The Bill of Rights

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KF4744.5-P9-1991

The Bill of Rights
Dan Mayer and John Risseeuw
Tempe, AZ: Pyracantha Press, 1991

Printed in red, blue, dark gray and black on purple paper, partly in calligraphy; deckled edges. From the colophon: “This broadside commemorates the bicentennial of the Bill of Rights…produced at…the Arizona State University of Art [with help from] David Kader of the ASU College of Law, Chuck Brownson of Ocotillo Arts and Papermill, and calligrapher Nancy Pilgrim. The typeface is Plantin. The text was taken from a facsimile of the enrolled original Congressional resolution held in the National Archives.” Edition of two hundred copies printed.

Meet the Treasures that Inspired the Art

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The U’s campus is a treasure map dotted with small monuments, pieces of artwork and spaces tucked away from plain sight. These objects and places offer a glimpse into local and international history, which students can access for little or no cost.”

KYLEE EHMANN, of the Daily Utah Chronicle, shines a spotlight on the “Hidden Treasures” at the University of Utah.

HIDDEN TREASURES ABOUND ON THE U’S CAMPUS

“Students may have noticed the bronze and acrylic book statues around the library. Chinese artist Zhao Suikang created these sculptures…The pieces reflect his experiences with the U’s book arts and special collections…”

Just as Zhao Suikang’s sculptures are available for all to enjoy, everyone is welcome to Special Collections to see the treasures that inspired the art.

A Leaf from the Gutenberg Bible


Andreas Vesalius’, De humani corporis fabrica (1555)

Dialogo di Galileo Galilei

We recommend – Religion of a Different Color: Race and the Mormon Struggle for Whiteness

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Religion of a Different Color: Race and the Mormon Struggle for Whiteness
W. Paul Reeve
New York: Oxford University Press, 2015

The Protestant white majority in nineteenth-century United States was convinced that Mormonism represented a racial – not merely religious – departure from the mainstream and they spent considerable effort attempting to deny Mormon whiteness. Being white equaled access to political, social, and economic power, all aspects of citizenship in which outsiders sought to limit or prevent Mormon participation. At least a part of those efforts came through persistent attacks on the collective Mormon body, ways in which outsiders suggested that Mormons were physically different, racially more similar to marginalized groups than they were white. Medical doctors went so far as to suggest that Mormon polygamy was spawning a new race. Mormons responded with aspirations toward whiteness. It was a back and forth struggle between what outsiders imagined and what Mormons believed. Mormons ultimately emerged triumphant, but not unscathed. A portion of the cost of their struggle came at the expense of their own black converts. Mormon leaders moved away from universalistic ideals toward segregated priesthood and temples, policies held firmly in place by the early twentieth century. So successful were they at claiming whiteness for themselves, that by the time Mormon Mitt Romney sought the Presidency in 2012, he was labelled “The whitest white man to run for office in recent memory.” Mormons once again found themselves on the wrong side of white.

W. Paul Reeve is Associate Professor, History, The University of Utah.

BX8611-R44-2015-cover

On Display — Student work

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On Display, Levels 1 & 2 Wall Cases, J. Willard Marriott Library
Student work for SPAN4900-3, “Indigenous Writing and Culture,” Spring Semester 2015, Prof. Isabel Dulfano, Dept. of Languages and Literature, in collaboration with Luise Poulton, Rare Books and Emily Tipps, Book Arts Program.

Professor Dulfano’s statement: This class examined Latin American indigenous writing and culture to make manifest the wide spectrum of representation and depiction of the indigenous in canonical and non-canonical letters. Our visits to the library coincided with a chronological approach taken toward analysis of the images and documents shaping the contemporary imaginary about, and by the Indigenous in the region. The historical chronicles authored by the Spanish conquerors, ecclesiastical documents, treatises about the Black Legend and violent conquest, facsimiles of accordion style codices elaborated by native informants and priests on amatl paper, first-edition testimonials, dramas, poetry, and contemporary art books brought the subject to life as students engaged with the content and distinct formats utilized since the conquest. We held history and various forms of knowledge in our hands, turned the pages and interacted directly with the manuscripts containing these ideas. As we learned about literary production in class, the sessions held in the library reinforced and made real the ideas that have shaped our understanding of the conquest of the indigenous peoples and their colonized worldview.

Photographs of display by Scott Beadles, Rare Books assistant

Book of the week – Historia mvndi

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HISTORIA MVNDI
C. Plinii Secvndi
Basilae: in officina Frobeniana, 1530
QH41 P74

First printed in Venice in 1469, this is an account of medicine and natural history; in effect, an ancient encyclopedia of science. This edition came from the press of Johannes Froben (1460-1527), a German printer who established himself at Basel. Froben became famous for printing scholarly texts, in part because Erasmus edited many of Froben’s publications. Froben also employed the as yet unknown Hans Holbein as a designer. University of Utah copy binding pastedowns are manuscript leaves.

Book of the Week – Martin Luther

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XIII. PREDIG. NEWLICH…ANNO XXIII. ANHENGIG DEN…
Martin Luther (1483-1546)
Strasbourg: Johann Schott, 1523
Second edition
BR332 S3 1523

A copy from one of only two editions of this collection of thirteen sermons by Martin Luther. The collection of sermons was a supplement to “Twenty Seven Sermons” (1523). These two collections, along with “Fourteen Fine Christian Sermons” (1522) were part of one of the most important projects of Luther’s career: the creation of a Postil for the reformed church. Luther wrote his sermons in a piecemeal fashion. His Postil was printed a few pieces at a time. “Thirteen Sermons” is from the early period of his Postil composition. The early printed sermons represent Luther’s own vision for the Postil. Editorial changes were made by reform Lutheran leaders after his death. “Postil” was originally a term used in Medieval Europe for biblical commentary, derived from the Latin term “post ill verba textus” (after these words). “Postil” later referred to homiletic exposition as opposed to thematic sermonizing. By the mid-fourteenth century, the term was applied to an annual cycle of homilies. In early sixteenth century Roman Catholic preaching, especially in Germany, postils were commonly used. Luther began publishing his Postil (that is, his suggested annual series of homilies) in Wittenberg in 1521, as replacements for those used by the Roman Catholic Church. This edition is illustrated with a historiated woodcut title-page border, thought to be by Hans Bauldung Grien, a student of Albrecht Dürer, which includes printer Schott’s monogram, putti, unicorns, lions, and stags. A full-page portrait of Luther by Grien faces the title-page. A small image of Christ appears on the title-page. The penultimate leaf has a four-part woodcut border, also attributed to Grien. The portrait of Luther is of particular interest. The original portrait, first published by Schott in 1521, included a halo surrounding Luther’s head (signifying sainthood). The fact that the halo was removed in a second edition printed only two years later suggests the swiftness of Reformation theological departure from Roman Catholic notions of the spiritual power of church leaders. Printer Johann Schott was famous for using excellent woodcuts by noted artists of the day, including students of Dürer. In 1533, he took another printer to court over the reprinting of one of his illustrated books (Otto Brunfels’s herbal). The case is the first reprint suit documented in the Holy Roman Empire, an example of how the commerce of printing changed notions of proprietary law, i.e. copyright, for the written word and for art; authors and artists; and, of course, publishers.

Book of the Week – Three leaves from the Latin Vulgate Bible

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[LEAF FROM THE LATIN VULGATE BIBLE]
Cologne: Nicolaus Gotz, 1480

Leaf from Ecclesiates. Rubricated in red.


[LEAF FROM THE LATIN VULGATE BIBLE]
Venice: Johannes Herbort, 31 Oct 9 (pridie Kal. Nov.), 1483

Leaf from Chapters 14-18 of the Wisdom of Solomon. Rubricated in red and blue; flourished initials.


[LEAF FROM THE LATIN VULGATE BIBLE]
Nuremberge: Per Anthoniu[m] Koberger, Millesimu[m] [et] quinge[n]tesimu[m] die. 24. Mensis Marcij [1501]

Leaf from Chapters 15-18 of the Wisdom of Solomon. Rubricated in red and blue. Flourished initials.

We recommend – Book Arts Program workshop

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Lettering to Letterpress: From Screen to Printed Page
Spencer Charles and David Wolske
June 11–13
Thursday & Friday, 9:00-5:00; Saturday, 10:00–5:00
Book Arts Studio, Marriott Library, Level 4
$270

Take digital lettering to new depths during this three-day intensive with Spencer Charles, one of the rising stars of contemporary typographic design. Participants learn the tools and techniques to make a curvaceous catchword, magnificent monogram, pithy phrase, or dynamite drop cap. Output finished vector drawings to photopolymer plates and produce letterpress printed in limited editions. Printing experience is not necessary, but a working knowledge of Adobe Illustrator is strongly recommended.
– – –
Spencer Charles is a typographic designer and letterer residing in Brooklyn, New York. After graduating from the University of Utah, his interest in hand lettering developed as a chalkboard/signage artist for Whole Foods. In 2011, he moved to New York to work as Senior Designer at Louise Fili Ltd, a design studio specializing in logo, food package, and book design. He is currently working independently and is expanding into typeface design and illustration.
David Wolske is Assistant Librarian (Lecturer) and Creative Director for the Book Arts Program and Red Butte Press. He has taught design, typography, and letterpress printing at Indiana University, Herron School of Art & Design, the Center for Book & Paper Arts at Columbia College Chicago, The Hamilton Wood Type & Printing Museum, and The University of Utah. David’s letterpress work is featured in multiple design and letterpress publications. He holds awards from the American Institute of Graphic Arts, Type Director’s Club, and the Society of Typographic Arts.


PS3553-O47455-M53-2009

The Malby globes
Katharine Coles
Salt Lake City: University of Utah, J. Willard Marriott Library, Book Arts Program, Red Butte Press, 2009
PS3553 O47455 M53 2009

From the colophon: “To commemorate the rededication of the J. Willard Marriott Library on October 26, 2009, the Book Arts Program and Red Butte Press produced this keepsake. Utah Poet Laureate Katharine Coles and artist Mary Toscano responded to the newly refurbished Malby Globes housed in the library. Designer David Wolske brought the elements together, and Program staff printed the broadside in the Book Arts Studio.” Edition of three hundred and seventy-five copies. University of Utah copy is no. 264, signed by the poet and artist.


Z256-F74-2011

Free Amos Kennedy
Salt Lake City, UT: Book Arts Studio, 2011
Z256 F74 2011

Broadside advertising the closing reception of the AIGA exhibition, “50 Books/50 Covers,” with a screening of the film, “Proceed and Be Bold.” From the colophon: “Design and letterpress printing by Spencer Charles and David Wolske…”

Rare Books is pleased to support the Book Arts Program with its historical, fine press, and artists’ books collections.

Congratulations, Dr. Thompson!

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Greg Award

Congratulations to Dr. Gregory Thompson, Associate Dean for Special Collections at the J. Willard Marriott Library for receiving the Life-Time Achievement Award from the Conference of Inter-Mountain Archivists (CIMA) for 2015. The award is given annually to individuals who have demonstrated considerable service and leadership in the Intermountain West, and who have made significant contributions to the CIMA organization and/or the archival profession. The CIMA Life-Time Achievement Award recognizes the work of an entire career, spanning the course of several years. The award was bestowed at the CIMA 2015 Western Roundup in Denver, Colorado (May 27-30).

The award states, “Gregory C. Thompson’s years as Associate Dean for Special Collections at the J. Willard Marriott Library, University of Utah, have been a shining beacon in our profession’s efforts to preserve history for researchers of today and tomorrow.

Undoubtedly, his efforts will ensure that countless stories from the historical record will be saved, and will have a chance to be forwarded to generations to come…[his] work having been recognized on the state, regional, and national level has brought prestige and gravitas to the archival profession in the inter-mountain region.”

Well put! Dr. Thompson’s work has also brought prestige and gravitas to the J. Willard Marriott Library and The University of Utah. Rare Books is proud to call him “boss.”

We recommend – Book Arts Program lecture

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Why Books?
Steve Miller
June 4
Thursday, 6:30–7:30
Rare Books Classroom, Marriott Library, Level 4

Steve Miller was born in Fond du Lac, Wisconsin and educated at The University of Wisconsin-Madison. Having taken letterpress printing classes with Walter Hamady of The Perishable Press, he founded Red Ozier Press in 1976—a fine press devoted to publishing literary first editions in handmade limited editions.
Steve came to The University of Alabama in Tuscaloosa in 1988. He teaches letterpress printing, hand papermaking, and coordinates the MFA in the Book Arts Program. Although his primary focus at the university is in the teaching of traditional bookmaking, he is also the proprietor of Red Hydra Press and collaborates on various limited edition publishing projects with authors and artists. Steve is a co-director of Paper and Book Intensive, a nationally-recognized annual series of summer workshops in the book arts. He is also a trustee of the Penland School of Crafts in North Carolina and co-directs the University of Alabama Center for Cuba Collaboration and Scholarship. Steve was awarded the 2012 Distinguished Career Award from the College Book Art Association (CBAA)


ML422-S76-H36-1993

Heartbreak Thursday
Helene Hanff (1916-1997)
Tuscaloosa, AL: Parallel Editions, 1993
ML422 S76 H36 1993

Printed by Steve Miller and Timothy Geiger with Baskerville types. Cap calligraphy and pochoir by Paula Marie Gourley. Bound in purple cloth-covered boards, printed cover label by Paula Marie Gourley with Catherine May and Coriander Reisbord. Edition of seventy-five copies. University of Utah copy is no. 69, signed by the author. Gift of Eileen Wallace.


PS3552-E377-U64-1995-covers

unfolding the tablecloth of god
T. Begley (b. 1956) and Olga Broumas (b. 1949)
Tuscaloosa, AL: Red Hydra Press, 1995
PS3552 E377 U64 1995

Printed and bound by Steve Miller. Wrapper drawing by Pinkney Herbert. Edition of eighty-seven copies. University of Utah copy is no. 1, signed by the poets and printer. Gift of Eileen Wallace.


PS3552-L9-S28-1999-ArtistsStatement

Artist’s Statement:
“The first time I read Bly’s poem Singing Late at Night at Chuck and Phil’s Farm, I saw a thunderous tornado sweeping across the fields, and poem lines swirling from it. No matter how hard I tried to rid myself of the image, it stayed. And so I made the reduction linocut with words swirled in photopolymer types around it. The words all come from several of Bly’s poems in his book Iron John, and one of his translations of Kabir in the same book. What I saw in Singing Late at Night…unleashed a riff of Bly words for me.” – Steve Miller

Saturday Nights in Marietta
Robert Bly (b. 1926)
Minneapolis, MN: Minnesota Center for Book Arts, 1999
PS3552 L9 S28 1999

Poems by Robert Bly accompanied by visual interpretations by Bonnie Thompson Norman, Steve Miller, David Moyer, Ruth Lingen, Colleen Dwire, Jack Molloy, Karla Elling, Beth Grabowski, James Horton, Elsi Vassdal Ellis, Audrey Niffenegger, Eric Bealer, Deborah Mae Broad, Joe Sanders, and Caren Heft. Poems printed by Michael Sean Fallon on handmade paper by Mark Hark. Type is Van Dijk from The Press and Letterfoundry of Michael and Winifred Bixler. Bound by Dennis Ruud with leather spine and vellum lacing; housed in box of barn board. Designed by May Brooks Kirkpatrick under the direction of MCBA Artistic Director Mary Jo Pauly. Deluxe edition of 26 lettered copies, signed by the poet. University of Utah copy is “Z.”


TS1098-H8-B34-2000b-title-portrait

By His Own Labor
Cathleen Baker
Tuscaloosa, AL: Red Hydra Press, 2000
TS1098 H8 B34 2000b

From the colophon: “John DePol cut the Hunter portrait in wood, Michael and Winifred Bixler cast the types, Kathryn and Howard Clark and Travis Becker made the paper, Dard Hunter III made the endsheets using his grandfather’s Bull’s Head & Branch watermarked mould…designed and printed by Steve Miller and Cathleen Baker and the plate volume was printed by Meriden-Stinehour. Both the text and the plate volumes were bound at Gray Parrot; the box was made by Judi Conant.” Edition of one hundred and fifty numbered copies and twenty-six lettered copies. Numbered copies are quarter-bound in leather with printed pattern papers created from a single leaf & stem punch cut by the author. University of Utah copy is no. 45.


PQ7392-D53-U76-2006-skeletonspread

Uso Ilegal del Alma
Luis Francisco Diaz Sanchez
Tuscaloosa, AL: Parellel Editions, 2006
PQ7392 D53 U76 2006

From the colophon: “This book is a collaboration between The University of Alabama School of Library and Information Studies Book Arts Program, and our colleagues in Havana, Cuba. The collaborators from Alabama are Book Arts faculty bookbinder Anna Embree, faculty letterpress printer Steve Miller, graduate students Katrin Braun and Sara Owen, and translator Maria Vargas. The collaborators from Cuba are Luis Francisco Diaz Sanchez, artist Julio César Peña Peralta, and, from the Taller Experimental de Papel Artesanal (TEPA) de la oficina de Historiador de la Cuidad, Izel Marino Gonzales, Dra del TEPA, and Rafael Suan Lazo, Tecnico del TEPA…letterpress printed at The University of Alabama. Linocuts…printed in Havana by UA printers and the artist…Binding…done in Havana by UA binders and our Cuban friends.” Edition of fifty-five copies. University of Utah copy is no. 34, signed by author.

Rare Books is pleased to support the Book Arts Program with its fine press and artists’ books collections.