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Author Archives: rarebooks

Book of the Week – De Historia Stirpivm Commentarii Insignes…

21 Tuesday May 2013

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Albrecht Meyer, botany, Columbian Encounter, De Historia Stirpium, Erfurt University, Fuchsia, German, Greek, Heinrich Fullmaurer, herbals, Ingolstadt, Latin, Leonhart Fuchs, maize, marigold, medicine, Mexico, plague, plants, potato, pumpkin, Renaissance, tobacco, Veit Rudof Speckle, William Morris, woodcuts

A vintage book page from "De Historia Stirpium" features ornate Latin text and a detailed illustration of a tree labeled "Palma Ising," creating a scholarly and historical tone.
Fuchs, 1542, Title page
Illustration of a man in ornate Renaissance attire, wearing a detailed fur-lined cloak and hat. The text above reads "Leonhartus Fuchsius." The tone is formal and historical.
Fuchs, 1542, Portrait
An open book with a botanical sketch on the left page shows a detailed drawing of a plant with leaves and fruit. The right page contains Latin text. The tone is scholarly.
Fuchs, 1542

De Historia Stirpivm Commentarii Insignes…
Leonhart Fuchs (1501 – 1566)
Basileae: In officina Isingriniana, 1542
QK41 F7 1542

During the European Renaissance, medical treatments were based on botany, but the herbals and other books available to practitioners often inaccurately identified plants. This herbal, The History of Plants, established a new standard of scientific observation and accurate illustration. Leonhart Fuchs compiled his text from various classical sources but added his own field observations.

The remarkably detailed woodcuts, drawn by Heinrich Fullmaurer and Albrecht Meyer and cut by Veit Rudolf Speckle represent the first published illustrations of American plants, including the pumpkin, the marigold, maize, potato, and tobacco – all native to Mexico and introduced into Europe as a consequence of the Columbian Encounter. The plants were identified in Latin, Greek, and German.

Leonhart Fuchs was a child genius, matriculating at Erfurt University at the age of twelve. He went on to take a degree in medicine at Ingolstadt. His medical work during an outbreak of plague in 1529 was outstanding and contributed to an already growing reputation. In his De Historia Stirpium he gave full recognition to his artists by praising them in his preface and publishing their portraits. The artists achieved an extraordinary beauty of line. Their renderings demonstrate the Renaissance shift to the accurate observation and drawing of plants from life.

Fuchs would be immortalized in the lovely genus Fuchsia. English artist and designer William Morris owned a copy of Fuchs’s book and clearly took inspiration from it for some of his own designs.

 

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Book of the Week – The Dollmaker’s Son

13 Monday May 2013

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aquatints, Bodoni, handset, Jean Butterfield, printed, type, typeface

A notebook with a wooden cover and a fabric spine. The cover features a natural wood grain texture with a small round opening, giving it a rustic feel.
The Dollmaker’s Son, 1991, Cover
An open book with a black-and-white illustration on the left page, depicting a dark room with striped patterns on the floor. The right page contains text about Martin's introspective night. The tone is quiet and contemplative.
The Dollmaker’s Son, 1991
Alt text: A storybook page with an illustration of a stone wall and an open window, its curtain billowing in the breeze. Opposite is text beginning with "Once there was" about a boy named Martin who could understand dolls. The mood is mysterious and whimsical.
The Dollmaker’s Son, 1991

The Dollmaker’s Son
Jean Butterfield
S.l.: November Press, 1991

Text handset and printed by the author. Typeface is Bodoni 14 pt. Illustrations are aquatints. Covers are stained plywood embellished with acrylic doll eyes. Edition of sixty copies. University of Utah copy is no. 3.

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Book of the Week – Moby-Dick, or, the Whale

06 Monday May 2013

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Arion Press, Barry Moser, Herman Melville

Title page of "Moby-Dick; or, The Whale" by Herman Melville, featuring a black-and-white illustration of a bearded man, published by The Arion Press in 1979.
Moby Dick, 1979. Melville
Open book showing text on the left page and a detailed black and white illustration of a sperm whale on the right. The whale appears mid-swim, its mouth open, against a textured background. The scene conveys a sense of majesty and depth.
Moby Dick, 1979, the Whale
Open book displaying a black-and-white illustration of a sailing ship on the right page. Text on both pages, with "Chapter 52 The Albatross" prominently on the left page. Classic, maritime tone.
Moby Dick, 1979, Pequod


Moby-Dick, or, the Whale
Herman Melville (1819-1891)
San Francisco: Arion Press, 1979
Z232.5 A7 M38 1979

Illustrations drawn and engraved by Barry Moser. Paper is Green’s handmade paper. Issued in case. Edition of 265 copies.

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Book of the Week – Samizdat

29 Monday Apr 2013

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Derek Humphries, Leslie Bicknell, Oblivion Boys Press

Vintage book cover with a beige fabric texture. A purple ink stamp with "samizdat" and red arrows is centered, conveying an underground, secretive tone.
Samizdat, 1985, Cover
Open sketchbook with two pages. Left page features a cut-out figure from newspaper, stamps, and a small photo. Right page shows a stamped figure, embossed heart, and hand stamps, conveying a nostalgic and creative tone.
Samizdat, 1985, A to Z
Open book spread with a line drawing of a face in profile on the left. Words "pain, pleasure, deceit, knowledge, truth" below it. Right page reads "samizdat: a system of clandestine publication of banned literature" with a red star and small press mark. Tone is thoughtful and rebellious.
Samizdat, 1985, defined

Samizdat
Leslie Bicknell and Derek Humphries
London: Oblivion Boys Press, 1985
N7433.4 B515 S35 1985

From the Catalogue of the Press: “A passport to maturity, a document of and for our times dealing with birth, death, chance, experience and communication. Based on a cycle of eight poems. Printed on buff imitations parchment incorporating glue prints, rubber stamps, passport photos, raffle tickets, fortune fish and money.” From the colophon: “Derek Humphries and Leslie Bicknell are the proud parents of Samizdat, conceived whilst enjoying the life of the idle poor.” Edition of twenty casebound copies, numbered; one hundred copies on newsprint, bound with masking tape in bare boards. University of Utah copy is no. 10.

 

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Book of the Week – Vision Shifts

22 Monday Apr 2013

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Carol June Barton

Black and white book cover titled "Vision Shifts" by Carol Barton. It features a grainy photo of two people walking on a foggy road, evoking a serene, mysterious mood.
Vision Shifts, 1999 Cover
An open book with two pages. Left page has text: "From what was once to what will be." Right page has a small black-and-white photo and text below: "Between one culture and another." The background shows a misty field with stones. Mood is contemplative.
Vision Shifts, 1999
Alt text: A grayscale image with poetic text on the left reading, "Night and day have hard edges But in between them, vision shifts." Below, there's a faded landscape. On the right, a small black and white photo of a person is partially tucked into the page. The mood is contemplative and serene. © 1998 Carol Barton.
Vision Shifts, 1999


Vision Shifts
Carol June Barton
Philadelphia, PA: Borowsky Center for Publication Arts, University of the Arts, c1998
N7433.4 B376 V57 1999

Accordion format contains black and white photographs framed in cut-out windows. The image changes as a window shifts when the page is turned. Five photographs are within the text. These and one other photograph are also reproduced on cards inserted into a pocket inside the back cover. A description of each photograph is on the back of the corresponding card. From the colophon: “Vision Shifts was produced and printed at The Borowsky Center for Publication Arts at the University of Arts in Philadelphia, Pennsylvania. Photo duotones were produced in Photoshop IV on a Macintosh computer. Type was set in Quark Express. Typefaces are ITC Blair and Gill Sans. Printing was done on a Heidelberg KORS offset press. The paper is Mohawk Superfine 100 lb. text.” Edition of five hundred copies. University of Utah copy is no. 5.

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Book of the Week – Friendship on South Palm Drive

15 Monday Apr 2013

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accordion fold, Marion Baker

Repetitive pattern of small houses and tall palm trees on a textured background. Below, the text reads "Friendship on South Palm Drive."
Friendship on South Palm Drive, 1996, Cover
Text on left page describes family life in Southern California, focusing on friendships. Right page has an illustration of a family outside a bungalow with two palm trees. The tone is nostalgic and warm.
Friendship on South Palm Drive, 1996, Text
Vintage illustration of Spanish Revival homes with palm trees. A group of women in 1950s attire stands on the left, two young girls on the right. Nostalgic tone.
Friendship on South Palm Drive, 1996

Friendship on South Palm Drive
Marion A. Baker
Los Angeles, CA: Printmaker Press, 1996
N7433.4 B23 F75 1996

Designed and printed by Marion Baker. Accordion folding pages. Edition of forty copies. University of Utah copy is no. 29.

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Book of the Week – Dale L. Morgan’s Utah

08 Monday Apr 2013

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Red Butte Press, Royden Card, woodcuts

Title page of a book with "UTAH" in bold, red letters. Below, it mentions woodcuts by Royden Card. Published by Red Butte Press in 1987.
Dale L. Morgan’s Utah, 1987, Title Page
Monochrome print shows a mountainous landscape with rugged terrain and a hazy texture. The artwork conveys a sense of calm and solitude.
Dale L. Morgan’s Utah, 1987. Great Salt Lake
A black ink illustration on textured paper depicts a rugged arch formed by natural rock formations. The scene conveys a sense of timelessness and solitude.
Dale L. Morgan’s Utah, 1987, Arches


Dale L. Morgan’s Utah
Dale Lowell Morgan (1941-1971)
Salt Lake City, UT: Red Butte Press, 1987
Z232.5 R5 M672 1987

Illustrated with woodcuts by Royden Card. Limited edition of seventy-five copies, numbered and signed by artist. University of Utah copy is no. 3.

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Book of the Week – Hope on Dead Wings

01 Monday Apr 2013

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accordion fold, Red Butte Press, Xerox transfer monotype

Abstract artwork features a central dark red, amorphous shape on a yellow background, framed with chaotic metal staples, conveying a sense of decay and tension.
Hope on Dead Wings, 1997
Textured Page with a ghostly image of a skeleton on a black background, surrounded by stenciled letters and red paint
Hope on Dead Wings, 1997
Textured page with handwritten text describing the creation of "Hope on Dead Wings" using various artistic techniques, like acrylic and spray paint.
Hope on Dead, 1997

Hope on Dead Wings
James Baker
Salt Lake City, UT: J. Baker, 1997
N7433.4 B227 H66 1997

Produced in coordination with an Undergraduate Research Opportunities Fellowship, University of Utah. The artist completed this book as part of his internship at the Red Butte Press. Paper is Arches heavyweight. Illustration is acrylic paint, Xerox transfer monotype, and spray paint. Accordion fold format in boards. Edition of 5 copies, signed and numbered. University of Utah copy is no. 4.

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Book of the Week – Sphaera Mundi

25 Monday Mar 2013

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cosmography, Galileo, Guiseppe Bianchani, Jesuit, moon, Society of Jesus, telescope, thermometer, Tycho Brahe, woodcuts

Sphaera Mundi antique title page with red and black Latin text detailing cosmography concepts. Features a diagram of a sphere with intersecting lines.
Guiseppe Bianchani, Sphaera Mundi,1620
An open book with Latin text and diagrams on both pages. The left page shows an oval diagram with intersecting lines labeled B, D, F. The right page has a horizontal line diagram at the top, labeled A, B, C, D. The tone is scholarly and historical.
Guiseppe Bianchani, Sphaera Mundi,1620
An antique book page shows a detailed geometric diagram depicting a sphere with intersecting lines, angles, and calculations. Text in Latin surrounds the image, reflecting a scholarly and historical tone.
Guiseppe Bianchani, Sphaera Mundi,1620


Sphaera Mundi
Guiseppe Bianchani (1566 – 1624)
Bononiae: Typis S. Bonomij, sumptibus Hieronymis Tamburini, 1620
First edition
GA7 B57

One of the most immediate consequences of the telescopic observations of Galileo in 1609-10 was the discussion it generated among the mathematicians and astronomers of the Society of Jesus. They reproduced Galileo’s observations and debated the cosmological order of the universe taking into consideration the new data. The debate culminated in the adoption of Tycho Brahe’s system and was made official with the publication of Giuseppe Bianchani’s Sphaera Mundi.

The Jesuit Bianchani fully accepted Brahe’s amendation of the Copernican cosmography which acknowledged the heliocentricity of the planetary system, while preserving the geocentricity of the universe. Bianchani wrote his treatise in 1615, but it was not published until 1620, after the Decree of the Congregation of the Index in 1616. Written at the request of his students, Bianchani respectfully cites Brahe, Copernicus, Galileo, and Kepler repeatedly. He discusses the satellites of Jupiter and Saturn, sunspots, and the new stars of 1572, 1600, and 1604, astronomical phenomena not observed before the development of the telescope.

Bianchani also presents his own theory of the earth’s tendency toward roundness, wherein natural forces operate to flatten mountains and fill valleys so that the surface would be completely covered by the ocean, as it was in the early formation of the earth. Bianchani writes that God created the earth on the third day as a smooth sphere. God then created the depths of the sea and formed the mountains.

One of the many woodcuts in the text is an illustration of the moon, with very inaccurately drawn craters. Another is the first illustration of a thermometer.

 

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Rare Books at TEDxUGA

21 Thursday Mar 2013

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TED, University of Georgia

The Rare Books Division, University of Utah, and the University of Georgia invite you to a live-stream talk by Dr. Belinda Stillion Southard, Dept. of Communication Studies, University of Georgia. Dr. Southard will use an image from the rare book collections during her talk. The event is part of the University of Georgia’s participation in TED. Live-streaming for Dr. Southard’s talk begins at 4PM EST, Friday, March 22, 2013.  The image is “Philadelphia Hall Burning” from History of Pennsylvania Hall, Philadelphia, 1838, first edition. This book was part of the exhibition, “Public Sentiment: A Nineteenth Century War of Words,” curated by Luise Poulton in 2010. An online version of the exhibition was created by Alison Conner in 2012. It is from the online exhibition that Dr. Southard found our image.

Philadelphia Hall Burning, 1838

Philadelphia Hall Burning, 1838

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