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Book of the Week — Bashārat Yasuʻ al-Masīḥ kamā kataba Mār Mattay waḥid min ithnay ‘ashar min talāmīdhihi

19 Monday Jun 2017

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Accademia del Disgno, Aleppo, Alessio dra Saggeto, Antonio Tempesta, Antonius Sionita, arabesque, Arabic, Armenian, Bashārat Yasuʻ al-Masīḥ, bi-lingual, Book of Hours, borders, Cardinal Ferdinando de' Medici, Christian, College of Sapienza, colophon, Eastern Orthodox Church, Europe, European, Flemish, Florence, font, French, frescoes, gilt, Giorgio Vasari, Giovanni Battista Raimondi, Gospels, Hebrew, Hungarian, Ibrahim Muteferrika, illustrations, Islam, Islamic, Istanbul, Joannes Stradanus, Latin, Leonardo Parasole, mathematics, Matthew, Medici, military, Mohamedan, morocco, movable type, Muslim, Near East, Orientalist, Ottomon Empire, Palazzo Vecchio, peace, Persian, political, Pope Gregory XIII, printing, religious, Robert Granjon, Romae, Roman Catholic Church, Roman type, Rome, Santi di Tito, science, scripture, sprinkled calf, stamps, Sultan Ahmed III, sword, Syrian, translation, typographer, Typographia Medicea, Vatican, Villa Farnese, Waqf, woodcuts

BS315-A66-1591-title
“Ne arbitremini quod ego uenetim ut mitterem super terram pacem; non ueni ut mitterem pacem, sed gladium (“Do not suppose that I have come to bring peace to the earth. I did not come to bring peace, but a sword.)” — Matthew 10:34

Bashārat Yasuʻ al-Masīḥ kamā kataba Mār Mattay waḥid min ithnay ‘ashar min talāmīdhihi
Romae: in Typographia Medicea, MDXCI
Edicio princeps
BS315 A66 1591

Bashārat Yasuʻ al-Masīḥ, the first printed edition of the Gospels in Arabic, is the first production by the Typographia Medicea press, a printing house established by Pope Gregory XIII and Cardinal Ferdinando de’ Medici in order to promote and distribute Christian scripture to the Near East. Two issues of this work were printed, apparently simultaneously. One had Arabic-only text and was printed in an edition of 4,000 copies. The other, here, was printed in Arabic with interlinear Latin, in an edition of 3,000 copies. The Arabic-only edition has the date 1590 on the title-page, but 1591 in the colophon. Allegedly, a few of the bi-lingual copies were published with a preliminary leaf stating, “Sanctum Dei evangelium arab.-lat.” No known copies of this half-title are known to exist and this leaf may never have existed.

With a Latin translation ascribed to one Antonius Sionita, the book was edited by Giovanni Battista Raimondi (1540-ca. 1614), an esteemed Orientalist and professor of mathematics at the College of Sapienza in Rome. Raimondi travelled extensively in the Near East and was knowledgeable, if not fluent, in Arabic, Armenian, Syrian and Hebrew. His fame rests with the editorship of the Typographica Medicea. He and French typographer Robert Granjon, who created the Arabic font used in this work, were both recognized then and now for the earliest and best attempts to print Arabic in Europe.

Illustrated with 149 woodcuts, printed from 68 blocks, engraved by Leonardo Parasole (ca. 1587-ca. 1630). The artist, Antonio Tempesta (1555-1630), studied under Santi di Tito and Flemish artist Joannes Stradanus at the Accademia del Disgno. Tempesta later worked with Stradanus and Giorgio Vasari (1511-1574) on the interior decoration of the Palazzo Vecchio in Florence. Tempesta then travelled to Rome, where he fulfilled several commissions, including frescoes for Pope Gregory XIII in the Vatican and panel paintings for the Villa Farnese. Many of the woodcuts are signed with the initials “AT” (Antonio Tempesta) and “LP” (Leonardo Parasole). The illustrations in Bashārat Yasuʻ al-Masīḥ are excellent examples of Tempesta’s work, noteworthy for their clear composition and narrative of the episodes depicted.

Be that as it may, the illustrations may have played a part in the failure of this book to reach, let alone convince, its intended Islamic audience. Islam forbade religious illustration and these may have made the Gospels appear less than sacred, if not sacrilegious, to Arab Muslim readers.

To be fair, the Christian church had a long tradition of presenting their message with religious illustrations. As far back as the sixth century, Pope Gregory defended the value of such imagery, arguing that pictures were useful for teaching the faith to the unconverted and for conveying sacred stories to the illiterate. According to Bede, St. Augustine introduced Christianity to the heathen King Ethelbert of Kent, upon landing on the British Isles, by presenting a picture of Christ painted on a wooden panel. He then began to preach.

The Pope seems also to have denied the fact that more Christians lived in the Ottoman Empire than in any other European state. The first printed book in Arabic was a Book of Hours, probably intended for export to Syrian Christians. But these Christians were adherents to the Eastern Orthodox Church, not the Pope’s Roman Catholic Church. Christianity was hardly unknown in the predominantly Muslim Ottoman and Persian Empires. The Ottomans were, however, Christian Europe’s major military and political concern.

In addition to printing the Gospels in Arabic, Ferdinando de’ Medici charged Raimondi with printing “all available Arabic books on permissable human science which had no religious content in order to introduce the art of printing to the Mohamedan community.” Despite the superb quality — textually, typographically, and artistically — of its work, the Medici press was an economic failure and went bankrupt in 1610. The fact is that Raimondi displayed little understanding of Islamic culture. Although Raimondi’s selection of publications was not aimed at European scholars, his choices stimulated a study of the Near East in Europe.

It would be more than a century after the Medici Press closed that Ibrahim Muteferrika, a Hungarian convert to Islam, was given permission by Sultan Ahmed III (1673-1736) to open his printing house in Istanbul, in 1729. This was not the first printing press established in the Near East, but it was the first Eastern press to print in Arabic using movable type.

Arabic and small roman type text within double-ruled borders. Colophon and printer’s note to reader in Latin. Colophon decorated with large woodcut arabesque.

Rare Books copy bound in full, eighteenth century, sprinkled calf, with a gilt spine containing two burgundy morocco labels, and decorative gilt borders on the covers. The first leaf is shaved and reinserted on contemporary paper. This leaf contains four Waqf stamps, indicating the authentication of the Arabic translation. As in most copies, our copy lacks a title page. A former owner’s penciled inscription, “Alessio Dra Saggeto/en Aleppo 1871,” is on the free front end paper. Another signature, in ink, is at the top of the back free end paper.

For more on the woodcuts, see Field, Richard S. Antonio Tempesta’s Blocks and Woodcuts for the Medicean 1591 Arabic Gospels, NE662 T45 F54 2001, in the rare book collections.

BS315-A66-1591-colophon

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Book of the Week — [اختصار مختصر المقاصد الحسنة]

12 Monday Jun 2017

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al-Sakhāwī, Aziz Atiya, bookworms, crescents, ḥadīth, laid paper, Muḥammad ibn ʻAbd al-Bāqīal-Zurqānī, Naskhī, watermark

MS-OR.12.48
‘kabīkaj, kabīkaj, kabīkaj, yā kabīkaj iḥfaẓ al-waraq’

اختصار مختصر المقاصد الحسنة
زرقاني، محمد بن عبد الباقي
1168 [1754]
Ms Or. 12.48

An abridgement of Muḥammad ibn ʻAbd al-Bāqīal-Zurqānī’s Mukhtaṣar, itself an abridgement of al-Sakhāwī’s al-Maqāṣid al-ḥasanah, a collection of ḥadīth; the present work is anonymous, but al-Jabartī (in ʻAjāʼib al-āthār, ed. Ḥasan Muḥammad Jawhar et al., [al-Qāhirah]: Lajnat al-Bayān al-ʻArabī, 1958-9; v. 1, p. 176) informs us that al-Zurqānī summarized his own abridgement “fī naḥw kurrāsayn bi-ishārat wālidihi”; the present work would seem to fit that description; an extract is also listed by Brockelmann (GAL II:35).

Naskhī in a trembling hand; rubrications; 25 lines/p; corrections and notes on the margins; title and invocation against bookworms (‘kabīkaj, kabīkaj, kabīkaj, yā kabīkaj iḥfaẓ al-waraq’) on fol. 1a; one folio missing after fol. 7; laid paper; watermark: three thick crescents; unbound.

From the collection of Aziz Atiya (1898-1988.)

MS-OR.12.48-colophon

~~Thanks to Mark Muehlhausler for the catalog record and for bringing the curse against bookworms to my attention. LP

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Seven Pillars of Wisdom — The Book that inspired the movie that inspired the art

06 Tuesday Jun 2017

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A. W. Lawrence, Auda Abu Tayi, Burbank, Columbia Tristar Home Video, Damascus, Emir Abdullah, Feysal, Jidda, Lawrence of Arabia, motion picture, Mukheymer, Nawaf Shaalan, New York, Oxford, Saad el Sikeinj, Scott Beadles, Seven Pillars of Wisdom, Shakir, T. E. Lawrence

DesertTriptych

photographs by Scott Beadles. Artist’s statement: “I recall a movie from memory, something I had seen in my childhood, the memory indefinite. My grandfather sat next to me and pointed out the boundaries of the revolt on the map above the sofa, it was always the centerpiece of his discourse. I remember a vacant climate, a vast expanse that even at such a young age was perceptibly inhospitable. The images of the desert have stuck with me, though muddled by time, the purity of the landscape perpetual. In the reconstruction of a past memory, I photographed what I remember through the distance of time. The intent was of the images, to encapsulate a feeling. Shapshots of the Arabian desert, barbarous and beautiful.”

“Some of the evil of my tale may have been inherent in our circumstances.”
— T. E. Lawrence

Seven Pillars of Wisdom
T. E. Lawrence (1888-1935)
Garden City, NY: Doubleday, Doran & Company, Inc., 1935
D568.4 L4 1935

History of the printing of Seven Pillars:

“Text I — ‘…I lost it.’

Text II — ‘…All but one page of this text was burned by me in 1922.’

D568.4-L4-1935-Camel

Privately Printed Texts
Oxford 1922
‘…eight copies were required. Five copies (bound in book form, for the convenience of those former members of the Hejaz Expeditionary Force who undertook to read it critically for me) have not yet (April 1927) been destroyed.’

Subscribers’ Text I. xii. 26
‘…Beginners in literature are inclined to fumble with a handful of adjectives round the outline of what they want to describe: but by 1924 I had learnt my first lesson in writing, and was often able to combine two or three of my 1921 phrases into one…The Seven Pillars was so printed and assembled that nobody but myself knew how many copies were produced. I propose to keep this knowledge to myself.’

D568.4-L4-1935-Damascus

Published Texts
New York Text
‘Ten copies are offered for sale, at a price high enough to prevent their ever being sold. No further issue of the Seven Pillars will be made in my lifetime.'”

–T. E. Lawrence

D568.4-L4-1935-Jidda

“To bring the information up to date, I add that the remaining copies of the Oxford printed Text of 1922 are still in existence, but will not be made public for at least ten years, and then only in a limited edition…The text of the present edition is identical with that of the thirty-guinea edition of 1926, except for the following omissions…necessary to save hurting the feelings of persons still living…” — A. W. Lawrence

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The movie that inspired the art.
Lawrence of Arabia
Burbank, CA: Columbia Tristar Home Video, 1002
PN1997 L38 2002 ARC

Originally produced as a motion picture in 1962. Directed by David Lean. Starring Alec Guinness, Anthony Quin, Jack Hawkins, Jose Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Omar Sharif, Peter O’Toole. Music composed by Maurice Jarre. Lawrence of Arabia won the Academy Award for Best Picture, 1962.

And one more for good measure:

Z116-A3-R54-1985-Portrait
“He sat, fireless, in very cold weather, wearing a leather, wool-lined flying suit, with the fattest fountain pen I have ever seen — where he got it I don’t know — and wrote in a splendid great Kalamazoo notebook, leather bound and secured with a patent lock that delighted him.”

T. E. Lawrence, Book Designer: His Friendship with Vyvyan Richards
Vyvyan Richards
Wakefield, West Yorkshire: Fleece Press, 1985/86
Z1116 A3 R54 1985

Reprinted from T. E. Lawrence and His Friends edited by A. W. Lawrence, 1937. From the colophon: “…printed in an edition of 250 copies, on Velin Arches Blanc by Simon Lawrence, who also set the 14pt Caslon, at his Fleece Press…200 copies are bound in quarter cloth and Sage Reynolds paste paper over boards, & 50 are bound in quarter sheepskin parchment and paste paper, signed by Peter Reddick, who engraved the frontispiece portrait of T. E. Lawrence. The book was bound in Otley by Smith Settle…”

Z116-A3-R54-1985-Cover

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Book of the Week — Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica

05 Monday Jun 2017

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animals, arrows, Athanasius Kircher, electromagnetism, Emperor, engravings, F. Valentini, Ferdinando IV, God, Greek, Hapsburg, hydraulics, Jesuit, lodestone, longitude, love, magnet, magnetism, Mars, Martin Martini, medicine, music, plants, rare books, Roman Catholic, symbol, tides, toys, universe, woodcuts, zodiac

QC751-K58-1654-title
““The highest mountain, the oldest books, the strangest people, there you will find the stone.” — Attributed to Athanasius Kircher

Athanasii Kircheri Societatis Iesu Magnes; sive, de arte magnetica
Athanasius Kircher (1602-1680)
Romae: sumptibus Blasii Deuersin, & Zanobii Masotti Bibliopolarum typis Vitalis Mascarditypis V. Mascardi, MDCLIV (1654)
Third and final edition
QC751 K58 1654

Athanasius Kircher learned Greek and Hebrew at the Jesuit school in Fulda. He continued his scientific studies at Paderborn, Cologne, and Koblenz, taking orders in 1628 as a Jesuit priest. He traveled to Paris, fleeing fighting in Germany, and settled in Rome in 1634. His rigorous scientific curiosity was girded by a mystical conception of natural laws and forces. His methodology ranged from scholastic to hands-on experimentation. He once had himself lowered into the crater of Vesuvius to observe its features soon after an eruption. He was a prolific writer, publishing forty-four books. More than 2,000 of his manuscripts and letters survive. He assembled one of the first natural history collections, housed in a museum after his name in Rome, and later dispersed throughout various institutions.

The third edition of Magnes sive de arte magnetica is the first to appear in folio format. It is virtually a new work, rewritten and expanded from the first edition (1641). This edition is Athanasius Kircher’s largest, most complete, and definitive treatise on magnetism and electromagnetism (a term coined by Kircher in this work), which he conceived as a universal force of nature. Kircher compiled measurements of magnetic declination from several places around the world as reported by Jesuit scholars. One of these, Martin Martini, suggested to Kircher the possibility of determining longitudes by the declination of a magnetic needle, a possibility which Kircher then introduced to the scientific community.

In this work Kircher included discussions about the magnetism of the earth and heavenly bodies, the tides, the attraction and repulsion in animals and plants, and the magnetic attraction of music and love. He addressed the practical applications of magnetism in medicine, hydraulics, the construction of scientific instruments, and toys. Above it all, God remained the central magnet of the universe.

QC751-K58-1654-Obelisk
Glass spheres contain wax figures incorporating magnets, which can be affected by the large magnet in the base of the obelisk. On the globes are letters and signs of the Zodiac to which the figures point. By manipulating the handle in front of the table skirt, the operator could rotate the central magnet and cause the figures to answer questions or spell out words. The Greek inscription on the ribbon at the top of the obelisk is the Hermetic axiom, “Nature rejoices in Nature.” — p. 275

Illustrated with thirty-two full-page engraved plates and more than one hundred and fifty ornamental woodcuts throughout the text. Title-page printed in red and black. Rare Books copy has odd little hand-inked drawings by a past owner throughout.

QC751-K58-1654-Portrait
The portrait of Ferdinando IV, reigning Hapsburg Emperor, to whom Magnes sive de arte magnetica is dedicated, contains magnetic needles in the shape of arrows, a lodestone, the eye of God, the orb and cross corresponding to the ancient symbol for Mars, and other, even more esoteric, symbols. This engraving embodies the doctrine of Roman Catholic monarchy as a divine institution, and the emperor and his empire as the microcosmic reflections of God and his universe. Ferdinando IV died the year this edition was published, at the age of 21. — Engraving by F. Valentini

QC751-K58-1654-Sunflower
Sundial in the form of a sunflower — p. 508

QC751-K58-1654-pg593
In southern Italy, most commonly in Apulia, dancing the Tarantella cured the tarantulla bite. — p. 593

Recommended reading:

Glassie, John. A Man of Misconceptions: The Life of an Eccentric in an Age of Change. New York: Riverhead Books, 2013
CT1098 K46 G53 2013, General Collection, L2

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Memorial Day 2017

29 Monday May 2017

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Century Printing, Decoration Day, Grand Army of the Republic, John A. Logan, Memorial Day, N. P. Chipman, Salt Lake, William Jennings Putcamp

0d28f6fa-0b0b-4758-9c75-fe533cdcebee9435682_1407790119

“Let no wanton foot tread rudely on such hallowed grounds. Let pleasant paths invite the coming and going of reverent visitors and fond mourners…If other eyes grow dull and other hands slack, and other hearts cold in the solemn trust, ours shall keep it well as long as the light and warmth of life remains in us.” — from “Memorial Day Order,” May 5, 1868, John A. Logan,
Commander in Chief, Grand Army of the Republic

Memorial Sunday and Decoration Day
Salt Lake: Century Printing, 1912
E642 M45 1912

E642-M45-1912-title

E642-M45-1912-spread

 

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Book of the Week — A Treatise on Electricity and Magnetism

22 Monday May 2017

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Aberdeen, Albert Einstein, Cambridge, Cavendish Laboratory, Cavendish Professor of Physics, Clarendon Press, Edinburgh, electricity, Galileo, Hawai'i, Henry S. White, James Clerk Maxwell, King's College London, light, magnetism, Marischal College, Mauna Kea Observatory, Newton, Oxford, physics, radio, Richard Feynman, satellite, Saturn, television, Voyager

QC518-M46-vol1-fig1
“The fact that certain bodies, after being rubbed, appear to attract other bodies, was known to the ancients. In modern times, a great variety of other phenomena have been observed, and have been found to be related to these phenomena of attraction.” — James Clerk Maxwell

A Treatise on Electricity and Magnetism
James Clerk Maxwell (1831-1879)
Oxford: Clarendon Press, 1873
First edition, first issue
QC518 M46

James Clerk Maxwell was born in Edinburgh. At age 25 he became Professor of Physics at Aberdeen University’s Marischal College, where he began to study the composition of Saturn’s rings. In 1859, he published “On the Stability of Saturn’s Rings.” A century later, the Voyager space probes confirmed many of Clerk Maxwell’s conclusions.

QC518-M46-vol1-fig3

In 1860, Clerk Maxwell moved to King’s College London. In 1871 he returned to Cambridge where he helped establish and design Cavendish Laboratory and became the first Cavendish Professor of Physics. In 1873 he developed his four equations which played a key role in Albert Einstein’s work on his theory of relativity. “The special theory of relativity owes its origins to Maxwell Equations of the electromagnetic field,” wrote Einstein, who later equated Faraday with Galileo and Maxwell with Isaac Newton.

Clerk Maxwell’s work forms the basis of much of modern technology, including radio, television, satellite communications and cell phones. Twentieth century physicist Richard Feynman wrote, “From a long view of the history of mankind — seen from, say, ten thousand years from now — there can be little doubt that the most significant event of the 19th century will be judged as Maxwell’s discovery of the laws of electrodynamics.”

QC518-M46-vol1-fig7

The James Clerk Maxwell Telescope (JCMT), built in 1987, is in Mauna Kea Observatory in Hawaii.

QC518-M46-vol1-fig11

QC518-M46-vol1-fig13

Treatise is Clerk Maxwell’s most detailed and comprehensive work, advancing ideas that would become essential for modern physics.

Treatise “extended Maxwell’s ideas beyond the scope of his earlier work in many directions, [demonstrating] the special importance of electricity to physics as a whole. He began the investigation of moving frames of reference, which in Einstein’s hands were to revolutionize physics; gave proofs of the existence of electromagnetic waves that paved the way for Hertz’s discovery of radio waves; worked out connections between the electrical and optical qualities of bodies that would lead to modern solid-state physics; and applied Tait’s quaternion formulae to the field equations, out of which Heaviside and Gibbs would develop vector analysis” (Norman).“Maxwell most clearly prefigures 20th-century physics” (Simmons).

QC518-M46-vol2-fig18

Copies of the first issue have been found both with and without a publisher’s catalog bound in Volume II (the text of which contains an issue point). Rare Books copy bound with catalog in volume 2 and errata in volume 1.

QC518-M46-vol2-fig20

My thanks to Dean Henry S. White for bringing this classic to my attention. ~ LP

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Book of the Week — Land Forms and Air Currents

15 Monday May 2017

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Carol June Barton, Glen Echo, landscapes, Maryland, poems, pop-up, Popular Kinetics Press

N7433.4-B37-L35-2014-CurlySpread
“The coastline dances along the main highway, sometimes following the road’s straight-line lead, then moving in and away in a jitterbug step, twice dipping under a stretch of bridge —
a tango flourish”

N7433.4-B37-L35-2014-Map
“On a map the shore’s edge is a fixed line. But in reality she’s a ballerina, gliding, then rising on her toes with the tide.”

May all your summer road trips be just as lively.

Land Forms and Air Currents
Carol June Barton
Glen Echo, MD: Popular Kinetics Press, 2014
N7433.4 B37 L35 2014

Colorful layered pop-up landscapes accompanied by poems. When opened completely, the book stretches to a length of 150 inches. Edition of twenty copies. Rare Books copy is no. five, signed by the author.

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Book of the Week — Remember the Light

08 Monday May 2017

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8th century, acrylic, Arches BFK, bamboo, Barcham Green Mill, bas-relief, California, Coleman Barks, concertina guards, copper, Dante, debossing, earthquake, egg tempura, Egypt, etchings, Florence, gouache, Goudy Engraved, Italy, Japanese, Jelaluddin Rumi, laced-cords, laser print, Laura Wait, Leonard Cohen, letterpress, light, mantras, Mary Laird, Michael Burke, Murshid, Nefertiti, ostrich, polymer plates, Quelquefois Press, relief roll etching, religion, Rosicrucian Museum, San Jose, sepia, Somerset, Sufi, sumi, Tibet, Valley of the Kings, Wisconsin, wooden board binding, Xerox

Yellow
“Thus shall ye think of this fleeting world:
A star at dawn, a bubble in a stream,
A flash of lightning in a summer’s cloud,
A flickering lamp, a phantom, and a dream.”
— Buddha Shakyamuni

REMEMBER THE LIGHT
Mary Risala Laird
Quelquefois Press, 2007

Artist’s statement in an email to the curator: “My best friend was diagnosed with non smokers lung cancer in 2005 and given 3 months to live. I asked myself what I would want to do if given the same. I had always wanted to make an artist book. So I spent two years letting an edition of 7 Remember the Lights come to fruition. I chopped up some etchings I made called Earthquake, the one of 1989 when I moved to California from Wisconsin.

Earthquake

And put another relief roll etching (when Murshid sings) in the back of the book, writing over it with acrylic matte or glossy, mantras of the world religions. The Mantras are written throughout the book. I incorporated 7 quotes on Light, and 6 poems I wrote when I went to Tibet with a Sufi group in 1986. The title page has a plate from the Rosicrucian Museum in San Jose. Another one from them appears as the image of the Valley of the Kings in Egypt, which is printed twice in grey, right side up and upside down, doesn’t matter where we are in space. Little holes of light, like Leonard Cohen suggested, let in the light, in this case by using Japanese hole punches. I had always wanted to add color to my traditional book making. So I brushed gouache on the pages with cotton balls. I also loved using colored pencils and straight lines to connect the pages, as well as printing blocks of wood used in printing, making them type high so the wood grain would shine through. Lobsong’s Mother’s page has a sumi painting I did of Japanese ink, of bamboo; I had a polymer plate made and printed it pink, because it is a color I don’t often use and I wanted to experiment.

LobsongsMother

I had fun drawing ladders into my etchings, connecting things, like thoughts, of planes of consciousness.
And stringing along the trajectory of human experience, you know, birth, life, death birth, life, death.

Life

In the signature where I have iconized my mother, and also did Xerox of her and me, I used end signatures I had left over from an edition of poems from a Rumi book I printed for Coleman Barks.
I like using Xerox and commercial papers in conjunction with the hand made papers (blue green) I made in Wisconsin many years ago.

Faces

I had learned a blanket stitch from Michael Burke and used that around the hole I cut with the hand showing through (One Handed Basket Weaving/Jelaluddin Rumi. Versions by Coleman Barks.)

Stitch

On the colophon page I started each line with a cap, spelling out my name, vertically as you read down.

Colophon

And hiding at the end of book is another poem about being on retreat in a hut, with an etching printed relief rolled and worked into, based on a courtyard in Florence, Italy, from a sepia print I inherited from my Grandfather who got it there in 1896.

The stories go on. My friend lived 5 years longer.”

Colophon: “Resurrected and transmogrified etchings form the basis for this Infinitesimal edition, primarily printed letterpress. Actual copies: Seven, using Dante and Goudy Engraved. Text papers include Arches BFK, and Somerset. Endpapers & concertina guards: Nefertiti, Long ago made by hand at Barcham Green Mill, and hoarded by me Awaiting the right project! Overprinted relief-roll etchings When Murshid Sings and Earthquake, may include laser-print, egg tempura, Assorted colored pencils, polymer plates, Xerox, cut-outs, sewing & Reticulated energy patterns. The laced-cords wooden board binding You are holding, is based on an 8th c. model. Hand-planed covers, Laboriously covered with deer or goatskin, are fitted with brass Ornaments. Thanks to both Laura Wait & Michael Burke, models of Undying inspiration. Copies are hand numbered.” Rare Books copy is no. 2.”

Artist’s addendum to colophon: “Maple and cherry covers are not covered. Bas-relief of right and left hand, carved into the front and back covers.

Hand

Books come enclosed in drop spine boxes. Trays are black calf or goatskin lined with white deer or golden elk skin. Outer covers: there are two purple ostrich and two of teal ostrich; two more of lime green bovine; and one in lime green goatskin.

Cover

Leather straps match the outer covers, and attach to brass hand-filed knobs on the fore-edge. A copper disc is inlaid on the front cover, a debossed crescent moon at its base. My Opus.”

Photographs by Scott Beadles

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Best Graduation Present Ever

04 Thursday May 2017

Posted by rarebooks in Donations

≈ Comments Off on Best Graduation Present Ever

Tags

Antoine Laurent Lavoisier, bookbinder, chemistry, College of Science Distinguished Professor of Chemistry, conservator, copper engravings, Department of Chemical Engineering and Material Science, Department of Chemistry, Dr. Henry S. White, Edinburgh, French Revolution, history, Journal of American Chemical Society, London, McKnight and Shell Professor of Chemical Engineering, MIT, Nancy Carlson Schrock, nanopores, nonobubbles, Rare Books Department, science, The University of Utah, University of Minnesota, University of Texas, William Creech


ElementsofChemistryTitle

“It is not the history of the science, or of the human mind, that we are to attempt in an elementary treatise. Our only aim should be ease and perspicuity, and with the utmost care to keep every thing out of view which may draw aside the attention of the student. It is a road which we should be continually rendering more smooth, and from which we must endeavour to remove every obstacle which can occasion delay.”
…
“Like three impressions of the same seal, the word ought to produce the idea, and the idea to be a picture of the fact. And, as ideas are preserved and communicated by means of words, it necessarily follows, that we cannot improve the language of any science, without at the same time improving the science itself; neither can we, on the other hand, improve a science, without improving the language or nomenclature which it belongs to.”

– Antoine Laurent Lavoisier from Elements of Chemistry

Elements of Chemistry in a New Systematic Order, Containing All the Modern…
Antoine Laurent Lavoisier (1743-1794)
Edinburgh: Printed for William Creech; and sold in London by G. G. & J. Robinson, and T. Kay, M, DCC, XCIX (1799)
Fourth edition
QD28 L42 1799

Gift of Dr. Henry S. White, Dean, College of Science Distinguished Professor of Chemistry.

When he received his Ph.D in chemistry from the University of Texas, Henry Sheldon White’s mother gave him a copy of the fourth edition of Antoine Laurent Lavoisier’s Elements of Chemistry. The pages of this book were worn and brown with years of use, but it was intact, despite a deteriorated binding. Not a year later, while Dr. White held a postdoctoral appointment at MIT, he spent $105 to have the binding restored. The restoration was done by professional bookbinder and conservator Nancy Carlson Schrock.

The gift and its restoration were so important to Dr. White that he kept the book and the conservator’s invoice for the next thirty-four years. And then, he gave both to the Rare Books Department.

When Dr. White had occasion to hold our first edition of Lavoisier’s Traite, he fondly remembered the best graduation present ever. Dr. White remembered reading Lavoisier’s work like someone might remember holding the hand of one’s first love – a lasting impression, even as life moves on.

He remembered the detailed copper engraved illustrations at the back of the book, made by Lavoisier’s beloved wife, Marie-Anne Paulze Lavoisier. He lamented the loss of Lavoisier, who nearly survived, but did not, the French Revolution.

Henry White joined the faculty of the Department of Chemical Engineering and Materials Science at the University of Minnesota, where he was the McKnight and Shell Professor of Chemical Engineering. In 1993, he moved to the Department of Chemistry at The University of Utah where he is a Distinguished Professor. Prof. White is the Dean of the College of Science at The University of Utah, and previously served as Chair of the Department of Chemistry (2007 – 2013).

Dr. White’s current research interests include high-field transport in nanometer-wide electrochemical cells, DNA structural analyses using protein ion channel recordings, the formation and stability of nanobubbles, and transport phenomena in nanopores.

All of which is and ever shall remain a mystery to me. But I do understand how the newly confirmed Dr. White must have felt when he held this book in his hands, a preserved package of ideas communicated by means of words, at the beginning of a new journey.

Congratulations to The University of Utah’s 2017 graduating class. May you render the road smooth with ease and perspicuity.

~ Luise Poulton, Managing Curator, Rare Books


The Air We Breathe — He named this substance “oxygen”

Traite elementaire de chimie presente dans un…
Antoine Laurent Lavoisier (1743-1794)
Paris: Cuchet, 1789
First edition, second issue
QD28 L4 1789 vols. 1 & 2

Antoine Laurent Lavoisier laid the foundation for modern chemistry by establishing the concept of elements as substances that cannot be further decomposed. He carried out the earliest biochemical experiments and through these explained many of the cyclical processes in animal and vegetable life. One of the most important consequences of Lavoisier’s work was the establishment of the concept of the conservation of matter.

Traite elementaire is presented in the form of a manual. Lavoisier offered a new theory of chemistry treated in a systematic approach unlike anything that had preceded it. He used accurate measurements for chemical research, such as the balance for weight distribution at every chemical change. He reformed chemical nomenclature, assigning every substance a name based upon the elements of which it was composed. He proved that the increase in the weight of metals was due to something taken from the air, and that this effect was constant in all such processes. He named this substance “oxygen.” He concluded that water was a compound of oxygen and hydrogen. He understood that respiration and combustion were similar processes, and, since oxygen was that part of the air that combined with metals in the process of combustion, he named the resulting substances oxides.

Compound bodies were found to present the combined weight of the simple bodies of which they are composed, while, when these simple bodies are withdrawn, they have the same weight as was put in them; i.e. matter remains constant throughout all chemical changes.

The book contains thirteen copperplate illustrations, drawn and engraved by Lavoisier’s wife, a skilled painter who had studied under the artist Louis David.

QD28-L4-1789-v.2-Planche1

QD28-L4-1789-v.2-Planche2

QD28-L4-1789-v.2-Planche11


QD28-L42-1796-title

Elements of Chemistry…Translated from the French by Robert Kerr…
Antoine Laurent Lavoisier (1743-1794)
Edinburgh: Printed for William Creech, 1796
QD28 L42 1796

This Kerr edition of Lavoisier’s work is important for its considerable additions and for an interesting postscript in which Kerr bitterly condemns the execution of Lavoisier. “The Philosophical World has now infinitely to deplore the tragical and untimely death of the great LAVOISIER…If the sanguinary tyranny of the monster Robespierre had committed only that outrage against eternal Justice, a succeeding age of the most perfect government would scarcely have sufficed, To France and to the world, to repair the prodigious injury that loss has produced to chemistry, and to all the sciences and economical arts with which is it connected.” Kerr also alludes in his prefatory remarks to the larger work that Lavoisier was going to write. “Had Lavoisier lived, as expressed in a letter received from him by the Translator, a short while before his massacre, it was his intention to have republished these Elements in an entirely new form, composing a Complete system of Philosophical Chemistry…”

With two folding tables and thirteen folding copper-plates engraved by Lizars after Mme. Lavoisier. Rare Books copy bound in contemporary tree calf, gilt ruled, red morocco label and gilt on spine.

QD28-L42-1796-foldout


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Book of the Week — Intimations of Immortality from Recollections of Early Childhood

01 Monday May 2017

Posted by rarebooks in Book of the Week

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Tags

Arts and Crafts Movement, C. R. Ashbee, Campden, Endeavor, Essex House London, Essex House Press, Gouscestershire, Guild of Handicraft, John Ruskin, Kelmscott Press, typeface, vellum, William Morris, William Wordsworth

PR5860-A1-1903-spread1

“Then sing, ye Birds, sing, sing a joyous song!
And let the young Lambs bound
As to the tabor’s sound!
We in thought will join your throng,
Ye that pipe and ye that play,
Ye that through your hearts to-day
Feel the gladness of the May!

INTIMATIONS OF IMMORTALITY FROM RECOLLECTIONS OF EARLY CHILDHOOD
William Wordsworth (1770-1850)
Campden, Glo: Essex House Press, 1903

In 1886, C.R. Ashbee established the Guild of Handicraft at Essex House London. Around the same time, Ashbee created the Essex House Press. The Essex House Press published its first book in 1898. The work of the press was very much a part of the Arts and Crafts Movement. Ashbee continually linked the aims of the press with those of John Ruskin and William Morris and described the object of the movement as “making useful things…making them well and…making them beautiful.”

The critics, however, were not so sure about the work of Essex House Press, calling it “articraftiness.” Later booklovers came to admire much of its work. Some of the presses and some of the workmen for Essex House Press came from the Kelmscott Press after its demise in 1897 following the death of William Morris.

Ashbee designed his own typeface called “Endeavor” for the press. In 1902, the press moved to Glouscestershire. The Essex House Press closed in 1910, having produced more than seventy titles.

Frontispiece by Walter Crane (1845-1915), painter and designer, known especially for his illustrations for children’s books. As an apprentice wood-engraver, he studied the work of Dante Gabriel Rossetti. He associated himself with the Pre-Raphaelites and the English Arts and Crafts Movement, working with William Morris and the Kelmscott Press.

Printed on vellum. Initials hand calligraphed, some with gilt. Edition of 150 copies. University of Utah copy is no. 138.

PR5860-A1-1903-spread2

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