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Tag Archives: Dante

Medieval Latin Hymn Fragment, Part D: “…of the holy found rest through him.”

31 Thursday Jan 2019

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Africa, Albigensians, antiphonal, antiphons, Aragon, Barcelona, Beatus, Blessed Virgin Mary, captive, captives, captivity, chant, Christian, crusade, Dante, Dept. of Art & Art History, Elizabeth Peterson, Feast of Saint Peter Nolasco, Florence, fragment, France, Franciscan, Granada, hymn, hymns, Italy, James T Svendsen, justice, King James I, Languedoc, Latin, lauds, manuscripts, medieval, Mercedarian Breviary, music, Order of Mercedarians, parchment, Peter, Piettro Pettinari, poor, Pope Urban VIII, prisoners, Proper of Saints, psalm, Psalm 1, Psalm 106, Psalm 20, Psalm 4, Purgatorio, Saracens, St. Peter of Nolasco, St. Raymond of Penafort, The University of Utah, Utah Museum of Fine Arts, Valencia, vernacular, Vespers


(san)ctoru(m) requieverunt per
eu(m). Ps. D(omi)ne… V. Dispersit, dedit pauperibus
R. lustitia…
Dispersit, dedit pau-
peribus
iustitia ma-
net in seculu(m) seculi.

of the holy found rest through
him. PS O Lord V. He distributed, he gave to the poor…
R. His justice…
He distributed, he gave to the
poor; his justice
remains forever.


Cum invocarum… Petrus
ordinis nostri pater ex
operibus iustificatus est
offernes seipsum in rede(me)p-
tione(m) captivoru(m). Ps.

When I was calling upon… Peter,
the father of our order, was justified by his works,
offering himself for the ransoming of captives. Psalm.


Verb… m… A(men) Pergebat
ad o(m)nes qui in captivi-
tate erant et monita sa-
lutis dabat eis. Ps. D(omi)ne (in vertute tua…)
V. Salvavit eos de (manu odientium)
R. Et redemit eos (de manu inimici)

In tertio Noc(urno) A(men) Captivorum

He proceeded
to all who were in captivity
and gave to them counsels
about salvation. Psalm O Lord, in your power…
Verse. He saved them from the hand of those hating them…
Response. And he redeemed them from the hand of the enemy
Sung at the third Nocturn Captives


miserat(us) aerumnas pro e-
oru(m) miseratione Domi-
num lugiter exorabat.
Ps. D(omi)ne… Visita-
vit vinctos in mendici(tate
et ferro et vincula eorum disrupit.)

Having taken pity on the
hardships of the captives,
with compassion for them
he continually prayed to the Lord.
Psalm. O Lord… He visited
those bound in beggary
(and by the sword and he shattered their bonds.)

These hymns celebrate the life of St. Peter of Nolasco and are usually sung — with local variation — on January 28 or 31. St. Peter Nolasco, with St. Raymond of Penafort, was the founder of the Order of Mercedarians, the religious community which sent members as ransom for Christian prisoners in the hands of the Saracens. Details of his life are uncertain, but he was probably a native of Languedoc. After taking part in the crusade against the heretic Albigensians of Southern France, he became a tutor of King James I of Aragon and then settled at Barcelona. There he became friends with St. Raymond of Penafort, and in 1218, with the support of James I, they laid the foundation for the Mercedarians. Twice Peter went to Africa to serve as a captive, and it was reported that during one journey to Granada and Valencia he won the release from Moorish jails of some four hundred captive Christians. He was canonized by Pope Urban VIII in 1628. For the most part these texts are derived from the Mercedarian Breviary and were the antiphons and hymns sung at lauds in the morning and at vespers in the evening on the Feast of Saint Peter Nolasco.

~Transcription, translation, and commentary by James T. Svendsen, associate professor emeritus, World Languages and Cultures, The University of Utah

Parchment leaves from an Antiphonal, 16th c Italy/Florence/Sienna. Eleven parchment leaves from the Proper of Saints, Feast of the Blessed Peter of Sienna (16 Mar), Vespers/Matins.
“Text and music on thick, stiff parchment is continuous throughout the fragment. The feasts as written here celebrate the virtuous deeds of one Peter who showed a profound devotion to the Blessed Virgin Mary. He was honored for giving alms to the poor and was commanded by the Virgin to free captives. Thus, the feast may be linked to the Franciscan Piettro Pettinari (d. 1289), who attained the rank of Blessed (Beatus) in the Christian church and was renowned for these very activities. A local vigorous cult resulted in religious songs composed to him in the vernacular, and he even rated a mention in Dante’s Purgatorio.

~Description by Elizabeth Peterson, associate professor, Dept. of Art & Art History, The University of Utah, from Paging Through Medieval Lives, a catalog for an exhibition held November 2, 1997 through January 4, 1998 at the Utah Museum of Fine Arts.

Editor’s note: The commentary by Dr. Svendsen and the description by Dr. Peterson differ, each identifying “Peter” as different people, Peter Nolasco and Piettro (Peter) Pettinari (of Sienna). Dr. Svendsen, shown Dr. Peterson’s assessment, was politely firm about his identification. This is a perfect, lovely example of the different ways two scholars in two fields can approach an object, coming up with different results. In the case here, an esteemed Classicist and an esteemed art historian disagree, although the suspected dates of their protagonists have only about fifty years between them; one from Southern France, the other from Northern Italy — not so far apart.

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Book of the Week — Voyage of the soul: Five tales from Plato

30 Monday Jul 2018

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Apollo Bindery, Dante, Hermes, Mark Smith, Peter Cohen, Petrarch Press, Phiale Painter, Plato, sheepskin parchment, soul, vase, voyage


There is one way, then, in which a man can be free from all anxiety about the fate of his soul — if in life he has abandoned bodily pleasures and adornments, as foreign to his purpose and likely to do more harm than good, and has devoted himself to the pleasures of acquiring knowledge, and so by decking his soul not with a borrowed beauty but with its own — with self-control, and goodness, and courage, and liberality, and truth — has fitted himself to await his journey to the next world. — from “The True Earth”

Voyage of the Soul
Plato
Petrarch Press and Apollo Bindery, 1996
B358 S65 1996

Introduction by Mark Smith. Graphic design by Peter Cohen. Title page illustration: Hermes Conducting a Soul to the Afterworld from a vase painting by the Phiale Painter. Set in Dante type. Printed on sheepskin parchment. Rare Books copy is lettered “XI.”

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A Recipe for Disaster

12 Tuesday Jun 2018

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Abraham Lincoln, Arctic, Arctic expeditions, Arthur Conan Doyle, bones, botany, British, British Isles, Brontë sisters, Canada, cannibalism, Captain William Parry, Charles Dickens, Coppermine River, Dante, deer, diarrhea, Dr. John Richardson, Edgar Allan Poe, Elisha Kent Kane, England, engravings, Esquimaux, exhaustion, explorers, exposure, Fort Enterprise, Frankenstein, fungus, geology, ichthyology, Inuit, Jane Austen, John Murray, Jules Verne, Junius, lead poisoning, lichen, literature, London, Lyuba Basin, Mary Shelley, Melville Sound, moosehide, Murder, national identity, naval prowess, nineteenth century, nineteenth-century polar fiction, North America, Northwest Passage, notebooks, Nunavut Territory, overland exploration, partridge, pemmican, polar expeditions, poles, racial prejudice, rare book collections, rare books, rations, rock tripe, Samuel Taylor Coleridge, scurvy, Sir John Franklin, Slave Lake, soup, starvation, tin cans, tripe de roche, Wilkie Collins, willows, winter

“At two P.M we set sail, and the men voluntarily launched out to make a traverse of fifteen miles across Melville Sound, before a strong wind and heavy sea. The privation of food, under which our voyagers were then laboring, absorbed every other terror; otherwise the most powerful persuasion could not have induced them to attempt such a traverse. It was with the utmost difficulty that the canoes were kept from turning their broadsides to the waves, though we sometimes steered with all the paddles.”


And now there came both mist and snow,
And it grew wondrous cold:
And ice, mast-high, came floating by,
As green as emerald.

And through the drifts the snowy clifts
Did send a dismal sheen:
Nor shapes of men nor beasts we ken—
The ice was all between.

The ice was here, the ice was there,
The ice was all around:
It cracked and growled, and roared and howled,
Like noises in a swound!

  • “The Rime of the Ancient Mariner”, Samuel Taylor Coleridge

Narrative of a Journey to the Shores of the Polar Sea …
John Franklin (1786 – 1847)
London: J. Murray, 1823
First edition
G650 1819 F8

Throughout the shelves of the rare book collections, there are glimpses of a body of literature that remains largely overlooked: nineteenth-century polar fiction. Have you heard of it?

If you have ever read the works of Samuel Taylor Coleridge, Edgar Allan Poe, Jules Verne, Wilkie Collins, Charles Dickens, Jane Austen, the Brontë sisters, Arthur Conan Doyle or Mary Shelley (among many others), you might have glimpsed the brooding nature of the poles, where men become violent and mad, and the true horrors of humanity are displayed. As in Shelley’s Frankenstein; or, the Modern Prometheus, framing the stories in the Arctic allowed the writers to explore the themes of the dangerous pursuit of knowledge and the sublime, in addition to developing haunting allusions of Dante’s frozen inner circle of hell.

“We encamped at seven and enjoyed a substantial meal. The party were in good spirits this evening at the recollection of having crossed the rapid, and being in possession of provision for the next day. Besides we had taken the precaution of bringing away the skin of the deer to eat when the meat should fail. The temperature at six P.M. was 30.”

During the nineteenth century, polar expeditions and the search for a Northwest Passage enticed the people of England to the point that people sang polar-themed songs, had polar-themed dinner parties and even staged polar expedition reenactments, and read every single piece of polar-themed literature they could find. The uncharted territory and theories of the mysterious open, polar seas also provided England yet another opportunity to show off their naval prowess and further exert their national identity upon the world.

“My original intention, whenever the season should compel us to relinquish the survey, had been to return by the way of the Copper-mine River, and in pursuance of my arrangement with the Hook to travel to Slave Lake through the line of woods extending thither by the Great Bear and Marten Lakes, but our scanty stock of provision and the length of the voyage rendered it necessary to make for a nearer place.”

The explorers who were successful returned to the British Isles with stories of their adventures and went on to publish narratives of their journeys. In 1821, Captain William Parry published a best-selling account of that voyage which propelled him on a book tour, while Elisha Kent Kane’s 1856 Arctic Explorations sold 200,000 copies, which would be the equivalent of two million books today. When Kane died, his funeral procession was the second largest of the nineteenth century, following closely behind Abraham Lincoln.

“The reader will, probably, be desirous to know how we passed our time in such a comfortless situation: the first operation after encamping was to thaw our frozen shoes, if a sufficient fire could be made, and dry ones were put on; each person then wrote his notes of the daily occurrences, and evening prayers were read; as soon as supper was prepared it was eaten, generally in the dark, and we went to bed, and kept up a cheerful conversation until our blankets were thawed by the heat of our bodies and we had gathered sufficient warmth to enable us to fall asleep.”

Of all the Arctic expeditions, Sir John Franklin’s 1845 journey was, without a doubt, the most famous, due to the loss of 128 crew members and their two ships, the Erebus and the Terror. It took more than one hundred years to solve the mystery behind this fateful voyage, and once the ships were found, artifacts and skeletal remains proved the rumors of cannibalism that had been circulating since Captain Franklin and his crew originally went missing. Researchers have speculated that the ships were trapped in ice and that the men aboard likely died from a combination of scurvy, starvation, exposure and lead poisoning from the poorly soldered tin cans which held their rations for three years.

“We had already found that the country, between Cape Barrow and the Copper-mine River, would not supply our wants, and this it seemed probable would now be still more the case; besides, at this advanced season, we expected the frequent recurrence of gales, which would cause great detention, if not danger in proceeding along that very rocky part of the coast.”

Over the course of the century Franklin’s crew was among many that had perished. However, it is important to note that this area was home to the Inuit, or Esquimaux, as they are described in the journals: generations of people who have lived and thrived in the Arctic, raising children, hunting, and tending to their elderly. Unfortunately, racial prejudice of the colonial powers restrained the British explorers from imitating and learning the indigenous ways of traveling, hunting, eating and staying warm.

“Their spirits immediately revived, each of them shook the officers cordially by the hand, and declared they now considered the worst of their difficulties over, as they did not doubt of reaching Fort Enterprise in a few days, even in their feeble condition. We had indeed every reason to be grateful, and our joy would have been complete were it not mingled with sincere regret at the separation of our poor Esquimaux, the faithful Junius.”

Franklin first explored the Arctic in a series of three expeditions between 1819 – 1822. Narrative of a Journey to the Shores of the Polar Sea was published the following year by John Murray in London, a publishing company that took particular interest in the poles. The book discusses the four-year journey, revealing the hardships of the overland exploration in the Northwest territories of Canada, specifically around the Coppermine River of the Nunavut Territory. This publication also includes detailed color engravings depicting the landscapes and the many Intuit interpreters who helped along the way. Sadly, this voyage did not prove to be entirely successful either.

“Everyone was on the alert at an early hour, being anxious to commence the journey. Our luggage consisted of ammunition, nets, hatchets, ice chisels, astronomical instruments, clothing, blankets, three kettles, and the two canoes, which were each carried by one man. The officers carried such a portion of their own things as their strength would permit; the weight carried by each man was about ninety pounds, and with this we advanced at the rate of about a mile an hour, including rests.”

The final chapters describe the last months of the journey as the crew traversed the harsh Canadian landscape back to the Coppermine River. In addition to Captain Franklin, Dr. John Richardson, who kept notes and wrote the sections on geology, botany and ichthyology, included his own experience, during the time in which the party had split into three. Their final notes both emphasize the failing morale of the crew, the dropping temperatures, and the absence of food. Plagued by an early winter, the menu became scant: a small variety of berries before the frost; deer and musk-oxen, when possible; fish, until the nets were destroyed; a small supply of pemmican, a paste of dried and pounded meat mixed with melted fat; and partridge combined with tripe de roche.

“We supped off a single partridge and some tripe de roche; this unpalatable weed was now quite nauseous to the whole party, and in several it produced bowel complaints. Mr. Hood was the greatest sufferer from this cause.”

Tripe de Roche is the Canadian term for rock tripe, a type of lichen that grows on the rocks of North America. Although not at all nutritious, this edible fungus became the main source of food for the explorers and was often boiled with willows dug up beneath the snow. The taste is bitter and often causes severe stomach cramps and diarrhea and, combined with the extreme cold and deep snow, led to higher levels of exhaustion. A day’s worth of walking diminished from twelve miles to five, depending on the conditions.

“In the evening we encamped at the lower end of a narrow chasm through which the river flows for upwards of a mile. The walls of this chasm are upwards of two hundred feet high, quite perpendicular, and in some places only a few yards apart. The river precipitates itself into it over a rock, forming two magnificent and picturesque falls close to each other.”

To their dismay, even the lichen was all but plentiful in this barren country. Because of this, the men were sometimes forced to eat the leather from their moosehide shoes and scavenge the carcasses of rotting deer, boiling the bones in a soup only to retrieve the smallest amount of marrow. Desperation and despondency took hold of the party and in the final weeks, with many of the men becoming too weak to hunt or even walk. Towards the end of the journey, the group had separated into three, with Captain Franklin leading the pack to Fort Enterprise to find provisions and help from the Inuits. Unfortunately, only seventeen out of the twenty-eight party survived and suspicions of murder and cannibalism began to circulate among the survivors.

“At length we reached Fort Enterprise, and to our infinite disappointment and grief found it a perfectly desolate habitation. There was no deposit of provision, no trace of the Indians, no letter from Mr. Wentzel to point where the Indians might be found. It would be impossible for me to describe our sensations after entering this miserable abode, and discovering how we had been neglected.”

Leaving the men who were too weak to travel behind, Franklin went forward to look for provisions and help. The hunger, cold, and seemingly bleak chance of survival created hostility among some of the remaining crew, particularly between Dr. Richardson and Michel. In his final entry, Dr. Richardson recounts confronting Michel, who “reported that he had been in chase of some deer… and although he did not come up with them, yet that he found a wolf which had been killed by the stroke of a deer’s horn, and had brought part of it.” The meat was eaten with satisfaction but as time went on Michel’s strange and erratic behavior led Dr. Richardson to believe that Michel had either murdered two of the missing men, or found the bodies in the snow and took their flesh. After another man was mysteriously murdered, Dr. Richardson began to fear for his own safety and shot Michel point-blank without any further questions.

“A small quantity of tripe de roche was gathered; and Credit, who had been hunting, brought in the antlers and back bone of a deer which had been killed in the summer. The wolves and birds of pretty had picked them clean, but there still remained a quantity of the spinal marrow which they had not be able to extract. This, although putrid, was esteemed as a valuable prize, and the spine being divided into portions, was distributed equally. After eating the marrow, which was so acrid as to excoriate the lips, we rendered the bones friable by burning, and ate them also.”

Even in the coldest hour, Franklin and the explorers who came before and after saved the pages of their notebooks from the fire so that the people of the world could come to know their adventures. Murder, cannibalism, treacherous landscapes and perilous seas. It is no wonder that, upon returning to England, these narratives, the successes and failures of the Arctic Expeditions, excited the people to the point of inspiring a new genre of literature, one that has for so long been neglected.

~Contributed by Lyuba Basin, Rare Books

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Books of the Week — Sara Langworthy

26 Monday Feb 2018

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blotters, Book Arts Program, Bulmer, Cave Paper, clamshell, College Book Arts Association Conference and Annual Meeting, cotton, Dante, drum leaf binding, Emilie Bach, flax, handmade paper, hemp, Iowa, J. Willard Marriott Library, Kitakata, Kozo Kiga, linoleum, Oxford, photopolymer plates, Salt Lake City, Sara Langworthy, sewing manual, sumi ink, tatting manuals, The University of Utah, UICB Papercase Natural, University of Iowa Center for the Book, Utah, Vandercook #4


Everything Speaks In Its Own Way
Sara Langworthy
2003
N7433.4 L355 E8 2003

Printed from photopolymer plates and linoleum on blotters using a Vandercook press. Drum leaf binding. Edition of twenty copies. Rare Books copy is no. 14, signed by the author/bookmaker.


New Patterns in Old Style
Sara Langworthy
Oxford, IA: Sara Langworthy, 2013
N7433.4 L355 N48 2013

From Sara Langworthy’s website: “[This] began as an investigation of two opposing definitions of the word ‘CLEAVE’…The book combines images and text printed from photopolymer plates with hand-brushed sumi ink painting…The text…was constructed from a series of random/chance exercises using [the words from the definitions]. The first signature sets the scene of the word ‘cleave’ fighting itself; a passionate joining with a violent separation. The second signature examines the results of the repeated joining and separating. The first signature is printed primarily in pale greys and greens; the second signature is equally monochromatic, but uses a pink/orange/yellow palette…The papers used are Kitakata, Kozo Kiga, University of Iowa Center for the Book handmade text sheets in a variety of fibers including hemp, flax and cotton, and overbeaten flax/cotton combination, and offcut left over from paper specially commissioned from Cave Paper…The book is sewn into a modified limp paper binding, cover paper is UICB Papercase Natural. The book is housed in a clamshell.”

From the colophon: “Text is digitally set in Dante and Bulmer, and printed…on Vandercook number 4.” The images originat[ed] from scanned leaves and tracing of plants. The text is assembled from two sources: the definition of the word ‘CLEAVE’ and instructional language found in tatting manuals. The title of this book is borrowed from a sewing manual of the same name by Emilie Bach.

Edition of twenty-four copies. Rare Books copy is no. 5, signed by the author/bookmaker.

This book was exhibited as part of the fifth annual College Book Arts Association Conference and Annual Meeting, January 2-4, 2014, Salt Lake City, Utah, hosted by the Book Arts Program, J. Willard Marriott Library, The University of Utah.

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Autumn’s End

01 Wednesday Nov 2017

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Autumn, broadside, Christopher Buckley, Dante, Hubbub, Lagniappe Press, October, poet, rare books

PS3552-U339-A98-1992
“…yours until the final ghosts
from darkened fires
rise like filaments
on the low blue-grey
edge of light and air,
to shine like music must,
momentarily, to the blind.”

Autumn’s End
Christopher Buckley
Lagniappe Press, 1992
PS3552 U339 A98 1992

Printed in October 1992 with 12 point Dante. The poem first appeared in “Hubbub,” Fall 1992. Edition of forty copies. Rare Books copy signed by the poet.

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Book of the Week — Remember the Light

08 Monday May 2017

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8th century, acrylic, Arches BFK, bamboo, Barcham Green Mill, bas-relief, California, Coleman Barks, concertina guards, copper, Dante, debossing, earthquake, egg tempura, Egypt, etchings, Florence, gouache, Goudy Engraved, Italy, Japanese, Jelaluddin Rumi, laced-cords, laser print, Laura Wait, Leonard Cohen, letterpress, light, mantras, Mary Laird, Michael Burke, Murshid, Nefertiti, ostrich, polymer plates, Quelquefois Press, relief roll etching, religion, Rosicrucian Museum, San Jose, sepia, Somerset, Sufi, sumi, Tibet, Valley of the Kings, Wisconsin, wooden board binding, Xerox

Yellow
“Thus shall ye think of this fleeting world:
A star at dawn, a bubble in a stream,
A flash of lightning in a summer’s cloud,
A flickering lamp, a phantom, and a dream.”
— Buddha Shakyamuni

REMEMBER THE LIGHT
Mary Risala Laird
Quelquefois Press, 2007

Artist’s statement in an email to the curator: “My best friend was diagnosed with non smokers lung cancer in 2005 and given 3 months to live. I asked myself what I would want to do if given the same. I had always wanted to make an artist book. So I spent two years letting an edition of 7 Remember the Lights come to fruition. I chopped up some etchings I made called Earthquake, the one of 1989 when I moved to California from Wisconsin.

Earthquake

And put another relief roll etching (when Murshid sings) in the back of the book, writing over it with acrylic matte or glossy, mantras of the world religions. The Mantras are written throughout the book. I incorporated 7 quotes on Light, and 6 poems I wrote when I went to Tibet with a Sufi group in 1986. The title page has a plate from the Rosicrucian Museum in San Jose. Another one from them appears as the image of the Valley of the Kings in Egypt, which is printed twice in grey, right side up and upside down, doesn’t matter where we are in space. Little holes of light, like Leonard Cohen suggested, let in the light, in this case by using Japanese hole punches. I had always wanted to add color to my traditional book making. So I brushed gouache on the pages with cotton balls. I also loved using colored pencils and straight lines to connect the pages, as well as printing blocks of wood used in printing, making them type high so the wood grain would shine through. Lobsong’s Mother’s page has a sumi painting I did of Japanese ink, of bamboo; I had a polymer plate made and printed it pink, because it is a color I don’t often use and I wanted to experiment.

LobsongsMother

I had fun drawing ladders into my etchings, connecting things, like thoughts, of planes of consciousness.
And stringing along the trajectory of human experience, you know, birth, life, death birth, life, death.

Life

In the signature where I have iconized my mother, and also did Xerox of her and me, I used end signatures I had left over from an edition of poems from a Rumi book I printed for Coleman Barks.
I like using Xerox and commercial papers in conjunction with the hand made papers (blue green) I made in Wisconsin many years ago.

Faces

I had learned a blanket stitch from Michael Burke and used that around the hole I cut with the hand showing through (One Handed Basket Weaving/Jelaluddin Rumi. Versions by Coleman Barks.)

Stitch

On the colophon page I started each line with a cap, spelling out my name, vertically as you read down.

Colophon

And hiding at the end of book is another poem about being on retreat in a hut, with an etching printed relief rolled and worked into, based on a courtyard in Florence, Italy, from a sepia print I inherited from my Grandfather who got it there in 1896.

The stories go on. My friend lived 5 years longer.”

Colophon: “Resurrected and transmogrified etchings form the basis for this Infinitesimal edition, primarily printed letterpress. Actual copies: Seven, using Dante and Goudy Engraved. Text papers include Arches BFK, and Somerset. Endpapers & concertina guards: Nefertiti, Long ago made by hand at Barcham Green Mill, and hoarded by me Awaiting the right project! Overprinted relief-roll etchings When Murshid Sings and Earthquake, may include laser-print, egg tempura, Assorted colored pencils, polymer plates, Xerox, cut-outs, sewing & Reticulated energy patterns. The laced-cords wooden board binding You are holding, is based on an 8th c. model. Hand-planed covers, Laboriously covered with deer or goatskin, are fitted with brass Ornaments. Thanks to both Laura Wait & Michael Burke, models of Undying inspiration. Copies are hand numbered.” Rare Books copy is no. 2.”

Artist’s addendum to colophon: “Maple and cherry covers are not covered. Bas-relief of right and left hand, carved into the front and back covers.

Hand

Books come enclosed in drop spine boxes. Trays are black calf or goatskin lined with white deer or golden elk skin. Outer covers: there are two purple ostrich and two of teal ostrich; two more of lime green bovine; and one in lime green goatskin.

Cover

Leather straps match the outer covers, and attach to brass hand-filed knobs on the fore-edge. A copper disc is inlaid on the front cover, a debossed crescent moon at its base. My Opus.”

Photographs by Scott Beadles

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Book of the week — The Next Word: Red Square

18 Monday Jul 2016

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Alan Loney, Albion press, Arthur C. Danto, Australia, Barcham Green India Office, Bill Stewart, Dante, Dutch, Electio Editions, English, Groningen, Harvard University Press, Hendrik Werkman, Holland, letterpress, Lewis Allen, Malvern East, philosopher, printer, Ruscombe India Office, typography, University of Utah, Vamp & Tramp, wood type

PR9639.3-L6-N49-2012-(cover)

THE NEXT WORD: RED SQUARE
Alan Loney (b. 1940)
Malvern East VIC, Australia: Electio Editions, 2012
PR9639.3 L6 N49 2012

From the artist’s statement: “This book derives from putting two small obsessions together and seeing what happens. The first is with the typographical wonder of Hendrik Werkman (1882-1945), and his remarkable periodical ‘The Next Call,’ printed from 1923 to 1926. Each issue was 8 pages long, in approximately 40 copies, and designed and printed entirely from the materials of his print shop in Groningen, Holland…

My second obsession is the imaginary exhibition outlined by Arthur C Danto in his now famous book The Transfiguration of the Commonplace (Harvard University Press, 1981) where he poses the thorny set of intellectual problems around the question of the wording one attaches to paintings. Simply, Danto’s exhibition was a series of red rectangles, all looking the same, but all painted by different artists, and each with a different title. This apparently simple proposition created for Danto one of the knottiest philosophical speculations in contemporary criticism.

My book is designed to honor both these men, the material printer who said, ‘I produce designs during the course of printing,’ and the intellectual who wrote, “I am speaking as a philosopher, construing the gesture as a philosophical act.’ The pages for the ‘exhibition’ appear on the rectos only. The texts on the versos are constructed solely from all the Dutch words that in their spelling are also English words in Werkman’s texts through out the nine issues of ‘The Next Call.’”

Designed, printed, and bound by Alan Loney. Letterpress printed with Dante and wood types in red, blue, yellow, and gold on vintage Barcham Green India Office or Ruscombe India Office paper using a copy of Lewis Allen’s Albion press.* Bound with Ruscombe paper over boards. Issued in slipcase. Edition of forty-five copies, numbered, five copies hors de commerce. University of Utah copy is number 36, signed by the author.

*Thanks to Bill Stewart, Vamp & Tramp, for his knowledge, friendship and inspiration.

PR9639.3-L6-N49-2012-titlePR9639.3-L6-N49-2012-warspread

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Book of the Week — Theatro del mundo y de el tiempo…

14 Monday Mar 2016

Posted by rarebooks in Book of the Week

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astronomical, atlas, calculations, cartographers, celestial, constellations, Copernicus, Dante, earth, eclipses, equinoxes, geographic, Giovanni Paolo Gallucci, Granada, hell, maps, moon, mythologic, planets, Ptolemaic, Sebastian Munoz, star, sun, Venice, vovelles

QB41-G1818-pg38 QB41-G1818-pg54QB41-G1818-pg64 QB41-G1818-pg115

THEATRO DEL MUNDO Y DE EL TIEMP…
Giovanni Paolo Gallucci
Impresso en Granada en las casas de autor, por su industria, y a su costa por Sebastian Munoz, impressor de libros ano 1607

First published in Venice in 1588 as Theatrum mundi, et temporis, this book presents the forty-eight maps of the Ptolemaic constellations and depicts them as mythologic figures. The star positions are taken from Copernicus’ De revolutionibus orbum coelestium. Giovanni Paolo Gallucci’s Theatrum is considered the first modern celestial atlas because in its maps he used a coordinate system and a trapezoidal system of projection common among geographic cartographers of the time, allowing an exact determination of the star positions. The lively constellation figures overlay very accurate maps of the stars. Gallucci’s text is an encyclopedia of astronomical knowledge. He describes the Ptolemaic theories of the movement of the planets, the sun, the moon, and eclipses. Tables illustrate the earth, a Dantesque hell, and a forecast of the equinoxes from 1588 to 1800. This edition contains several complex vovelles to aid in calculations.

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