Continental Paper Currency, 1776

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , ,

CONTINENTAL PAPER CURRENCY, 1776
Philadelphia: Printed by Hall & Sellers, 1776

Loosely united in the midst of political revolution and war, the British colonies had no unity whatsoever in currency. Each colony began printing its own paper currency valued both in British-style pounds, shillings, and pence and in the universally familiar Spanish milled dollar. Each colony valued the Spanish dollar at wildly different rates.

In the early flush of independence, the Continental Congress decided to use currency as one indication of sovereignty by launching a standard currency for all the colonies. An emission totaling $4,000,000 payable in Spanish milled dollars, or the equivalent in gold or silver, was authorized by the congressional resolution of February 10, 1776. Of this, $1,000,000 was reserved for the first national fractional currency.

The front design on the fractional notes included the first use of the “FUGIO” (I fly) legend and sundial as well as the “Mind your Business” legend. The back showed the thirteen linked rings representing the colonies and the legends “We are one” and “American Congress.” These designs were created by Benjamin Franklin. The devices and border designs were cut by Elisha Gallaudet. On the fractional bills the dots in the corners of the front design reflected the denomination.

The first four emissions of Continental paper currency from May 10, 1775 through May 6, 1776, included a dollar bill. There was one signer, in red ink, on the fractional bills and two signers, using red and brown ink, on the dollar denominations. Counterfeit detectors for the dollar denominations were made on blue paper. The paper, made at Ivy Mills in Chester County, Pennsylvania, contained blue fibers and mica flakes.

On this bill is printed, “This bill entitles the bearer to receive three Spanish milled dollars, or the value thereof in gold or silver, according to a resolution of Congress, passed at Philadelphia, Nov. 2, 1776.”

alluNeedSingleLine

The Bill of Rights

Tags

, , , , , , , , , , , , , , , , , , , , , ,

KF4744.5-P9-1991

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

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

alluNeedSingleLine

Meet the Treasures that Inspired the Art

Tags

, , , , , , , , ,

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

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

HIDDEN TREASURES ABOUND ON THE U’S CAMPUS

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

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

A Leaf from the Gutenberg Bible


Andreas Vesalius’, De humani corporis fabrica (1555)

Dialogo di Galileo Galilei

alluNeedSingleLine

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

Tags

, , , , , , , , , , , , , , ,

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

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

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

BX8611-R44-2015-cover

alluNeedSingleLine

On Display — Student work

Tags

, , , , , , , , , , , , , , ,

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

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

Photographs of display by Scott Beadles, Rare Books assistant

alluNeedSingleLine

Book of the week – Historia mvndi

Tags

, , , , , , , , , , , , ,

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

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

 

Book of the Week – Martin Luther

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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

A copy from one of only two editions of this collection of thirteen sermons by Martin Luther. The collection of sermons was a supplement to “Twenty Seven Sermons” (1523). These two collections, along with “Fourteen Fine Christian Sermons” (1522) were part of one of the most important projects of Luther’s career: the creation of a Postil for the reformed church.

Luther wrote his sermons in a piecemeal fashion. His Postil was printed a few pieces at a time. “Thirteen Sermons” is from the early period of his Postil composition. The early printed sermons represent Luther’s own vision for the Postil. Editorial changes were made by reform Lutheran leaders after his death.

“Postil” was originally a term used in Medieval Europe for biblical commentary, derived from the Latin term “post ill verba textus” (after these words). “Postil” later referred to homiletic exposition as opposed to thematic sermonizing. By the mid-fourteenth century, the term was applied to an annual cycle of homilies.

In early sixteenth century Roman Catholic preaching, especially in Germany, postils were commonly used. Luther began publishing his Postil (that is, his suggested annual series of homilies) in Wittenberg in 1521, as replacements for those used by the Roman Catholic Church.

This edition is illustrated with a historiated woodcut title-page border, thought to be by Hans Bauldung Grien, a student of Albrecht Dürer, which includes printer Schott’s monogram, putti, unicorns, lions, and stags. A full-page portrait of Luther by Grien faces the title-page. A small image of Christ appears on the title-page. The penultimate leaf has a four-part woodcut border, also attributed to Grien. The portrait of Luther is of particular interest.

The original portrait, first published by Schott in 1521, included a halo surrounding Luther’s head (signifying sainthood). The fact that the halo was removed in a second edition printed only two years later suggests the swiftness of Reformation theological departure from Roman Catholic notions of the spiritual power of church leaders.

Printer Johann Schott was famous for using excellent woodcuts by noted artists of the day, including students of Dürer. In 1533, he took another printer to court over the reprinting of one of his illustrated books (Otto Brunfels’s herbal). The case is the first reprint suit documented in the Holy Roman Empire, an example of how the commerce of printing changed notions of proprietary law, i.e. copyright, for the written word and for art; authors and artists; and, of course, publishers.

alluNeedSingleLine

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

Tags

, , , , , , , , , , , , , ,

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

Leaf from Ecclesiates. Rubricated in red.


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

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


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

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

alluNeedSingleLine

We recommend – Book Arts Program workshop

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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

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


PS3553-O47455-M53-2009

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

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


Z256-F74-2011

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

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

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

alluNeedSingleLine

Congratulations, Dr. Thompson!

Tags

, , , , , , , , , , , ,

Greg Award

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

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

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

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

alluNeedSingleLine