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Tag Archives: Arches

Book of the Week — The Tower of the Winds

06 Monday Aug 2018

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Adobe Herculanum, Aratus, Arches, Electra, Hacker, Lawrence G. Van Velzer, letterpress, Maia, papyrus, Peggy Gotthold, Pleiades, polymer plates, scroll, Zerkall Book


Near his left knee the Pleiads next are roll’d
Like seven pure brilliants set in ring of gold.
Though each one small, their splendour all combine
To form one gem, and gloriously they shine.
Their number seven, though some men fondly say,
And poets feign, that one has pass’d away.
Alcyone — Celoeno — Merope —
Electra — Taygeta — Sterope —
With Maia — honour’d sisterhood — by Jove
To rule the seasons plac’d in heaven above.
Men mark them, rising with the solar ray,
The harbingers of summer’s brighter day —
Men mark them, rising with Sol’s setting light,
Forerunners of the winter’s gloomy night.
They guide the Ploughman to the mellow land —
The Sower casts his seed at their command.
–Aratus (b. ca. 260BC)

The Tower of the Winds
Lawrence G. Van Velzer and Peggy Gotthold
Santa Cruz: Foolscap Press, 2002
N7433.4 V368 T68 2002

Designed and letterpress printed from polymer plates on a Hacker hand press by the authors. The type face is Adobe Herculanum. Papers are Zerkall Book and handmade Egyptian papyrus. One scroll presented in a cylindrical case with
metal clasp. The case was produced from dyed, hand-shaped Arches paper. Edition of 200 copies.

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Rare Books Exhibition — Paper is Fundamental

13 Friday Jul 2018

Posted by rarebooks in Physical Exhibitions

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acid bisulfite, Arches, Asia, Barcham Green Hayle Mill, Cai Lun, cellulose, Charter Oak, China, England, Europe, France, Han dynasty, J. Willard Marriott Library, Jon Bingham, lignin, mouldmade, paper, pH neutral, printing, rare books, Special Collections Gallery, sulfite, The University of Utah, William Everson

“The most fundamental thing about a book is to find the right paper, because it’s the whole ground of the being of a book, and the quality of the paper is in some ways the most elusive…Critics of the book generally focus on the type and when people get into printing, the first thing they get into is type. They learn to recognize the different faces, and become pre-occupied with them. But the paper is more fundamental, because that is where the beauty begins, and in the end, that is all that beauty comes back to — the substance of the paper, the field on which the whole thing can act.” –William Everson (1912-1994), On Printing

Most people see and touch paper every day. Most of us know little about where the paper we use comes from.

Resuscitatio… (1670)
The paper for this book was made in Morlaix, south of Paris. The watermark is made up of a plain and simple monogram, “P.Huet.” Because of cheap labor, Morlaix paper was quite inexpensive and was imported from Brittany to England beginning about 1629 for many years with great regularity. The Huet’s, an astute family of papermakers, outlasted virtually all of their seventeenth-century competitors and continue to make paper today at Pontrieux (Cotes du Nord), east of Morlaix.

Paper is produced by pressing together the moist cellulose fibers of plant material, which is achieved through drawing sheets of the fibers from vats of pulp before pressing and drying them.


Love is Enough (1897)
At Kelmscott Press, William Morris used paper made by Joseph Batchelor. The paper cost two shillings per pound, which was about five or six times the cost of machine-made paper. Morris wrote, “I…considered it necessary that the paper should be hand-made, both for the sake of durability and appearance…the paper must be wholly of linen and must be quite ‘hard’, i.e. thoroughly well sized; and…though it must be ‘laid’ and not ‘wove’, the lines caused by the wires of the mould must not be too strong, so as to give a ribbed appearance. I found that on these points I was at one with the…papermakers of the fifteenth century; so I took as my model a Bolognese paper of about 1473. My friend Mr. Batchelor, of Little Chart, Kent, carried out my views very satisfactorily.” Batchelor made three types of papers for the Kelmscott Press, each named for their watermarks: “Flower” (also called “Primrose”), “Perch,” and “Apple.” Morris designed each of these watermarks.

Developed in China during the Han dynasty by a court official named Cai Lun, the invention of paper was a world-changing event that only seems magnificent in retrospect.


The Prologue to the Tales of Caunterbury (1898):
At the Ashendene Press, C. St. John Hornby, like William Morris, used paper made by Joseph Batchelor.

The use of paper spread slowly from Asia and did not reach Europe until the thirteenth century. Even after its arrival in Europe its use there caught on slowly.

The Nonnes Preestes Tale of the Cok and Hen (1902)
James Whatman the Elder (1702-1759), was an English papermaker who made revolutionary advances to the craft. He is noted as the inventor of wove paper. The earliest example of wove paper, bearing his watermark, appeared after 1740. The technique continued to be developed by his son, James Whatman the Younger (1741-1798). At a time when the craft was based in smaller paper mills, his innovations led to the large scale and widespread industrialization of paper manufacturing. The Whatmans held a part interest in the establishment at Turkey Mill, near Maidstone, after 1740, which was acquired through the elder Whatman’s marriage to Ann Harris. Paper bearing the Whatman’s mark was produced for fine press and artists’ books until 2002. The company later specialized in producing filter papers and is now owned by GE Healthcare. The last production at Maidstone was in 2014.

It was only with the development of printing with moveable type in the mid-fifteenth century that the collaboration of ink and paper launched European culture into modernity.

Paper is Fundamental
A Rare Books Exhibition
Special Collections Gallery, Level 4
J. Willard Marriott Library, The University of Utah
July 13 through September 23

For more information, please contact Jon Bingham or Luise Poulton at 801-585-6168

 

 

 

 

 

 

 

 

 

 

 

 

Walking (1988)
This paper is handmade Charter Oak from the Barcham Green Hayle Mill in England. The paper mill closed in 1987.

Curated by Jon Bingham, Rare Books Curator, with help from Luise Poulton, Managing Curator, and the Rare Books Department staff – without whose help this exhibition would not have been possible. Jon is also grateful to Emily Tipps and Crane Giamo for teaching him how to make paper in their Book Arts papermaking class.

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Book of the Week — November: A Map

13 Monday Nov 2017

Posted by rarebooks in Book of the Week

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Arches, Caliban Press, Canton, herbal, hortus siccus, Mark McMurray, New York, November, Velma Bolyard, Washington Hoe press


“this is how it is
longing sets in as days shorten
and nights, well,
nights shoulder their way
right into day.
it helps to have a sense of humor,
a big stack of cordwood,
skis waiting for snow,
a book and a chair,
some paper to draw on,
cloth to stitch
with thread:
threads to tie it all
together,
november.”

November: A Map
Velma Bolyard
Canton, New York: Caliban Press, 2015
N7433.4 B662 N6 2015

Artist’s statement from the colophon: “…I gathered flora from the bared down countryside. Using the fruits, nuts, seeds, flowers, leaves, twigs, fungi and metals: copper, aluminum, steel, iron, and the hard water from my well, I contact- or eco- printed them in my kitchen. The colors, patterns, resists and pigments are transferred to the paper by means of heat, water, and pressure after being bundled into a big pot and cooked. After, they are unbundled, rinsed, and pressed dry: alchemy. They are a hortus siccus, a dry garden, an herbal map of my home.”

One folded sheet presented in a windowed, sewn sleeve. Letterpress printed by Mark McMurray and Velma Bolyard on Arches using a 180-year-old Washington Hoe press. Edition of forty-one copies, signed and numbered by the artist and printer. Rare Books copy is no. 37.

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Book of the Week — Mrs. Delany Meets Herr Haeckel

06 Monday Mar 2017

Posted by rarebooks in Book of the Week

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Tags

Arches, Arches MBM Ingres, artist, Barbara Hodgson, biologist, botanical, Canada, Claudia Cohen, cut-paper, decorations, English, Ernst Haeckel, Europe, German, Gifu, gilt, Hahnemuhle Ingres, hand-colored, handmade, HM Editions, Ingres, initials, Japan, Kiraku kozo, Kitikata, Kozuke, marbling, Mary Delany, microscopic organism, morocco, mulberry, paper, papermaker, Reg Lissel, single-cell, Suminigashi, Turkish, Vancouver, wove, Yatsuo

MreD&HerrHTitle

“Mrs. Delany’s was an age when genteel women, whether amateur or professional, were occupied with crafts, decorative works, design and fine arts. Embroidery, quilling, shellwork, japanning, silhouette making, drawing, painting in oils and watercolours, knitting, sewing, flower making, modelling in wax and clay, miniature painting, and horticulture were among the arts practiced.”

MRS. DELANY MEETS HERR HAECKEL
Barbara Hodgson
Vancouver: HM Editions, 2015
N7433.4 H63 M77 2015

From the publisher’s website: [Mrs. Delany] is an “imagined collaboration between Mrs. Mary Delany (1700-1788), an English widow, woman of accomplishment, and creator of imaginative botanical ‘paper mosaics’ and Herr Ernst Haeckel (1852-1911), a distinguished and controversial German biologist and artist who devoted much of his time to the study and rendering of single-celled creatures.”

MreD&HerrHPlateVIII

Cut paper image of a microscopic organism affixed to frontispiece with another cut-paper image affixed to the recto of the same sheet; eleven cut-paper interpretations of microscopic organisms tipped on to captioned plates; tipped-in cut-paper initials, numerous smaller cut-paper decorations. The paper cuttings are adapted from Ernst Haeckel’s Die Radiolarien (1862) and Kunstformen der Natur (1899-1904). They are cut from a variety of papers, including Yatsuo, Kozuke, mulberry, Gifu, Kitikata, and Kiraku kozo from Japan; Ingres and unidentified wove from Europe; and Reg Lissel handmade papers from Canada. Some were cut from papers previously marbled in the Turkish or Suminigashi styles. Some were dyed by the papermaker; some were dyed or otherwise hand-colored for this book. The cuttings are mounted on one of Arches text wove (white), Arches MBM Ingres (black) or Hahnemuhle Ingres (black).

Bound in full polished morocco, ruled and stamped decoratively in red and gilt with a gilt-lettered spine by Claudia Cohen. Marbled endpapers. Issued in orange clamshell case with a gilt-lettered spine label.

MrsD&HerrHCover2

MrsD&HerrHMarble

Edition of twenty-five copies plus six hors de commerce, each signed by the author, printer, and binder. Rare Books copy is XXII.

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We recommend — Sustainability Book Group Discussion

11 Friday Mar 2016

Posted by rarebooks in Events

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abaca, Amy Brunvand, Arches, climate change, cotton, Elizabeth Kolbert, fossil fuel divestment, handmade paper, Illinois, J. Willard Marriott Library, Joanna, Paperboy Press, polymer plates, Shawn Wilder Sheehy, Sustainability Book Group, University of Utah

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Friday, March 11, 2016, 12 – 1pm
J. Willard Marriott Library, Rm 1726A

Join Amy Brunvand for a discussion of “The Sixth Extinction: an Unnatural History” by Elizabeth Kolbert

This is part three of a four part series of discussions about climate change and fossil fuel divestment, based on book readings.
For more information visit the Marriott Library’s blog: newsletter.lib.utah.edu

BrownfieldPigeon

Beyond the Sixth Extinction
Shawn Wilder Sheehy
Paperboy Press: Illinois, 2007
N7433.4 S5418 B4 2007

Constructed of handmade cotton/abaca paper, book board, Arches watercolor board and linen thread. Type set digitally in Joanna and printed from polymer plates. Edition of fifteen copies. University of Utah copy is no. 7, signed by the author.

Snapdragon
Rotrap
Dreadhead

alluNeedSingleLine

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Book of the Week — Sounds of the Night: The American Indian and the Owl

08 Monday Feb 2016

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American Indian, Antonio Frasconi, Arches, Connecticut, Hosho, owl, South Norwalk, woodcut, xylograph

ColorSpread

“At night may I roam
When the owl is hooting
At dawn may I roam
When the crow is calling
Then may I roam.” – Teton Sioux

SOUNDS OF THE NIGHT: THE AMERICAN INDIAN AND THE OWL
Antonio Frasconi (1919-2013)
South Norwalk, CT: Winter 1994-1995

Earth tones contrast with night colors of deep purple, black and silver. Overprinted by Antonio Frasconi, adding layer upon layer of color, on Hosho and Arches paper. Twelve leaves of color woodcuts and xylographic text in brown. Full-page portrait of an American Indian in earth tones faces a full-page owl in purple and black, followed by seven double-spreads of a poem and an owl, concluding with a double-spread of the land and sky at night. Brown endpapers. Full color woodcut wrap-around cover. Slipcase covered with an additional woodcut, xylographic label. One of ten copies, signed.

For more about Antonio Frasconi and more of his work, see our post: “Rare Books Acquisition Made Possible with Help of Latin American Studies.”
TetonSioux
Yuma

alluNeedSingleLine

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