The British Library Puts Over 1,000,000 Images in the Public Domain: A Deeper Dive Into the Collection

in Architecture, Archives, Books | September 8th, 2015

Every year for the past decade or so, we‘ve seen new, dire pronouncements of the death of print, along with new, upbeat rejoinders. This year is no different, though the prognosis has seemed especially positive of late in robust appraisals of the situation from entities as divergent as The Onion’s A.V. Club and financial giant Deloitte. I, for one, find this encouraging. And yet, even if all printed media were in decline, it would still be the case that the history of the modern world will mostly be told in the history of print. And ironically, it is online media that has most enabled the means to make that history available to everyone, in digital archives that won’t age or burn down.

One such archive, the British Library’s Flickr Commons project, contains over one million images from the 17th, 18th, and 19th centuries. As the Library wrote in their announcement of these images’ release, they cover “a startling mix of subjects. There are maps, geological diagrams, beautiful illustrations, comical satire, illuminated and decorative letters, colourful illustrations, landscapes, wall-paintings and so much more that even we are not aware of.” Microsoft digitized the books represented here, and then donated them to the Library for release into the Public Domain.

One of the quirky features of this decidedly quirky assemblage is the Mechanical Curator, a bot-run blog that generates “randomly selected small illustrations and ornamentations, posted on the hour.” At the time of writing, it has given us an ad for the rather culturally dated artifact “Oriental Tooth Paste,” a product “prepared by Jewsbury & Brown.” Many of the other selections have considerably less frisson. Nonetheless, writes the Library, often “our newest colleague,” the Mechanical Curator, “plucks from obscurity, places all before you, and leaves you to work out the rest. Or not.”

The Flickr Commons site itself gives us a much more conventional organization, with images—most of them discovered by the Mechanical Curator—grouped into several dozen themed albums. We have “Book covers found by the community from the Mechanical Curator Collection,” featuring images like that of The Texas Tramp or Solid Sam the Yankee Hercules, a pulpy title published in 1890 by the Aldine Library’s “O’er Land and Sea” series. And just above, see an illustration from the 1892 publication To the Snows of Tibet through China…With Illustrations and a Map. Each image’s page offers links to other illustrations in the book and those of other books published in the same year.

Here, we have a striking illustration from an 1841 edition of The Cottager’s Sabbath, a poem… with … vignettes… by H. Warren. This image comes from “Architecture, found by the community from the Mechanical Curator Collection.”

We also have oddities like the illustration above, from 1885’s “A Canterbury Pilgrimage, ridden, written, and illustrated by J. and E.R.P.” This is to be found in “Cycling, found by the community from [you guessed it] the Mechanical Curator Collection,” which also contains plenty of more commercial illustrations like the 1893 “Patentee of Keating’s Spring Fork.”

Speaking of commerce, we also have an album devoted to advertisements, found by the community from, yes, the Mechanical Curator Collection. Here you will discover ads like “Oriental Tooth Paste” or that below for “Gentlemen’s & Boy’s Clothing 25 Per Cent. Under Usual London Prices” from 1894. Our conception of Victorian England as excessively formal gets confirmed again and again in these ads, which, like the random choice at the top of the post, contain their share of awkward or humorous historical notions.

Doubtless none of the proto-Mad Men of these very English publications foresaw such a marvel as the Mechanical Curator. Much less might they have foreseen such a mechanism arising without a monetizing scheme. But thanks to this free, newfangled algorithm’s efforts, and much assistance from “the community,” we have a digital record that shows us how public discourse shaped print culture, or the other way around. A fascinating, and at times bewildering, feature of this phenomenal archive is the requirement that we ourselves supply most of the cultural context for these austerely presented images.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 3 ) |

A Look Inside Hannah Arendt’s Personal Library: Download Marginalia from 90 Books (Heidegger, Kant, Marx & More)

in Archives, Philosophy, Politics | August 14th, 2015

It does seem possible, I think, to overvalue the significance of a writer’s library to his or her own literary productions. We all hold on to books that have long since ceased to have any pull on us, and lose track of books that have greatly influenced us. What we keep or don’t keep can be as much a matter of happenstance or sentiment as deliberate personal archiving. But while we may not always be conscious curators of our lives’ effects, those effects still speak for us when we are gone in ways we may never have intended. In the case of famous—and famously controversial—thinkers like Hannah Arendt, what is left behind will always constitute a body of evidence. And in some cases—such as that of Arendt’s teacher and onetime lover Martin Heidegger’s glaringly anti-Semitic Black Notebooks—the evidence can be irrevocably damning.

In Arendt’s case, we have no such smoking gun to substantiate arguments that, despite her own background, Arendt was anti-Jewish and blamed the victims of the Holocaust. During the so-called “Eichmann wars” in the mid-twentieth century, a torrent of criticism bombarded Arendt’s Eichmann in Jerusalem, the compilation of dispatches she penned as an observer of the Nazi arch-bureaucrat’s trial. These days, writes Corey Robin in The Nation, “while the controversy over Eichmann remains, the controversialists have moved on.” The debate now seems more centered on Arendt’s book itself than on her motivations. What do Arendt’s observations reveal to us today about the logic of totalitarianism and genocidal state actions? One way to approach the questions of meaning in Eichmann, and in her monumental The Origins of Totalitarianism, is to examine the sources of her thought—and her use of those sources.

Arendt’s library—much of it on view online thanks to Bard college—offers us a unique opportunity to do just that, not only by giving us access to the specific editions and translations that she herself read and saved (for whatever reason), but also by offering insight into what Arendt considered important enough in those texts to underline and annotate. In Bard’s digital collection of “Arendt Marginalia”—selections of her annotated books in downloadable PDFs—we see a political philosophy informed by Aristotle (see a page from her copy of Nicomachean Ethics above), Plato, and Kant, but also by conservative German political theorist Carl Schmitt, a member and active supporter of Nazism, and of course, by Heidegger, whose work occupies a central place in her library: in German and English (like his Early Greek Thinking above, inscribed by the translator), and in primary and secondary sources.

While it may go too far to claim, as prominent scholar Bernard Wasserstein did in 2009, that an examination of Arendt’s sources shows her internalizing the values of Nazis and anti-Semites, the preponderance of conservative German thinkers in her personal library does give us a sense of her intellectual leanings. But we cannot draw broad conclusions from a cursory survey of a lifetime of reading and re-reading, though we do see a particularly Aristotelian strain in her thinking: that the individual is only as healthy as his or her political culture. What scholars of Arendt will find in Bard’s digital collection are ample clues to the development and evolution of her philosophy over time. What lay readers will find is the outline of a course on the sources of Arendt-ian thought, including not only Greeks and Germans, but the American poet Robert Lowell, who wrote a glowing profile of Arendt and contributed at least four signed books of his to her library.

I say “at least” because the Bard digital collection is yet incomplete, representing only a portion of the physical media in the college’s physical archive of “approximately 4,000 volumes, ephemera and pamphlets that made up the library in Hannah Arendt’s last apartment in New York City.” What we don’t have online are books inscribed to her by Jewish scholar and mystic Gershom Scholem, by W.H. Auden and Randall Jarrell, and many others. Nonetheless the “Arendt Marginalia” gives us an opportunity to peer into a writer and scholar’s process, and see her wrestle with the thought of her predecessors and contemporaries. The full Arendt collection gives us even more to sift through, including private correspondence and recordings of public speeches. The digitization of these sources offers many opportunities for those who cannot travel to New York and access the physical archives to delve into Arendt’s intellectual world in ways previously only available to professional academics.

Related Contents:

Enter the Hannah Arendt Archives & Discover Rare Audio Lectures, Manuscripts, Marginalia, Letters, Postcards & More

Hannah Arendt Discusses Philosophy, Politics & Eichmann in Rare 1964 TV Interview

Hannah Arendt’s Original Articles on “the Banality of Evil” in the New Yorker Archive

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

2,200 Radical Political Posters Digitized: A New Archive

in Archives, History, Politics | July 2nd, 2015

I recently heard someone say his college-bound nephew asked him, “What’s a union?” Whether you love unions, loathe them, or remain indifferent, the fact that an ostensibly educated young person might have such a significant gap in their knowledge should cause concern. A historic labor conflict, after all, provided the occasion for Ronald Reagan to prove his bona fides to the new conservative movement that swept him into power. His crushing of the Professional Air Traffic Controllers Organization (PATCO) in 1981 set the tone for the ensuing 30 years or so of economic policy, with the labor movement fighting an uphill battle all the way. Prior to that defining event, unions held sway over politics local and national, and had consolidated power blocks in the American political landscape through decades of struggle against oppressive and dehumanizing working conditions.

In practical terms, unions have stood in the way of capital’s unceasing search for cheap labor and new consumer markets; in social and cultural terms, the politics of labor have represented a formidable ideological challenge to conservatives as well, by way of a vibrant assemblage of anarchists, civil libertarians, anti-colonialists, communists, environmentalists, pacifists, feminists, socialists, etc. A host of radical isms flourished among organized workers especially in the decades between the 1870s and the 1970s, finding their voice in newsletters, magazines, pamphlets, leaflets, and posters—fragile mediums that do not often weather well the ravages of time. Thus the advent of digital archives has been a boon for students and historians of workers’ movements and other populist political groundswells. One such archive, the Joseph A. Labadie Collection at the University of Michigan Library, has recently announced the digitization of over 2,200 posters from their collection, a database that spans the globe and the spectrum of leftist political speech and iconography.

We have cleverly-designed visual puns like the Chicago Industrial Workers of the World poster just above, titled “What is what in the world of labor?” Promoting itself as “One Big Union of All Labor,” the IWW made some of the most ambitious propaganda, like the 1912 poster (middle) in which an “Industrial Co-Operative Commonwealth” replaces the tyranny of the capitalist, who is told by his “trust manager” peer, “Our rule is ended, dismount and go to work.” In this post-revolutionary fantasy, the IWW promises that “A few hours of useful work insure all a luxurious living,” though it only hints at the details of this utopian arrangement. Up top, we have an ornate May Day poster from 1895 by Walter Crane, hoping for a “Merrie England” with “No Child Toilers,” “Production for Use Not For Profit,” and “The Land For the People,” among other, more nationalist, sentiments like “England Should Feed Her Own People.”

“While all of the posters were scanned at high resolution,” writes Hyperallergic, “they appear online as thumbnails with navigation to zoom.” You can download the images, but only the smaller, thumbnail size in most cases. These hundreds of posters represent “just a portion of the material in the Labadie Collection”—named for a “Detroit-area labor organizer, anarchist, and author” who “had the idea for the social protest archive at the university in 1911.” You can view other political artifacts in the UMich library’s digital collections here, including anarchist pamphlets, political buttons, and a digital photo collection. The collection as a whole gives us a potentially inspiring, or infuriating, mosaic of political thought at its boldest and most graphically assertive from a time before online petitions and hashtag campaigns took over as the primary circulators of popular radical thought.

via Hyperallergic (where you can find some other big, visually striking posters)

Wonderfully Kitschy Propaganda Posters Champion the Chinese Space Program (1962–2003)

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 16 ) |

New Archive Offers Free Access to 22,000 Literary Documents From Great British & American Writers

in Archives, Letters, Literature | June 30th, 2015

Thomas Hardy—architect, poet, and writer (above)—gave us the fierce, stormy romance Far From the Madding Crowd, currently impressing critics in a film adaptation by Thomas Vinterberg. He also gave us Tess of the D’Urbervilles, The Return of the Native, and Jude the Obscure, books whose persistently grim outlook might make them too depressing by far were it not for Hardy’s engrossing prose, unforgettable characterization, and, perhaps most importantly, unshakable sense of place. Hardy set most of his novels in a region he called Wessex, which—much like William Faulkner’s Yoknapatawpha—is a thinly fictionalized recreation of his rural hometown of Dorchester and its surrounding counties.

Now, thanks to the University of Texas at Austin’s Harry Ransom Center, we can learn all about this ancient region in South West England, and Hardy’s transmutation of it, through Hardy’s own proof copy of a 1905 book by Frank R. Heath called Dorchester (Dorset) and its Surroundings, with revisions in Hardy’s hand. In the excerpt above, for example, from page 36 of this scholarly work, the author discusses Hardy’s use of Dorchester in The Mayor of Casterbridge and the so-called “Wessex Poems.” In the margins on the right, we see Hardy’s corrections and glosses. Though this may not seem the most exciting piece of Hardy memorabilia, for students of the author and his investment in a rural corner of England, it is indeed a treasure.

The Hardy archive also contains scans of the author’s correspondence, manuscripts and signed typescripts, and architectural drawings, like that of St. Juliot’s Church in Cornwall, above. This extensive digital Hardy collection is but one of many housed in the Ransom Center’s Project Reveal, an acronym for “Read and View English & American Literature.” Read and view you can indeed, through the intimacy of first drafts, manuscripts, personal writing, and other ephemera.

See, for example, a handwritten draft of Oscar Wilde’s Salome, in French, (excerpt above). Below, we have a handwritten list of Robert Louis Stevenson’s favorite books, and further down, a manuscript draft of Katherine Mansfield’s “Now I am a plant, a weed” from her personal poetry notebook.

Other authors included in the Project Reveal archive include Charlotte Perkins Gilman, Hart Crane, Henry James, Joseph Conrad, and William Thackeray. The project, writes the Ransom Center in a press release, generated more than 22,000 high-resolution images, available for use by anyone for any purpose without restriction or fees” (but with attribution). The literary storehouse on display here only adds to an already essential collection of artifacts the Ransom Center houses, such as the papers of Gabriel Garcia Marquez, syllabi, annotated books, and manuscripts from David Foster Wallace, scrapbooks of Harry Houdini, and the first known photograph ever taken. See a complete list of contents of the Ransom Center’s Digital Collections here, and learn more about this amazing library in the heart of Texas at their main site.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

The Sketchbook Project Presents Online 24,000 Sketchbooks, Created by Artists from 135 Countries

in Archives, Art, Life | June 12th, 2015

Artist: Helen Sanderson

If you love something give it away.

If it doesn’t come back to you, it was never really yours…

Or, it’s a labor of love you created under the auspices of the Brooklyn Art Library, with the full knowledge that giving it away is a cost of participation.

Every year, thousands of artists, from the experienced to the fledgling, pay a nominal fee to fill a 5x7 sketchbook with a custom barcode. Upon completion, the books are to be mailed back to the one room Art Library, to become part of the permanent collection, currently over 34,000 volumes strong (24,000 of which appear online). Visitors receive free library cards that allow them to view as many volumes as they like in-house, three at a time.

Artists willing to cough up a slightly more substantial fee can have their book digitized for online viewing at The Sketchbook Project.

Artist: Tim Oliveira

In their virgin state, the sketchbooks are uniform. From there, anything goes, provided they retain their original height and width, and swell to no more than an inch thick. (Messy, gooey books might face rejection, in part because they threaten to contaminate the herd.)

Dip in at random and you will find an astonishing array of finished work: messy, meticulous, intimate, inscrutable, self-mocking, sincere, abstract, narrative, carefully plotted, utterly improvisational, accomplished, amateur — rendered in a wide variety of media, including ball point pen and collage.

Artist: Estella Yu

My favorite way to browse the collection, whether in person or online, is by selecting a theme, just as the artists do when signing up for the annual project. 2016’s themes include “sandwich,” “great hopes and massive failures,” and “Ahhh! Monster!”

(“I’ll choose my own theme” is a perennial menu offering.)

The theme that guided the artists whose work is published herein is “Things Found on Restaurant Napkins.” Would you have guessed?

Artist: Christopher Moffitt

You can also search on specific words or mediums, artists’ names, and geographic locations. To date, The Sketchbook Project has received sketchbooks by creative people from 135+ countries.

Those ready to take the Brooklyn Art Library’s Sketchbook Project plunge can enlist here. Don’t fret about your qualifications—co-founders Steven Peterman and Shane Zucker have made things democratic, which is to say uncurated, by design.

Artist: Betty Esperanza

via The New Yorker

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Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. Her 2011 sketchbook, “I’m a Scavenger” is housed in the Brooklyn Art Library. Follow her @AyunHalliday

by Ayun Halliday | Permalink | Make a Comment ( 2 ) |

NASA Puts Online a Big Collection of Space Sounds, and They’re Free to Download and Use

in Archives, Science | January 26th, 2015

When we envision the fruits of the research of the United States’ National Aeronautics and Space Administration (aka NASA), we tend to think of images. I think I exaggerate not at all when I say that the never-before-seen view of the Earth from space gave humanity a whole new perspective, no pun intended, on our very existence. But you don’t have to strain too hard to think of historically momentous NASA sounds, either: “Houston we’ve had a problem,” “One giant leap for mankind.”

If you can’t think of more than those two, why not spend some listening time with NASA’s new Soundcloud account, or alternatively perusing the NASA Sounds web site, which features a larger number of downloadable mp3s. “There are rocket sounds, the chirps of satellites and equipment, lightning on Jupiter, interstellar plasma and radio emissions,” writes Create Digital Music’s Peter Kirn. “And in one nod to humanity, and not just American humanity, there’s the Soviet satellite Sputnik (among many projects that are international in nature).” Better still, “you’re free to use all of these sounds as you wish, because NASA’s own audio isn’t copyrighted.”

We’ve included here three of NASA’s Soundcloud playlists: space shuttle mission sounds, solar system and beyond sounds, and President Kennedy sounds. When you’ve listened through all NASA themselves have uploaded, you can find more sound clips of outer-space interest in NASA’s liked sounds, a collection of the ambient sounds of space exploration that include those of a space suit’s internal pump, a Japanese experiment module, and, of course, a space toilet — a constant sonic companion on any trip to the final frontier.

Please note that you can download the Soundcloud files by following these instructions. From the NASA Sounds web page, you can download files by right clicking on them and then saving them to your hard drive.

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Colin Marshall hosts and produces Notebook on Cities and Culture as well as the video series The City in Cinema and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Whitney Museum Puts Online 21,000 Works of American Art, By 3,000 Artists

in Archives, Art | January 22nd, 2015

Soir Bleu by Edward Hopper, 1914.

The trend has now become delightfully clear: the world’s best-known art institutions have got around to the important business of making their collections freely viewable online. We’ve already featured the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Rijksmuseum, and the National Gallery (as well as new, internet-based institutions such as the Google Art Project and Art.sy). Today, we bring news that the Whitney Museum of American Art has joined in as well.

The Steerage by Alfred Stieglitz, 1907.

“Last week, the Whitney Museum massively overhauled its online database,” writes Hyperallergic’s Becca Rothfeld. “The museum of American art expanded its online collection from a paltry 700 works to around 21,000. The digital reserve now includes over 3,000 pieces by Edward Hopper, in addition to offerings from a wide swathe of art from the United States, including the likes of Mike Kelley and Martin Wong.” Rothfeld also notes that all this digitization has happened during the museum’s physical move, currently underway, to a building in the Meatpacking District with 63,000 combined square feet of indoor and outdoor gallery space.

Morning Sky by Georgia O’Keeffe, 1916.

We non-New Yorkers have, of course, already booked our flights to experience the Whitney’s new digs. But since the building won’t actually open to the public until May, all of us, no matter where we live, will have to content ourselves for the moment with what the museum has put online so far. Fortunately, it has put a lot online: you can browse their digital collections by artist here; you’ll notice a great deal of Jackson Pollock, Georgia O’Keeffe, Edward Hopper, and Andy Warhol already available for your browsing pleasure.

via Hyperallergic

The Metropolitan Museum of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

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The Rijksmuseum Puts 125,000 Dutch Masterpieces Online, and Lets You Remix Its Art

The National Gallery Makes 25,000 Images of Artwork Freely Available Online

The Getty Puts 4600 Art Images Into the Public Domain (and There’s More to Come)

40,000 Artworks from 250 Museums, Now Viewable for Free at the Redesigned Google Art Project

Colin Marshall hosts and produces Notebook on Cities and Culture as well as the video series The City in Cinema and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 2 ) |

The Tate Digitizes 70,000 Works of Art: Photos, Sketchbooks, Letters & More

in Archives, Art | December 22nd, 2014

Photograph of Nigel Henderson via Nigel Henderson Estate

If you’re like me, one of the first items on your itinerary when you hit a new city is the art museums. Of course one, two, even three or four visits to the world’s major collections can’t begin to exhaust the wealth of painting, sculpture, photography, and more contained within. Rotating and special exhibits make taking it all in even less feasible. That’s why we’re so grateful for the digital archives that institutions like the Getty, LA County Museum of Art, the Metropolitan Museum of Art, the National Gallery, and the British Library make available free online. Now another museum, Britain’s Tate Modern, gets into the digital archive arena with around 70,000 digitized works of art in their online gallery.

“Sketch of the bus stop” from the estate of Josef Herman

But wait, there’s more. Much more. A separate digital archive—the Tate’s Archives & Access project—offers up a trove of materials you’re unlikely to encounter much, if at all, in their physical spaces. That’s because this collection digitizes little-seen “artists’ materials, including photographs, sketchbooks, diaries, letters and objects, documenting the lives and working processes of British born and émigré artists, from 1900 to the present.” These include, writes The Guardian, “the love letters of painter Paul Nash, the detailed sculpture records of Barbra Hepworth, and 3,000 photographs by Nigel Henderson, providing a behind-the-scenes backstage look at London’s 1950s jazz scene.” Thus far, the Tate has uploaded about 6,000 items, “including 52 collections relating to 79 artists.” At the Tate archive, you’ll find photographs like that of painter and photographer Nigel Henderson (see top of the post) and also paintings by the highly regarded Polish-British realist, Josef Herman (right above).

“Squared-up drawings of soldiers” via The estate of David Jones

You’ll find preliminary sketches like the 1920–21 Squared-up drawings of soldiers by painter and poet David Jones, above, one of 109 sketches and two sketchbooks available by the same artist. You’ll find letters like that below, written by sculptor Kenneth Armitage to his wife Joan Moore in 1951—one of hundreds. These are but the tiniest sampling of what is now “but a drop in the ocean,” The Guardian writes, “given the more than 1 million items in the [physical] archive.” Archive head Adrian Glew calls the collection “a national archival treasure” that is also “for the enrichment of the whole world.”

Letter from Kenneth Armitage to Joan Moore via the The Kenneth Armitage Foundation

The remainder of the digitized Archives & Access collection—52, 000 items in total—should be available by the summer of 2015. While viewing art and artifacts online is certainly no substitute for seeing them in person, it’s better than never seeing them at all. In any case, millions of pieces are only viewable by curators and specialists and never make their way to gallery floors. But with the appearance and expansion of free online archives like the Tate’s, that situation will shift dramatically, opening up national treasures to independent scholars and ordinary art lovers the world over.

The Metropolitan Museum of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use

The National Gallery Makes 25,000 Images of Artwork Freely Available Online

LA County Museum Makes 20,000 Artistic Images Available for Free Download

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

The British Library Puts Over 1,000,000 Images in the Public Domain: A Deeper Dive Into the Collection

A Look Inside Hannah Arendt’s Personal Library: Download Marginalia from 90 Books (Heidegger, Kant, Marx & More)

2,200 Radical Political Posters Digitized: A New Archive

New Archive Offers Free Access to 22,000 Literary Documents From Great British & American Writers

The Sketchbook Project Presents Online 24,000 Sketchbooks, Created by Artists from 135 Countries

NASA Puts Online a Big Collection of Space Sounds, and They’re Free to Download and Use

Whitney Museum Puts Online 21,000 Works of American Art, By 3,000 Artists

The Tate Digitizes 70,000 Works of Art: Photos, Sketchbooks, Letters & More

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