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Category Archives: Book of the Week

Book of the Week — Paradise Lost

16 Monday Nov 2015

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Bernard Lens, Christian, engravings, God, Henry Aldrich, Index Librorum Prohibitorum, John Baptista de Medina, John Dryden, John Milton, Miles Flesher, Oliver Cromwell, pagan, Paradise Lost, Paradise Regain'd, Richard Bentley, Robert White, Roman Catholic Church, Satan, The University of Utah


PARADISE LOST. A POEM IN TWELVE BOOKS…
John Milton (1608-1674)
Printed by Miles Flesher, for Richard Bentley, at the Post-Office in Russell-street, 1688
First illustrated edition
PR3560 1688

John Milton’s Paradise Lost was first printed in 1667, in part, perhaps as a reaction to the defeat of Oliver Cromwell’s revolution and the restoration of the monarchy. Milton attempted to reconcile elements of pagan and Christian tradition, portraying Satan as an unlikable but sympathetic character who defied a tyrannical God and waged unsuccessful war against him. In spite of this, the Roman Catholic Church did not place the work on the Index Librorum Prohibitorum until 1758. This a copy from the first illustrated edition of Paradise Lost. It is also the first edition of the work in folio. University of Utah copy bound with Paradise Regain’d. A Poem. In IV. Books. To which is added Samson Agonistes…(1688). An engraved portrait of Milton by Robert White is bound in opposite to the title page. The portrait includes an epitaph for Milton by John Dryden. Twelve full-paged engravings accompany the text, one at the beginning of each of the twelve books. All of the engravings are tipped in. The illustrations for books III, V, VI, VII, IX, X, XI are by John Baptista de Medina, engraved by M. Burghers. Book IV was illustrated by Bernard Lens, engraved by P.P. Bouche. Book XII was illustrated by Henry Aldrich, engraved by Burghers. The illustrations for Books I and II are engraved by Burghers. The illustrator for these is uncertain.

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Book of the Week – MILONGAS

09 Monday Nov 2015

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Ana Maria Moncalvo, Argentina, bandits, etchings, folksongs, Gabriel Rummonds, Jorge Luis Boges, letterpress, milongas, music, Samuel Cesar Palui, Schoeller blanco, sepia, tango, University of Utah


MILONGAS
Jorge Luis Borges (1899-1986)
Buenos Aires: Ediciones Dos Amigos, 1983
PQ7797 B635 M55 1983

Milongas, or lyrics, are Argentinian folksongs, often dealing with the exploits of bandits, and sometimes set to the music of the tango. Illustrated with etchings printed in sepia and black by Ana Maria Moncalvo. Designed by Samuel Cesar Palui. Text hand set and letterpress printed in magenta and black. Issued in case. Bound loose in handmade Japanese green paper wrappers and housed in custom-made blue clamshell box. Edition of one hundred copies on Schoeller blanco, numbered 1 through 100. University of Utah copy is no. 19. Gift of Gabriel Rummonds.

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Book of the Week – FIVE POEMS

02 Monday Nov 2015

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Camberwell Press, Camberwell School of Arts, Department of Graphic Arts, Emily Dickinson, Gefn Press, Khadi, Kozo, London, Plantin italic, poems, relief prints, Susan Johanknecht, University of Utah


FIVE POEMS
Susan Johanknecht
London: Gefn Press, 1989
N7433.4.J65 F5 1989

Poems by Emily Dickinson illustrated with seven hand-burnished relief prints on Kozo collaged onto Khadi pages, one hand-colored with gold paint. Poems handset in Plantin italic and printed damp by Susan Johanknecht at the Camberwell Press, Department of Graphic Arts, Camberwell School of Art. Bound in debossed Khadi covers. Edition of fifty copies. University of Utah copy is no. 47.

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Book of the Week – ROCK RODONDO

26 Monday Oct 2015

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Antarctic Whale-bird, blindstamped, Brown Pelican, Fabriano, Galapagos, Galapagos Penguin, Galapagos Storm Petrel, Herman Melville (1819-1891), New York, Philip Warner, Red Angel Press, Rock Rodondo, Ronald Keller, Swallow-tailed Gull, University of Utah, Waved Albatross, woodcut


ROCK RODONDO
Herman Melville (1819-1891)
New York: Red Angel Press, 1981
PS2384 .E62 1981

Blindstamped decoration of birds in flight on title and following leaf. A two-color woodcut of the Galapagos birds folds out vertically. Birds depicted include the Galapagos Penguin, Brown Pelican, Waved Albatross, Antarctic Whale-bird, Swallow-tailed Gull, and Galapagos Storm Petrel. Printed on dampened handmade Fabriano paper. Designed, illustrated, and printed by Ronald Keller. Cover art by Philip Warner. Bound in full tan cloth, partially painted in tan and gray to resemble breaking waves. The front pastedown is a cast paper sculpture of the rock and birds in flight. Edition of one hundred copies signed by the printer. University of Utah copy is number 98.

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Book of the Week – Walden; or, Life in the Woods

19 Monday Oct 2015

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American, Baker-Andrew, Boston, engraved, environmentalism, first edition, Henry David Thoreau (1817-1862), individualism, John G. Chandler, lithography, nature, S. W. Chandler & Bro., Samuel W. Chandler, self-reliance, Sophia E. Thoreau (1819-1876), Ticknor and Fields, title page, vignette, Walden, Walden Pond, wood engraving

PS3048-A1-1854-TitlePageWALDEN; OR, LIFE IN THE WOODS
Henry David Thoreau (1817-1862)
Boston: Ticknor and Fields, 1854
First edition
PS3048 A1 1854

Embraced today as a precursor of the modern environmentalist movement, Walden is one of the most celebrated examples of American individualism and self-reliance. Thoreau’s writing emphasizes an appreciation of nature for itself rather than as a resource to be exploited – a sharp departure from the prevailing economic and religious views of the period. The engraved plan of Walden Pond inserted at page 307 was drawn by Thoreau, a professional surveyor, and lithographed by S. W. Chandler & Bro. (Samuel W. & John G. Chandler) of Boston. The vignette of Thoreau’s hut on the title-page was engraved in wood by the firm of Baker-Andrew after a sketch by Sophia E. Thoreau (1819-1876), the author’s youngest sister. Sophia adored her brother, encouraging and aiding him during his lifetime and later serving as his literary executor. Unfortunately, as an artist she was not particularly talented. Her sketch has been condemned as a feeble version of the actual structure. Eight pages of publisher’s ads (dated May, 1854) inserted between back endpapers. Original brown vertically-ribbed cloth, stamped in blind, spine ruled in blind and lettered in gilt. Original yellow coated endpapers. Edition of two thousand copies.

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Book of the Week – SOME THOUGHTS CONCERNING EDUCATION

12 Monday Oct 2015

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A. and J. Churchill, education, Edward Clarke, Jean-Jacques Rousseau, John Locke (1632-1704), London, psychology


SOME THOUGHTS CONCERNING EDUCATION
John Locke (1632-1704)
London: Printed for A. and J. Churchill…1695
Third edition
LB475 .L6 S65 1695

The first edition (1693) of Some thoughts appeared before John Locke had made corrections. He was so incensed at its publication that he demanded it be suppressed. His gave copies from the second edition to his friends. Locke made changes to every new edition of each of his works. This third edition of Some thoughts, which came out of a series of letters the childless Locke wrote to his friend Edward Clarke regarding Clarke’s children, contains a number of alterations. Some thoughts introduced the beginning of modern developmental psychology. In this sense Locke anticipated Jean-Jacques Rousseau in his advocacy of the “natural child,” who was to be toughened by exposure to the elements and fed only when hungry. Locke also addressed the moral education of children, stressing the importance of restraint and reason in molding a child’s mind. Edition of fifteen hundred copies.

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Book of the Week – DEATH IN THE AFTERNOON

05 Monday Oct 2015

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bullfight, bullfighting, Charles Scribner's Sons, Death in the Afternoon, Ernest Hemingway (1899-1961), Great Depression, John Dos Passos, Juan Gris, London, Max Eastman, New York, New Yorker, photographs, Roberto Domingo, Spain, The New York Herald, The Sun Also Rises, Toros


DEATH IN THE AFTERNOON
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.

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

28 Monday Sep 2015

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Benjamin Motte, Dublin, eighteenth century, English, engraving, Enlightenment, Irish, John Sturt, Jonathan Swift (1667-1745), Lemuel Gulliver, London, portrait, Robert Steensma, seventeenth century, St. Patrick's Cathedral, Teerlink AA, Teerlink B, The University of Utah, travel, William Sheppard


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.

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Book of the Week – THE WORKS OF VIRGIL: CONTAINING HIS PASTORALS,…

22 Tuesday Sep 2015

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Aeneas, Aeneid, Alexander Pope, Antwerp, Augustus, coats of arms, Cologne, Earl of Arundel, England, English, engraved plates, engraving, etching, Frankfurt, Great Fire of 1666, illustration, Jacob Tonson, John Dryden, London, Marcellus, Matthaus Merian, Octavia, Parliament, pastorals, patronage, Prague, Prince of Wales, subscription, Thomas Howard, translation, verse, Virgil, Wenzal Hollar (1607-1677), William III


THE WORKS OF VIRGIL: CONTAINING HIS PASTORALS,…
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.

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Book of the Week – The Works of the Learned Sir Thomas Brown…

14 Monday Sep 2015

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Charles Brome, Charles Mearn, Francis Bacon (1561-1626), Garden of Eden, hanging gardens of Babylon, horticulture, King Cyrus, London, Persian, quincunx, Thomas Browne (1605-1682)


The Works of the Learned Sir Thomas Brown…
Sir Thomas Browne (1605-1682)
London: Printed for Tho. Basset, Ric. Chiswell, Tho. Sawbridge, Charles Mearn, and Charles Brome, 1686
First collected edition
PR3327 A1 1686

Sir Thomas Browne took up a suggestion made by Sir Francis Bacon (1561-1626) in his Advancement of Learning that there should be a list compiled of erroneous beliefs in the fields of natural sciences and general knowledge. Browne, a tireless observer, used a combination of authoritative testimonies, reason, and experimentation in an attempt to dispose of hundreds of current common fallacies.

One of the most fantastic of Browne’s studies is in part 3 of Works, “Urn-Burial: Together with the Garden of Cyrus.” Browne begins with the Garden of Eden and traces the history of horticulture down to the time of the Persian King Cyrus.  The king is credited with having been the first to plant trees in a quincunx, a distinctive spatial arrangement of five objects. Browne claimed to have discovered that this quincuncial arrangement also appeared in the hanging gardens of Babylon, leading him into a discussion about the mystical qualities of the number five.

And so science goes.

 

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