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Ernest Hemingway (1899-1961)
New York and London: Charles Scribner’s Sons, 1932
First edition, first issue
GV1107 H4 1932

Hemingway’s fascination with Spain and bullfighting, first reflected in 1926 in the novel The Sun Also Rises, was further developed in the classic Death in the Afternoon. Hemingway viewed the sport as a tragic, artistic spectacle, “…the only art in which the artist is in danger of death.”  This non-fiction account of bullfighting was the object of mixed reviews at the time of publication. John Dos Passos called the book “an absolute model for how that sort of thing ought to be done,” and a review in The New York Herald said it was “full of the vigor and forthrightness of the author’s personality, his humor, his strong opinions – and language…In short,…the essence of Hemingway.” However, the New Yorker called it an act of professional suicide by a successful novelist. Max Eastman, a year later, said it was full of “sentimentalizing over a rather lamentable practice of the culture of Spain” and suggested something in the author less than manly, “a literary style of wearing false hair on the chest.” Hemingway began writing Death in late 1930. Between then and publication he spent a summer in Spain to gather photographs for the book. In all, he collected four hundred of them, although only eighty-one of them appeared in the finished product. Hemingway wrote of the bullfight, “[it] encompasses mass culture; and fine art; and its audience includes highbrow and lowbrow alike.” Published during the Great Depression, sales were hardly what they had been for his fiction. With brightly-colored frontispiece of “The Bullfigher” by cubist Juan Gris and numerous bullfighting photographs. First issue with Scribner’s “A” on copyright page and original dust jacket with full-color painting “Toros” by Roberto Domingo.

Marie Curie: The Poster and Rare Books


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Continuum, The Magazine of the University of Utah features The Curie Poster.

“In the southwest corner of the University of Utah’s Thatcher Building for Biological and Biophysical Chemistry, The Curie Poster is displayed as a tribute to Utah women in chemistry.”

Read the Continuum article


Visit the poster in the Thatcher Building for Biological and Biophysical Chemistry.

Hold the first edition of Marie Curie’s Traite de Radioactivite, Paris, 1910, in Rare Books.


Traite de Radioactivite
Marie Curie (1867-1934)
Paris: Gauthier-Villars, 1910
First edition
QC721 C98 1910

Marie Sklodowaska Curie received degrees in math and physics in Paris. She earned her doctorate in 1903. Her husband, Pierre, a professor of physics, became involved in her research. They, along with Henri Becquerel, were awarded a Nobel Prize in physics for their work that same year. In 1906, after the death of her husband, she was offered his chair in physics at the Sorbonne. In 1911 she was awarded a second Nobel Prize in chemistry. Traite is Curie’s fullest statement on radioactivity, a word she created for a concept that she invented and defined. Henri Becquerel discovered of a type of radiation discharged from a uranium compound that was capable of passing through sheets of matter opaque to ordinary light. Curie then began a systematic examination of a large number of chemical elements and their compounds to test whether they possessed the “radioactive” property of uranium. Only one other element, thorium, was found to show this effect to a degree comparable with that of uranium. After testing the various compounds of uranium, Curie discovered that radioactivity was an atomic property, i.e., the activity was proportional to the amount of uranium present and was independent of its combination with other substances. In trying to isolate this radioactive property from the compounds, Curie isolated the new elements polonium and radium. In Traite she provided a detailed review of discoveries she made and confirmed the connection between matter and electricity. The first volume contains detailed descriptions of how she measured radiation, with numerous text illustrations of the instruments. In the second volume, Curie discussed the nature of radiation, the heat and various phenomena associated with radiation and the varieties of radioactive substances. The final chapter concerns radiations of the sun and atmosphere. With a frontispiece portrait of Pierre Curie, seven plates, five of which are photographic, and nearly two hundred diagrams. Bound in contemporary three-quarter brown cloth with green morocco spine label and marbled boards and endpapers.

Book of the Week – Travels into Several Remote Nations of the World


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Travels into Several Remote Nations of the World
Jonathan Swift (1667-1745)
London: B. Motte, 1726
First edition
PR3724 G7 1726

When Travels by “Lemuel Gulliver” was first published, only a few close friends knew that the real author was Jonathan Swift, the Dean of the Anglican St. Patrick’s Cathedral in Dublin. Swift, a native Dubliner, was involved in several political controversies during his lifetime, particularly in relation to the treatment of the Irish by the English. Travels was a none-too-subtle, bitter satire of English royalty, politicians, scientists, and historians. Styled after popular travel and exploration narratives of the seventeenth and eighteenth centuries, the imaginative storytelling lambastes the much-lauded human reason of the Enlightenment. In Travels, Swift suggests that no change in governmental form would ever effect any lasting change in political behavior. Mankind, never noble for long under any circumstances, would always face the same unequivocal self: full of greed, excess, corruption, exploitation, violence, and decadence. Benjamin Motte, a London printer, received an anonymous letter requesting that “Captain Gulliver’s” memoirs be published. A manuscript, probably copied in a hand other than Swift’s, was delivered, and one short month later, the book went on sale, after the publisher negotiated the softening of several passages. The book’s first printing sold out in a week. The combination of deadpan reporting, exotic experiences, and jaundiced backward glances at English society made the book an immediate success. Thus, the successful publication of a book politically loaded in a time before freedom of the press was but a gleam in a few revolutionary’s eyes. The frontispiece is a fine example of eighteenth-century English book illustration. The engraved portrait of Swift is by John Sturt and William Sheppard (II?). University of Utah copy (“Teerlink B” edition) gift from Robert Steensma, second University of Utah copy (“Teerlink AA” edition) gift of Anonymous.

Rare Books acquisition made possible with help from Latin American Studies


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Thanks to generous support from the Center for Latin American Studies, Rare Books has purchased a rare copy of a work by Argentinian artist Antonio Frasconi.

19-Poemas-Spread1 19-poemas-Spread2 19-Poemas

19 Poemas de Hispano America
Antonio Frasconi (1919-2013)
South Norwalk, CT: 1969
PQ7798.16 R374 D5 1969

Twenty-one full-page color woodcuts, each signed by the artist. Printed on Japanese paper. Poets include Juana de Ibarbourou (1892 – 1979, Uruguay), Cesar Vallejo (1892-1938, Peru), Vicente Garcia Huidobro Fernandez (1893-1948, Chile), Gabriel Mistral (1889-1957, Chile), Nicolas Guillen (1902-1989, Cuba), Pablo Neruda (1904-1973, Chile), Nicanor Parra (b. 1914, Chile), Joaquin Pasos (1914-1977, Nicaragua), Octavio Paz (1914-1998, Mexico), Idea Vilarino (1920-2009, Uruguay), Claribel Alegria (b. 1924, Nicaragua), Ernesto Cardenal (b. 1924, Nicaragua), Juan Gelman (1930-2014, Argentina), Roberto Fernandez Retamar (b. 1930, Cuba), Marco Antonio Montes de Oca (1932-2009, Mexico). Issued in orange cloth tray case made by George Wieck. Edition of fifteen signed copies. The University of Utah copy is no. 3.

Antonio Frasconi was born in Buenos Aries and grew up in Montevideo, Uruguay. His parents, of Italian descent, had moved from Italy to Argentina during World War I. At the age of twelve, he began apprenticing with a printer. Frasconi liked the idea of making multiples in order to offer art at reasonable prices. Frasconi moved to the United States from Argentina in 1945 at the end of World War II on a scholarship to study at the Art Students League in New York City. In 1952, he received a Guggenheim Fellowship. In 1959, he was a runner-up for the Caldecott Medal, an honor awarded to the illustrator of the best American picture book for children. The House That Jack Built, was also written by Frasconi and remains a favorite today. He was elected into the National Academy of Design as an associate member and became a full Academician in 1969. In 1982, Frasconi was named Distinguished Teaching Professor of Visual Arts at the State University of New York at Purchase. Frasconi illustrated more than one hundred books. His woodcuts appeared on album and magazine covers, holiday cards, calendars, posters and a U.S. postage stamp. His work is in the Metropolitan Museum of Art, the Museum of Modern Art, the New York Public Library, the National Gallery of Art, the Smithsonian and private collections.

19 Poemas de Hispano America joins several other pieces illustrated by Frasconi in the rare book collections:

12 Fables of Aesop
New York: Museum of Modern Art, 1954
PA3855 E5 W48

Linoleum blocks by Antonio Frasconi illustrate fables adapted by Glenway Wescott. The book was designed by Joseph Blumenthal and honored by the American Institute of Graphic Arts as one of the year’s 50 best books. Edition of nine hundred and seventy-five signed copies. University of Utah copy is no. 724.

Kitty Hawk, 1894
Robert Frost (1874-1963)
New York: Spiral Press, 1956
PS3511 R94 K57 1956

Issued as holiday greetings from Henry Holt and Company, Christmas, 1956.


Kaleidoscope in Woodcuts
Antonio Frasconi
New York: Harcourt, Brace & World, 1968; Japan: Zokeisha Publications, Ltd., 1968
NE1112 F72 A4 1968

Printed to honor Antonio Frasconi by the Republic of Uruguay at the 34th Biennale in Venice. Color reproductions of woodcuts printed on a continuous strip of paper folded accordion style. Bound in grey cloth boards. Issued in black slipcase with printed paper label. University of Utah copy gift of Gabriel Rummonds.


Overhead the Sun: Lines from Walt Whitman
Walt Whitman (1819-1892)
New York: Farrar, Straus and Giroux, 1969
First edition
PS3204 F65

Color woodcuts by Antonio Frasconi. University of Utah copy signed by artist.


¡Apoye santuario!
Tempe: ASU School of Art Pyracantha Press, 1985
HV645 F73 1985

Broadside designed and printed by Antonio Frasconi and John Risseeuw “in support of the churches that take part in the new underground railroad known as Sanctuary.” – from the colophon. University of Utah copy nol. 123, signed by the designers.


Prima che tu dica « Pronto »
Italo Calvino
Cottondale, AL: Plain Wrapper Press, 1985
PQ4809 A45 P713 1985

From Fantasies and Hard Knocks, Gabriel Rummonds, 2015: “…in October 1983 Antonio Frasconi invited me to give a talk to a group of art students at the State University of New York at Purchase. During that visit he inquired about the Calvino project and I reluctantly had to admit that I still had not published it – partly because I had been unable to find an artist who would work within my specified parameters. I related the problems I had had working with Alan Sundberg and Sergio Pausig. Antonio, who had always wanted to illustrate at least one PWP book, asked me to send the manuscript to him, saying he would like to give it another try. Knowing of his wonderful landscapes and not wanting to risk disappointment again, I gave up on the idea of having circular illustrations and suggested that he use the geographic locations mentioned in the story as themes for his illustrations. And that is exactly what he did with great success.”


English translation by William Weaver (1923-2013). The aesthetic and technical challenge of binding this edition inspired Craig Jensen to pursue edition binding over an intended career in book conservation. It also marked the beginning of his work with master printer Gabriel Rummonds. Illustrated with four multi-colored woodcuts by Antonio Frasconi. Printed on an 1847 Washington handpress by Gabriel Rummonds and Alessandro Zanella. Some pages printed on double leaves. Type is handset Post Mediaeval cast by H. Berthold A.G. Paper handmade at the Cartiere Enrico Magnani, printed damp. Tan quarter leather with paste paper sides by Antony O’Hara. Binding is a tight joint, in-boards style, incorporating a spine hollow and handsewn silk endbands. Housed in a cloth-covered, drop-spine box with the Plain Wrapper Press device set in a recess on front board. Edition of seventy-five numbered copies, signed by the poet and the artist. University of Utah copy is no. 4, printed for Tom and Elfie Rummonds.


Five Meters of Poems
Carlos Oquendo de Amat (1905-1936)
Isla Vista, CA: Turkey Press, 1986
First English edition
PQ8497 O5 C513 1986

Carlos Oquendo de Amat was born in Puno, Peru, but spent most of his childhood on the streets of Lima. Puno was a provincial capital on the shores of Lake Titicaca. Amat’s father was a Sorbonne-educated progressive newspaper publisher, a prominent member of Puno society and a vocal opponent of Peru’s conservative Catholic establishment. Upon the death of his father in 1918, Amat and his mother moved from genteel comfort in Pano to poverty in Lima, at a time when the city experienced growth and transformation in the form of new working and professional classes. Amat became a part of an extensive avant-garde poetry movement in Lima. Cinco metros de poemas is his only publication, written between 1923 and 1925, and printed in 1927, when Amat was 19. The original publication, produced in Lima by La Editorial Minerva, was printed on a single sheet of folded paper five meters long. The lines were composed in varying layouts throughout the sheet. The poem-object is reminiscent of earlier and contemporary European modernist movements that included poets such as Baudelaire and known to the literati in Lima. Amat joined the Communist Party, and spent the rest of his life in and out of jail for dissent. He contracted tuberculosis in prison. He was deported to Panama, from where he managed to get to Spain. He died there shortly after he arrived and just before the Spanish civil war. Translation of Cinco metros de poemas by David M. Guss, with an introduction by Guss. Illustrated with woodcuts by Antonio Frasconi. Formed as one folded sheet, five meters long. Typeface is Goudy modern. Paper is Mohawk. Edition of three hundred copies.


“Contentment is analogous with a man and his books” — Anonymous gives again!


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Ever wondered about book collecting? “Anonymous” recently donated copies of The Amateur Book Collector to Rare Books.

The first issue was published in September 1950 by W.B. Thorsen. “We are a magazine in embryo, staffed by young people and guided by men and women with years of experience in the world of books…Whittier said that contentment is ‘the harvest of song of inward joy’ and contentment is analogous with a man and his books.”

With these humble beginnings, the magazine published issues for the next 25 years.

While the Marriott Library already holds issues from 1959 to 1975, it is with great pleasure that we add these earlier issues (1951 through 1955) to our collection.

Vol. 1, no. 10, June, 1951 celebrates the 100th anniversary of the publication of Uncle Tom’s Cabin, a book we featured in our 2010 exhibition, “Public Sentiment: A Nineteenth-Century War of Words,” where you can read about the impact of Uncle Tom’s Cabin on 19th century attitudes regarding slavery and see an image from our first edition.

The Amateur Book Collector

Thank you, Anonymous!



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London: Printed for Jacob Tonson, 1697
First edition
PA6807 .A1 D7 1697

Translated into English verse by John Dryden. Alexander Pope called Dryden’s translation “the most noble and spirited translation I know in any language.” The book was published by subscription, a method of publishing by which the subscriber’s patronage enabled the production of particularly lavish books. In all, one hundred and one persons subscribed. For five guineas they would each have a full-page illustration in their copy with their names and coat of arms. A second subscription list went out after Dryden had completed half the translation. These subscribers paid two guineas for their copy, which did not include plates dedicated to them. Two hundred and fifty copies were added for this list. Correspondence between Dryden and Jacob Tonson reveal several arguments during the publication process. One such quarrel evolved over the desire of Tonson to dedicate the book to William III and Dryden’s refusal to do so. Tonson made sure that the engravings were adapted so that Aeneas sported a hooked nose a la William. Illustrated with one hundred and one engraved plates by Wenzel Hollar (1607-1677) as well as an engraved title-page and a full-page engraving of Virgil reciting the Marcellus passage in Aeneid Bk VI to Augustus and Octavia. Hollar, born in Prague, studied engraving in Frankfurt in 1627 with publisher Matthaus Merian. In 1633, he was working in Cologne. Under the patronage of Thomas Howard, Earl of Arundel, he moved to England in 1637, where he taught drawing to the Prince of Wales. He fought in the ranks of the King, was captured by Parliament and escaped to Antwerp in 1644. He returned to London in 1652, where he died in poverty. A master etcher he was recognized in his own time and to this day for his work, producing nearly three thousand plates, many of which illustrated books such as this. He is best known for his etchings of London after the Great Fire of 1666. He married and had a daughter, described by a contemporary as “one of the greatest beauties I have seen.” A son died in the plague. He had several children by a second wife. Bound in contemporary speckled calf, the spine tooled in gold.

Congratulations to both Floyd and Greg!


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On Saturday night at the Marriott Library’s first ever “Appreciation Celebration,” the Gregory C. Thompson Award was officially unveiled and bestowed to long-time library supporter and dear friend, Floyd O’Neil. The award was created in Greg’s name to represent the many contributions that Greg has made to the library over the course of the last 30 (plus) years and for his development of an extraordinary Special Collections division. Congratulations to both Floyd and Greg! The University of Utah

Rare Books Goes to the Natural History Museum of Utah!


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Rare Books has contributed to a new exhibit at the Natural History Museum of Utah. Our first editions of Charles Darwin’s On the Origin of Species, 1859 and Variations of Plants and Animals Under Domestication, vol. 1, 1868, are on display in

Natural History Museum of Utah
September 19, 2015 through January 2, 2016

Find out how Charles Darwin, the father of modern evolutionary thought, relied on pigeons to formulate and communicate his theory of natural selection. Then meet a University of Utah biologist following in Darwin’s footsteps. Glimpse inside Dr. Michael Shapiro’s lab to see how he investigates the pigeon genome to reveal how evolution works at the genetic level.

For more information visit the Natural History Museum of Utah’s website.

For more information on Darwin and the related Rare Books collections visit our online exhibition, The Evolution of Darwin.

QH365-O2-1859-ED QH365-V2-1868-ED

Managing Curator, Luise Poulton, talks about the books and collaboration with the Natural History Museum of Utah on KSL News Radio.

The exhibition was featured on KUER local news.


Daily Utah Chronicle Article – Banned Books Come to Marriott Library


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KYLEE EHMANN of the Daily Utah Chronicle writes about the Rare Books exhibition SHHHHH!

Banned Books Come to Marriott Library


“Poulton said that while an exhibition like this may seem dated in an era where information is primarily spread via the internet, she thinks it’s important for students to know the historical ways people have communicated controversial topics.

‘[The internet is] revolutionary in the way we see our world and the way we get our information, but it’s not the first revolution as far as the way we get our information by a long shot,’ she said. ‘This is a human struggle — this is a human story of trying to get information out.'”

All these books are a permanent part of Rare Books. Anyone can visit the books in person on level 4 of the Marriott Library, as part of the exhibition through November 1, and in the Special Collection Reading Room after the exhibition ends.