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Tag Archives: concertina

Book of the Week — Promenade de Longchamp, Optique no. 4

28 Wednesday Mar 2018

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Archbishop de Beaumont, Bois-de-Boulogne, Champs-Élysées, concertina, convent, Easter Parade, fashion, hats, Holy Week, Kentucky Derby, Napoleon, Paris, Paris Opera, peepshow, Promenade de Longchamp, Tenebrae, tunnel book

Facade
— Photographs by Scott Beadles

PROMENADE DE LONGCHAMP, OPTIQUE NO. 4
Paris, ca. 1810

The Promenade de Longchamp was an annual social event which took place on the Wednesday, Thursday, and Friday of Holy Week every spring along the Champs-Élysées and through the Bois-de-Boulogne. The tour ended at the abbey of Longchamp, where the nuns sang the office of Tenebrae, a village four miles from Paris. A convent there, established in 1256, had long been a destination for religious pilgrims. In the late seventeenth century, the pilgrimage became unauthorized secular spectacle.

Through

The nun’s choir was fortified with singers from the Paris Opera. The theater in Paris was closed during Lent, which made the Promenade one of the few ways in which high society could flaunt their new spring fashions. A procession of people in festive costume traveled on horseback, in carriages, and on foot. Wealthy citizens of Paris vied to have the most elaborate carriages and clothing, while the lower classes, including laborers, soldiers, and prostitutes, lined the route to gawk. Police turned out in force, to keep the parade participants safe. The Paris Archbishop de Beaumont tried to halt the parade by ordering the convent closed during Holy Week. The parade did not stop. Participants were there to see and be seen.

Through2

In 1789, the Promenade was disrupted by an angry mob. The convent, by then wholly peripheral to the show, was closed by the Revolutionary government. Napoleon revived the parade in the 19th century, in part as a way to bolster the fashion industry, but the later parades did not match the lush grandeur of those in the 18th century. Still, the parade contributed to later fashion phenomena. The American “Easter Parade” and the big, ostentatious hats of the Kentucky Derby can be traced back to the Promenade de Longchamp.

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This early 19th century concertina-style peepshow depicting the Promenade de Longchamp in Paris is etched on the front and back panes and contains four cut-out sections in-between, all hand-colored. The front panel has a circular viewing aperture. It is housed in its original marbled paper slip-case with engraved label.

Slipcase2

Slipcase

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Book of the week — How long?

29 Monday Aug 2016

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beading, concertina, embroidery, flag book, Library of Congress, Minna Morse, Oregon Historical Society, photographs, postage stamps, quilting, Sande James-Wascher, Smith College, Sophia Smith Collection, suffrage, The Smithsonian, University of Utah, vote, women

N7433.4-w38-H69-1993-spread

HOW LONG?
Sande James-Wascher
Renton, WA: Wascher-James, 1993
N7433.4 W38 H69 1993

Women’s struggle for the vote through text, photographs, and quilt block. Text inspired by an article on women’s suffrage by Minna Morse in The Smithsonian, 1993.

From the artist’s statement: “I choose to create what I feel will be beautiful and bring pleasure. That does not preclude having a powerful message…Most of my work is done with what might be considered ‘women’s work’: embroidery, quilting, beading, etc. I do this intentionally to show that there is merit and power in these techniques and because I enjoy working this way…The book formats I use allow me to do pieces that are sculptural with strong visual images as well as written components…”

Photographs from the Library of Congress, Oregon Historical Society, Smithsonian, and Sophia Smith Collection, Smith College. Flag book bound in concertina style, opening to reveal twenty-one card leaves in three horizontal rows, each leaf with text/printed photograph on one side and illustration of a postage stamp on a ground of printed patchwork on the other. Boards of printed patchwork with floral lilac fabric border. Edition of one hundred and twenty-five copies. University of Utah copy is no. 45, signed by the author.

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Book of the week — Night Street

20 Monday Jun 2016

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Barbara Luck, Claire Van Vliet, collage, concertina, Janus Press, lithographs, Lois Johnson, moire, non-adhesive concertina, plastic, poems, silkscreen, Vermont, West Burke

N7433.4-L83-N5-1993-spread

“Nothing doing.”

NIGHT STREET
Barbara Luck
West Burke, VT: Janus Press, 1993
N7433.4 L83 N5 1993

Ten poems concerning the dilemma of a young woman in the city faced with retaining her humanity without being victimized. On colored sheets of paper collaged on black silkscreened pages opposite highly colored offset lithographs by Lois Johnson. The binding is a non-adhesive concertina. Both the cover and the pages are shaped to resemble cityscapes and made of gold elephant hide paper. Slipcase is non-adhesive of blue moire plastic. Entire structure designed and executed by Claire Van Vliet. Edition of ninety copies signed by author and artist.

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Books of the Week – Nance O’Banion

06 Monday Apr 2015

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accordion fold, Berkeley, Canson Vidalon, concertina, Condensed, Coventry Rag, Elephant Hide, Fabriano Rosapina, Flying Fish Press, Gill Sans, Julie Chen, Kaufmann, letterpress, linoleum blocks, Nance O'Banion, Sandy Tilcock, Thomas Wojak, W.O.R.K.S.


Domestic Science: Idioms
Nance O’Banion
Berkeley: Flying Fish Press, 1990
N7433.4 O33 D66 1990

Double-sided accordion-folded to be read in two directions and from both sides. Illustrated with linoleum block prints cut by author. Concertina binding. Printed on Fabriano Rosapina paper. Housed in checkered box by Sandy Tilcock. Edition of 150 copies, 15 copies deluxe edition.


Correspondence Course
Nance O’Bannion
Berkeley, CA: Flying Fish Press, 1993
N7433.4 O33 C67 1993

Nance O’Bannion’s text juxtaposes familiar sayings in unfamiliar groupings playing off similar words. For instance, “Be a fly on the wall” is followed by “wallflower” and “Catch it on the fly” is followed by “Open fly.” The text is juxtaposed against colorful images of ordinary items, made extraordinary by the groupings. Organized as an instructional notebook divided by tabs for a course in life. Papers are Canson Vidalon, Coventry Rag and Elephant Hide. Text letterpress printed with Gill Sans, Condensed, and Kaufmann by Julie Chen. Card images screen printed by Thomas Wojak at the W.O.R.K.S. Designed and assembled with the assistance of the staff of Flying Fish Press. Bound in purple cloth over boards, exposed blue threads sewn on reddish-gold cloth spine. Housed in slipcase of mustard-colored paper over boards. Edition of one hundred copies.

alluNeedSingleLine

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Recommended Workshop – Non-Credit Letterpress

22 Tuesday Apr 2014

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accordion, Baskerville, Book Arts Program, Book Arts Studio, Center for Book Arts in NYC, Claire Taylor, concertina, Dikko Faust, French's Extra Blue Butcher, Futura, hand-stenciled, handset type, In Cahoots Press, letterpress, linoleum blocks, Macy Chadwick, Mohawk Superfine, moveable type, New York City, polymer plates, pressure prints, printmaking, Purgatory Pie Press, Rare Books Division, Rebecca Chamlee Keeley, relicensure points, Roma, Sarah Nicholls, Silk Tissue, Spartan, University of Utah, Utah State Board of Education, workshop, zinc cuts

The Book Arts Program presents

Non-Credit Letterpress

Tuesdays, May 13 through July 1
5PM – 8PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $280 Materials fee: $60

This gem of a workshop introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Practicing a variety of techniques and using an array of media – miraculous moveable type, dazzling zinc cuts, luscious linoleum blocks, and precious pressure prints, among others – participants design and produce several projects with the jewels of the Book Arts Studio: its flatbed cylinder and clamshell platen presses.

Instructor Claire Taylor is the Studio Manager at the Book Arts Program. She received a BFA from the University of Utah in printmaking in 2007. Working mainly in letterpress and drawn media, she exhibits nationally.

Relicensure points are available from the Utah State Board of Education.

For more information: bookartsprogram@utah.edu or 801-585-9191

The Rare Books Division supports the Book Arts Program with its collections.

Vanity
Rebecca Chamlee Keeley
Los Angeles: R.C. Keeley, 1988
N7433.4 K434 V35 1988

Trapazoidal pages in which the top edge has been trimmed on an angle. Accordion structure bound in cloth covered boards. From the colophon: “The text was composed in Spartan, Futura and Baskerville types by Bell Type and Rule Co., printed on Roma paper, written, designed and bound by me. The zinc cuts were colored by a letterpress method invented by Dikko Faust of Purgatory Pie Press.” Edition of twenty-five copies. University of Utah copy is no. 25, signed by the author.


Phosphorescent Face Highlighter
Sarah Nicholls
New York City: S. Nicholls, 2010
N7433.4 N525 P46 2010

From insert: “Letterpress printed from handset type and linoleum blocks at the Center for Book Arts in NYC.” Edition of forty-five copies. University of Utah copy is no. 10, initialed by the author.


The Topography of Home
Macy Chadwick
Oakland, CA: In Cahoots Press, 2009
N7433.4 C414 T68 2009

Pages attached to a concertina with most pages having a circular silk tissue window so that the preceding and following pages show through. From the colophon: “[W]ritten designed and [letterpress] printed by Macy Chadwick…Printed with pressure prints and polymer plates on Mohawk [sic] Superfine and French’s Extra Blue Butcher paper…Window images hand-stenciled on Silk Tissue.” Edition of fifty copies, numbered and signed by the author/artist. University of Utah copy is no. 26.


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