Harry Ransom CenterThe University of Texas at Austin

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North Windows

From the Outside In: A Visitor's Guide to the Windows

Introduction

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Illustration from Alice's Adventures in Wonderland, John Tenniel, 1865

"Curiouser and curiouser!" is what Alice cries when she suddenly stretches to more than nine feet tall, "like the largest telescope that ever was," in Lewis Carroll's Alice's Adventures in Wonderland. In the drawing, we see Alice's large, startled eyes and open mouth expressing her surprise at her predicament.   Read more

Illustration from Alice's Adventures in Wonderland, John Tenniel, 1865

"Curiouser and curiouser!" is what Alice cries when she suddenly stretches to more than nine feet tall, "like the largest telescope that ever was," in Lewis Carroll's Alice's Adventures in Wonderland. In the drawing, we see Alice's large, startled eyes and open mouth expressing her surprise at her predicament.   Read more

Portrait of Christina Rossetti, Dante Gabriel Rossetti, ca. 1847

Costume design, Gordon Conway, 1920s

Dolphin and Anchor device of Aldine Press, ca. 1490s

Woodcut of initial letter "L" from The Four Gospels, Eric Gill, 1931

Portrait of Lytton Strachey, unidentified artist, not dated

Milk Drop Coronet, Harold Edgerton, 1936

This simple image captures a milk drop as it strikes a thin layer of milk. The photographer, Harold Edgerton, maintained that he was a scientist rather than an artist, but he and his colleagues nonetheless produced many stunning pictures, of which Milk Drop is but one. National Geographic called him "the man who made time stand still."   Read more

© Harold Edgerton, 2013
Courtesy of Palm Press, Inc.

Portrait of Guillaume Apollinaire, Pablo Picasso, 1918

Sketch of King Louis-Philippe, William Makepeace Thackeray, 1830s

Portrait of T. E. Lawrence, Wyndham Lewis, 1929

Migrant Mother, Dorothea Lange, 1936

This powerful portrait depicts the weariness of a hard existence in poverty. Florence Owens, the migrant mother of the title, crouches in the foreground flanked by two of her children, their faces hidden. One's attention is directed to her eyes, which seem not to be looking at the camera but to be directed outward, perhaps contemplating a very uncertain future with little hope.   Read more

Gernsheim collection, Harry Ransom Center.

Portrait of Lillian Hellman, Don Bachardy, 1974

Portraits of D. H. Lawrence, Knud Merrild, ca. 1922–23

Costume design for Serena in Quadrille, Cecil Beaton, 1952

Manuscript score of "Gaudeamus Igitur," Franz Liszt, 1870

Borzoi device for Alfred A. Knopf, Inc., W. A. Dwiggins, 1937

Illustration for Charles Baudelaire's Les fleurs du mal, Odilon Redon, 1891

Publicity photograph of Ingrid Bergman, ca. 1945

Portrait of Dylan Thomas, Michael Ayrton, 1947

Poster for Houdini's Giant Milk Can Escape, ca. 1908

Costume design for Il buffone (the fool) in the ballet Chout, Emanuele Luzzati, 1965

Portrait of George Bernard Shaw, Ivan Opffer, 1927

Emanuel Romano, Portrait of Carson McCullers, ca. 1949

This portrait of the American writer Carson McCullers (1917–1967), painted by her friend Emanuel Romano (1897–1984), is one of a series of author portraits painted by Romano in the Harry Ransom Center collections, including pictures of Marianne Moore, William Carlos Williams, and T. S. Eliot, among many others.   Read more

Art Collection, Harry Ransom Center.

Self-portrait, E. E. Cummings, 1938

Title page from William Shakespeare's A Midsommer Nights Dreame, 1619

This image of the title page to William Shakespeare's play A Midsummer Night's Dream reads, "A Midsommer Nights Dreame, As it hath beene sundry times publikely acted, by the Right Honourable, the Lord Chamberlaine his seruants." Below the title, the printer and date are identified as James Roberts, 1600—but this is a misrepresentation. Although 1600 was the first date of publication of the play, this image is of the title page of a second edition, printed in 1619 by William Jaggard and Thomas Pavier.   Read more

Title page from William Shakespeare's A Midsommer Nights Dreame, 1619

This image of the title page to William Shakespeare's play A Midsummer Night's Dream reads, "A Midsommer Nights Dreame, As it hath beene sundry times publikely acted, by the Right Honourable, the Lord Chamberlaine his seruants." Below the title, the printer and date are identified as James Roberts, 1600—but this is a misrepresentation. Although 1600 was the first date of publication of the play, this image is of the title page of a second edition, printed in 1619 by William Jaggard and Thomas Pavier.   Read more

Letter by Jean Cocteau to Valentine Hugo with sketch of Stravinsky and Nijinsky, 1922

Tailpiece for The Canterbury Tales, Eric Gill, 1929–31

Portrait of James Joyce, Wyndham Lewis, 1920

The windows of the Harry Ransom Center show two drawings of James Joyce, one by Desmond Harmsworth and one by Wyndham Lewis, depicting very different sides of the famous writer. The Lewis drawing, dated 1920, shows a portrait of Joyce from the outside: head down, identifiable by the thick eyeglasses and small beard. Lewis was one of Joyce's Modernist contemporaries—a novelist, experimental artist, and founder of the abstract art movement Vorticism. He was also a well-known curmudgeon and critic, and his sketch hints at the distance from which he approached his fellow artist. Harmsworth, in contrast, was one of Joyce's publishers and enjoyed long evenings talking and drinking with the writer. His drawing expresses more of Joyce's personal character.   Read more

Illustration from Opera, Girolamo Gigli, early 18th century

Drawing of Tennessee Williams, Al Hirschfeld, ca. 1955–59

Title page drawing for The Marionettes, William Faulkner, 1920

Illuminated letter from Gutenberg Bible, ca. 1455

Two Girls, Jno Trlica, 1930

Typescript of Death of a Salesman, Arthur Miller, ca. 1948

Etched into the windows of the Ransom Center is this image of one of Arthur Miller's typescripts for the play Death of a Salesman. The excerpt depicted is dialogue between the title character, Willy Loman, and his wife, Linda, in the opening scene of the second act.   Read more

Typescript of Death of a Salesman, Arthur Miller, ca. 1948

Etched into the windows of the Ransom Center is this image of one of Arthur Miller's typescripts for the play Death of a Salesman. The excerpt depicted is dialogue between the title character, Willy Loman, and his wife, Linda, in the opening scene of the second act.   Read more

Oscar Wilde, Napoleon Sarony, 1882

This image, one of a series of pictures of Oscar Wilde (1854–1900) taken by Napoleon Sarony, depicts the young Irishman in January 1882, shortly after he arrived in New York City to begin his 1882 tour of North America. During this year, the last year prior to his marriage to Constance Lloyd, Wilde strongly influenced the costume and style of the European Aesthetic movement, and his unique style quickly spread to the burgeoning Greenwich Village subculture.   Read more

Oscar Wilde, Napoleon Sarony, 1882

This image, one of a series of pictures of Oscar Wilde (1854–1900) taken by Napoleon Sarony, depicts the young Irishman in January 1882, shortly after he arrived in New York City to begin his 1882 tour of North America. During this year, the last year prior to his marriage to Constance Lloyd, Wilde strongly influenced the costume and style of the European Aesthetic movement, and his unique style quickly spread to the burgeoning Greenwich Village subculture.   Read more

Storyboard from Gone With The Wind, 1939

Storyboard from Gone With The Wind, 1939