Chas. Rippe, Manufacturer of Tents, Flags, Paulins, and Festooning, Wagon and Stack Covers - Rare Book Insider
book (2)

Chas. Rippe, Manufacturer of Tents, Flags, Paulins, and Festooning, Wagon and Stack Covers

Chas. Rippe, St. Louis, MO: 1890
6" x 3.5", 32 pp, in original stapled wrappers. Illustrated price list from this St. Louis manufacturer of tents, flags, awnings, bunting, and related products. Small stain at outer margin of front wrapper, else fine. In 1876, Charles Rippe joined the existing tent and manufacturing firm of Martin Zittlosen (founded in 1866), and by 1882 Rippe appears to have been running the company on his own. In a short introduction, he acknowledges that this catalogue "is not as showy as that issued by my competitors," but promises "plain figures and low prices" as well as high quality materials. Products offered include both U.S. and foreign flags, flagpoles, photographers' tents, stable tents, circus tents, miners' tents, haystack covers, wagon covers and umbrellas, tarpaulins for covering agricultural equipment, window and door awnings, "the best paper festoonng ever offered," and more.
More from Walkabout Books
book (2)

Grass Blades from a Cinnamon Garden

88 pp, bound in the Japanese style in red paper wrappers with mounted label, with 4 tipped in color wood block prints by the author. A very good or better copy with a light bump to one corner and a touch of dust soiling to the wrappers. Housed in the original red cardboard chemise with orange paper lining. Chemise is edgeworn and scuffed and lacks one (of 2 bone clasps). Lilian May Miller (1895-1943) was a painter, printmaker and poet born in Tokyo to an American diplomat and a British teacher. "Her printmaking education began at the atelier of Kano Tomonobu (1843-1912) at the suggestion of a family friend, artist Helen Hyde. Though she learned the traditional process of shin-hanga woodblock printing, in which a team of artisans executes the carving and printing once the artist has created the image, she preferred to do all of the steps herself, much like her Western teachers. By age twelve she had held her first exhibition of woodcuts" (Annex Galleries). According to a biography provided by Moonlit Sea Prints, "Miller's career flourished during a time when female artists faced significant challenges and limited opportunities. Despite these obstacles, she forged her path as an independent artist, successfully blending Eastern and Western aesthetics in her works. Miller's art often depicted serene landscapes, delicate flowers, and traditional Japanese themes, showcasing her technical skill and artistic vision. During her time in Japan, Miller interacted with notable artists and scholars, some of whom became her contemporaries and collaborators. One such artist was Bertha Lum, who also specialized in Japanese woodblock prints. Lum's friendship and artistic partnership with Miller helped foster a supportive environment for their respective endeavors. In addition to her artistic achievements, Miller's career was significantly impacted by the Great Kanto Earthquake of 1923. The devastating earthquake and subsequent fires destroyed much of her artwork and forced her to relocate. This event marked a turning point in Miller's life and art, prompting her to experiment with new styles and techniques. Miller's work also reflected her engagement with feminist ideals. As a female artist in a male-dominated field, she challenged societal norms and strove for recognition and equal opportunities. Through her art and advocacy, Miller contributed to the broader feminist movement and the empowerment of women in the arts." (Sources: Davidson, S. R. (2007). Lilian Miller and Japanese woodblock prints. Print Quarterly, 24(4), 376-381. Lakdawalla, E. (2019). Miller, Lilian May. In Oxford Art Online).