Book of the Week — The Saint John’s Fragment: Against the Odds

09 Monday Apr 2018

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Bernard Grenfell, California, calligraphy, Cave, codex, David Annwn, Egyptian, English, Foolscap Press, Frankfurt Cream, Gospel of John, Greek, Hadrian, Hadrianic, leaves, Mark Knudsen, paper, papyrus, pochoir, poem, Roman Emperor, Saint John, Saint John's Fragment, Santa Cruz, script, scroll, sheet, stencils, Thomas Ingmire, Tiepolo, translation

a King I am. For this I have been born
and I have come into the world so that I would
testify to the truth. Everyone who is of the truth
hears of me my voice.” Said to him
Pilate “What is truth?” and this
having said, again he went out unto the Jews
and said to them,” I find not one
fault in him.”
–translation of a fragment of St. John’s Fragment

The Saint John’s Fragment: Against the Odds
David Annwn
Santa Cruz, CA: Foolscap Press, 2015
PR6051 N615 S3 2015

Poem inspired by the St. John’s fragment, a papyrus fragment now in the collection of the Rylands Library at the University of Manchester (Rylands Library Papyrus P52), dated between 100 and 150 CE and thought to be the earliest extant manuscript of a New Testament text.

From the Afterword: “The piece of papyrus called the St. John’s Fragment was acquired in an Egyptian market in 1920 by Bernard Grenfell, an English scientist and Egyptologist…

Written on both sides of the papyrus, it must have been part of a a codex, that is, a collection of sewn and folded leaves, not a scroll or an isolated sheet. That being the case, it would be among the earliest surviving examples of a literary codex. It was written in Greek in a script known as Hadrianic, named after Hadrian (76-CE – 138 CE), the Roman Emperor of the time…

Specifically, the text on this piece of papyrus is from the Gospel of John 18:31-33 and the verso holds a snippet of verses 237-38…”

From the colophon: “Thomas Ingmire’s calligraphy shows the image of the actual Fragment, then the restored page, then the English translation of the restored page. Mark Knudsen made the stencils for the pochoir painting of the Fragment. The poem is printed in Tiepolo type to complement the Fragment…The book is printed on Frankfurt Cream and bound in Cave paper.” Edition of one hundred and sixteen copies. Rare Books copy is no. 41, signed by the poet and the calligrapher.

Book of the Week — Colours of Persia

26 Monday Dec 2016

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airbrush, Barcham Green, Baskerville, Bembo, calligraphy, carborundum, collages, color, crayon, Curzon, cut-outs, drypoint, English, etchings, Farsi, foldouts, Garamond Italic, goatskin, gold foil, Hafez, inlaid leather, Isfahan, Ker Porter, letterpress, linocuts, London, Mashad, onlays, Persia, Prix de Rome, Richard de Bas, Saadi, Shiraz, silver foil, Susan Allix, Tehran, tilework, University of Utah, watercolor, Yazd

Although I have no beauty, colour & perfume
Am I not after all the grass of His garden?”
— Saadi

COLOURS OF PERSIA: PERCEPTIONS, ACCOUNTS…
Susan Allix (b. 1943)
London, 2007
N7433.4 A57 C65 2007

From the artist: “The text is arranged around the headings of five cities – Tehran, Mashad, Yazd, Shiraz and Isfahan. These names are printed in English in 48pt. Garamond Italic and Farsi, which was cast in Tehran. Different typefaces have been used for the different voices of the authors: Ker Porter speaks in Bembo, Curzon in Baskerville, Hafez in varying sizes of Garamond.
Handset and letterpress printed on handmade Barcham Green. The paper for the prints is handmade Richard de Bas. Twenty-six prints, of which seventeen are etchings with drypoint, carborundum and other methods, seven are linocuts, and two are a combination of two or more of these processes. Four prints in black and white, the rest in color, including hand coloring by watercolor, crayon and airbrush, and gold and silver foil.
Additionally illustrated with some foldouts of varying sizes, including some with cut-out shapes. A variety of colored sheets act as interleaving or free colored collages.
Bound in goatskin, some of which has been dyed cobalt blue and yellow. The inlaid leather is also inlaid with waxed paper printed in a style similar to tilework, its semi-transparent quality allowing the title to show through in shadow. The design, based on architectural shapes, has onlays of black, freely-cut leather reminiscent of calligraphy. Within the edition, each binding differs slightly.”
This is the forty-fifth publication of Susan Allix, who has received the Prix de Rome for her book work. Edition of twenty-five copies, signed by the producer. University of Utah copy is no. 9.

Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

28 Thursday Jul 2016

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barrens, Book Arts Studio, brayers, brushes, calligraphy, Cleveland Museum of Art, Connecticut, copperplate engravings, Daniel Kelm, Fogg Museum, Francis Willughby, Franklin Nichols Woodworking, Gerald Lange, handmade, Harvard University, Henryk Goreski, ink, J. Willard Marriott Library, Japan, Japan Foundation, Japanese paper, John Wareham, Keiichiro Uesugi, Keiji Shinohara, kozo paper, Krystyna Carter, Kyoto, Library of Congress, Middleton, Milwaukee Art Museum, Osaka, pallet knives, Paul Shaw, poetry, Polish, polymer plates, presses, printing, printmaker, rag papers, Robin Price, triptych, Ukiyo-e, United States, University of California, Wesleyan University, William Everson, woodblock, woodcut

The Practice of Ukiyo-e Woodblock
Keiji Shinohara, instructor

August 5-6
Friday & Saturday, 10:00-6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Registration for this workshop is closed.

Leave the brayers, pallet knives, rag papers, and presses behind, and journey eastward. With brushes and barrens, master printmaker Keiji Shinohara guides participants gently through the traditional Ukiyo-e technique of woodblock printing on Japanese papers. As new practitioners, participants have time to carve small, simple blocks using one or two colors. The focus of the workshop is on observance and practice of process rather than on a producing a masterful print.
– – – – –
Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United States. Shinohara’s nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He is currently teaching printmaking at Wesleyan University in Middletown, Connecticut and has been a visiting artist at over 100 venues and 30 solo shows. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Cleveland Museum of Art, the Fogg Art Museum at Harvard University, Milwaukee Art Museum, and the Library of Congress.

Rare Books is pleased to support the Book Arts Program with its collections.

Altar Book of Gorecki
Middleton, CT: Robin Price, Publisher, 1996

Inspired by a 1992 recording of Henryk Goreski’s Symphony No. 3. English translation by Krystyna Carter. Calligraphy of Polish lyrics by Paul Shaw. Bird illustrations are from seventeenth-century copperplate engravings by Francis Willughby. Photographed by John Wareham, the illustrations were digitally adapted and made into polymer plates by Gerald Lange. Woodcut designed and carved by Keiji Shinowara. Triptych structure with the consultation of Daniel Kelm. Box design and construction by Franklin Nichols Woodworking. Designed, printed and bound by Robin Price. Edition of sixty copies.

Ravaged With Joy
William Everson (1912-1994)
Middletown, CT: R. Price, 1998
PS3509 V65 R38 1998

A record of the poetry reading at the University of California, Davis, on May 16, 1975. Woodcuts by Keiji Shinohara. Issued in slipcase. Edition of one hundred and fifty copies, signed by the artist. University of Utah copy is no. 62.

Book of the week — Traitte Des Diuertissemens, Inclinations, & Perfections Royales

16 Monday May 2016

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aristocracy, army, booksellers, calligraphy, combat, comedy, Communaute des Libraires, cursive, damsels in distress, Dom Castagne, education, fowl, French, friendships, handwriting, hare, hunting, Imprimeurs et Relieurs, Italian, kidnappings, Louis XIII, Louis XIV, love, novel, Orient, Paris, Pierre Moreau, poacher, Potier de Morais, printer, script, stag, tennis, type, typography, writing master

TRAITTE DES DIUERTISSEMENS, INCLINATIONS, &…
Potier de Morais (fl. 1644-1670)
Paris: Pierre Moreau, 1644
Only edition
DC133.32 P64 1644

Set in the exotic Orient, this novel on the education of a prince was written for and dedicated to six-year-old Louis XIV. Potier de Morais added pedagogy on the art of being king amid attempted kidnappings, fierce combat, reversals of fortune, damsels in distress, faithful friendships, love, and, naturally, tennis. Skills such as how to conduct an army in the field are presented as the same skills needed by an absolute ruler to sponsor a grand fete.

One character is an amiable poacher, Dom Castagne, who describes his idyllic life in woods belonging to someone else, hunting hare, stag and fowl. Morais developed Dom Castagne into the lead character of an unpublished comedy.

This book was printed in Pierre Moreau’s ‘script types,’ copied from the Italian cursive calligraphy considered most polite of the time. There was a strong interest in the seventeenth century, especially among French aristocracy, in script over type. Moreau, a writing master, wrote several books on the art of handwriting. As a printer, he was the first to develop calligraphic hands into type.

By securing his privilege directly from Louis XIII in 1642 to use his “nouveau caractheres,” Moreau (ca. 1600-ca. 1649) became Imprimeur ordinaire du Roy without joining the powerful printers’ guild. This did not please the master printers of Paris. Moreau was harassed by printers, booksellers, and writing-masters alike. In 1648, the Communaute des Libraires, Imprimeurs et Relieurs secured an injunction forbidding him to print. Moreau consequently abandoned typography and died soon after.

No other copy of the present work is in the United States. University of Utah copy bound in 19th-century glazed purple boards with gilt spine title and date, red edges.

Rare Books/Book Arts Collaborative Exhibition Featured in Utah Daily Chronicle

15 Friday Jan 2016

Posted by rarebooks in Chronicle, Newspaper Articles, Physical Exhibitions

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Allison Milham, Allyn Hart, artists' books, Becky Thomas, Book Arts Program, calligraphy, Claire Taylor, Crane Giamo, cyanotype, digital letterpress, Emily Tipps, encaustics, flag book, ink, J. Willard Marriott Library, Karen Hanmer, Keiji Shinohara, leather binding, linocut, Louanna Tanner, Luise Poulton, Marnie Powers-Torrey, Michelle Macfarlane, painting, Pamela Smith, paper marbling, rare books, Rare Books Department, Special Collections Gallery, Stacy Phillips, Utah Daily Chronicle, woodcut, xerox lithography

“We are embracing the process of making the book.” — Allison Milham, Book Arts Program Community Outreach Coordinator.

Glimpse gallery at the Marriott Library, Monday December 7, 2015.

Glimpse, Special Collections Gallery — Photo courtesy of Utah Daily Chronicle

Allison Milham (Book Arts Program) and Luise Poulton (Rare Books) teamed up to curate an exhibition featuring the work of library and guest instructors for the Book Arts Program’s 2016 workshop schedule. Read more about it in the Utah Daily Chronicle.

The exhibition, “Glimpse,” in the Special Collections Gallery on level 4 of the J. Willard Marriott Library, includes artists’ books held in the Rare Books collection. 2016 Book Arts Program guest instructors include Keiji Shinohara (Woodcut), Karen Hamner (Flag Book and Leather Binding), Pamela Smith (Paper Marbling), Michelle Macfarlane (Cyanotype), Claire Taylor (Linocut on Fabric), Allyn Hart (Xerox Lithography), Becky Thomas (Experimental Ink Techniques), Stacy Phillips (Painting with Encaustics), Louanna Tanner (Calligraphy). Additional workshops are offered by Book Arts Program faculty and staff Crane Giamo and Marnie Powers-Torrey (Digital Letterpress), Emily Tipps (Narrative Pages), and Allison Milham (Bookmaking). For more information about these workshops visit the Book Arts Program.

Rare Books is proud to work with our colleagues in Book Arts!

The Bill of Rights

29 Monday Jun 2015

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Arizona, Arizona State University, ASU College of Law, bicentennial, Bill of Rights, broadside, calligrapher, calligraphy, Chuck Brownson, colophon, Congressional, Dan Mayer, David Kader, deckled edges, facsimile, John Risseeuw, Nancy Pilgrim, National Archives, Ocotillo Arts and Papermill, Plantin, Pyracantha Press, Tempe, typeface

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.

Book of the Week – New Borders: The working life of Elizabeth…

05 Monday Jan 2015

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Adolf Hitler, Bauer Type Foundry, Bembo, Berlin Academy, calligraphy, Curwen, Elisabeth-Antiqua, Elizabeth Friedlander, Ellic Howe, English, font, forgery, Francis Meynell, Frankfurt, Friedlander-Antiqua, Georg Hartmann, Germany, Incline Press, Italian, Italy, Jewish, Linotype Corporation, London, Mondadori, Monotype, Nazi, Pauline Paucker, Penguin Books, propaganda, rubber stamps, Sandhurst, Third Reich, typeface, typography, Wehrmacht

New Borders. The working life of Elizabeth…
Pauline Paucker
Oldham, United Kingdom: Incline Press, 1998

Elizabeth Friedlander (1903-1985) produced calligraphy and decorative designs for books from the 1920s until her death. New Borders is based on her workbooks, which she kept throughout her life.

Born into an affluent family, Friedlander studied typography and calligraphy at the Berlin Academy. She worked for the German fashion magazine, “Die Dame,” designing headings and lay-outs, and attracting the attention of Georg Hartmann of the Bauer Type Foundry in Frankfurt. He invited her to design a typeface. This was to become their Elisabeth-Antiqua. It was originally meant to be named Friedlander-Antiqua. However, Adolf Hitler came to power just as the type was ready to be cast. Hartmann suggested that the name be changed from her Jewish surname to her first name.

The font was cut in 1939, after Friedlander left Germany. Under the Third Reich, Friedlander was forced to apply for official registration and was refused a work permit. She moved to Italy, where she was permitted to work so long as she did not become politically active. She learned Italian and worked with the publisher Mondadori, but in 1938, harsh Italian Race Laws threatened her employment. She moved to London, where she learned English and found a job as a domestic servant.

Francis Meynell found work for her as a designer. By 1942, she was in charge of design at Ellic Howe’s propaganda unit, where she produced forged Wehrmacht and Nazi rubber stamps while also working on freelance commissions.

Her most notable work included patterned papers for Curwen and Penguin Books, decorative borders for the Linotype Corporation, printer’s flowers for Monotype, and calligraphy for the Roll of Honour at Sandhurst.

Examples of her work tipped-in. Set in Bembo. Bound in half cream cloth over yellow and green-patterned paper, with a printed paper cover label. Edition of three hundred and twenty-five copies, signed by the author.

OPEN BOOK

~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

Tag Archives: calligraphy

Book of the Week — The Saint John’s Fragment: Against the Odds

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Book of the Week — Colours of Persia

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Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

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Book of the week — Traitte Des Diuertissemens, Inclinations, & Perfections Royales

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Rare Books/Book Arts Collaborative Exhibition Featured in Utah Daily Chronicle

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The Bill of Rights

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