing to do so. That said, I am sure you will appreciate the enclosed items from Terrance and that you will thank him accordingly Among the enclosures you will find signed posters of "A Dungeon Horrible" and "The Infernal Serpent." Also included among the enclosed are some postcards and the broadsheet Terrance has worked up for a modest cost (a well-‐conceived idea, which I hope makes it into the schools). In addition, I included some copies of the wonderful “invitation”/now “note cards” designed by Terrance in my honor, along with a copy of the DVD, “John Milton's Paradise Lost: Art & Recitation By Terrance Lindall” with “Music By Peter Dizozza,” 2008, which I bought via eBay from the WAH Center before I got to know Terrance. Included, too, is a copy of Terrance’s presentation to me of a copy of his evolving drawing of “The story of my [i.e., his] adventures in Paradise Lost.” I think you will enjoy it. I became very impressed with Terrance’s illustrations of Paradise Lost when I bought a copy of his privately printed book in 1983: “John Milton’s Paradise Lost synopsized and with illustrations by Terrance Lindall.” Little did I know then how precious that copy is, certainly in its content, but also in its rarity, since it was privately printed in a limited edition. Since then, I have had the good fortune of getting to know Terrance personally, to understand something of his well-‐deserved reputation as an artist, and to recognize in him an ardent commitment to Milton, and a fierce desire to share Milton with younger students (something rarely done, particularly when it comes to Paradise Lost!). All of this is most admirable and will develop future generations of students of Milton as well as many others who will always remember their exposure to one of the truly great poets of England and of the English language. Terrance’s greatest gift, however, is his series of illustrations of Milton’s great epic. They are unique and as such provide us a new approach to appreciating Milton as the visionary poet he is; a great gift and a most unanticipated one, to be sure! It is, to adapt a cliché of our time to serve a more noble use here: a gift which keeps on giving.
In the process of my coming to know Terrance and some of his goals, we have agreed to work on a project together with the WAH Center. It is a rare privilege for me to work with someone as talented and as devoted to Milton as Terrance is. The devotion to Milton is something we share in common; we also share a common background of having spent time in Minneapolis, MN. I was delighted to see one of Terrance’s illustrations used by you and your colleagues in your edition of “Milton’s poems and major prose.” I’ve already told you how much I like your edition and how proud I am of your involvement in it. I was also delighted to learn that Holt Rinehart & Winston is using one of Terrance’s illustrations of Paradise Lost in their 2009 high school textbook series, entitled “Elements of Literature, Sixth Course.” More later on the project Terrence and I are working on together with the WAH Center. For now, let me tell you once again how good it was to see you last Fall and that I hope we will have occasion to see each other again sometime soon, perhaps at Mufursboro again this Fall. I remain very proud of you and your accomplishments, which are many, and I am confident that Milton is in good hands with you and also that you will continue to serve Milton very well in the classroom and in various other ways. Notre Dame doesn’t realize how fortunate it is to have you. Fondest regards,
From: Terrance Subject: I did not have time to say... To: "Robert J. Wickenheiser" Date: Wednesday, June 3, 2009, 9:18 AM Dear Bob: I was in a rush yesterday, so i did not say how wonderful the full color brochures are. I love the fact that it says that you are the "uncontested premier collector" of Milton!!! So, next week I take my paintings out of storage to photograph. During summer Yuko & I will design the plates for the boxed set. Amanda Husberg is finalizing the "Celebration Oratorio" (my requiem). She wants to present it in a local historic church, which is able to seat 400 people. Hope you and Pat are enjoying the early summer. Warmest Regards, Terrance PS: Thanks for the US Airways Mag about Brooklyn and the SCU bulletin on the "Imagining Paradise" exhibit. All goes into our own tiny Milton collection.
Wickenheiser Collection Brochure Front
From: Terrance Subject: New project Date: September 22, 2009 11:16:52 AM EDT To: Robert J. Wickenheiser Dear Bob: I thought you might like to be the first to know about the new Paradise Lost project. It is a scroll containing one of my "complete" versions of PL. It is 4 feet long with 8 miniature insets plus many other little cartouches amidst the text, which is below the miniatures. The scroll reads from right to left like a Torah scroll. The upper portion of the scroll contains the miniatures. The bottom part is the text that begins with a picture of Milton reciting to his daughter who is transcribing. The opening panel is an angel wrestling with a snake as a cloud exuding lighting bolts over the Garden of Eden. The last panel is a library with a monk named Wickenheiser holding a book. The vaulted ceiling of the library leads up to the second coming of Christ surrounded by Apostles and the learned men Leonardo, Plato, Socrates and some others. Below you can see the size of the panels. Note above my index finger there is gold leaf. It will be fully illuminated. The concept is exciting for me and it is all laid out. It will take a long time to do. I have not committed this to the Foundation and may keep it with me, since it is small. Or maybe if someone has a million dollars for the foundation I will sell it. Otherwise it goes to the Yuko Nii Foundation. The spindle will have crown finials with emeralds and rubies. I may never get my elephant folio done to my satisfaction, but I will have done a pretty good body of original art for PL. Maybe more than any other artist in history. Only you know if that is true. This scroll will be exhibited with our "Book Art" show next September. In another email I will send the draft idea of the show . We changed the date from May since the show is going to be a very big production. Best, Terrance
From: Yuko Nii <firstname.lastname@example.org> Subject: Your panel Date: September 24, 2009 11:34:38 AM EDT To: Robert J. Wickenheiser Dear Bob: I thought you might like to see the panel in the painting that contains you in the library. Just an oil sketch at the moment. The vault in the ceiling is composed of books and the stair leading up to heaven and the 2nd coming of Christ is made of BOOKS! Knowledge is vindicated! I am thinking about including Satan redeemed in the cluster around Christ. Satan has served His purpose and God is all forgiving. I guess that goes against scripture? PS: This is the first time I have documented the process of painting a picture. That's the Virgin Mary & Child in blue garb at the top in the niche above the angel. There is an angel above your head beatifying you!
From: Robert J. Wickenheiser Subject: Re: Your panel Date: September 25, 2009 11:00:48 PM EDT To: Terrance Dear Terrance, You are not reaching at all, and I am honored, truly I am, to be in your corner, sharing your ideas, and assisting you in moving those ideas forward. It has always been too easy by many of my colleagues to argue that Milton is of the school of Satan, unknowingly, of course. This and other ideas like it have been argued far more than I care to reiterate or respond to in words. One can see in this how the artist views things differently and captures his views in art, not words, views, I would argue, that are more often reflective of what Milton intends in his great epic which is visionary in an artistic way more than in the ways of the writer, philosopher, or critic (who took hold in the 18th century, as you know, when Milton was torn apart and often, as with Johnson, "praised" only because it is the correct thing to do, while subtly critiquing the poet and his works. Milton wrote poetry to envision what, in later life, he no longer saw except within and as captured in his great poetry. He wrote poetry for one great purpose and he wrote prose when he chose to express his thoughts and views about the great issues that have plagued mankind through the ages or when he wanted to express himself about that which had obviously reflected upon and wanted to express in the correct medium: prose; including his great defense of freedom of the press and of thought, or of issues relating to kingship, and much more. I am also a strong advocate that Milton wrote in the medium he thought most correct for what he wanted to say along with how he wanted to say it; and I do not believe that he wrote in one form (prose) to clarify and pass along his ideas that he tried also to write in another form (poetry). Milton knew what he was doing, and, my good friend, you express it well in few words that I wish I had said first to you.
Since Yuko has already co-‐opted your scroll for the foundation, any possibility of me getting hold of a second copy, or working copy, whatever? More on that as well. I look forward to talking to you about all of this. Can we do it, perhaps, in connection with my speaking at the Center next September? After everything: is done: costume ball, dinner, my talk, Herbert Weitz’s talk, the public aspect of your marvellously conceived exhibit on “Art and Book.” This way we can devote our full attention to your expression of ideas here and in other of your emails. Incidentally, I think some of the things I mentioned bringing along will fit various of the categories delineated for entries in the exhibit, particularly “#2) FINE ART, PAINTINGS SCULPTURE ETC., THAT INCORPORATES THE CONCEPT OF THE BOOK.” Forgive my going on so long. If I haven’t told you before, let me do so here: Pat and I will be driving back to MN and ND, to visit family, attend a family wedding, and generally return to our roots and origins, including a return to my monastery. We will be gone for some two weeks and then when we return I go to TN for a Milton Conference and at the end of the month to South Carolina for the announcement of two major, singular, and unique paintings. (More on the announcement shortly, but it really is big!) Kindest regards, Bob
From: Terrance Subject: Scroll update Date: October 25, 2009 9:32:29 AM EDT To: Robert J. Wickenheiser Bob: Just showing the progress. Lots of work to do! Terrance
From: Terrance Subject: My basic philosophy, probably evolved since 2001 Date: November 2, 2009 12:15:08 PM EST To: Robert J. Wickenheiser Bob: Follow this link to my basic arguments. http://docs.google.com/Doc?docid=0ATDWadgd82kWZGNiZmhyNnFfMWhwNzU4e Gdj&hl=en I may have modified them over the years since 2001. I developed this essay in debate with two people: Mark Daniel Cohen, co-‐founder of the Nietzsche Circle http://www.nietzschecircle.com/hyperion_archive.html and Robert Sagerman, a mystic of the Kabalah. http://docs.google.com/Doc?docid=0ATDWadgd82kWZGNiZmhyNnFfMWhwNzU4e Gdj&hl=en Excerpt Lindall's thinking: Now allow me to posit the final contradiction that reveals the truth in that dialectic I was talking about: BEING AND NOTHINGNESS ARE THE SAME THING. Both East and West have known this for a long time. SEIN UND GEIST, SEIN UND DASEIN! All thought and existence revolves around these ideas. The gates of the universal computer: on and off, one and zero. And we see it most aptly expressed in the imposing Morse code of Richard Humann’s work. The binary. But the binary, the dualism of the world, is an illusionary idea necessary to the creation of perceptions. In fact, being and nothingness are the same thing! A great mystery! The proof of this comes from analytic philosophy which asks whether "existence" is a predicate! If we think about something that exists and conceptually remove all of the qualities (hardness, redness, etc.) leaving only the quality of "existence," we find that only "nothing" is left! So too the perceiver and the perceived are one. As Hume pointed out, we are merely "bundles of perception"...no perceiver can be proven to exist. If a person in contemplating the perceiver and the perceived, removes, by process of reason, all perceptions, nothing is left; therefore the perceiver (the self) does not exist... the "I" does not exist. We who think that we are free, our freedom is not even "ours" for we do not exist apart from what we perceive. That we use words like "I" is a foolish convenience because we cannot grasp truth, and the convenience of such terms or expressions allows us to communicate. It is like the use of imaginary numbers in mathematics. See, "communication" and it’s contradictions are what this is all about! The solipsist says that "only the ‘I’ exists." I deny him even that!
Ultimately we cannot break out of the dualistic world by which we define all things. Quine, up at Harvard, attempted to invent a new logic circumventing the paradoxes inherent in non-‐contradiction. Mixed results. And since computer thinking is based upon the binary, the computer probably cannot transcend it’s own makeup. In that sense, the whole is no more than the sum of it’s parts. And fractal geometry suggests the same. Ultimately, since we are immersed in duality since all our thinking is based upon it, and we cannot escape it’s snares, we are left with what we had in the beginning: blind faith...systems of belief!! Sagerman’s mysticism! There are mysteries we cannot fathom. Our science is the religion of faith in duality and it’s mysteries. The support for this "strange universe" can be attributed to God as Truth, as in Richard Humann’s significantly substantial support for the dots and dashes of the binary (representing the duality which gives meaning to the world)! If we are looking for Truth about these deep mysteries, look to Richard’s work! Plato, in his Theory of Forms, talked about this world being mere shadows cast by perfect ideas. Perhaps he had the right idea. St. Anselm’s ontological proof of God, an a priori proof, and thus irrefutable, again talks of perfect ideas. But the proof comes out of the principle of non-‐contradiction and the inherent flaws of dualism. Ultimately faith may be the only answer!! Faith is a "system of belief." Sagerman looks at the act of creating art as "being steeped in the process of being in a state of belief." There is something really significant here, and more is discovered at every turn through the eyes of the these artists. The artists here are mystics and ontologists and epistemologists. All that an ideal artist can be is envisioned here.
From: Robert J. Wickenheiser Subject: Re: from Terrance Date: November 11, 2009 4:02:59 PM EST Dear Terrance, I agree and only wish that at times like this I could hail a taxi from where I live and join you for a bit viewing this splendid exhibit – and to think, all are from your/Yuko’s's permanent collection. How can one not be impressed or wish to see the collection continue to grow, particularly because of the remarkable eye for quality of Yuko and you supporting her. I need/and want to respond to several of your wonder emails that awaited my return from South Carolina, but let me just say here that I was reviewing your life, as written by various sources I'm sure, but in any case I have learned the following, all of which knew before but which is now in some kind of organized shape in my head: "Lindall attended the University of Minnesota and graduated magna cum laude from Hunter College in New York City in 1970, with a double major in Philosophy and English and a double minor in Psychology and Physical Anthropology. He was in the Doctor of Philosophy program in philosophy at New York University from 1970 to 1973. He is listed in Marquis "Who's Who in America 2006." Information about this artist is also on file in the Smithsonian Institution Library Collection." I believe we were destined to meet: as with you, my undergraduate degree shows a double major in Philosophy and English, with minors in Latin and Journalism. I may have graduated summa, as you did, but I don't believe that I can hold a candle to you. I admire the depth of your interests, which in turn, contributes to your writing and thinking and ultimately to your art, all of which set you apart in substantive ways from other contemporary artists. I stopped worrying about being in "Who's Who" after being in many of them from the 1970s on. My point, though, is that our interests are shared in many areas and grow out of our undergraduate education I believe. Know how grateful I am that we share as much as we do and that you are interested and involved with someone like me. I especially appreciate your taking away from my Introduction to my book the important detail that I want to know what artists of each period or age think of Milton and what influences their thinking; that the image or painting says so much more than the essay and does so in a way that I do not believe has been as appreciated as much as it should. This is where had hoped to enter Milton studies in a big way, but alas!, I allowed 25+ years of presidential service get in the way. It is now all the more joyful to do what I have truly loved doing and to do so with someone like you taking an interest in me virtually from the beginning of my return. In the spirit of our on-‐going sharing of ideas designed to serve the same goal: i.e., to help define how artists through the ages have viewed Milton and how this view represented or reflected the culture of the age while simultaneously influencing that culture. More anon! BOB 45
On Dec 11, 2009, at 3:23 PM, Robert J. Wickenheiser wrote: Terrance, Well put, although what a challenge. May I ask if Yuko would have a problem with you giving me a signed COPY of the scroll, this way I could have it bound in a style Bob Roberts already has worked out. Thanks, Bob On Dec 11, 2009, at 3:23 PM, Robert J. Wickenheiser wrote: From: Yuko Nii <email@example.com> To: Robert J. Wickenheiser Sent: Fri, December 11, 2009 3:59:48 PM Subject: Your Great Idea Bob: I asked Yuko a while back and Yuko already said you can have a printed copy, if that's what you mean; AND THEN YOU CAN HAVE ME SIGN IT AND YOU BIND IT. I recommend you send out for a giclee print, the highest quality printing. It will be a simple printing job, like printing a long big photograph. May take some simple graphic design work by Orin Buck our designer. I can send you some good photography and let you run from there or have Orin send your a PDF file. I will inform Yuko that this is part of our mutual project to raise money for her Foundation.. You will have the salesman's sample of the production at your expense, which will be minimal. We can limit the edition to maybe 2000 signed and numbered. What do you think of a price? Maybe $1-‐2000? I guess we have to find out the exact cost of printing and binding. We can then do it one-‐off as we get orders. If we can sell 1000, we have our million, less expenses. Every major library of classical lit. should want one. My Youtube video passed 50,000 hits and is getting about 100 hits a day now. Know a publisher who wants to make money? Thanks for coming up with the idea to fund the Yuko Nii Foundation. I am sure Yuko will be appreciative. I will run it by her at my earliest opportunity.
The last three panels of the scroll with 24 k gold borders
Eventually I finished the Gold Scroll of Paradise Lost and announced a sale of limited edition Giclee prints, one limited to ten full size at $5,000 each and a smaller size edition of 100 for $2000 each. I started getting phone calls. One was from the National Trust Library in New Zealand, which surprised me. Also, another famous Professor /scholar Joe Wittreich bought three of the smaller versions for the Huntington Library, The Universities of Pennsylvania and Tennessee. A sent one of the signed full size copies to Bob for his collection. From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: WOW! Date: July 23, 2010 8:13:44 PM EDT To: Yuko Nii email@example.com WOW! No matter what else any day might bring, NOTHING brings as much joy and happiness as mail from you. Can you let me know what phone number(s) I can best reach you at! I tried calling you after receiving my mail today and your package in it. I'd rather wait and save my comments, etc., to discuss with you personally (over the phone) how overwhelmed I was by your enclosures. Call me please anytime tomorrow, I'll be working at my desk all day. I also want to confirm the purchase by Patrick Scott of one of the two remaining special copies. He will contact you this week. PLEASE, PLEASE, hold one for him. More when we talk tomorrow, okay. To say thank you is too little, by far, but I say it and mean it. I will always cherish our friendship and our working together. Take care, Bob
The Scroll was finished and I made the announcement: From: Yuko Nii <firstname.lastname@example.org> Date: December 18, 2009 10:29:09 AM EST To: Yuko Nii <email@example.com> Cc: Yuko Nii <firstname.lastname@example.org> Subject: JOHN MILTON'S PARADISE LOST -‐ THE GOLD ILLUMINATED SCROLL The Yuko Nii Foundation at the Williamsburg Art & Historical Center is pleased to announce: JOHN MILTON'S PARADISE LOST -‐ THE GOLD ILLUMINATED SCROLL Terrance Lindall in his year long celebration of John Milton's 400th birthday, which started on December 8, 2008, has just completed as of December 8, 2009, what is considered by the few who have seen it already to be the most unusual painting for Milton's Paradise Lost ever done. It is in the form of a scroll that reads from right to left like a Torah. The scroll is now in the Milton collection at the Yuko Nii Foundation. It contains one of Lindall's "complete" versions of PL. It is 14 inches high with 24 K (23.75) gold illuminated miniature inset paintings plus many other cartouches of the Bodleian Library, the Visionary Foal, Milton dictating, Nemo's submarine, etc. The scroll begins with the great omniscient eye of God in the upper right hand corner. In the iris of the eye reads “THE WORD.” Below the eye is the Tree of Life, roots extending upwards with a bird of paradise perched atop. The Tree of Life becomes a vine that twines across the bottom of the scroll. The upper portion of the scroll contains the miniature paintings depicting scenes from Milton’s epic. The bottom part is the text that is only to be read as captions, not complete Miltonic quotes. The opening panel shows an angel wrestling with a snake over the Garden of Eden and piercing the serpent with his sword. The angel and serpent are in the form of a cloud and the sword piercing the serpent delivers gold lighting bolts…portending the tragedy that is to come. At the bottom in the next panel Milton is dictating Paradise Lost to his daughter, giving birth to the serpent with a burst of flame from his forehead like Athena from the head of Zeus or Sin from the head of Satan. A bottle is pouring forth a stream water that symbolizes the purity of God's Spirit or God’s “Historical Will.” It flows throughout the panels beneath the Pillars of the Universe. The water also represents Milton’s reputation which starts off small and by the 19th century becomes an ocean in which we see Captain Nemo's 19th Century submarine Nautilus. Nemo is somewhat like Satan, rebelling against what he perceives as the injustice of a greater power.
There is a mysterious winged creature riding the Visionary Foal at the bottom of the panels. The Visionary Foal is an aspect of the omniscient God. At the end of the scroll we see who the mystery rider is: it is none other than Satan himself who has been performing God’s work. He has been redeemed because God has used him to seduce Adam and Eve so God could actualize his Divine Grace and Mercy by having His alter ego, His Son, sacrifice Himself and take the sins of Adam & Eve back upon himself. God’s mercy is not perfect if it is not actualized, and Satan has helped actualize (perfect) it by rebellion and seduction thus initiating God’s perfect mercy. But God’s Mercy being infinite, God has also redeemed Satan who leans back upon the Heavenly Foal in the next to last panel. Satan is back to Satan's former self, no longer ruined. A rainbow, the promise of God, over Cavalry Hill confirms the redemption or promise of His Perfect Mercy. The last panel is a library with a Benedictine monk named Wickenheiser holding a book. Wickenheiser is the Universal Librarian, maintaining the records of Man’s great thoughts and works recorded in books, especially those of John Milton. The vaulted ceiling of the library becomes a stairway composed of books leading up to the second coming of Christ surrounded by Apostles and the learned men Davinci, Plato, Socrates, Newton and others. Knowledge, forbidden by God to Adam & Eve as a test of their obedience to Goodness, has been vindicated and redeemed for and through Man by God’s Grace. Note that another bottle of water on Wickenheiser’s library table pours the spirit of God’s Will and Milton’s reputation back into the scroll the opposite way from the bottle at Milton's feet. It represents the fact that by Wickenheiser's building of the great Milton collection Wickenheiser has sustained, preserved and reestablished Milton's reputation until the end of time. I n the upper left hand corner of the scroll, the great eye of God has closed! “I am the Alpha and Omega, I am the Beginning and the End,” so sayeth the Lord, “ I am the Almighty.” Thus, as God opens the universe with His Great Eternal Eye and THE WORD, He also closes His Great Eternal Eye at the end of time, and nothing more is perceived about our universe! About Lindall's philosophy: he adheres to the precept “esse est percipi”(per George Bishop Berkeley). There is no proof that anything exists outside of perception or idea. Even today, physicists have come to the conclusion that the subbasement to the “material universe” is composed of “events.” Events are things perceived. As Leibnitz, the inventor of the infinitesimal calculus, explains, “we are all aspects (thoughts) of the mind of God.” Thus the great eye of God in my art and the large eye of the Visionary Foal represent Perceptions in the Mind of God. All is Perception; all is God. There is much more to Lindall's philosophy, but that explains a point in his scroll. For further reading on Lindall's philosophy: http://docs.google.com/Doc?
The brochure announcing the Gold Scroll
The Yuko Nii Foundation is working with Dr. Robert J. Wickenheiser to produce full-‐scale facsimiles of this scroll. The facsimiles will come with options for the collector: 1) Signed by Terrance Lindall with a signed letter from Robert Wickenheiser explaining the work and authenticating the facsimile. Bound in leather with gold tooling and die (from the Schunke collection) stamped (gold) with the coat of arms of Katherine of Aragon. The painting will have a silk protective covering. Facsimile will be on paper or vellum, per choice of collector. This is a very high-‐end limited edition and can be ordered through Robert Wickenheiser or directly from the Yuko Nii Foundation. These are produced one at a time and only a very limited number will be done. 2) Various levels of printed reproduction and various bindings or no binding. I began to receive accolades: Please tell Terrance that this work is just absolutely amazing. Congratulations!" The Baron of Fulwood, Scotland "Thanks so much for the link to the YouTube video. I think you are rather overemphasizing the 24k gold leaf, because the real "gold" lies in the perceptions incorporated in the artist's concepts. This is the best since Blake and Doré." Nancy Charlton, Milton Lists "Thanks, Nancy, for your detailed and helpful interpretation of this impressive work." Dr. Salwa Khoddam, Oklahoma City University "Terrance: Would that Milton had been as rich in writing about his great epic as you have been about everything you have written about your scroll and the inspiration for it. I don't mean to sell Milton short by any means because, like all great artists, somewhere in his writing can be found his own profound reasons for what he has done and why he did it. In this you stand side by side with the great bard in wanting your paintings to be appreciated and understood." Dr. Robert J. Wickenheiser, 19th President of St. Bonaventure University -‐-‐Terrance, this is stunningly beautiful! There is so much to look at-‐-‐ both traditional and intriguingly mysterious. It really makes me think of Blake's "Marriage of Heaven and Hell", as well as some of the Serbian iconography I've been looking at recently in the monasteries of Fruska Gora (do you know I'm on a Fulbright in Serbia right now? We haven't caught up in a long time). I visited the ancient monastery and chapel of Hopovo just last weekend-‐-‐ and the brilliant colors of the figures crowding into the inner sanctum recall your powerful sunsets and energetic (yet static) figures. Hoping all's well on your side... zdravo, Professor Karen. Karbiener. New York University
Bob agreed to write and introduction/commentary for a special “elephant” folio I wanted to produce: From: Robert J. Wickenheiser <email@example.com> Subject: Re: Satan, Sin & Death Date: August 1, 2010 4:06:44 PM EDT To: Terrance Dear Terrance, Your first painting for PL is remarkable and raises question we might want to pursue about the artist and his art, choice of subjects, etc.: if only we could have done 30 years ago what there just isn't enough time to do as we get older and wiser. Imagine my approach (vs yours) that viewing PL from the eye and paintings of the artist; you have a different view as expressed fairly strongly in the email you sent accompanying your last couple of emails. So often the artist turns to "Satan, Sin, & Death" as their first painting for PL. Sometime I would love to talk with you about what you say in your accompanying essay regarding the writer's approach viz a viz the artists. I would like to show how the view of the artist surpasses the view of the writer, or at least surpasses the writer's/critique's expression, as, e.g., John Martin. As I said, if only there were more time. I finished my essay you requested. I have done as you suggested: I have printed and signed 4 copies. I will send them shortly. I owe you so much for all that you have passed along to me. I do hope you will use the essay, not just because I worked so hard on it, but because it provides a counterpoint to what you say in your text, much as I like what you say. Please read it well; there are some major changes and I believe the prose flows as I always want prose to do. Do with it as you wish. More anon! Bob
From: Terrance To: Robert J. Wickenheiser Sent: Mon, August 2, 2010 9:20:44 AM Dear Bob: I was thinking of doing a scroll as a modernist interpretation of PL. It would not be useful as pure illustration the public could readily understand though. Yes, the subject of the artists envisioning VS the writer is one that should be developed into a serious scholarly thesis. Did you want to attach your finished essay? It was not in this email. Best, Terrance I never did produce this.
I was introducing artists to Bob, and encouraging them to do portraits of him and other things. One was Bienvenido Bones Banez and another was Robert Beal, both outstanding fellow artists. Beal was great at drawings and etchings:
Bienvenido was also a master:
Satan Leaping for Joy
Sometimes Yuko & I were so busy we forgot our birthday celebrations. In 2011 we did it right with a special get together to toast our nearly 50 years working together.
From: Robert J. Wickenheiser Subject: Re: A Peaceful Afternoon Birthday Toast for Terrance & Yuko, unveiling of Gold Scroll & Honor Portraits Date: October 4, 2010 4:08:47 PM EDT Dear Yuko and Terrance, I join you in your special toast, grateful for the honor of sharing your special friendship. To your toast I add my own fondest best wishes for continued great success over a long and fruitful period devoted to art. I sincerely hope that your “peaceful afternoon Birthday toast” will serve as the basis for moving forward and achieving even greater accomplishments in the years ahead. I regret that I cannot be with you to tell you in person how strongly I feel about your accomplishments and how anxious I am to be a part of your future, alas!, less than I had once hoped, but nonetheless in other ways of importance. May your upcoming celebration of the arts and especially of Terrance’s breathtaking illustrations of Milton be successful beyond your (and my) wildest dreams. I remain deeply touched by your many kindnesses to me with respect to Milton I doubt that there is anything I do not have, but if there is, PLEASE let me know so that I can acquire them before anyone else does -‐-‐ likewise with respect to other art items being displayed and for sale. As you say, Christmas is just around the corner. To say that I am overwhelmed by the portrait of me by Bienvenido Banez (“Bones” to you) is sheer understatement. But I am, to be sure, and I always will be. Now I feel all the more regretful that I cannot be with all of you; but perhaps it is for the best since I cry at sad and emotionally happy movies, and doubt that I could make it through this part of the ceremony, and perhaps any other part, without displaying this side of me. Yuko and Terrance: you have made me feel more special than anyone else has, and I will remain grateful to you always and in ways I can never express adequately in words (here is where the very real need for the artist comes in). Fondly, Bob
October 8, 2010 Dear Terrance, As you admire me, so I admire you and Yuko. Both of you, but especially you, Terrance, have made the past couple of years remarkable in your allowing me to be a part of the WAH Center's definition and growth. Please allow me to continue serving the WAH Center in some capacity, whether with respect to the Board. or in some other way you think appropriate. Additionally, I genuinely hope that you and I can continue the friendship we have developed based on Milton. I also cannot possibly define what our friendship has meant to me, but I do know that you have had an enormous influence on me and my life, my thinking about various important topics I would otherwise never have thought of with respect to Milton, and so much more, including the emails you just sent me sharing the philosophical thoughts of your brother and your consideration of them and more. Please know that I care about all of this; you have taught me a great many things and I would like very much to continue our friendship, perhaps through our Sunday evening talks (more often and more regularly), but in other ways as well that will afford us the opportunity to continue sharing thoughts about Milton and working on projects, exciting projects, that will continue to bring Milton alive. With much admiration and affection, Bob PS FYI: Pat celebrates her birthday on October 8. What a month!! Your kind support and warm love have uplifted my spirit. Thank you very much Bobl!!!
At the back of my mind for many years was a desire to produce an elephant folio of my synopsized version of Paradise Lost. It would be an expensive and time-‐consuming project. The best paper was to be purchased from Crane, the maker of paper for our currency. It would be lush with 24 k. gold leaf, and the borders of giclee prints of the original art to be hand-‐painted pictorial commentaries on the subjects. So Bob and I agreed that he would try to raise the money for this gold elephant folio of Paradise Lost. He began soliciting gifts to the Yuko Nii Foundation and money started coming through. It came in in dribs and drabs, $3,000 here, $8000 there, etc. The cost of the elephant was substantial for him even though I was giving him a 50% discount. He also agreed to write a major introduction. I bought a large format printer and began to design the pages on my computer.
From: Terrance To: Robert J. Wickenheiser Sent: Wed, December 8, 2010 11:52:18 AM Subject: Elephant Folio Dear Bob: Your introductory essay for the elephant folio is incredibly good. I am extremely happy with it, you have no idea. I do not yet know if the Turnbull will order one. I know they are very interested, but it will probably go to committee for decision. If nobody fronts a $10,000 deposit for materials, scanning and Giclee printing of the 14 major illustrations, the work on it in will be a lot slower. But it will get done! Obviously you want to have one for the U of SC since it has your major introduction in it. So, I will be working on three folios at one time. One will be dedicated to Dr. Robert J. Wickenheiser, one to Yuko Nii, and hopefully one for the Alexander Turnbull Library. I may only produce these three if I get no other orders, because they will be time consuming and after 2012 I will probably want to move on to other things: I may want to paint a mural on the ceiling of the Grand Reception Hall at the WAH Center. If the U of SC does not buy the Wickenheiser folio, we will just keep it at the Yuko Nii Foundation in our own Milton collection. But your copy will exist alongside my original art and be displayed...eventually in a permanent display at the WAH Center or YF Foundation. There will be "THE WICKENHEISER COLLECTION IN THE YUKO NII FOUNDATION MILTON COLLECTION AT THE WAH CENTER! The Yuko Nii copy of the folio is called "The Lucifer." What do you want to call yours? It has to be one of the main characters in Paradise Lost. The drawing as the frontispiece will be based on your decision. I am having a lot of fun doing the mock-‐ups. I will eventually put a nice binding on the mock-‐up pages too. I would guess it will be important to the history of the project. Also, I am holding 20 of the some 100 original large format sketches (1979) for the U of SC if they ever want to acquire them. I am afraid that if they cannot acquire the Lycidas, probably the sketches are beyond reach too. I would love to give them to the U of SC, but the YN Foundation would not approve. Actually through, it is probably easier to raise $500,000 for several important things than $150,000 for one thing. I guess you might know if that is true since you have raised millions over the years for your universities. Highest Regards and Many, Many Thanks for your great gift to the project, Terrance
In December 2010 I sent out an appeal for funding support: From: Yuko Nii Subject: THE PARADISE LOST ELEPHANT FOLIO & THE FINAL PAINTING DESCRIBED IN DEPTH Date: December 25, 2010 3:25:54 PM EST PARADISE LOST: The Elephant Folio Elephant Folio Paradise Lost Synopsized and illustrated by Terrance Lindall With Introduction by Dr. Robert J. Wickenheiser Offering POR CLICK HERE: Details on the Production of the Elephant Folio HOW TO SUPPORT (and get something in return): HOW TO SUPPORT PRODUCTION OF THE ELEPHANT FOLIO The Elephant Folio will use HAND EMBELLISHED GICLEE PRINTING AND 23.75 CARAT GOLD LEAF, the most superlative techniques and materials available to our age! THE FINAL PAINTING FOR THE ELEPHANT FOLIO For the Elephant Folio, Terrance Lindall is working on a final painting as a frontispiece. It is Terrance's "ultimate statement" as an artist's interpretation of Milton's great epic. This painting will only be produced as a print for the Elephant Folio and will not be reproduced for collectors as a signed print in any other format. Only those who acquire the Elephant Folio will have it. This Frontispiece for the Elephant is a 13 x 13 inch highly concentrated conceptual piece. Thirteen is a prime number and has many associations in religion, witchcraft and more. According to the Torah, God has 13 Attributes of Mercy. The shape of the new painting is a true mathematical square, within which is a Celestial Orbit, as is Leonardo’s “Man."
The 13 x 13 inch Celestial Orbit, oil on board
The circularity of the orbit represents the perfect harmony of God's created universe. The compass that inscribes the circle in the 13th century manuscript below is a symbol of God's act of Creation. One sees the compass also in Blake's illustration of Newton (1795). Newton fixes his eye on a compass (recalling Proverbs 8:27, an important passage for Milton) to write upon a scroll that seems to project from his own head. We again see this in Blake's Ancient of Days showing God with a compass, referred to in Chapter 7 of the Book of Daniel. Notice also below the circular shape of the halo in the 13th c. illumination. Allusions are also made to squaring the circle, a problem proposed by ancient geometers. In 1882, the task was proven to be impossible, as a consequence of the Lindemann–Weierstrass theorem which proves that pi (π) is a transcendental, rather than an algebraic irrational number. This alludes to the limits of Man's attempts to understand the Mystery of God. There are also dualities, opposites (a visual dialectic), angular references, overlays and more. The languages of mathematics, philosophy, story telling and visual art are all there. Within the celestial orbit are the main characters of Paradise Lost: God, Satan Adam & Eve, Death and Sin, the Tree of Knowledge and the Son of God riding forth as a beam of light from the forehead of God on the Steed of Virtue, Sword of Truth in hand… and The Great Author himself becomes one of the main characters of this painting. Milton is receiving “THE WORD” directly from the mouth of God who fundamentally gifts Milton with The Tongue such that he becomes “THE UNIVERSAL POET of the AGE of MAN.” John Milton receives the Word of God* into his mouth like John the Baptist who ate the “little book.” And there is a surprise too, for the Serpent is in front of that Divine Imparting of the Holy Spirit...and Infernal Serpent is...well, you will see!
Remarkably, in The Reason of Church Government Milton quotes Rev 10.9 in the middle of a fascinatiing autobiographical digression: "And although divine inspiration must certainly have been sweet to those ancient prophets, yet the irksomeness of that truth which they brought was so unpleasant to them, that everywhere they call it a burden. Yea that mysterious book of Revelation which the great evangelist was bid to eat, as it had been some eye-‐brightening electuary of knowledge and foresight, though it were sweet in his mouth and in the learning, it was bitter in his belly, bitter in the denouncing." Terrance said, "I did not remember this until Professor Steve Fallon pointed it out after I had begun the painting. I had actually painted a triptych of The Revelation of St. John a while back: Apocalyptic Visions of St. John the Divine." All concepts were drawing themselves into place for this Ultimate Expression of Lindall's interpretation of Paradise Lost in this one final work, the frontispiece for the Elephant Folio. Lindall's final painting addresses the tragic position of Satan and how he has ruined himself, bent toward evil but lamenting his own sad choice, determined nonetheless to move forward on the wrong path. Lindall also addresses the issue of "The Fortunate Fall (of Satan)" that led to great art, poetry and philosophy. As one of Terrance's great artist followers Bien Banez says "Satan gave color to the world!"  The frontispiece herewith described was conceived several months ago in sketch form. Terrance stopped at a point in preliminary execution to let the work rest until it called him back. The ideas had incubated in his subconscious such that when he started undertaking it again recently all issues resolved immediately into their rightful place.
Terrance also said in what is sure to be a controversial statement, “Only a visionary visual artist and a philosopher can really completely understand Milton’s Paradise Lost. There are not too many who combine both realms in any depth. Yes, the scholars of English literature and poetry do indeed delve much further into the reaches of the Greco-‐Roman mythological sources and biblical sources and have analyzed the use of meter in depth revealing the essential structure of Paradise Lost. It is something I never had time to pursue in my many different careers. But all the Greco-‐Roman sources and brilliant meter alone cannot produce a great poem like Paradise Lost unless there is a Great Idea or an astounding philosophy interpreted through the BRILLIANT visual conjuring of Milton’s words. Many scholars of English literature do indeed reason soundly and come up with insights on the philosophy of Paradise Lost. They ALL realize that it is not just a fantastic and colorful story. For example, one scholar correctly points out that Paradise Lost is not a religious poem. That is true. But it is a philosophical poem. Milton. though blind, had an "eye" for the visual and a mind for the philosophical and he had the God given UNIVERSAL TONGUE!" That is why Milton can boast that he is REVEALING THE WAYS OF GOD TO MEN through the glory of mind, art and the axiological issue of Ordo Amoris, the Order of Love. “An example of a 'simply visual' or literal storyline that is actually more is when Satan falls headlong flaming from the ethereal skies…nine times the space that measures night & day to mortal men… “ A lot of readers, even scholars, take that to be a literal storyline event. But actually it is a metaphor for the degree to which Satan had turned from God. Perhaps scholars have pointed that out before me, I do not know not having read the research of 300 some years of scholars in depth. There is much still to uncover …in the way “Milton thinks” rather than merely in the way “Milton works.” What I do know from that fall is that Satan is NOT completely fallen. That is his ultimate tragedy! * The Word of God In the beginning was The Word. God said LET THERE BE LIGHT! And He divided the light from the dark. Opposites were actualized and the possibility of infinite divisions made manifest. This is the Beginning, the "big bang" of the great dialectic of creation and destruction through The Word. Just as the binary language of a computer can create worlds within the universe of the hard drive, so God through the binary, the duality, the Dialectic of Light and Dark (Being & Nothingness), made possible all things, and through the fulminations of possibility and actuality actualized (created) all things…as ideas or aspects of the MIND of God.
From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: Dear Guys! From Terrance... Date: January 3, 2011 3:16:16 PM EST To: Yuko Nii <email@example.com> Dear Terrance, How impressive this appeal is! Count me in somehow, and while I previously only worried about how I might accomplish this, now I worry that my Commentary will never be up to the class of your project. Best always, Bob From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: FINISHED -‐ Terrance Lindall's Ultimate Paradise Lost Painting Date: February 2, 2011 5:06:43 PM EST To: Yuko Nii <email@example.com>Dear Terrance, I just got home and only have a moment, but I had to write and tell you how moved I am by your absolutely enthralling "Ultimate Paradise Lost Painting." From having talked as much to you as I have, I can see just how strongly your passion and thinking are captured in this, your latest painting. I say "latest" only because I sincerely hope this will not be your last illustration of Milton's Paradise Lost. l will write more when I get a chance, also may I call you on your cell, if so when? I really would love to talk to you about your masterpiece; it is truly that and a great deal more. More anon, Bob
Some times I would not get a response from Bob:
Emailed him: Dear BB: Either you are in the hospital or traveling. I will try to call you later in the week. BT He responded to me
Dear BT, You almost hit the target. I was in the hospital for surgery to remove an elbow spur; ended up okay, but the pain over the past 10 days has been rather fierce.
That was followed by the removal of the remain upper teeth (this pain over the past 4 days) has been severe, to say the least, although I am by no means looking for pity. I feel terrible about not being in touch with you of the past (?) number of days. Please forgive me. I just today looked at my emails for the first time in 10 days or so, and when I saw your email subject title, I just had to respond to your much appreciated concern. My left arm just doesn't want to do what I want it to do, and pain in my mouth just wants me simply to take a pain pill or two and forget the world.
Give me through this weekend and I will then focus on all of your emails and be in touch with you about each of them.
I have missed you and truly look forward to getting back in touch with you again.
From: Yuko Nii <firstname.lastname@example.org> To: email@example.com Sent: Mon, April 11, 2011 11:15:13 AM Subject: Progress on the elephant folio Dear Interested Parties: I am still working on this first embellished 13 x 19 inch page of Eve as seen below. Each page takes a couple of weeks or even more. The basic layout in gold is complete. I am now rendering the forms with sienna to set off the gold. THIS PAGE IS NOT FINISHED YET. The lower left hand cartouche has the name of this folio's owner "Nii, " and the lower right hand cartouche will have my signature. As the border's background is enhanced with dark shading around the gold, the gold forms will have the illusion of actually floating off the page. ONLY REAL GOLD CAN DO THIS! Not done yet are lines at various points around the serpent and the apple that is falling in flames, which will give the forms the illusion of movement. As you can see in one of the pictures, Wickenheiser's essay is beautifully formatted and will not be embellished (looks great as it is). The first complete copy of the elephant folio has been printed and now begins the long arduous process of painting borders on the major plates and the historiated initials. The first unembellished QUARTO edition has been printed and is ready for binding. Only 18 of 20 (all major pages signed and numbered) are still available. REMEMBER THE LAST PAGE CONTAINS THE NAMES OF CONTRIBUTORS OT THE PROECT!
From: Yuko Nii <firstname.lastname@example.org> To: Robert J. Wickenheiser <email@example.com> Sent: Sat, April 30, 2011 5:00:08 PM Subject: More answers...Re: Your quarto is in the way! BB Said: “Since we never discussed any option regarding the folio version, could you/would you possibly make copies of your pages (or of select pages) which would not be originals (wish I could afford your final product), but which would be very, very special to me.” Dear Bob: The only way I will do this is by doing giclee prints. They would cost about $300 per page x 15 = $4500. I can probably just print the balance of the book (30 pp.) on my printer (paper alone costs me $5 per sheet). So you could have a true "facsimile elephant folio" all major pages signed by me for $7500. Of course that would be UNBOUND. Any original elephant folios are now $100,000. The original offering of $35,000 is now defunct -‐ the deadline for ordering has passed. Maybe SCU would like a facsimile too for $7500 UNBOUND? Shall we add it to your bill? Pay the $7500 by Xmas? Best, BT
From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: More answers...Re: Your quarto is on the way! AND Re: your great folio Date: May 1, 2011 5:48:27 PM EDT To: Yuko Nii email@example.com Dear BT: You may well be bankrupting me, but I will be the happiest bankrupt collector you or anyone else knows. I am so very grateful to you for your kind offer and I want you to know that your folio pages, as with your quarto, will occupy a place of real distinction here, among the other books in my library. Eventually they will join my collection (where I will ensure that they are regularly on display in the seminar room which holds many of my books and which is named after Bill Richter for his monetary gift which helped to bring my collection to USC). I am really very excited by your kind solution to enable me to have a copy of the folio edition, truly I am! I warmly accept all of the "restrictions" you must place upon my copy. Beyond that, I would very much want as a separate item one of the pages you have decorated around the borders. I have been won over completely by the pages you showed me with the border trim (they have totally captured my love for Milton, of course, as well as for the medieval/monastic tradition of monks handsomely embellishing the manuscripts they worked on each day). How could I not be excited about this and the possibility of hanging one such page fully decorated marginally by the greatest illustrator of Milton over the past 70+ years, and I would indeed display the page with great pride and admiration, not to mention affection. I realize that I may be overstepping my bounds with my request for one of your marginally illustrated folio pages, but the request arises out of my deep, deep admiration for you and for your own dedication to Milton and your profound understanding of the great poet. So all is in your hands (where I am confident they will receive the best response possible) and I will pay for everything in December. We can, of course, talk about this if you wish whenever you care to do so. Meanwhile I shall remain hopeful that my request has been made for the right reasons and in the appropriate manner, and that because of this my request will be responded to in a most positive manner. Take care, my friend, for you have one of the most important tasks before you: to continue rising to the occasion of bringing Milton's great epic alive to countless others in countless ways and doing so as only you – one of the all-‐time great illustrators of Milton – can do. With abiding admiration and heartfelt gratitude, now and always, BB
Bob was a consummate perfectionist. As an artist I did not always follow publishing protocols. I respected his criticisms and tried to follow them: On Thu, May 5, 2011 at 7:31 PM, Robert J. Wickenheiser <firstname.lastname@example.org> wrote: Dear BT: Since we're going to talk later, let me bring something to your attention here. I am deeply touched that you dedicated your wonderful, beautiful, and compelling work (both quarto and folio) to me as well, of course, as to Yuko. Yuko's Introduction is beautiful in its own way and I don't believe anyone could write anything better or more appropriate. There is no title page in my copy. BT says: THIS IS THE TITLE PAGE, and it is also page number 1 (although the way word formats it, page one is not numbered at the bottom. I think that is correct...): I was hoping very much to have a title page that was singular in its distinction and which helped to tell a binder that the title page joins with the illustrations in setting tremendous guidelines for this unique publication (I believe the reader is told this also). You and Yuko have signed your names, and I am happy to have each. You asked me to sign my Commentary also, and in fact I sent four signed copies to you for this purpose. Somehow, though, my signature does not appear. Instead, a number appears at the bottom right of my first page. Two things: (1) I don't believe a number should appear at the start of a new section, (BT: Probably right!) but it's your book and your call, and most assuredly I love it and you no less for this; (2) my signature should appear at the bottom of my last page (BT: You can sign it now!), as with you and Yuko (although you each have only one page). BT says: You did indeed send me four signed copies of your commentary on your letterhead, which I will treasure in my Milton collection!. However, they were not suitable for this folio because it was not formated as needed it to be for consistency. Also it was not printed on Museo II paper for consistency of quality. Also, I think that you improved that version since you sent it. Also. on page 2, paragraph 3, line 5 you dropped the line in the middle:
The first number to appear is the printed number "2" at the bottom of my Commentary. I don't know whether you planned a title page as "1" or left the number out for some reason. This raises the question of whether or not you planned a title page. Without one, there is some confusion: no title page is followed by the printed page "2" to "8", the last page of my Commentary and the page I would love to sign for each copy; then comes Yuko's and your pages, each signed, and unnumbered. BT says: Possibly the commentary should be BEFORE the title page. I simoly considered your work and mine to be a unit. I would certainly defer to an editor of the Princeton Review and a person in charge of major university publications. I certainly am not an experienced publisher. BT Some confusion regarding pagination arises here. The last page with a printed page (page 8) is at the end of my “Commentary.” Yuko's "Introduction" is unpaginated, likewise your Dedication. Then a blank page appears. BT says: Yuko's introduction and my dedication were done and inserted after I had printed pages 1-‐47. My only options were to reprint everything again or to place the unnumbered introduction and dedication at the front unnumbered. I guess this type of thing is annoying to experienced publishers, editors and collectors. As I said, I can always do an issue number three by your guidelines. You also said that you would sign each of your illustration plates, which would distinguish my (and I imagine Yuko's) copies from that of everyone else. I realize that you have signed each page with an illustration plate in pencil, using only your last name and the present year, all very small in size. I am happy with anything, but won't you have to sign each of your illustration plates in the remaining 18 copies. If this is the case I have a suggestion which you might like, or you might not, but in any case it will save you time, will please me and I’m sure Yuko as well.
T says: Yes, the uniqueness of this "folio" is that all major illustration plates ARE SIGNED. It is like binding together signed art prints. THAT is why the production is especially valuable to collectors, not only of books but works of art, in this case art prints. The signed plates can be sold separately by some future collector who wishes to capitalize on making more money by savaging the book, breaking it up. This was done with many illuminated manuscripts, notably by Ruskin (shame on him). PS: Art prints are traditionally signed in PENCIL, not in ink. I assume you printed everything, or oversaw the production in one way or another, from beginning to end. If so, this qualifies as a private publication. I suggest that you work up a colophon for the final page, typed in the same type and on the same paper as everywhere else. To set it off, you could print everything in red, with a larger initial at the outset, (say blue as elsewhere) or with other distinguishing features. This is where you would then sign the remaining 18 copies, without having to sign each illustration. It could also be a good place for both Yuko and me to sign this privately printed publication, although this is your work and most important in its own right. Thus: BT says: Well, this I can do just for yours, but I have reasons not to do it on other copies. The reason is that I am not THAT lazy that I do not want to sign each illustration. This is a unique production by an artist and not a commercial production by a publisher trying to make money by producing "collectors editions" like the Franklin Mint. I personally think it is tacky to place that type of label or page at the back saying "This is number _____ of _____ copies [Month and] Year in your hand Your signature " Of course a lot of famous art editions do this, but it just shows how art has been commercialized.
I like this and will use it:: "Here ends the Synopsis and Illustrations by Terrance Lindall of Paradise Lost by John Milton" BT says LET ME KNOW WHAT YOU WANT ME TO DO. I am HAPPY to give you what you want! [All blanks are signed by you, Terrance, in full, i.e., using your full name.] This is number _____ of _____ copies [Month and] Year in your hand Your signature [If you want Yuko and me to sign here also, though I think it better if we are not included, but if you do, then you could use something like the following:
Here ends the Synopsis and Illustrations by Terrance Lindall of Paradise Lost by John Milton. [All blanks immediately below are signed by you, Terrance, in full, i.e., using your full name.] This is number _____ of _____ copies [Month and] Year in your hand Your signature Additionally, with the Introduction by Yuko Nii Signed by Yuko in her own hand And with the Commentary by Robert J. Wickenheiser, Ph.D. Signed by me in my own hand ********* [I must add that I remained troubled with your having no general title page. Am I missing something here?] I want also to take another look at my Commentary. I noticed a paragraph broken in the middle when I was giving everything a quick reading. I’ll look through it tomorrow morning and get back to you. Any mistake may well be mine and I don’t think it will clost too much. I don’t want to give you the impression that I have any negative feelings about your tremendous accomplishment or the modest role you have allowed me to play in it. Tears came to my eyes when I read your Dedication, and pride, real pride, came to me when I unwrapped you package and began looking through your masterpiece. Your are wonderful beyond compare and a genuine friend I am most fortunate to have. I look forward to talking with you and to telling you in person how much I love you for your tremendous work, your true dedication as an artist, and your overall commitment to Milton and to keeping him alive as only a great artist can –– of which, my dear friend you are one. You remain in my thoughts and prayers always. BB
An artist friend of mine who is also a renowned Lutheran hymn writer Amanda Husberg. The Husberg/Leach Requiem for Terrance Lindall The Requiem entitled A FEAST PREPARED was commissioned from noted Lutheran hymn composer Amanda Husberg and lyricist Richard Leach by Terrance Lindall (1944-‐ 20-‐-‐). It's debut was at the Elizabethtown Area Sacred Community Choir, Elizabeth, Kentucky in March 2011. According to the composer Amanda, it definitely stands as "the answer to Paradise Lost." "One can compare it to a road which leads the believing soul to the final Resurrection banquet, to join all of Christ's disciples in thankfulness, joy and triumph." D. Sida Hodoroaba-‐Roberts, The Elizabethtown Area Sacred Community Choir (Kentucky) The lyrics to this section: Maranatha, maranatha! Come, Lord Jesus; come; Lord Jesus. Alleluia, Alleluia, Alleluia. "It is with great joy that I hear this wonderful requiem! It will cotinue to give me faith, comfort and inspiration!" Terrance Lindall
From: Robert J. Wickenheiser <email@example.com> Subject: Re: Requiem for the Milton artist Terrance Lindall is being published by Concordia Publishing House Date: May 18, 2011 7:55:37 AM EDT To: Yuko Nii firstname.lastname@example.org Dear Brother Terrance, Heartfelt congratulations. No one (and I mean NO ONE!) deserves this honor, this highest recognition, this testimony to the profound artist/illustrator/epic illustrator of the greatest English epic poet, John Milton. Milton has needed the powers you command, the love you have for his epic, Paradise Lost, and the commitment you have made to bringing him alive in a remarkably fresh new way for the 21st century. (Could I/May I make a few changes in my "Commentary" in order to bring in and align this with my other comments as well as make use of the genuine belief I have in my statements following and below in red?) Because of you, Milton will live in yet another new age, brought to life in a refreshingly new way, made “relevant” in remarkably profound ways. Because of you, great new numbers of readers will be attracted to Milton and his great epic than would otherwise have been the case. Maybe we can also return to your first plan which attracted me to you beyond your great illustrations and synopsis: to make a color fold-‐out for every high school student in NYC? I say this while reminding you that I bought your limited first edition in 1983 because its value opened my eyes to new ways of “seeing” Paradise Lost, and it is in my Milton collection at USC. I cherish far more, though, the copy you have since given me which is displayed proudly among some of my most personal Milton editions and holdings in my library here. I was also convinced when I read your synopsis way back in 1983, that it was the only “rendition,” if I may, truest to Milton than any other synopsis – and, as you well know, prose/poetry parallels along with straight prose retellings of the story have dotted the publishing scene over the past 25 or more years, some with “illustrations,” as it were. Moreover, your synopsis is poetic in its own beauty, with each word carefully chosen to be true to Milton while maintaining integrity with his great epic and your rendering of it into a readable form. (“Readable” doesn’t do justice and there are far better words to be found, but it serves my purpose here.)
I couldn't be happier for you, prouder of you, or more humbled that you consider me to be your brother. Brothers we are, and brothers we shall always remain, united by a common bond of love for “that great story.” I am on the mend and as you can tell here slowly getting my real energy and enthusiasm back again; not to mention my undying optimism. About other things, a little later, except, perhaps, for your answer to my question about adding some judiciously (and strategically) placed texts to my commentary. If you want that, then perhaps in a second line under my name and “19th president of St. Bonaventure University” brief mention of my recent publication of my Milton book (2008) might/should be made? I have gone on far longer than I had intended, but I had much to say and it had to be said really very right this time. With lasting esteem, great pride, and profound affection, Brother Bob
Above my portrait of Bob next to the Faithorne portrait in a 17th C. Paradise Lost I painted a portrait of Bob. He is in monk’s robes and standing in a library. He is holding a copy of Milton’s Paradise Lost his finger pointing to the title. Later I painted the hand with finger closed. I gave the painting to Bob as a gift, but I used a giclee print of the painting in various productions.
From: Robert J. Wickenheiser <email@example.com> Subject: Re: Your portrait oil sketch ...guess it's done.. Date: June 17, 2011 1:12:48 PM EDT To: Yuko Nii <firstname.lastname@example.org> Dear BT, I'm overwhelmed, really I am! I never expected such a remarkable portrait – of course it's so large I can't print it to show Pat. Oh wow! I don't have any words to say all that I would like to say and should say. I only saw this today since I had my third operation on my elbow (this a rather massive one) two days ago and when I got home I simply collapsed on my chair. This is so wonderful, and especially upon my return home. I'm just overwhelmed and love everything about it, most of all that it has been done by you, master illustrator and aficionado par excellance of Milton. The finger is just right (glad it is the pointing finger!). Thank you beyond measure. Can we talk this weekend. I'm so happy with what you've done, all the more so because I never expected something like this from you – to be treasured forever! With heartfelt gratitude, BB
I had finally finished the Gold Folio:
From: Robert J. Wickenheiser <email@example.com> Subject: Re: The Elephant is COMPLETE Date: July 6, 2011 3:43:22 PM EDT To: Yuko Nii <firstname.lastname@example.org> Reply-‐To: Robert J. Wickenheiser email@example.com BT, WOW and double WOW. I am so very impressed and I believe your folio will stand the test of time along with the other great illustrated editions of Paradise Lost. I've said that and more in my Commentary. I have also reworked my commentary to include some of the important recent successes that very much warrant inclusion. Does this mean my revised Commentary cannot be used in the Folio edition. I surely hope not. I think that you have just kept this between use, and I promise to get the revision to you very shortly. More later. For now I stand at the head of your admirers, but with the difference that I know WHY your illustrations and indeed your entire illustrated edition rank with the greatest of all time over the past 4+ centuries, Blake included, but Blake is by no means my primary measure. There are others, to be sure, and they include Medina, Cheron, Hayman, Richter, and a host of others. With deepest admiration and affection, BB PS Is that my copy you are showing?
I had painted a picture of Raphael and the Devil debating before the Tower of Truth An Italian scholar named Dario inquired “why is Death loomimg behind Raphael?” From: Dario Subject: Answering a question from the Italian artist/scholar Dario Re: about Raphael and Devil Debating... To: firstname.lastname@example.org Date: Wednesday, June 8, 2011, 12:57 PM Terrance “This painting represents Raphael Debating with The Devil Before the Tower of Truth. “ Dear Terrance Very intriguing, as usual. One curiosity: why is Death looming behind Raphael? Looks like some major hint, doesn't it? Dario Rivarossa Dear Dario: It is all surreal, like your own work. Things appear while you are painting and next thing you know...Death rears his ugly head!! Well, actually all these guys are family. Good to keep fights in the family. Death is the nephew of Raphael, because Satan & Raphael are brothers (one became a criminal and the other a cop, just like a good catholic family, right?),and Satan and Sin are Death's parents. AND Death is a more final Truth than the Devil! I could go on and on and on....! Regards, T.
On Jun 8, 2011, at 2:17 PM, Robert J. Wickenheiser wrote: BT, You really do always amaze me, and I constantly learn from you, as in your answer here to the Italian artist/scholar Dario Re. I can't wait until I can use your viewpoint about "Things appear[ing] while you are painting and next thing you know...Death rears his ugly head!!" What a concept! And what a way in which to express the act of painting and how the act of illustrating itself joins together with the artist's own insights into the great epic poet Milton's design within his epic and the manner in which the artist is intending to capture it all. And since "death rears his ugly head" unexpectedly while painting and since "all these guys are [actually] family," better to keep everything in the family anyway. What a unique way of expressing your views and the act itself of your illustrating the great poet in a manner which captures the poet's innate presentation of Milton's "family" in PL. Your insights as one of Milton's great, great illustrators has provided me with vital insights as to how artists think and illustrate, no one in the present time (and farther back than that) nearly as brilliantly as you and with as much insight into the poet's own design and goals, but certainly some in ages gone by with a tremendous appreciation and understanding of what Milton is attempting to do and indeed accomplishes, as seen and visualized by the illustrator for others to see! You shine brilliantly in your knowledge and understanding of Milton as in your equally brilliant manner in which you convey Milton's achievements. No fears here that anyone in the family – Satan, Sin, or Death – will appear in any of your illustrations without your choosing to include them. Stay well, my brother! BB PS I hope everything is now cleared up about what I ultimately owe you and that I never, ever, intended to take advantage of you when I indicated how dearly I wanted one of your early folios (i.e, an early number, such as #2 after the Foundation).
-‐-‐-‐ On Wed, 6/8/11, Yuko Nii <email@example.com> wrote: From: Yuko Nii <firstname.lastname@example.org> Subject: Re: Answering a question from the Italian artist/scholar Dario Re: about Raphael and Devil Debating... To: "Robert J. Wickenheiser" <email@example.com> Date: Wednesday, June 8, 2011, 2:44 PM Dear BB: Thank you so much for this comment! Yes, this is what one has when totally immersing one's self in one of the greatest philosophical and literary works of humanity. It is continually spinning off meanings one never saw before. And that is why it engrosses Milton scholars in a CONTINUING debate on "what Milton really meant" in this and that passage. There is no FINAL AND ABSOLUTE interpretation to most things in Milton's Paradise Lost because it has infinite responses in the reader, deliberately presented by Milton for the purpose of having infinite responses. I noted in the Milton lists that some scholars interpret porions of his writing literally and some allegorically. Both ways are fine, looking at it from different angles. It is great and subtle sea of poetry that never yield's a bottom or a landfall. To ride it is being the Flying Dutchman, never to find land while riding this sea. BT
Remarkably, Bob said I was the best friend he ever had. I will write about this later. From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: One of my other surrealist artists is doing an etching of John Milton Date: June 8, 2011 2:55:18 PM EDT To: Yuko Nii email@example.com Dear BT: You remain superior in all things and always the closest friend I have ever had. Thank you, BB
On Jun 8, 2011, at 3:13 PM, Robert J. Wickenheiser wrote: Dear BT: And thank you for your comment in return. It, like all your comments, remains very dear to me. I probably disagree with you for the first time, though, in one important respect: by leaving yourself open to supporting a virtually endless series of meanings to Milton's great epic, you allow (although I know you don't mean or intend this) a virtually free-‐wheeling and anything-‐goes response to Milton; hence, such seminar topics at MLA drove me away as "The Menstrual Cycle in PL," or various studies of Milton's inability to understand women, regardless of the age in which Milton lives and the traditions out of which he comes. Moreover, studies like "Freud and Milton" (or was the title "A Freudian interpretation of Milton and his PL") left me with an inability to make it beyond the first chapter. I know you don't mean to leave Milton wide open to any and all interpretations, but rather to an appreciation of endless understandings within a context established and defined by Milton in relation to that which he inherits; to an appreciation to an openness on Milton's part to all that is endless whether in terms of philosophy, theology, religion, societal norms, values, and a great deal more. It is in these areas in which I find your commentary so very compelling and eye-‐opening, sometimes in its very simplicity of approach and other times in the manner in which you manage to open the great mind of Milton to all of his readers as well as to insights as to how Milton brings them to bear in PL. So we don't really disagree at all, I am confident, and I continue to marvel as your capacity to teach in a manner which draws on values and norms we both care deeply about. With abiding esteem and affection, Bob From: Yuko Nii <firstname.lastname@example.org> Subject: Re: Answering a question from the Italian artist/scholar Dario Re: about Raphael and Devil Debating... To: "Robert J. Wickenheiser" <email@example.com> Date: Wednesday, June 8, 2011, 3:30 PM Dear BB: Quite right! I do not mean "anything goes." And yet Milton's PL is in it's way "infinitely enjoyable" to both philosophers and afficianados of great art. BT
-‐-‐-‐ On Sat, 6/11/11, Yuko Nii <firstname.lastname@example.org> wrote: From: Yuko Nii <email@example.com> Subject: Further thoughts! To: "Robert J. Wickenheiser" <firstname.lastname@example.org> Date: Saturday, June 11, 2011, 2:06 PM “There is no FINAL AND ABSOLUTE interpretation to most things in Milton's Paradise Lost because it has infinite responses in the reader, deliberately presented by Milton for the purpose of having infinite responses. I noted in the Milton lists that some scholars interpret portions of his writing literally and some allegorically. Both ways are fine, looking at it from different angles. It is great and subtle sea of poetry that never yield's a bottom or a landfall. To ride it is being the Flying Dutchman, never to find land while riding this sea.” Terrance Lindall My comment issued spuriously probably could have been better expressed. I question my statement about “infinite responses.” I was merely “waxing poetic.” It evoked this response from a highly ranked scholar whom I admire: “I know you don't mean to leave Milton wide open to any and all interpretations, but rather to an appreciation of endless understandings within a context established and defined by Milton in relation to that which he inherits; to an appreciation to an openness on Milton's part to all that is endless whether in terms of philosophy, theology, religion, societal norms, values, and a great deal more. It is in these areas in which I find your commentary so very compelling and eye-‐opening, sometimes in its very simplicity of approach and other times in the manner in which you manage to open the great mind of Milton to all of his readers as well as to insights as to how Milton brings them to bear in PL..” Robert J. Wickenheiser I quite agree with Dr. Bob
Having finished my gold folio, I sent pictures of some of the pages From: Yuko Nii <email@example.com> To: firstname.lastname@example.org Sent: Tuesday, July 5, 2011 11:04 AM Subject: The Elephant is COMPLETE Dear Friends: The 13 x 19 inch pages of the Elephant Paradise Lost Folio, with commentary by Dr. Robert J. Wickenheiser, are bound archivally between glassine sheets within aluminum boards, thus assuring preservation. His Eminence (anonymous) kindly lent me some gold brocade as a temporary folio cover. His Eminence is also a book & art collector and scholar. He rather liked the idea that the gold letters IHS are on the cover since, he said “…is it not He rather than Satan who is the true hero of the story?” Now that is a great topic! What do you think? Some think Satan is the hero. His Eminence said also that this book with its 15 border paintings is indeed, in his “humble” opinion, one of the greatest bound folios of all time and can stand next to anything of Blake "as an equal if not more." A few pages are below. And now i am off to a summer of hot dogs, sodas, and river fishing. And when I get back I am finally going to read the RISE AND FALL OF THE ROMAN EMPIRE. Terrance
From: Robert J. Wickenheiser <email@example.com> Subject: Re: The Elephant is COMPLETE Date: July 6, 2011 3:43:22 PM EDT To: Yuko Nii <firstname.lastname@example.org> Reply-‐To: Robert J. Wickenheiser <email@example.com> BT, WOW and double WOW. I am so very impressed and I believe your folio will stand the test of time along with the other great illustrated editions of Paradise Lost. I've said that and more in my Commentary. I have also reworked my commentary to include some of the important recent successes that very much warrant inclusion. Does this mean my revised Commentary cannot be used in the Folio edition. I surely hope not. I think that you have just kept this between use, and I promise to get the revision to you very shortly. More later. For now I stand at the head of your admirers, but with the difference that I know WHY your illustrations and indeed your entire illustrated edition rank with the greatest of all time over the past 4+ centuries, Blake included, but Blake is by no means my primary measure. There are others, to be sure, and they include Medina, Cheron, Hayman, Richter, and a host of others. With deepest admiration and affection, BB PS Is that my copy you are showing?
From: Yuko Nii <firstname.lastname@example.org> Subject: Re: Answering a question from the Italian artist/scholar Dario Re: about Raphael and Devil Debating... To: "Robert J. Wickenheiser" <email@example.com> Date: Wednesday, June 8, 2011, 2:44 PM Dear BB: Thank you so much for this comment! Yes, this is what one has when totally immersing one's self in one of the greatest philosophical and literary works of humanity. It is continually spinning off meanings one never saw before. And that is why it engrosses Milton scholars in a CONTINUING debate on "what Milton really meant" in this and that passage. There is no FINAL AND ABSOLUTE interpretation to most things in Milton's Paradise Lost because it has infinite responses in the reader, deliberately presented by Milton for the purpose of having infinite responses. I noted in the Milton lists that some scholars interpret porions of his writing literally and some allegorically. Both ways are fine, looking at it from different angles. It is great and subtle sea of poetry that never yield's a bottom or a landfall. To ride it is being the Flying Dutchman, never to find land while riding this sea. BT
Raphael & The Devil Debating
Re: Answering a question from the Italian artist/scholar Dario Re: about Raphael and Devil Debating... Date: June 8, 2011 3:13:51 PM EDT To: Yuko Nii firstname.lastname@example.org Dear BT: And thank you for your comment in return. It, like all your comments, remains very dear to me. I probably disagree with you for the first time, though, in one important respect: by leaving yourself open to supporting a virtually endless series of meanings to Milton's great epic, you allow (although I know you don't mean or intend this) a virtually free-‐ wheeling and anything-‐goes response to Milton; hence, such seminar topics at MLA drove me away as "The Menstrual Cycle in PL," or various studies of Milton's inability to understand women, regardless of the age in which Milton lives and the traditions out of which he comes. Moreover, studies like "Freud and Milton" (or was the title "A Freudian interpretation of Milton and his PL") left me with an inability to make it beyond the first chapter. I know you don't mean to leave Milton wide open to any and all interpretations, but rather to an appreciation of endless understandings within a context established and defined by Milton in relation to that which he inherits; to an appreciation to an openness on Milton's part to all that is endless whether in terms of philosophy, theology, religion, societal norms, values, and a great deal more. It is in these areas in which I find your commentary so very compelling and eye-‐opening, sometimes in its very simplicity of approach and other times in the manner in which you manage to open the great mind of Milton to all of his readers as well as to insights as to how Milton brings them to bear in PL. So we don't really disagree at all, I am confident, and I continue to marvel as your capacity to teach in a manner which draws on values and norms we both care deeply about. With abiding esteem and affection, Bob
-‐-‐ On Sat, 6/11/11, Yuko Nii <email@example.com> wrote: From: Yuko Nii <firstname.lastname@example.org> Subject: Further thoughts! To: "Robert J. Wickenheiser" <email@example.com> Date: Saturday, June 11, 2011, 2:06 PM “There is no FINAL AND ABSOLUTE interpretation to most things in Milton's Paradise Lost because it has infinite responses in the reader, deliberately presented by Milton for the purpose of having infinite responses. I noted in the Milton lists that some scholars interpret portions of his writing literally and some allegorically. Both ways are fine, looking at it from different angles. It is great and subtle sea of poetry that never yield's a bottom or a landfall. To ride it is being the Flying Dutchman, never to find land while riding this sea.” Terrance Lindall My comment issued spuriously probably could have been better expressed. I question my statement about “infinite responses.” I was merely “waxing poetic.” It evoked this response from a highly ranked scholar whom I admire: “I know you don't mean to leave Milton wide open to any and all interpretations, but rather to an appreciation of endless understandings within a context established and defined by Milton in relation to that which he inherits; to an appreciation to an openness on Milton's part to all that is endless whether in terms of philosophy, theology, religion, societal norms, values, and a great deal more. It is in these areas in which I find your commentary so very compelling and eye-‐opening, sometimes in its very simplicity of approach and other times in the manner in which you manage to open the great mind of Milton to all of his readers as well as to insights as to how Milton brings them to bear in PL..” Robert J. Wickenheiser I quite agree with Dr. Bob
HE BLIND MEN AND THE ELEPHANT AND FLANNAGAN’S MIRROR Paradise Lost is the proverbial elephant here. Each Milton scholar with his or her limited sensibilities or intellectual capacities bent by biases as to what he or she wishes to read into things sees different things in Paradise Lost. I, for one, see Satan’s proposition that “The mind is its own place and in itself can create heaven or hell” as expressing the philosophy of Idealism, whether or not Milton’s personal belief. My bias is that no one can prove anything behind perception that might be noumenal. Meanwhile, Professor Steve Fallon, one of the foremost authorities on Milton has written Milton Among the Philosophers, which looks at the writer’s materialism in light of 17th century philosophical debates. I am not quite sure what Steve means about materialism since I have not yet read his book, but I understand materialism to mean that the only thing that exists is matter; that all things are composed of material and all phenomena (including consciousness) are the result of material interactions. I take it by the expression “Milton’s materialism” that Steve thinks that Milton had some leanings thereto. Now the great debate might begin…what does this mean in the context of Satan’s great declaration and what Milton actually believed? Perhaps Milton was a materialist, but then where resides God, angels and Satan in Milton’s ontology? According to the Catholic Encyclopedia, materialism denies the existence of both deities and "souls” and It is therefore incompatible with most world religions including Christianity, Judaism and Islam. Was Milton an atheist? Then Satan is just a fairy tale, possibly used by Milton to express ideas about rebellion against unjust tyranny, etc. It perhaps would be like Aesop’s fables used to teach about ideas of right, wrong, injustice and the foibles of human nature. Then should we think of Milton a great humanist, wherein he is teaching us about how humans should behave toward each other using fabulous tales of god’s and angels? My sense of Dr. Wickenheiser’s comment is that he believes it is a wrong approach to think that Milton can be interpreted any way one pleases. I agree with that basic proposition…and yet what is Milton’s purpose in the poem? I myself take it as the greatest art…and I use ideas in it to make comments of my own about the characters in the story and about good and evil, right and wrong, and the nature of reality itself. And I will continue to do so, whatever Milton “really intended.” I use Milton's great poem as a backdrop to make my own artistic and philosophical points. I do maintain that Milton was artfully ambiguous enough in his phrasing that one can think in two or three ways at once about what he is saying. Someday I will go back and make a case in point. In other words, he is consciously making the reader think! How deliciously enjoyable! Of course, thinking is not for everyone. So the poem also entertains as a fantastic tale for those of a less philosophical bent! A lot of Milton scholars think that Milton’s Paradise Lost is only their own scholarly property and is beyond “mere mortals.” I profoundly disagree! There is something for everyone here. Some people think it is a “religious” poem and scrupulously avoid it. Ridiculous! Prejudices abound! What is most true about it is that it is a great tale well told!
For physicists working in the realms of the sub-‐atomic, things are becoming more and more ephemeral. Like looking for what Milton “meant” or “intended” in Paradise Lost, they are becoming more puzzled by what the substance of our universe really is. Materialism has become idealism if we look very carefully at what physicists are saying. Notions of "particles" and "waves" have moved to notions of "events." The strange universe is like the proverbial elephant that a bunch of blind men (scientists) have stumbled on. One feels the side and says it’s a wall. One feels the trunk and calls it a snake. Now if you think that among men that in the valley of the blind the one eyed man is king, just remember the O’Henry story about the valley of the blind. The people there thought his eyes were tumors and drove him to his death! If one man could really surmise and state what Milton really meant, a pack of scholars would probably put him to the stake. And if you think that scientists, even great ones are great thinkers, just read Schrodingers "HYPOTHESIS OF THE REAL WORLD" as he struggles with the illusive "Mind/Body" problem.
Bob wanted the original drawing of Raphael. To Robert Wickenheiser Sent: Friday, July 8, 2011 10:11 PM Dear BB: Dear BB Oh yes: 20 drawings have been released. They are pretty expensive though. I was going to use sale of them to finance the elephant. Didn't work. I am nor sure that you can afford them. When and where would you get the money? So, Regarding the drawings mentioned in your email, if you are going to have any funds soon: Currently you owe $XXXXX for the set of mock-‐ups and the quarto. You wanted the final artists proof of the elephant 40 pp signed in pencil (what did I say...$XXXXX) and the drawings below (I was asking as much as $10,000 each). I do have a drawing that never went to the YN Foundation. It's been sitting in my studio. I will photograph it tomorrow. It is large (30 inches wide?). It shows Milton reciting and Satan coming forth out of Milton forehead. Satan is riding the Visionary foal. Dryden is down in the corner saying that Milton is....I forget. So here is the summary: You Currently owe $XXXX Artist proof elephant signed 13 x 19 40 pp unbound $XXXXX 1979 original conceptual drawing $XXXX TOTAL $XXXXX That's a lot of money that you probably do not have, alas! Anyway, it is offered. BT From: Terrance To: Robert J. Wickenheiser Sent: Friday, July 8, 2011 12:14 PM Dear BB: On the Raphael drawing. I am not sure that Yuko is willing to sell now. We really do not need the money, and the elephant is financed. I will let you know. BT To Terrance: Dear BT: I fully understand. Don't ask Yuko if it is going to be difficult to do; and I am so very glad the elephant is financed – now if only laggards like me would pay up! BB
The Raphael Drawing
From: Terrance Lindall To: Robert J. Wickenheiser Sent: Sunday, November 20, 2011 4:14 PM BB: I have to do one or two better proofs on some pages for the artists proof elephant to make it the best possible for your collection. I even have to buy paper to do that. Can I send you the drawing first and the elephant proof in January?? BT From: Robert J. Wickenheiser <firstname.lastname@example.org> BT: Sounds fine. Always, always, whatever works best for you! May I see a pix of the "1979 original conceptual drawing"?, as you suggested. Regards, BB The picture in question:
My colleague Bienvenido Bones Banez did a wonderful drawing:
To Bob From Terrance: This drawing by Bien is truly wonderful! Glorious Satan leaps for joy at Adam and Eve being seduced. This is by my colleague Bienvenido Bones Banez, jr. It was given to the Yuko Nii Foundation for the Milton collection. Utterly fantastic. It captures the idea precisely. I call his art "Fiero Electric." Notice that Adam & Eve are now becoming entwined in flames of Hell and snakes. A great conceptual point!!!! The theme of all of Ben’s work is the "World of 666" focusing on Satan being "Perfect in Prettiness." He is a mighty Paradise Lost illustrator. Bien on Wikipedia: http://en.wikipedia.org/wiki/Bienvenido_“Bones”_Banez,_Jr.
Dear BT, First of all, in response to your PS, I will do anything you want me to do at the WAH Center. Remember, you have the three boxes of books I brought you for you to sell to benefit the Foundation. We may need to use several of them for purposes of display or reference, when I talk. You could advertise a signing, if you wish, of my book that day, which might help sell the book for the Foundation's Benefit. I like your idea about a series of illustrations, at your suggestion, so that he does a terrific job. The subjects I would especially like illustrated, if not asking too much, include Satan rising up; Eve seeing herself in the water; Adam and Eve in the Bower of Bliss; the Temptation; and the Expulsion; perhaps the Judgement as well. I don't have any money; you know that. But if he does them for you, and then you say I was really taken with them and requested that they be included in my collection (which you could tell him about in terms of its range, emphasis on illustrations, etc.), he might allow the cost to be modest. Your thoughts on this. If he is LOYAL to you, as you know I am to you, then money won't be his main concern, as with my gift of my books to you to sell for the Foundation, or your "gifts" to me in so many different ways. With gratitude for always thinking of me and never telling me where to go when asking you for your advice and assistance, as here. BB
On Dec 5, 2011, at 11:01 AM, Robert J. Wickenheiser wrote: Dear BT, Your "colleague Bienvenido Bones Banez, jr.," is indeed "a mighty Paradise Lost illustrator." I think his gift to the Milton collection in the Yuko Nii Foundation is a grand gift and one I'm certain the Foundation will cherish forever. You have always mentioned "Bones" to me. Would he do an illustration for me; one that isn't too expensive, but reflective of his profound talent as an illustrator, in particular the "mighty Paradise Lost illustrator" you have labeled him. I may be all wet on this, but didn't he once talk about doing a portrait of Milton for me? Warm regards, BB
So I was finishing up my second copy of The Gold Folio of Paradise Lost. Bob and I had talked on the phone about it and we agreed to have a major presentation at our art center with a lecture by Bob on his collecting experiences and a major display of the Milton books he still retained in his collection after what was sent to the University of South Carolina. We decided that his lecture and presentation should have a platform, so we created the Williamsburg Circle of International Arts & Letters. I solicited some of the top scholars I knew to be members, and they were delighted.
So we made Bob Chairman and he sent fellow members this: From: Robert J. Wickenheiser <email@example.com> Subject: Welcome from your Chair Date: February 4, 2012 7:37:41 AM EST To: Terrance Lindall <firstname.lastname@example.org>, Yuko Nii <email@example.com>, Horace Jeffery Hodges <firstname.lastname@example.org>, Dario Rivarossa <email@example.com>, Mark Cohen <firstname.lastname@example.org>and 6 more… Reply-‐To: Robert J. Wickenheiser <email@example.com> BOB Dear Circle Colleagues, It is an honor for me to write to you as Chair and tell you how excited I am about all of you agreeing to serve on the Williamsburg Circle of International Arts and Letters (WCIAL). Someone has suggested that perhaps the letters we use to identify our body be simplified to WC (Williamsburg Circle); there is great merit to that suggestion, and I leave it to the membership to determine just what initials best serve our purpose. Clearly our name and mission speak for themselves and volumes about what we can accomplish by working together simply by being who we are and standing for all that we believe in when it comes to the love of literature, art, philosophy, theology, and music. We will discuss specific items at our first meeting, like preference for the use of initials (WCIAL viz a viz WC), how often we should meet, and the like. Further, should the “Chair” be “Chair” or “Chairman”? Should the “Chair” be “Chair/Chairman and President”? And there will be yet other practical questions to answer and matters to attend to as a one-‐ time affair during our first meeting (even, e.g., asking could the profound look of some of our members in their member photos threaten the young rather than attract them to our cause and to who we are and what we believe in). I would ask each of you to think of matters which we should attend to by way of organization, identification, etc., at the first meeting so that we can be prepared to discuss these items at that meeting and so that we can then move on forever more to matters that are at the heart of why we exist, that constitute what we care most about, and that respond to the vital question of how we can effectively influence not only the young, but those who teach and have responsibility for encouraging the young to study and what it is to which they should devote their time and minds.
I serve as Chair of this remarkable new WAH Center venture with great enthusiasm and with the spirited hope that together we will be able to accomplish much in accordance with our mission and goals. You know well from information provided us by Terrance Lindall, that greatest thinker of thinkers and illustrator premiere of our time of Milton’s Paradise Lost, just how clear our mission is and what role we can each serve individually and collectively as members of the newest Williamsburg Circle. The role I intend to play as Chair of this esteemed body is to call meetings (all by phone, perhaps one in person at the WAH Center sometime down the line) as and when appropriate, and that can be done at the request of any member made directly to me or by me if I feel that we have gone too long without sharing the spirited enthusiasm and knowledge of every member in open discussion of the Circle. As Chair, I welcome topics for discussion from any of our members at any time in advance of a meeting so that I can inform the members of what topic or topics will be the focus of discussion at a given meeting. During our meetings, I intend to ensure that everyone has an opportunity to share his or her views, to keep us on course if we wander too far astray, and to try and keep track of ideas worthy of follow-‐up discussion and even some direct action.
As a member among other outstanding members, individually and collectively, our example will encourage new enthusiasm among those who see and read, particularly the young. We can then hope that over time the pursuit of a continuing study of humanities will become a constellation in the psyches of those we touch with our efforts. High schools may then have classes in classical humanities that will instill values (as in Ethics). We can inspire by example! But we cannot inspire by example unless we say that "these men and women are great examples," i.e, that here is the name of one of the world’s greats and that this is what he or she has done and accomplished in an everlasting and most profound way. Here is what Karen Karbiener has discovered by adventuring into the realms of nineteenth century American literature and particularly the works of the great Walt Whitman (who most students, along with their teachers, alas! run away from as being too difficult to understand, as with Milton, and even Shakespeare, not to mention art of all cultures and music that has inspired the ages, and I don’t mean Elvis or The Beatles, though I like them well enough, as do most). Our efforts, energies, devotions, and discoveries will encourage a young man or woman to ask, how did your adventure take you there? Why? And to what effect overall? Know that you are and can be a potent name and influence upon the brightest and the best, the eager young looking for a road to follow. Your saying “yes” to serving on the Williamsburg Council will influence countless young. I believe, and I hope you believe, that we can have this kind of influence on the young today and tomorrow. With great expectation and enthusiasm for our Williamsburg Circle, and with highest regard for the remarkable achievements of each of you and a genuine eagerness to serve together with you on the Williamsburg Circle, I remain most humbly, Bob Wickenheiser Chair & President "Fidem Fati Virtue Sequemur" With Courage follows the promise of Destiny! We got many letters and emails of congratulations.
February 10, 2012
Terrance Lindall Williamsburg Art & Historical Center 135 Broadway Brooklyn, NY 11211 Dear Mr. Lindall: Thank you for inviting Governor Cuomo to attend the event on April 14, 2012. He is honored to hear from you and appreciates that you have taken the time to extend this thoughtful invitation to him. My office will contact you or your staff in the near future to let you know if the Governor is able to participate in your event. If you have any questions in the meantime, please do not hesitate to call us at 518-474-4727. Thank you again for your gracious invitation. Warmest regards. Sincerely, Nicholas Weatherbee Director of Scheduling
Dear Ms. Nii, Thank you for your email about the Williamsburg Art & Historical Center’s new humanities initiative, the Williamsburg Circle of Arts and Letters. I am always delighted to learn of an organization devoted to the humanities, and I wish you all the best with this exciting endeavor. Sincerely, Drew Faust, President of Harvard University "The circle reminds me of the Round Table, the WAH Center Camelot Castle, and the members Knights\Ladies...our quests to explore and challenge the the intellectual and artistic landscape unfolding like a self-‐weaving tapestry in our brave new century. I love your mission statement and your idea of a circle of diverse minds, talents, and perspectives to accomplish your mission is perfect. Will you consider creating\commissioning a round table for the group? -‐I guess you know who would be Arthur and Guinevere..." John Geraghty "I'm honored to be asked to join your group, and delighted to accept. Thank you for the offer and please keep me posted on events, especially those that I can pass along to my students and Whitmaniacs... "I'm currently trying to organize an annual "Whitman Week" in NYC around Whitman's birthday (May 31-‐-‐ a Gemini of course!), with the centerpiece being the annual "Song of Myself" marathon (possibly in Brooklyn Bridge Park; I'm negotiating with Parks reps about that). "Congrats on your many successful projects! Here's to a new year of beautiful art and great company," Professor Karen Karbiener You have put together a very fine board of representatives for your Williamsburg Circle of Arts and Literature. I admire your hard work in establishing an important network of outstanding professionals in a community, which has historical importance in the arts, literature, and humanities. It is time that you receive recognition for all your amazing efforts. Sending all best wishes Sincerely, Robert C. Morgan I can't be there [at the first meeting on April 14th], but best of good fortune. Professor Martin Kemp, Oxford 117
Pictures from the Wickenheiser lecture & presentation April 2012
The Williamsburg Circle Dinner April 2012
John Geraghty and family
Yuko Nii and Juan Figueroa
Lindall, Banez and Professor Kaplan
So the weekend was over. It was an outstanding presentation. I include here his notes from the lecture. Bob and I spent a number of hours together before and after the event with me signing items and his selecting a number of original drawings for his collection. Then it was ended and he and his daughter Kari loaded up the car and drove off.
Bo was sending many items to the University of South Carolina. He le me know what he was saying about it. From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Thought you might like to see what I have written to accompany the art going to USC Date: August 29, 2012 12:17:34 PM EDT To: Terrance Lindall <email@example.com> Reply-To: Robert J. Wickenheiser <firstname.lastname@example.org>
BT: Here's a sample of Yuko's page, I presume, although I like your rich background below very much:
Additionally, you use large color scripted initial letters, which I like, and various kinds of decorations on some pages analogous to here, but decorations mostly. I just think all of this would make the Commentary printing unique and closely related to your elephant folio.
Did you revise my commentary in the one you have so efficiently already made available. In any case, I plan to send you my FINAL Copy, which you can use if need be or just keep as "Final Copy."
Third point: I read on your "Elephant Folio" page that "Terrance Lindall has formatted a new print version of his Paradise Lost illustrated. It comes in three different versions: Soft cover, two different sizes of hand embellished gold appointed art productions [in hard back, I think]. Info: email@example.com." I also saw the different looking formats in the video clip,
.how much is each, and then, would you please reserve me two copies of each, for which I will make Â
Here goes FYI:
(Milton Illustration) ORIGINAL ILLUSTRATIONS OF PARADISE LOST BY CONTEMPORARY ARTISTS SENT TO RJW MILTON COLLECTION AT UNIVERSITY OF SOUTH CAROLINA RARE BOOKS & SPECIAL COLLECTIONS Fall 2012 (With cost for each
illustration in code)
TERRANCE LINDALL –&– His Concerted Effort to Attract Contemporary Artists of Stature And of Great Potential to Join in Contributing Original Illustrations of Paradise Lost to The Robert J. Wickenheiser Collection at The University of South Carolina I have amassed a major collection of Terrance Lindall's illustrations of Milton's Paradise Lost throughout his career, which I will pass on to my Milton collection at the University over the years to come, with the assurance that my Will establishes they will in fact become part of the
TERRANCE LINDALL –&– His Concerted Effort to Attract Contemporary Artists of Stature And of Great Potential to Join in Contributing Original Illustrations of Paradise Lost to The Robert J. Wickenheiser Collection at The University of South Carolina I have amassed a major collection of Terrance Lindall's illustrations of Milton's Paradise Lost throughout his career, which I will pass on to my Milton collection at the University over the years to come, with the assurance that my Will establishes they will in fact become part of the collection. Over recent years, Terrance and I have become very close friends, brothers we call ourselves, and I want to devote more time than I have had thus far to studying and reflecting upon the great illustrations he has done of Paradise Lost, particularly in his unique quarto and elephant folio editions, which exist in only two copies each, mine and the copy belonging to the Yuko Nii Foundation. In addition, I have original drawings he did in the late 1970s, the comic book in which his illustrations of Paradise Lost first appeared in print, in 1980, and a great many other formats in which Terrance's illustrations appear (see my "Commentary" to Lindall's elephant folio). Were it not for our very close and unique friendship, I am certain I would not have the great many Terrance Lindall originals I do have and which I know will hold a special place of prominence and distinction in my collection. Nor, without Terrance, would so much of what has been happening with artists to whom he has introduced me and who admire Terrance as the foremost surrealist artist of our day. Terrance Lindall is that and a great deal more. I have no doubt that Lindall's original and unique illustrations of
AT . I have no doubt that Lindall's original and unique illustrations of Milton's Paradise Lost add a dimension to my Milton collection, with its emphasis on illustrated Milton, which would otherwise not be there. Moreover, because of Lindall, other contemporary artists have become friends and have developed a strong desire to contribute original illustrations in their own unique styles to my collection, many of whom are already included here; still others, while not yet personal friends, have decided because of the leading artists of our day who are contributing to my and the University's Milton collection, to focus their talents on illustrating Paradise Lost with the goal of joining their colleague artists in providing original illustrations of Paradise Lost by contemporary artists to the Wickenheiser Milton Collection at the University of South Carolina. These original illustrations of Paradise Lost by contemporary artists will undoubtedly add a special and unique dimension to the Milton collection, which no other Milton collection has. While the present collection has the breadth and scope such a major collection should have in order to be the world class collection it is, or as John Shawcross said of the collection – "[It is] one of the major collections of materials related to John Milton, editions and studies and artworks, in the world, indicating the breath and nature of Milton’s position in the literary, political, religious, and sociological world over the nearly three and a half centuries since his death" – the concentrated effort to acquire original illustrations of
Paradise Lost by contemporary artists will undoubtedly add a special and unique dimension to the collection, which no other Milton collection has or ever can have. For this, I am especially grateful to Terrance Lindall, who is not only the driving force behind attracting the kind and quality of artist called for in such a concerted effort as this, but he is ensuring that artists who wish to join with their colleagues in enhancing the Wickenheiser Milton Collection by contributing original illustrations of
Paradise Lost to it are also willing to do so for a nominal cost for each of their illustrations. Lindall has assured both important established and well-recognized artists as well as young and upcoming artists not only of the importance of their being a part of this united effort, but of the recognition each will receive over time by their having done so. As of now, I am passing on to the collection only one piece by Terrance Lindall, with more to follow in due course, as I have indicated and given my assurances. That piece, identified below, is also only indirectly related to Paradise Lost, i.e., it does not provide or incorporate an illustration of Milton's epic. Rather, it is one of Lindall's ____________, presented to me, with presentation inscription, dated ______. Lindall is undoubtedly the most noteworthy artist of our period who has devoted his life to illustrating Milton's great epic, as William Blake and John Martin did before him. Because of the internet, Lindall's illustrations are among the most well known of all of today's illustrators of Milton's Paradise Lost, and by the greatest variety of cultures; because of the internet they are perhaps the most well and most widely known of all illustrators of Milton's epic. In this, Lindall has helped to advance the awareness of Milton's great epic and of its importance in all of literature. Lindall is also known as broadly as he is because of his distinctive style in illustrating Paradise Lost and in his unique approach to Milton's epic. His illustrations are as popular and as important to our period as Blake's and Martin's were to theirs and DorĂŠ's to his. Along with these and other prominent illustrators of Milton's Paradise Lost, Lindall will always be remembered as the greatest illustrator of Milton's epic in our time (the late 20th and 21st centuries), and he is assured of being seen as one of the all-time-great illustrators of Milton's epic, with his place among the prominent illustrators of Milton down through the ages, from the illustrations by Â
and he is assured of being seen as one of the all-time-great illustrators of Milton's epic, with his place among the prominent illustrators of Milton down through the ages, from the illustrations by Medina in the first illustrated edition of Paradise Lost in 1688 down to the present and into the future, well-acquitted by his unique style, by what he does and how he does it; as assured by his remarkable and awesome illustrations of Paradise Lost as he is well-established by the memorable ways and unique styles in which he illustrates and brings to life one of all of literature's greatest epics, reflecting our age in responding to that which is unique to Milton and in capturing the essence of Milton's epic for ours and all ages to come. √TITLE OF HIS WORK SIZE of work and then of mat and frame Description of frame INSCRIPTION, With Date Cost: WRRR (2010) [I believe the University may already have acquired a signed copy of this limited edition print]
********************************** Next listing: After you above, Beal will be listed first, then “Bones,” then Dario Rivarossa (by way of mention, since I am not passing his works on to the collection just yet either, as I am not passing on your works), followed by the others, whose art work I have from you great April fete. ROBERT BEAL
I was able to help Bob with the appraisal for his Milton Collcetion: From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Appraisal for U of SC Date: November 15, 2012 1:54:09 PM EST To: Terrance Lindall <email@example.com> Reply-‐To: Robert J. Wickenheiser <firstname.lastname@example.org> Dear BT, It was wonderful talking with you again this morning. I also can't tell you how much I appreciate your willingness to help me and the U of SC with an appraisal for the IRS of the art work you helped me acquire for my Milton collection there. Attached is a list of the art work I purchased this year and recently gave to the U of SC for my Milton collection there, most everything the result of your remarkable efforts to help me acquire the largest collection of contemporary artists who have illustrated Milton (i.e., Paradise Lost). Your appraisal can be easily connected to my listing, indicating that you know the artists, were the main source in these artists preparing artistic illustrations of Paradise Lost for my Milton collection; that you agree with the information I provide about each artist and with my description of each work; that you concur with the payment I made for each work, especially because in most instances you helped to define the cost or recommended an appropriate cost to me (sometimes greater than that requested by the artist); and that in the case of your own work, the cost is what I paid directly to you as a special rate, knowing my limited means of income. I think everything will flow readily and easily, and of course I am prepared to assist you in any way I can. I also think the summary I provided of you as an artist along with your own information which you suggested you would provide about yourself (as founder, director, and curator of a worldwide respected art museum in which you have played a major role in acquiring important and unique art works for), by underscoring your owe role in assisting artists in conjunction with the museum, while assessing their and other art work regularly, by reference to your own standing and stature as an artist, and by pointing to the large number of articles and descriptions of you as an artists on line – will all underscore your standing as one qualified to assess the art works at hand. Once again, and as so many times before, I really can't thank you enough! Please know that I and truly grateful beyond words. Fondly, BB
I wrote to the members of the Willimsburg Circle. I had presented alecture on “satyan’s peculiar Grace. From: Yuko Nii <email@example.com> To: firstname.lastname@example.org Sent: Tuesday, February 26, 2013 3:37 PM Subject: An answer to a response to my video: Satan's Peculiar Grace on Youtube Responding to Dr. Hodges emali below: Actually I am soon to write up my Tractatus de Intellectus Emendatione. It expands on Satan's Peculiar Grace. In it I expound on the nature of our place in the world, what the world is, the necessity of evil and the million other things I have been talking about for years. The new idea is that in fact "I" am and will always be the original Adam (how? read my tractatus). I have experienced the paradise of the ignorant bliss of childhood and then was brought "knowledge of good and evil" by my experience of the world around me (the world is the apple and my engaging with it is my bite and taste of it) . Although I fell from grace of loving all people around me because of what I perceived as evil, I eventually became reconciled through knowledge itself and was through knowledge elevated to "understanding. " I came to realize that this is "the best of all possible worlds." I have been redeemed to Paradise! "Love the sinner, hate the sin." So too, Satan should be loved! "Love the sinner, hate the sin" is from St. Augustine. His Letter 211 (c. 424) contains the phrase Cum dilectione hominum et odio vitiorum, which translates roughly to "With love for mankind and hatred of sins." The phrase has become more famous as "love the sinner but hate the sin" or "hate the sin and not the sinner" (the latter form appearing in Mohandas Gandhi’s 1929 autobiography). Now you can ague that Satan is a special case and should be hated. But I argue further that Satan plays an important role in God's plan. Terrance
Bob Took great exception to the premise; "Robert J. Wickenheiser" <email@example.com> Subject: Re: An answer to a response to my video: Satan's Peculiar Grace on Youtube Date: February 28, 2013 10:34:06 AM EST To: Yuko Nii <firstname.lastname@example.org> Reply-‐To: "Robert J. Wickenheiser" <email@example.com> BT: St. Augustine (whose name I bore in the monastery) did indeed say "Love the sinner, hate the sin," but he NEVER intended it to be applied to Satan, and I defy you to find a passage in Augustine in which he makes such application or even hints at it. And "With love for mankind and hatred of sins" does not in any way refer to the evil fallen angel below, called Satan. Fondly, BB I responded: On Fri, Mar 1, 2013 at 2:46 AM, Yuko Nii <firstname.lastname@example.org> wrote: Dear Guys, Bob has rightly chastised me (see below)! But the dialogue/dialectic is engaged. In the fires of the the dialectic the gold of Truth will be revealed. As Milton said "Let her (Truth) and Falsehood grapple; who ever knew Truth put to the worse, in a free and open encounter?" Satan get thee gone! But the fact is that most evil in the world, although INSPIRED by Satan is actually performed by man. Satan offers his "color" and we are inspired to action! We do not have to fear Satan. We just have to be vigilant about not succumbing to our own base inclinations..greed, ambition, hatred, jealousy, etc. We must stand just like Christ on the mount who was offered the world. It is our duty to be knowledgable about the repercussions of our actions...if bad, the result will not be good even for the one whose actions result in some perceived gain from doing injury to others. And for the leaders and thinkers, it is their duty to pass on this knowledge. Unfortunately we do not live in that kind of world with philosopher kings. So the world is very "colorful" and artists like Bien or writers like Jeffery or Carter have a lot of material with which to work. Thus Satan is the patron saint of many artists and writers. Terrance "No man knowingly doe evil" Plato's Socrates in The Meno
Professor Horace Jeffery Hodges was kind enough to do a transcript of my lecture: Satan's Peculiar Grace" Terrance Lindall WAH Center A couple of weeks ago, Bienvenido Bones Banez gave an extemporaneous piano recital, "The Satanic Rhapsody," followed by Terrance Lindall expounding, also extemporaneously, on the "peculiar graces" of Satan in extrapolating from Bien's now-‐famous dictum, that "Satan gives color to the world!" Bien's statement sounds rather disturbing, initially, but Lindall sets it within the context of the quasi-‐orthodox position known as the felix culpa, or "fortunate fall." The basic idea is that without Satan's role in bringing about the fall, Christ would never have taken on flesh to take on humankind's sins, but in order for Satan to 'cooperate' with God's aims -‐-‐ whatever Satan's intentions -‐-‐ Satan has to be graced by God with certain gifts, Satan's peculiar graces. Lindall opens with a gambit that plays on Steve Fallon's views about John Milton's peculiar grace, and since the video was finally put up on YouTube, I took the time to transcribe Lindall's extemporaneous talk: Milton's peculiar grace was the fact that he always wrote about himself so much, and of course he was the great inspiration for truth. He said truth on any battlefield against any foe will prevail. Now, when Bien came here a few years ago, he inspired me with a saying of his. He said, "Satan gives color to the world." Well, what does that mean exactly? It means that all of the strife and everything in the world inspires poets, writers, artists. If you go to a museum, you'll see a lot of that. If you read a book, books from the sixteenth-‐ century on, it's all about conflict and war, love and hatred, and all these things, competition -‐-‐ well, that's Satan-‐inspired. Can you imagine if this were God's perfect world, if you had everything you wanted, good food, place to rest, no problems, no pain, live forever? You could live as vegetables! Imagine that! So, Satan's peculiar grace is that he has given you something to aspire to, to compete with. He's the adrenaline rush in your blood, and he also gives you great literature talking about the struggles you have, and so that is Satan's peculiar grace. It's a grace given to you by Satan.
Also, something else in the history of religious philosophy, there was something called the "fortunate fall." Does anybody know what the fortunate fall is? Ah (pointing to man in audience), here's one scholar. The fortunate fall is . . . because man has fallen, we have been given the grace of Christ being born into the world, and Christ, of course, is sacrificing himself for your good, supposedly. He has taken all your sins upon him[self], that you might be redeemed. That's the fortunate fall of man, the fortunate fall of Adam and Eve from the garden. They had to be redeemed, and Christ did that. That's the fortunate fall. So, just recently, I came up with a hair-‐raising idea. Well, every year at Christmas -‐-‐ and I know some of you aren't Christians -‐-‐ but every year at Christmas, we should thank Satan because Satan has caused Christ to be born into the world, so let's thank Satan as well as God for giving us Christ. Of course, I got a letter from a professor in South Korea who said, "Why, that's hair-‐ raising, that's nearly heretical!" And of course, it's not. And I'll tell you why. Everybody should be thinking about ideas and things. If you're Jewish or Catholic or Muslim or whatever, you should actually be thinking about your religion, not just following it, because I do believe that knowledge, supposedly given to man when Adam and Eve bit into the apple, is a good thing, and I also believe . . . I also believe that, ultimately, knowledge is the savior of mankind, whether you believe in a mythology of religion or whether you believe that religion is exactly the truth of the world, I believe man will be redeemed through knowledge. And it's coming to understand yourself. Accommodate yourself to the world. Accommodate yourself peaceably with other men. And that's our struggle right now, accommodating ourselves with the different cultures around the world, the different religions, accommodating ourselves to build a better world. And that's whatYuko's idea is all about: Peace, Harmony, and Unity. And that's her idea. It comes from a Japanese concept, of wah, which is what WAH means, WAH Center. And we created recently the Williamsburg Circle of International Arts and Letters, which is a very intellectual organization. We have people on it like Arthur Danto, the famous art critic, probably the most outstanding art critic or commentator of the twentieth century. He's now ninety years old. We also have the former president of St. Bonaventure University, who's probably the foremost Milton scholar, apart from Steve Fallon, and he formed the largest Milton collection in the world, of which of course I'm part. But it's an outstanding scholarly group. Bien is one of the members, and so, it's not a thing [only] about knowledge. We're pursuing knowledge, we're finding out about how literature intersects with the arts. And you can look it up on the internet.
Meanwhile, do you have any questions? There were questions and Lindall's further extrapolations on his concept of Satan's peculiar graces, but I didn't have time or energy to transcribe those. After I first watched the video, I wrote Lindall a note: Good talk, Terrance. Your gestures show the peculiar grace of good public speakers. I was especially impressed that you could speak well extemporaneously despite the distractions of people walking through, people talking, and infants crying. And I asked: Is there a transcript? There wasn't. There is now . . . Great transcript, Jeff! You have done a wonderful service to all of us and you have served Terrance well. Wish I had been able to be in the audience to challenge Terrance on some of his statements; I'm sure it was an exciting night: great talk and great piano concert by BIen. Robert J. Wickenheiser At 5:51 AM, Horace Jeffery Hodges said... Thank you, Professor Wickenheiser. I'm glad that you took the trouble to comment. Also, I'm glad to see that you're doing well.
My Good friend Bienvenido was sending a new painting to the Yuko Nii Foundation. From: Bien Banez <email@example.com> To: Yuko Nii <firstname.lastname@example.org>; Sent: Wednesday, March 6, 2013 4:39 PM Subject: Fw: The GREATEST living visionary artist in the world…and maybe of all time Dear Sir Terrance Lindall & Ma'am Yuko Nii, We hope this coming week its our big surprise and hopefully this coming March 10 , 11, 12, 13... 2013/ the FedEx will be there at WAH Center Address.... we are waiting... my artists friend from Davao told me.. .today will be process for delivery.... And I am excited to see my original masterpiece will be show (Two Man Show with Master Terrance Lindall & Bones Banez) -‐ WAH Center Museum / University Carolina with Dr. Wickenheiser/ and hopefully in MoMa 5th. Avenue and go forward 666 Art World!!! Your Brother Bienvenido Bones Banez, Jr. WAH Center Forever Bob, when he saw Bien’s painting knew it was one of the greatest paintings he had ever seen. It was huge too about 6 x 8 feet. Bob wanted Bien to ship it to him instead of me.
From: Yuko Nii <email@example.com> To: Robert J. Wickenheiser <firstname.lastname@example.org> Cc: Bien Banez <email@example.com> Sent: Sunday, March 10, 2013 4:50 PM Subject: Re: The GREATEST living visionary artist in the world…and maybe of all time Dear Brother Bob: I think your desire for Bien's great masterwork has turned his head a bit. He is torn by his desire to have it in your collection, yet he cannot ignore my influence in making him renowned in a way. It's a devil of a choice. I would not have had him ship it to us at the WAH unless it was for our collection. Now I think he is in a quandary about the whole thing. I am cross copying this to Bien so he can express himself more clearly on this. My own feeling is that his masterwork should be at the WAH because we support his efforts with a continuing presentation of his work in New York City, the art capital of the world, and at the WAH, which is becoming a force in NYC culture. Besides, I am the master theorist on his surrealism. If his work is in your collection, it will be in a world renowned collection, but is would not get the individual attention that it would in our collection that holds many of his important works. I am not sure how you feel about this. I encourage Bien to produce a major masterwork for you specific to Paradise Lost. Bt he needs to have the tome to focus on it and work on the one piece for a year or so to make it absolutely great. He is distracted right now with a job and other things, but i am amazed he still produces powerful work at the same time. Maybe he can create a 8 x 10 foot...life, temptation and death of Adan and Eve with WAR in Heaven and Stan's rule in hell to be the great mural in your collection. Bien is a young fellow and WILL produce even greater work than we have seen. Yuko & I are watching his career with GREAT interest. Brother Terrance
Bob understood and he replied: On Mar 11, 2013, at 9:28 AM, Robert J. Wickenheiser wrote: Subject: Re: The GREATEST living visionary artist in the world…and maybe of all time Cc: Bien Banez <firstname.lastname@example.org>Dear Brother Terrance, I agree entirely with everything you say and believe strongly with you and Yuko that this great work belongs in your collection at the WAH. I made my comment without realizing quite what I was saying and because I admire Bien's work so very much. Please, therefore, Bien, if I may direct my request to you as a "cc" here, don't interrupt continuing to exhibit your awesome work at the WAH Center and also making it part of the Bienvenido Bones Banez collection at the Center. This remarkable piece of art, like all of your remarkable work, belongs together in the Bien Banez collection at the WAH Center. If you can manage to find time to produce one or two pieces for my Milton Collection and for the 2015 exhibit being held in conjunction with that collection at the University of South Carolina, I would be most grateful – eternally so!!! The suggestions Terrance makes are very good ones, and if you could produce one or two of these in your own great style for my collection and for the exhibit I would be more appreciative than I could possibly say; even if you can only produce one great work for my collection your would enhance the collection immensely in the manner that your earlier three great works already do. Of course, these earlier works of yours will be exhibited and, as I have told you on many occasions, mean a great deal to my collection and to me. So follow Terrance's lead here and know that I am in complete concurrence with him, as I know you are. I very much look forward to seeing both of you again sometime soon. Meanwhile, I'll put aside working on my next book and go to the hospital for my next operation on the bottom part of the spine – apparently, as my neurosurgeon says, as extensive as my earlier operation, but more painful – something I have had enough of and can do without. My warmest regards to you both along with my very highest esteem and admiration, Bob
Bob had had surgery on his neck and backbone earlier in the year. He suffered from some peripheral nerve disease possibly caused by pinched nerves in the spinal column. Peripheral Neuropathy symptoms usually start with numbness, prickling or tingling in the toes or fingers. It may spread up to the feet or hands and cause burning, freezing, throbbing and/or shooting pain that is often worse at night. The pain can be either constant or periodic, but usually the pain is felt equally on both sides of the body—in both hands or in both feet. Some types of peripheral neuropathy develop suddenly, while others progress more slowly over many years. Many of the absences in our conversations were due to his having to recover. He was now due fro a second surgery. After the second surgery he had to undergo extensive therapy at a clinic and he hated it. Meanwhile he was working on a catalogue for his George Herbert collection, the greatest of its kind in the world. He also wanted me to help him develop his art collection. From: Robert J. Wickenheiser <email@example.com> Subject: Re: Guess I better let you guys know about the Fall Date: July 31, 2013 8:40:01 AM EDT To: Yuko Nii <firstname.lastname@example.org> Reply-‐To: Robert J. Wickenheiser email@example.com BT: I'd rather we modify your suggestion a bit. Have artists (I don't mean Robert Beal or Dario "d") send a jpeg image for you to select, along with price. You are my guide, as we began with all of this, and the role you play is vital. This way you continue to play that role, your influence* draws other artists into wanting to participate in our exhibit, etc., and you can then, as last time, tell them/me that their price is too high or okay as is; you can also play middle man, as it were, for other things, such as, should I even keep or want it, and if not, then so report to the artist, telling some that you expected better, when appropriate (there were one or two, I believe, last time round about whom you felt this. [*e.g., Your artist friend in Wisconsin who had all of these ideas and from whom I already bought one work for $150, which I haven't see, but which I bought on your recommendation – you can contact her directly and urge her to follow through on her ideas about others illustrating scenes in PL.] I need you to help draw this along, so that we get good illustrations from fine contemporary artists – your/our original goal. You still have that "pool" of funds to draw upon, as you suggested we use to both urge and buy great works by great contemporary artists. Sooooo. . . .the ball is in your hands, PLEASE. I really have looked forward to working with you on this after I finish Herbert, which is coming along and will be done in time for us to move on the 2015 exhibition, which the University and Elizabeth, the Director, are supporting all the way! BB 137
So Bob wanted to create the largest collection of artists who would do paintings of Paradise Lost for his collection. He wanted me to have an open call. Unfortunately, that would mean I would have to devote a lot of my time to building his collection. But my duties for my art center would suffer and Yuko was quite clear that I could not do that. From: Yuko Nii <firstname.lastname@example.org> To: Robert J. Wickenheiser <email@example.com> Sent: Monday, August 5, 2013 3:06 PM Subject: Re: Guess I better let you guys know about the Fall Dear Bob: Thank you very much for the clear explanation! Our policy is that neither I nor Terry curate shows outside of the WAH center. The shows we create are intended to attract people to the WAH Center, not somewhere else. It does not make sense for any organization to put out a lot of energy developing someone else's project when they still have a lot of work to develop their own organization. Terry says he never intended to develop your contemporary art collection by curating a show at SCU. He thought that artists could submit their artworks through an Open Call with the artist's submission fee of between $25 -‐$30 for up to three entries, the works to be exhibited at the WAH Center. You would then buy from the exhibition, giving the WAH Center it's normal commission of 40 %, just like we do to any other exhibitions. That would have been fair for all the work the WAH Center has to do to put up an exhibit. Another options is: You can also rent our space to have your own exhibition for the fair fee of $3,500/mo. The WAH Center cannot afford free services and offer free space. Terry has done a lot of favors to you in the past, often times without my knowledge (for example giving you 50% discount for what normally he charges, which is a big saving to you) and you have done good to Terry in the past, but there is a limit how much Terry can go on doing, especially since Terry has expressed to you that his time and energy are limited at this critical time for the WAH Center's future, and he can no longer satisfy your need by extending beyond what he can do. While you haven't even paid your current debt to us (see below), you are going to buy more artworks for your own collection at this time, and might not pay us for the drawings you purchased from us over a year ago. In other words, we have to sacrifice for your own gain. Very good friends show & treat each other with fairness and respect even in a business relationship. Then a real friendship will be established. Please know that the matters between you and Terry are not personal matters. They are related to the WAH Center's or the Yuko Nii Foundations' business matters, and I have to know what is going on. With Warmest Regards, Yuko
From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: Guess I better let you guys know about the Fall Date: August 5, 2013 3:52:37 PM EDT To: Yuko Nii <email@example.com> Dear Yuko, I have always understood what you state here about use of the WAH Center, and I have always paid whatever price I was asked to pay for any paintings displayed at the exhibit in 2011. I also did not mean to imply that Terrance would curate the exhibition in 2015, only share with me in talking, introducing, etc. The University will curate and prepare the exhibit. Of course, I understand now that Terrance will not be able to attend the conference in any capacity. Since I was told I had up to 10 years to pay what I still owe, I felt that purchasing important Milton illustrations now was most important, especially since Terrance asked to have a "pool" of funds available to help "buy" for me. This "pool" of funds, which does not exist, was never intended to exist, only to be something Terrance could allude to should he need to do so. I realize that this, too, is no longer something Terrance has time to do. I will try to send something toward what I owe you as soon as I possibly can. With major medical expenses still to be paid, I haven't purchased anything over the past year and money is tight, so I make no promise as to when I will send a payment. I will try to do so soon, if at all possible. I have never tried to take advantage of you and certainly am not trying to do so now. I have also always, and I mean always, appreciated Terrance's enormous kindnesses to me. I have also always tried to respond whenever I have been asked to help the WAH Center in any way, and sometimes this has meant my writing rather long, and carefully written, pieces in response to questions Terrance has asked me. One such example if my response to selling your air rights and not actually to "sell" the rights forever, and to get more than you were originally offered, substantially more. There have been no secrets between Terrance and me or me and Terrance; nothing has been kept from you. I must admit, though, that I never thought he could no long spend time with me on Milton in any way, but I accept your premise and your decision. I wish you and Terrance well, and I only wish that your recent financial success were not precluding any relationship between Terrance and me. I have always valued his friendship and advice, and I have thought of him as that special brotherly friend that one seldom finds in life. Affectionately, Bob
I had printed an 8 ½ x 11 full color catalog of my gold folio with explanation of the illustrations. Of course Bob bought some for his collection and they sold rather well ending up in major Milton collections. But he always had an eye for improving my publishing efforts: From: Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: Your publication "ESSAYS OF TERRANCE LINDALL" has been added to a stack Date: November 25, 2013 1:36:34 PM EST To: Yuko Nii <email@example.com> Reply-‐To: Robert J. Wickenheiser firstname.lastname@example.org Dear BT: I didn't realize you were gong to reprint the cover, which thereby allows you to redesign it. At any rate, I recall saying that I thought you should have kept some elements of your first draft. Let's begin with this. The final cover does not indicate in any way that this is John Milton's Paradise Lost, as you draft cover had. The use of "The Gold Illuminated Elephant Folio" is nice, but says little to those who do not know what this is all about. So, I would lessen the size of the photo (which you might consider changing itself) to allow for some additional text. I turned "Synopsized And Illustrated" around, to emphasize the importance of the illustrations This damn new change in texting by yahoo.com is awful; in any case, I meant to provide a little space between the bottom two listings. I know you love your cover of your Elephant Folio, as do I, but there's much to be said for the importance of changing that photo to your illustrated title page of your Elephant Folio. That shows the style and design of the illustrated epic by the artist (you); it also underscores that this is, in fact, an illustrated edition of Paradise Lost. BACK COVER: I think you should reproduce your present front cover, with the photo of the cover of your Elephant Folio, along with the same text there, on the back cover, and place the "ad" you presently have on your back cover on the inside of the back cover. Use the present coloring on both the front and back covers, unless you need to change the coloring of the front cover because of the use of your illustrated title page.
I would suggest changing the order of your first few pages: begin with "About The Elephant Folio" on the first page where you now have your copyright. Move your emblem and copyright to the verso of the first page. Put Yuko'a Introduction on the recto of the next page and place "This is a signed and numbered edition. . ." [in a darker blue print] on the verso of Yuko'a Introduction. In the manner of the all great publications, use the blank next page (across from the signed and number page) as a half-‐title: (You'll have to create one, but you could just use some kind of elegant type and repeat a portion of the title page: first two lines here in an elegant type; the second two lines also in an elegant type, but less so than the first two lines. Last suggested change: I believe strongly that your title page should be on the recto side of the page, not the verso, as is presently the case. I've come to realize that apparently no heavily colored image is printed on one side of the page of another heavily colored image, so I'm not quite sure how you can do this. But I would love to see your "Esse est percipi. . ." page and your title page reversed: i.e., the one moved across to the recto of the page before and your title page moved across the page (thereby on the verso of the next page), but appearing as the first page of your great work, as all title page are placed! If your image to image printing on two side of the same page is a problem, then I would; suggest you add a page, leaving the present side on which your title page appears empty and the new page beginning as the title page with "Esse. . ." on the verso, and then proceeding accordingly; or putting "Esse. . ." on the blank page across from the title page on the recto of the new page, with the vero empty; the rest follows as you have it. There are variations on this theme, if you will, e.g., you could add a new statement or something else on the blank new page on the verso of the title page. However you do this, I urge trying to place the title page on the recto side of the beginning of your great illustrated and synopsized presentation here. I think that's the sum of my suggestions. Do with them as you wish, but make your front cover meaningful and do not waste any space within. BB
Needless to say, I followed his very suggestion: Old cover vs new cover:
I had a number of proof pages of the 13 x 19 inch Gold folio, so I decided to create another folio. On Thursday, December 5, 2013 1:46 PM, Yuko Nii <email@example.com> wrote: Proof Pages from the Paradise Lost Elephant Folio All that expensive Crane paper 13 x 19 inches as proofs only. Ridiculous! Might as well embellish them. Was going to sell them $100 each just as prints, but I decided it was fun to do drawings on them and sell for $1000. Not too many, maybe 20 or so, because I was careful to do it perfectly first try for the final folio. Terrance Robert J. Wickenheiser <firstname.lastname@example.org> Subject: Re: Elephant proof sheets Date: December 6, 2013 7:27:43 AM EST To: Yuko Nii <email@example.com> Reply-‐To: Robert J. Wickenheiser <firstname.lastname@example.org> Dear BT, You are ever surpassing yourself as Milton's greatest artist. I no longer can afford you, but I would still love to add some of your new work to my collection – perhaps first at the 2015 exhibition (which you suggested and which I humbly beg you PLEASE to join me in hosting, giving a talk, sharing with students, etc.). I sent revisions of your Gold Illuminated Elephant Folio to you yesterday (Priority mail), following your request regarding order, providing some suggested revisions of text, etc. My cover note will speak for itself along with the pages clipped together with notes thereon. Let me know what you think. I spent a day and a half working on everything – but such is my gratitude, my eternal gratitude!, to you as friends, Milton illustrator, savior in many ways, and the list goes on, and on. I've spoken again with Robert Beal and he is out of commission for a while, but his addition to his house, in which he worked and did his etchings, remained untouched, as did (thank God!) a package he had prepared to mail to me after the holidays. More anon! BB
A Proof Page Embellished
I had offered to do an original oil painting for Bob, but he was diligently working on his Herbert catalog and had to wait to raise the money. From: Robert J. Wickenheiser <email@example.com> Subject: Re: Elephant proof sheets Date: December 6, 2013 3:35:29 PM EST To: Yuko Nii <firstname.lastname@example.org> Reply-‐To: Robert J. Wickenheiser email@example.com Dear BT, I'm really sorry that you must devote your talents to fund-‐raising. You are an artist, not a fund-‐raiser, although you can raise funds as well as anyone I know. I haven't forgotten your offer to do a painting for my collection for $30,000, which would also include a set of your new illustrations/drawings in originals, but I cannot turn my attention to raising that until I finish my Herbert book and work out details with my publisher. I'm fairly confident that I can raise that #30,000, so please go back and review your offer. I also plan to pay off the rest of my debt next year. Of course we can provide you a medium for selling your drawings at the Exhibition. I have no doubt that Elizabeth will be as happy about it as I am. Your work would lend a great new dimension to the exhibition, put you in the center, as I have always wanted, and allow you an opportunity to explain what you are doing now and what is available for sale – there, where I believe many will want to avail themselves of this wonderful opportunity, and on-‐line from the WAH Center and you directly afterwards. So PLEASE plan on joining me and us, and know that I will do everything I possibly can to assist you in successfully engaging others in buying your great new illustrations of Milton's PL, to my disheartenment, certainly, but far more to my joy over your accomplishments and my continued support of Milton's greatest illustrator EVER!! Standing should to shoulder beside you will mean more to me than you can ever know. Warmest regards always, BB
In 2014 Cambridge University Press used my art for the cover of their Paradise Lost Companion, edited by Professor Louis Schwartz. I was elated. It was like getting a Nobel Prize. I sent signed copies to Bob.
Throughout 2014 I was involved with major construction on our cornice at the art center. Bob kindly offered a lot of advice on raising money for it. Bob was working hard to recover from his surgeries. In 2015 I heard less and less from Bob. He .was in and out of clinics and hospitals. Once he had to be “mercy Lifted by helicopter of a hospital in Buffalo. I got an email from his wife pat: On November 7th in the evening I was giving a speech at the art center when my cell phone rang. I answered and it was Bob. I told him I would call him back. So Bienvenido and I went to a quiet place and called back. Bob, Bien and I chatted a bit and I said we could talk next week. That was the last I heard from him. I got an email from his wife Pat: 11/25/15 Oh Terrence Bob is not doing well. Back in he hospital with a breathing machine -‐ not ventilator, but miserable. I agree with him this is no way to live. His heart has just given out-‐not an attack but congestive heart failure. If he could have at least had these past few months feeling good and being able to finish his book instead of battling all these health problems. Not sure how much longer he will hand on. Pat Next dau I got an email from his daughter: 11/26/15 Dear Terrance This is Kathryn, his daughter. I wanted to let you know that dad died yesterday at 3:45 p.m.. Dad went peacefully. His funeral is Tuesday (12/2). Have a Happy and Healthy Thanksgiving! Best, Kathryn He never did create a great collection of contemporary artists on the subject of Paradise Lost. Perhaps I will do it at some point in his memory.
On November 7th in the evening I was giving a speech at the art center when my cell phone rang. I answered and it was Bob. I told him I would call him back. So Bienvenido and I went to a quiet place and called back. Bob, Bien and I chatted a bit and I said we could talk next week. That was the last I heard from him. He died two weeks later. His death was a great loss for me personally and for the Milton community of scholars. He never did create a great collection of contemporary artists on the subject of Paradise Lost. Perhaps I will do it at some point in his memory.
COLLECTING MILTON (WAH CENTER – 4/14/12) Robert J. Wickenheiser First of all, I want to thank: the wonderful and ever-inspiring Yuko Nii ● ●
The great artist and Milton illustrator and my very close friend, Terrance Lindall Also want to introduce and publicly thank my daughter, Kari, our eldest daughter; she drove me here and helped me bring my exhibits and handouts (which she also had done for me); she’s a gem! And I would like to introduce two very close and dear friends: Priscilla & Jay Cunningham, art aficionados and life-long supporters of art!
Now to Collecting, and especially Collecting John Milton – I will gladly answer questions at the end if you have any. First of all: collect out of love // passion // and instinctively! Collecting, like love, is the one time your heart may well tell you what to do, with your mind following!! I really began collecting when I was 6 or 7, and I’ll bet many of you did as well. First it was special rocks (which usually looked better in the water than out of it); then it was arrowheads (I grew up in ND), but I could never find any. Then it was buttons – which I collected throughout my grade school years. I had such a great collection, that my mother began confiscating my best buttons for her sewing needs. In high school it was stamps, both US and world; I should have done that in grade school and I would have learned geography far more easily and with far more fun in doing so. In terms of books, in my case: I discovered as a grad student at the U of MN that complete editions of poets could be found in wonderful 19th century editions, in leather bindings, and acquired more cheaply than modern editions (which were often only selections) at regular weekend estate sales. What a treat: go book hunting with my wife, Pat, who introduced me to the estate sales and find poets and writers in complete and fine editions for very reasonable prices!
I focused my collecting on Milton, and several other favorite authors/poets: George Herbert, John Bunyan, Francis Thompson, and Gerard Manley Hopkins – and sometimes other authors (especially 17th century lyric poets and poets and novelists I was studying in grad school) because of their availability in fine 19th century editions and bindings). I’ve never lost my love for fine bindings!! When at Princeton all of the preceding led to my humiliation: Reception of International Bibliophiles at Mary Hyde’s estate (later Lady Eccles, title given her by Queen Elizabeth). [TELL STORY] But back to the estate sales, where, among other fine books, I found Herbert’s Latin poems in full and even an edition with a facsimile page of a Latin poem in Herbert’s hand in the Williams MS at the Williams Library in London – I had the good fortune to study the actual MS in Herbert’s hand over two summers only three and four years later. Anyway, because I could get hold of Herbert’s Latin poems in 19th century editions, I decided that I would do my Ph.D. dissertation on the influence of Herbert’s Latin poems and epigrams on his English lyrics. I BEGAN CARING DEEPLY ABOUT MILTON as a grad student, but I knew that if I did my dissertation on Milton, I would probably far exceed the 4 years I had allowed myself to get my MA and PhD. My Herbert dissertation was well received and served me well later. Fortunately, for me, // two years after I arrived to teach at Princeton in 1970, I was called upon to teach THE Milton course at Princeton University after the retirement of Milton scholar Maurice Kelley. I raised the number of students in the course from 6 to 85, 3rd largest after Chaucer and Shakespeare. I was fortunate to receive grants covering my trips and summer stays in England (London & the Provinces) from 1969 to 1984. I used my time well. I also learned that JOHN RUSKIN was right! As he said: We ought not to get books too cheaply. No book I believe, is ever worth half as much to its reader as one that has been coveted for a year at a book stall; and bought out of saved half-pence, and perhaps a day or two’s fasting.
In my own case, when I was in England and on a grant (a number of summers and one semester and a summer), I would live on cereal for breakfast and dinner, skip lunch, and I would then have the money I had saved during the week to spend on books over the weekend. What great, great fun that was!! After 35 years of collecting Milton, my collection went to the University of South Carolina, where it bears my name and is partially on display in a special room in Rare Books & Special Collections. I have, of course, continued to add to the collection: perhaps almost another 1,000 books since the collection went to South Carolina 2006. My Milton Collection has been described by the noted Milton scholar John Shawcross in the following way: “Wickenheiser’s collection is one of the major collections of materials related to John Milton – editions and studies and artworks – in the world, indicating the breath and nature of Milton’s position in the literary, political, religious, and sociological world over the nearly three and a half centuries since his death.” I NEVER dreamed that my Milton collection might ever reach this stature!! And no one should ever begin collecting by thinking that they are going to gather together a great collection. Focus on what you love; on what you want to collect; and just keep doing your collecting with your main focus always before you!! Time will tell what your collection has become. And never collect for value. No one knows what will be coveted 25 or more years down the line. Collecting is fun. Being with other collectors, booksellers and newly developed friends is fun. So have fun in your collecting and in whatever you collect. But once my collection grew as it did, I knew that I wanted to bring together as complete a collection of editions of Milton, illustrations, including originals, as possible, // and when I began to see that this was happening, I wanted to keep the collection together, no matter what the cost, as one collection, available for ease of use and exhibit to students and scholars of Milton, of aspects of the book, of illustrators, of the development of the book, and a great deal more. Fortunately, the University of South Carolina believed as I did, and so did my latest and newest friend, Bill Richter, so that together we all made it happen. For me, it has been a wonderful dream come true.
My collecting led me to find great books and great illustrations, most often, because I was knowledgeable enough to know how special something was, often more so than the dealer, and this meant obtaining some great and inexpensive finds. My emphasis in collecting Milton led me on a number of occasions to Develop Important “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE.” 3 examples – each with handouts!
1. First & Foremost: The different FIRST EDITION TITLE PAGES of PL: [Very complicated, though need not be!!] I have 5 of the 6 (1667 , 1668 [1 of two], & 1669 ). [Ref. to title page means to whole editions!!] [See photo handouts: color front of editions & b&w text from backside]
2. Then there is the 1688 FOLIO, with 3 different publisher’s imprints – each important, all necessary for a complete collection. (Terrance Lindall has kindly placed his copy on exhibit.) The 3 different publisher’s imprints: Since both Tonson and Bentley owned half the copyright, the edition was a joint venture, with each owner having a title page of his own, with publisher’s imprint so indicating, (presumably for distribution to subscribers attracted by each). “Printed by Miles Flesher, for Jacob Tonson, 1688” is Tonson’s title page – in rare contemporary black morocco; large paper copy. “Printed by Miles Flesher, for Richard Bentley, 1688” is Bentley’s title page, contemporary calf; large paper copy. “Printed by Miles Flesher, for Richard Bentley. . .and Jacob Tonson, 1688” is the joint trade title page; in contemporary calf, but small copy and not nearly as nice as previous two. [BUT what are you going to do: you take what you can get!!] [See photo handouts!!]
NOTE: The 1688 PL Folio is one of the most desirable of English books for collectors, and this for a number of reasons; two main ones: • 1st folio edition; also 1st illustrated edition of PL; and also 4th edition of PL • 1st important English publication to rival earlier publications on the continent Until now, one had to look to the continent for great publishing and first class editions, respected for the quality of the edition; its printing; its illustration; its total publication!
ADDITIONALLY. With respect to ensuring that as full a scholarly side of Milton through the ages be available, along with all editions and all illustrators through the ages, LET ME CITE SOME SELECTIONS from my 18th Century Miltoniana (a very extensive part of my collection, as with 17th, 19th and 20th century Miltoniana; in the 20th century a distinction is made between Miltoniana and Criticism, a life of Milton, e.g., viz a viz a study of his works; my criticism collection is also very extensive – well over 1300 books). ANOTHER EXAMPLE of a “COLLECTION WITHIN MY MILTON COLLECTION AS A WHOLE” relates to WILLIAM LAUDER & HIS charge that Milton plagiarized PL; Lauder even involved the great Dr. Johnson. [See photo handout!!] ALSO, again in 18th century Miltoniana (couldn’t resist!) 3 IMPORTANT LIVES OF MILTON: (1) Life of John Milton by John Toland, 2nd & enlarged edition, 1761, in Hollis binding – 1st in 1699 (also in collection); (2) The Life of Milton by William Hayley, London, 1796, 1st separate edition, 1st appeared in Boydell 3-vol. folio edition in 1794 – this a presentation copy signed “From the author” on front pastedown; and (3) Lives of the Most Eminent English Poets by Samuel Johnson, London, 1782. (1st London edition; 1779 1st Irish edition, but London edition considered true first!) [See photo handout!!] NOTE: “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE” differ from my attempt to COLLECT EVERY EDITION of Milton’s works, and then, if at all possible, in the 1st, 2nd, 3rd, whatever number of editions appeared, and certainly those editions which provided new material; also, where appropriate, in different states: so 1st ed., 1st state, etc.
For Example: History of Britain (Photo of binding and of Frontispiece and Title Page) Also on same page: “On Shakespeare” (from 1632, 2nd Shakespeare folio) – tell story of how I found the rare leaf in the basement of Fletcher’s in Cecil Court, with the help of Mike Papantonio! [See photo handout!!] With respect to History of Britain Have: 1st edition, 1st issue (1670); 1st edition, 2nd issue (1671); 2nd edition, 1st issue (1677); 2nd edition, 2nd issue (1678); 3rd edition (1695) ALL editions are RARE; 3rd in 1695 considered rarest! OR – again with respect to my attempt to COLLECT EVERY EDITION of Milton’s works: Poems: 1st edition in 1644; 2nd in 1678 (considered main text); 3rd in 1681; etc. – on through 18th century, when Poems were often published along with PR & SA. Paradise Lost: 1st edition in 1667, 1668, &1669; 2nd edition in 1674 (again, considered main text); 3rd in 1678; 4th and 1st folio in 1688; on through 18th century and Tonson’s editions; then Hayman editions; etc. Paradise Regain’d & Samson Agonistes: 1st edition, 1st issue in 1671; 1st edition, 2nd issue in 1671; 2nd in 1680; 3rd and 1st folio edition in 1688, often joined with 1688 PL or in 1690’s with editions of Poetical Works; – on well into the 18th century Tonson editions. In the 18th century: PL, SA and Poems, together with On Education became the norm for an edition. [You get the idea with respect to my collecting all earliest editions of Milton in every edition!] In the 19th century I would try to get 1st, 2nd, 3rd, etc. editions of each edition of each of Milton’s works, individually and collectively; illustrated and non-illustrated; less numbers of editions in 20th century per se, far more Press Books, except for 20th and early 21st century texts in numerous editions – and then I focused on varying editions or revised editions or editions with something new added to them!]
An important NOTE: In saying that I endeavored to COLLECT EVERY EDITION of John Milton, let me clarify! My first and continuing focus has been and remains on collecting illustrated Milton, whether editions or originals, and especially Paradise Lost. By 1976, my Milton collection had grown so dramatically (through the help of Bob Taylor and Mike Papantonio, and then through the help of key booksellers who wanted to see their special copy of Milton end up in my collection or just help my collection grow), that I said to both Bob and Mike that I believed I was perhaps the last person who could ever hope to add every edition of Milton ever published, from the 16th century to the present. They looked at me as if I were crazy, but I told them that I had gotten off to such a great start that I thought I could do what no one else had done, and do it with such a focused purpose and end-goal in mind! MY 3rd EXAMPLE of “COLLECTIONS WITHIN MY MILTON COLLECTION AS A WHOLE” involves three well-known illustrators: William Blake, John Martin, and Gustave Dore. • WILLIAM BLAKE (1757-1827) [See photo handout!!] 1906 Lyceum Press 4to edition (1st appearance of Blake’s full set of illustrations for PL, completed in 1807, one illus. for each book, now in the Huntingdon) Several copies: in regular quarter linen binding; unbound (rare, as issued); and a special copy, one of a few only, printed on vellum, with extra set of progressive plates, start to finish, in a handsome binding by the Doves Bindery, with letters from T. J. Cobden-Sanderson, co-founder of the Doves Press and Doves Binder, laid in. 1940 Heritage Press edition, with the first appearance of the other set of Blake’s illustrations (nine in number), completed in 1808, now in the Boston Museum of Fine Arts; Various other editions: including limited edition in 1947 by American Studio Books, Published by Studio Publications, with very large prints (poster size); The 2003 Folio Society edition with Blake prints; The Arion Press publication in 2004 of the set of Blake drawings in the Huntington, printed to size, and including Blake’s larger drawing of Satan, Sin, & Death, probably executed in 1806; Plus: Blake’s Milton, Trianon Press edition in 1967.
• JOHN MARTIN (1789-1854) In 1825 the American Publisher Septimus Prowett commissioned John Martin to produce 24 mezzotint illustrations of Paradise Lost. Martin’s mezzotint illustrations appeared in various ways: (1) in individual plates – proof and non-proof, large and small; (2) in Parts: and (3) in a variety of book formats. The MEZZOTINT is a printing process in which soft steel rather than copper plates are used AND the engravings are produced by being designed directly on the plates, without the aid of preparatory sketches Martin was the first to illustrate PL with illustrations in the mezzotint medium. Through the mezzotint Martin brought all of his creative genius to bear in illustrating PL, masterfully uniting brilliant highlights and starkly contrasting dark shadows and dense blacks to give shape and form to scenes of vastness in Milton’s epic totally enthralling to the viewer and to express his imagery in illustrations that are unique and never forgotten once seen. Perhaps best seen in the very rare Martin mezzotint plate in “proof state before letters” I’ve placed ON EXHIBIT: “Eve Tempts Adam.” See contrast most clearly and as artist would in checking his prints before publication of any other plates, proof or non-proof.] The publication of Martin’s illustrations is complex: 1825–1827: First published in TWELVE ORIGINAL PARTS, with the 24 large plates in “Proof” state; VERY RARE!! [Know of only 2 complete sets, including mine, and several incomplete.] During this same period: PLATES WERE SOLD AS SINGLES before any editions were ready for publication – large and small plates; proof and non-proof; and some rare plates in “proof state before letters” (as the one I have placed on exhibit; my set of “proof” plates are with my collection at the University of South Carolina] In 1827 a variety of editions were published (considered one of the most complex publishing ventures ever done:
AN IMPERIAL FOLIO EDITION, with the 24 large plates in “Proof” state, limited to 50 copies – of which only two are known to exist today; AN IMPERIAL QUARTO EDITION, with the 24 large plates; A SECOND IMPERIAL QUARTO EDITION, with “Proof” impressions of the 24 small plates, limited to 50 copies; AN IMPERIAL OCTAVO EDITION, with the 24 small plates. [See additional photo handouts!!] I WAS FORTUNATE TO OBTAIN A BEAUTIFUL COPY OF EACH Also of later editions: 1833 (when the plates passed on to TILT and a new edition, the 2 edition, was printed from the original plates) and 1848 (when the plates passed on to WASHBOURNE and a new edition was printed from the original plates). nd
And also of a “curious” pictorial revival, as Thomas Balston, the great bibliographer and biographer of John Martin, calls it: an 1876/1875 edition by BICKERS AND SON with stunning photographs of Martin’s mezzotint illustrations. TWO COPIES OF 1876 BICKERS AND SON EDITION ON EXHIBIT: one to show the photos and the second to show the elegant cloth binding the publisher provided this enterprise – in red and green cloth gilt extra, with ILLUSTRATION IN GILT OF SATAN ON ORB on front cover. • GUSTAV DORE (1832-1883) (French) The great bookseller and collector, Percy Muir, said of Doré: “No other foreign illustrator and few native ones of the period so completely captured the English fancy.” That fascination with Doré, as with Blake and Martin, continues on through today. As was common in the 19th century: 1865–1866: Doré’s illustrations of Milton’s PL were first published in TWENTY-FOUR ORIGINAL PARTS. Relatively Rare!
1866: The first edition of PL with Doré’s illustrations of Milton’s epic appeared in a beautiful FOLIO EDITION. My copy beautifully bound in contemporary morocco. [See photo handouts!!] A great many editions of Doré’s illustrations of Milton’s PL have followed in various editions. In PARTS and EDITIONS, 1870, and again in PARTS and EDITION in 1905 (both of which are in the collection), as are numerous editions between 1866 and 1890, again, all of which are in the collection. The 20th century has kept Doré alive down to the present, with his illustrations appearing in large and small editions of Paradise Lost. (I have endeavored to include ALL of these editions in my collection, always in as fine a condition as possible.) Alas! I’m only able to show you some very late 19th century editions of Doré in beautiful publisher’s decorated cloth bindings. [See photo handouts!!] Also: An early 20th cen. binding of Doré is on exhibit. A great many other illustrated works by Doré appeared in the late 19th century, and all were enormously popular. Perhaps no illustrations, however, were as popular in the 19th century as his illustrations for THE BIBLE which first appeared in a large 4to edition in the 1860s. I was fortunate to have two different copies of the first edition of DORE’S BIBLE. ************************************************ ************************************************ Regarding ADDITIONAL HANDOUTS: [Review photo handouts as I distribute each!!] ●
1645 Poems. 1st edition, 1st issue.
Paradise Lost, Jacob Tonson, 1711. 1st 12mo edition. Addison’s copy. [Another copy of my own is on display] Paradise Regain’d, J. Tonson, 1713. 1st 12mo edition. [I once had 8 copies of this ed.!] [Another copy of my own is on display]
Poetical Works, Jacob Tonson, 1720. Illustrations by Louis Cheron, one by James Thornhill. The text of PL in Vol. 1 is the 11th edition, without a title page. ●
Paradise Lost, Dublin, 1724, Illustrations by James Gwim. 1st Irish Edition
Paradise Lost, The Twelfth Edition, Tonson, 1727. 12mo. This edition bound 4to, in 2 volumes, with copious notes in a neat contemporary hand in English, Latin, Hebrew, & Greek, most probably by someone looking to do a special edition with notes. I determined based on. . .[see #623 & #23] that most likely. Never worked with this, but wish I had. ●
Paradise Lost, Boughton, nr. Chester, 1733-35. Folio.
Transcribed by Mrs. Katherine Howard, between December 3, 1733, and May 17, 1735, for her daughter “to read often when I am one.” ●
Il Paradiso Perduto, Parigi, 1742. Folio.
While this is the 1st folio edition, it is the second edition – often unknown, that it was first published in a 2-vol. 12mo edition in 1740 (copy also in the collection). Both are very rare; 17 40 edition the rarest. ●
Paradise Lost, 1749, Newton Variorum edition. 1st variorum edition. (Plate in b & w).
On exhibit: A beautiful set of Newton’s variorum edition, formerly belonging to Dr. A. S. W. Rosenbach, passed on to me via John Fleming, Dr. R’s assistant, – called the finest set ever and the envy of many who would love to have it! Also on exhibit: A beautiful volume in a presentation gift binding!
Paradise Lost, Glasgow: Andrew Foulis, 1770. An extremely fine copy – one of finest!
Paradise Lost, Philadelphia, Robert Bell, 1677, AND Paradise Regain’d, Philadelphia, Robert Bell, 1677. 2 vols. Rare.
First American ed. of PL 1. Interesting that at the height of the American Revolution, Milton’s PL is being printed in Philadelphia. 2. Rare, we as I have said. Here’s where knowledge comes in when collecting! Early on, I ordered Vol. 1, PL, when I saw it available, thinking I could maybe pick up Vol. 2 later. When I received my copy, after studying it, I returned it because it had only 11 of the 12 Books. I didn’t know that this was how it was printed and that Bk. XII appeared in Vol. 2, PR. What a mistake on my part!! I learned my lesson, but fortunately was able to obtain a copy of the rare set later on. Le Paradis Perdu, Paris, 1792, with color illustrations by Jean-Frédéric Schall, in an exquisite red morocco binding (c. 1830) for Ferdinand-Louis-Phillipe; formerly the J. R. Abbey copy, with his bookplate, and exhibited as such; featured in Cohen-de Ricci (708). [Tell story about Pat discovering this while searching with me for Milton and Herbert, but at that time especially Milton, in a large barn on Abbey grounds a short ways outside of London. (Again got there on a Sunday through the good graces and invitation of Mike Papantonio and Bob Taylor.)] ●
PW, London, Printed By W. Bulmer And Co., For John And Josiah Boydell, 1794-97. 3 vols. Folio, contemporary blue morocco. 28 engraved illustration plates after R. Westall (First Appearance). Called “One of the major achievements of English Book production!” – and this just a little over 100 years after England’s 1st great achievement with the publication of the 1688 PL. ●
Child’s writing sheet with illustrations for each Book of PL. Dated November 9, 1801. Very rare. Percy Muir had been a friend, a great bookseller and a great collector as well as writer, and so I was especially proud to obtain this copy from his wife after he died. ●
19th Century decorated publisher’s cloth bindings on illustrated Milton editions, c.1860 on. ●
Paradise Lost. New York: Edward Arnold. 1896. Folio, limited edition of 150 copies with first appearance of 12 illustrations etched by William Strang – each mounted within thick matting paper and signed by Strang.
I’ve talked about and given you only a smattering of editions, with an emphasis on PL and on illustrations. To show that the collection is very diversified, here is 1858 Routledge edition of Comus, with illustrations engraved by Dalziel. In two states. [See handouts!!] [Also on exhibit!] ●
Also from Comus, a 20th century Press production with correction upheld by Milton!! Visiak: “Stet!” & “At Milton’s demand” – in Visiak’s hand and with his initials. ●
AND: ANTHOLOGIES: Large and diversified number in collection & reason for this. [See handouts as e.g.’s!!]
************************************************ ************************************************ Collected ORIGINALS, whenever I could, and that took me into the world of art and art dealers. Some befriended me, as did booksellers, and through them I was able to obtain some very nice and rare originals. As exciting as collecting Milton, especially illustrated Milton (in books now!), and simply book collecting itself are – collecting in the art world is really just another form of collecting, although far MORE EXPENSIVE. [Some HANDOUTS to show you what I mean!!] First, FRANCIS HAYMAN (mid-18th century) Two original watercolor paintings: 1. SATAN, SIN AND DEATH 2. SATAN RALLYING HIS COHORTS Drawn sometime in the 1740s or even the 1750s; each 6 5/8” x 3 ¾” on a 9 ¼” x 5 ¾” page. These have apparently never been published. Hayman’s illustrations for the great 1849 Thomas Newton Variorum Edition, published by Tonson, are considered among some of the finest 18th century illustrations of Paradise Lost.
GEORGE ROMNEY (mid- to late 18th century) Original pencil sketch of THE FALL OF THE REBEL ANGELS, 5 ½” x 9 ¼”, c. 1790s. The main composition is dominated by the large figure of Satan on the right side. Another study of Satan is added in the top right-hand corner. [You’ll find this information on a handout to be distributed shortly on Turner as #28] WILLIAM HOGARTH (1697-1794) Beneath the Romney is a 1792 etching of SATAN, SIN AND DEATH by Thomas Rowlandson, 14” x 12 ½”, engraved by J. Ogborne AFTER William Hogarth. [You’ll find this information on a handout to be distributed shortly on Turner as #29] HENRY RICHTER (late 18th century) 12 Original Drawings by Henry Richter in 1894, 1895, 1896. 1 in watercolor 11 in wash of scenes in PL 9 were used for the plates in the 1794 edition – illustrations engraved and edition edited by John Richter, Henry’s father. 3 were rejected [See photo handouts!!] RICHARD WESTALL (18th – 19th Century) MILTON COMPOSING PARADISE LOST. Drawn & Engraved by R. Westall, c. 1810. Hand-colored aquatint, 12 ½” x 28 ½”, titled and signed in the plate. Very fine plate with exceptional hand-coloring, believed almost certainly to have been done by Westall himself. [You’ll find this information on a handout to be distributed shortly on Turner as #31]
HENRY FUSELI (1741-1825) Read John Shawcross on my three engravings for PL being the only known to have survived and provide the source for knowing the subject matter of these three Fuseli illustrations. [See photo handouts!!] [To mention John Martin again – moving along in chronological order!] JOHN MARTIN (1789-1854) I have also placed, as I said earlier, a Martin mezzotint plate, small size, in “proof state before letters” ON EXHIBIT: “Eve Tempts Adam.” J. M. W. TURNER (earlier part of 19th Century) THE EXPULSION FROM PARADISE (5 ½” x 8”): Engraver’s Large Paper Proof Before All Letters by Turner. The later lettered version of this engraving was issued in John Macrone’s edition of The Poetical Works of John Milton, edited by Sir Egerton Brydges – a beautiful edition. FORE-EDGE or EDGE PAINTINGS [See photo handouts!!] TERRANCE LINDALL – And OH YES, then there is Terrance Lindall, of course, whom it has been my great fortune to know and also to have broadly represented in my Milton collection through a great many originals in a great many formats and style. Terrance, I cannot tell you how grateful and how proud I am to have your spectacular illustrations, which make you the greatest illustrator of Paradise Lost in our time and rank you among the very finest and most visionary of all time! ************************************************ ************************************************
You can see everything I handout out here and much more as well as read important details on a great variety of Milton editions (nearly 3,000) and related books and items in my book, copies of which Terrance Lindall has made available for gentle use or purchase. N.B. ALL proceeds from all purchases go directly and only to the WAH Center ************************************************ ************************************************ Some brief final thoughts on collecting per se! A collector needs to have real persistence, love of his chosen goal or goals, knowledge of his or her subject (the more the better – that’s what kept me ahead of everyone else), along with trust in some special booksellers, serendipity every now and then, and always some luck, especially in being in the right place at the right time. Importance of booksellers – still vital, but has changed from my early years (then at the end of the golden age of book collecting, in my opinion). Trust the bookseller and pay his price; don’t haggle. You’ll be better for it in the long run. Rarity & Scarcity Condition (And Relation to Rarity & Scarcity) I’ve been fortunate to get unusually nice copies, but sometimes you simply have to take what you can get; if you don’t, you may never get!! So if something is very rare and available in only a tacky copy, and it is a book that fits “your business,” as it were, even though you would really love another better copy, BUY IT NONETHELESS. This way, if another, better copy comes along, you can get that and no harm done – sell your first copy to recoup some of your outlay; OR, if one doesn’t, you have a copy which because of rarity, others will covet!! Contemporary binding vs. Later binding! Know the difference.
Binders: Some contemporary bindings rebound in 19th and early 20th century, as became the custom, because of great binders like Zahnsdorf, Sangorski & Suttcliffe, and many more. [SEE my 5 first title pages: one in contemporary binding!] Is there still Serendipity (as in my finding the leaf of the 1632 2nd Shakespeare folio with Milton’s sonnet on Shakespeare –Milton’s 1st published work, and included in this important folio when Milton was only 24 years of old. Why was he included? Collecting today! Changed rather dramatically because of the INTERNET and EBAY. NO CATALOGUES (except from the more expensive bookshops). BOOKSELLERS have also changed: more selling out of the home; few shops per se (true in America and in England.
************************************************ ************************************************ EXHIBITS: I have placed a number of things from my private holdings of Milton, which I hope you will take a moment to look at. Except for the original drawings by George Romney and by John Martin, the fore-edge paintings, the unique bindings on Newton’s variorum edition, the Cosway binding on Hilaire Belloc’s Life of Milton, and the various bindings (which are duplicates by and large), everything on display (including the medals and the Russian stamps) is in my Milton collection at the University of South Carolina. Regarding WHAT IS ON EXHIBIT: NOTE 1: Some of the special items pictured and described in my book are described, as you’ll see, by that page being laid next to the item on display. NOTE 2: All items on display are copies which belong to me; most are duplicates of what is in the collection.
2nd edition of Paradise Lost (1674) with Dole Portrait after Faithorne (1st appeared in 1670 History of Britain, photo of copy in my collection I passed around earlier); the 2nd edition considered to be the most final text of Milton’s, published in the same year that Milton died; Bound With a 1st edition of Paradise Regain’d (1671), with 1670 license leaf Paradise Lost, 1705, 7th edition, with Faithorne portrait and with 1688 illustrations reduced; 1st octavo edition
Paradise Lost, 1707, 8th edition, octavo, with 1688 illustrations reduced
Paradise Lost, 1711, 11th edition
Paradise Regain’d, 1713, 5th edition
Paradise Lost, 1719; 10th edition and 1st edition with Addison’s comments on PL, with own title page, 1719. Newton 1749 Variorum Edition (former Dr. A. S. W. Rosenbach copy; called finest set ever!) Second Copy of Newton 1749 Variorum Edition (Vol. 1, in a PRESENTATION BINDING] Bindings In addition to the 18th century bindings on 1749 Newton Variorum Edition – Virtually Unmatchable!! A fine early 19th century 3-volume set (1810) in contemporary red morocco – A lovely Romantic binding A display of beautiful 19th century morocco and leather bindings – I have a great many more! A Cosway Binding on Milton by Hillair Belloc [Discuss origin of name]
Also Cosway style binding on each of two copies of my own book on my Milton Collection, now under my name in a special room in Rare Books & Special Collection at the University of South Carolina A sampling of 19th century Publisher’s Decorated Cloth Bindings – I have a great many more! Included are the 2 wonderful publisher’s decorated cloth bindings on the 1876 edition of Milton’s Poetical Works by Bickers And Son, with one of the two open to a photograph of a mezzotint illustration by John Martin 50 years earlier. ●
Gauphered edges: gilt edges with designs – on 2 beautiful Victorian leather bindings
3 fore-edge paintings displayed; Eve available, along with several others. The holder is too small for the size of the book on which Eve appears.
An elegant binding on Paradise Regained, 1924, with illustrations by Thomas Lowinsky, with an extra set of the illustrations printed on vellum in a pocket at the back. The binding consists of numerous inlaid morocco pieces in various colors, done by the famous and very talented Genoa of Italy. ●
Included among Milton Ephemera: A display of 5 medals from the 18th to the late 21st century – from England and one from Russia – together with a copy of the page from my book showing the medals in my collection showing both sides of the medal. These medals are my own. The collection at USC has its own group. Rare – even though I managed to find two copies of each.
A display of various cards from England, France, German, Cuba, and the United States: with various images of Milton, primarily tobacco, cigarette, and tea cards, dating from the late nineteenth century to the 1960s – together with a copy of the page from my book showing the various cards in my collection Always were rare, but they have become much rarer in the past 20 years or so.
These cards would be found in small packs of cigarettes, e.g., // or tobacco, or tea, or even ice cream sometimes, // as baseball cards, first, and then other sports cards are found in packets of gum throughout the 20th century and now also in the 21st century. Included is a Pepsin Gum Cello Pinback (1896)
AND WITH THAT I THANK YOU FOR BEING SUCH AN ATTENTIVE AUDIENCE!! QUESTIONS, if there are any and if there is time, and if you aren’t already too bored by what I have had to say. You can also see me privately, with a question, or to see Eve and other fore-edge bindings besidess those on exhibit! ************************************************ ************************************************
Published on Apr 28, 2016
Published on Apr 28, 2016
Robert J. Wickenheiser was an outstanding scholar and collector, an inspirational leader, whose encouragement led Terrance Lindall to go on...