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Tag Archives: engraving

Book of the Week — Lexicon Tetraglotton…

10 Monday Oct 2016

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alchemy, alphabet, anatomist, anatomy, architecture, Aristotle, Ben Jonson, Benjamin Franklin, cats, Charles, chemistry, clothing, dictionary, England, English, engraver, engraving, Europe, France, French, frontispiece, history, horsemanship, hunting, Italian, Italy, James Howell, Kenelm Digby, Kings, lexicography, lexicon, library, London, Machiavelli, Oxford, physician, political, Poor Richard's Almanac, proverbs, reference, Restoration, Samuel Thompson, Spain, Spanish, tracts, travel, trees, Wales, William Faithorne, William Harvey, women

lexicon-tetraglotton-frontis

lexicon-tetraglotton-title

“A catt may look on a king”

Lexicon Tetraglotton, an English-French-Italian-Spanish…
James Howell (1594? – 1666)
London: Printed by J.G. for Samuel Thompson, 1660
First and only edition

James Howell, born in Wales and educated at Oxford, began his literary career in 1640 with the political allegory, Dendrologia: Dodona’s Grove, or, The Vocall Forest, an account representing the history of England and Europe through the framework of a typology of trees. He continued to write political tracts throughout the 1640s and 1650s, drawing material from Aristotle, Machiavelli, and others. Howell befriended many literary figures, including Ben Jonson and Kenelm Digby. In 1620, he became ill and was treated by physician and anatomist William Harvey.

Howell wrote Instructions for Forreine Travel in 1642, a book of useful information about safe travel in France, Spain, and Italy. Traveling in his own country proved to be hazardous, however. On a visit to London early in 1643, he was arrested in his chambers and imprisoned for the next eight years. He spent this time writing. He was released from prison at the Restoration of Charles to the throne and in 1661 was made Historiographer Royal.

Howell was a master of modern romance languages. Lexicon is a dictionary but also contains epistles and poems on lexicography; characterizations of most letters of the alphabet; and vocabulary lists organized in 52 sections, such as anatomy, chemistry, alchemy, women’s clothing, horsemanship, hunting, architecture, and a library. Howell collected proverbs in English, Italian, Spanish and French which are added in Proverbs, or, Old Sayed Savves & Adages. Benjamin Franklin used this book as a reference for his own Poor Richard’s Almanac.

In the frontispiece, engraved by William Faithorne (1616-1691), four female figures, emblematic of England, France, Spain and Italy, stand among trees with a helmeted figure to the right standing guard. This copy contains a later state of the engraving with initials identifying the countries represented. Half-title and title-page in red and black. Rare Books copy gift of Anonymous, for whose generosity and friendship we are ever grateful.

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Book of the Week – Travels into Several Remote Nations of the World

28 Monday Sep 2015

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Benjamin Motte, Dublin, eighteenth century, English, engraving, Enlightenment, Irish, John Sturt, Jonathan Swift (1667-1745), Lemuel Gulliver, London, portrait, Robert Steensma, seventeenth century, St. Patrick's Cathedral, Teerlink AA, Teerlink B, The University of Utah, travel, William Sheppard


Travels into Several Remote Nations of the World
Jonathan Swift (1667-1745)
London: B. Motte, 1726
First edition
PR3724 G7 1726

When Travels by “Lemuel Gulliver” was first published, only a few close friends knew that the real author was Jonathan Swift, the Dean of the Anglican St. Patrick’s Cathedral in Dublin. Swift, a native Dubliner, was involved in several political controversies during his lifetime, particularly in relation to the treatment of the Irish by the English.

Travels was a none-too-subtle, bitter satire of English royalty, politicians, scientists, and historians. Styled after popular travel and exploration narratives of the seventeenth and eighteenth centuries, the imaginative storytelling lambastes the much-lauded human reason of the Enlightenment. In Travels, Swift suggests that no change in governmental form would ever effect any lasting change in political behavior. Mankind, never noble for long under any circumstances, would always face the same unequivocal self: full of greed, excess, corruption, exploitation, violence, and decadence.

Benjamin Motte, a London printer, received an anonymous letter requesting that “Captain Gulliver’s” memoirs be published. A manuscript, probably copied in a hand other than Swift’s, was delivered, and one short month later, the book went on sale, after the publisher negotiated the softening of several passages. The book’s first printing sold out in a week. The combination of deadpan reporting, exotic experiences, and jaundiced backward glances at English society made the book an immediate success. Thus, the successful publication of a book politically loaded in a time before freedom of the press was but a gleam in a few revolutionary’s eyes.

The frontispiece is a fine example of eighteenth-century English book illustration. The engraved portrait of Swift is by John Sturt and William Sheppard (II?). University of Utah copy (“Teerlink B” edition) gift from Robert Steensma, second University of Utah copy (“Teerlink AA” edition) gift of Anonymous.

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Book of the Week – THE WORKS OF VIRGIL: CONTAINING HIS PASTORALS,…

22 Tuesday Sep 2015

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Aeneas, Aeneid, Alexander Pope, Antwerp, Augustus, coats of arms, Cologne, Earl of Arundel, England, English, engraved plates, engraving, etching, Frankfurt, Great Fire of 1666, illustration, Jacob Tonson, John Dryden, London, Marcellus, Matthaus Merian, Octavia, Parliament, pastorals, patronage, Prague, Prince of Wales, subscription, Thomas Howard, translation, verse, Virgil, Wenzal Hollar (1607-1677), William III


THE WORKS OF VIRGIL: CONTAINING HIS PASTORALS,…
London: Printed for Jacob Tonson, 1697
First edition
PA6807 .A1 D7 1697

Translated into English verse by John Dryden. Alexander Pope called Dryden’s translation “the most noble and spirited translation I know in any language.” The book was published by subscription, a method of publishing by which the subscriber’s patronage enabled the production of particularly lavish books. In all, one hundred and one persons subscribed. For five guineas they would each have a full-page illustration in their copy with their names and coat of arms. A second subscription list went out after Dryden had completed half the translation. These subscribers paid two guineas for their copy, which did not include plates dedicated to them. Two hundred and fifty copies were added for this list. Correspondence between Dryden and Jacob Tonson reveal several arguments during the publication process. One such quarrel evolved over the desire of Tonson to dedicate the book to William III and Dryden’s refusal to do so. Tonson made sure that the engravings were adapted so that Aeneas sported a hooked nose a la William. Illustrated with one hundred and one engraved plates by Wenzel Hollar (1607-1677) as well as an engraved title-page and a full-page engraving of Virgil reciting the Marcellus passage in Aeneid Bk VI to Augustus and Octavia. Hollar, born in Prague, studied engraving in Frankfurt in 1627 with publisher Matthaus Merian. In 1633, he was working in Cologne. Under the patronage of Thomas Howard, Earl of Arundel, he moved to England in 1637, where he taught drawing to the Prince of Wales. He fought in the ranks of the King, was captured by Parliament and escaped to Antwerp in 1644. He returned to London in 1652, where he died in poverty. A master etcher he was recognized in his own time and to this day for his work, producing nearly three thousand plates, many of which illustrated books such as this. He is best known for his etchings of London after the Great Fire of 1666. He married and had a daughter, described by a contemporary as “one of the greatest beauties I have seen.” A son died in the plague. He had several children by a second wife. Bound in contemporary speckled calf, the spine tooled in gold.

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Recommended Workshop – Quarter Leather Flatback Lap-Case Binding

22 Thursday May 2014

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Acme Bookbinding, Alcoa, alum-tawed, aluminum, Austin, Ben Verhoeven, Book Arts Program, BookLab II, Bridgeport National Bindery, Brigham Young University, Cartier Magnani, Christopher Stern, cloth, Columbian handpress, Craig Jensen, Dartmouth College, Dearborn, Didot, Don Etherington, engraving, Environment Defense Fund Headquarters, flatback, Ford Motor Company, Gary Frost, Gary McLerran, Gaylord Schanilec, gold, Gregynog Prize, Harold B. Lee Library, Harry Ransom Humanities Research Center Conservation Department, Italy, Japanese, Jennifer Sorensen, Jensen Bindery, Jim Larsen, laid paper, lap-case binding, leather, lettering, letterpress, letterpress printed, Marnie Powers-Torrey, Michael Bixler, Michigan, Midnight Paper Sales, milling, Monotype Bembo, Monotype Univers, mould-made, National Design Award, Oxford Book Fair, paper mill, Paul Parisi, Peter Waters, Presidential Award for Sustainable Development, Provo, Rare Books Division, Red Butte Press, relief prints, Salt Lake City, San Marcos, slipcase, Smithsonian Cooper-Hewitt National Design Museum, sycamore, Texas, The Guild of Book Workers, The Library of Congress Restoration Office, tooled, trees, University of Texas, Utah, Utah State Board of Education, William McDonough, Winifred Bixler, Wisconsin, wood cuts, wood engravings, Yale University, Zerkall

The Book Arts Program presents
Quarter Leather Flatback Lap-Case Binding

Thursday, Friday, & Saturday, June 19-21
9PM – 5PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $240 plus materials fee

This workshop focuses on the construction of a flatback lap-case binding. The lap-case binding, sometimes mistakenly called a modified Bradel binding, has been used frequently over the years for editions bound by Jensen Bindery, BookLab, Inc. and BookLab II. The structure has continuously evolved through its many applications. This workshop tracks that evolution, specifically addressing structure, materiality, and the relationships between parts to make a beautiful looking and functioning book. Examples of various lap-case bindings are available for students to examine. Previous bookbinding experience required, preferably previous leather working skills.

Instructor Craig Jensen began his career in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo Utah. From 1977–1978 Craig served an internship at The Library of Congress Restoration Office under the direction of Peter Waters and Don Etherington. In 1981, Craig was recruited by Don to serve as Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas at Austin. In 1988 Craig became President and CEO of BookLab, Inc., a partnership with Gary Frost, Paul Parisi of Acme Bookbinding and Jim Larsen of Bridgeport National Bindery. BookLab expanded its offerings beyond edition binding and box making to include library repair services, and pioneered preservation photocopy and digital reproduction of out-of-print brittle books. BookLab was one of the first companies to digitize a book. Following the close of BookLab in 1998, Craig worked for Acme Bookbinding as Vice President for Imaging. In January 2003, Craig returned to his roots and predilection for hand work by forming BookLab II in San Marcos, Texas. He continues to produce custom designed housings and fine limited edition bindings for some of the best-known libraries and private presses in the world. In 2011 Craig received the Lifetime Achievement Award from The Guild of Book Workers.

http://www.oxfordamerican.org/articles/2014/feb/20/solost-most-beautiful-books/

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 through its collections.

Sylvae: Fifty Specimens Printed Directly from the Wood with Historical Anecdotes and…
Ben Verhoeven
Stockholm, WI: Midnight Paper Sales, 2007
N7433.4 V45 S9 2007

Artists’ statement: “Twenty wooded acres surround Midnight Paper Sales in western Wisconsin. This book documents the journey Ben Verhoeven and Gaylord Schanilec into the woods to create a work not only about these trees, but of these trees. In all, 24 species have been catalogued through image, historical anecdotes, and notes taken during the cutting, milling, engraving and printed. The 53 images consist primarily of long grain and end grain specimens which have been taken from this property. In each case the image is manipulated through either color, impression, engraving, or some combination of the above to emphasize a certain characteristic of a species. The text varies as well from tree to tree, focusing on what role each played in the local history and in this project.” Illustrated by Gaylord Schanilec with 53 relief prints (wood cuts and wood engravings) printed by reduction process engraving directly from the wood specimens; including two fold-out illustrations of the maple grove and a map of Farm 590 indicating where the wood was harvested. Letterpress printed by Ben Verhoeven and Gaylord Schanilec on Zerkall mould-made laid paper. Michael and Winifred Bixler cast the Monotype Bembo. Lapped case binding by Craig Jensen and Gary McLerran in quarter leather over bare quarter-sawn white oak boards, white alum-tawed goat skin spine with tooled title lettering in gold. Issued in a dark blue Japanese cloth slipcase, lined with black paper. Awarded the Gregynog Prize at the Oxford Book Fair, 2007. Edition of one hundred and twenty copies. University of Utah copy is no. 105, signed by the author and the artist.


 

Something Lived, Something Dreamed
William McDonough
Salt Lake City: Red Butte Press, 2004
HT167.5 W47 M33 2004

In 1981 William A. McDonough founded William McDonough + Partners which designs environmentally sustainable buildings and industrial manufacturing processes. He attended Dartmouth College and Yale University. His first major commission was in 1984 for the Environmental Defense Fund Headquarters. He re-engineered Ford Motor Company’s River Rouge Plant in Dearborn, Michigan, covering more than ten acres of the roof of the truck assembly plant with a low-growing ground cover. He is the only individual recipient (1996) of the Presidential Award for Sustainable Development. In 2004 he received a National Design Award from the Smithsonian Cooper-Hewitt National Design Museum. His essay, “Something Lived, Something Dreamed” was commissioned by the Red Butte Press. Printed with Monotype Univers and Didot on cotton paper commissioned from Cartier Magnani paper mill in Italy by Marnie Powers-Torrey and Jennifer Sorensen using an 1846 Columbian handpress. Illustrated by Christopher Stern (d. 2007). Bound at Book Lab II (San Marcos, Texas) by Craig Jensen in recycled aluminum donated by Alcoa, over sycamore boards. Edition of one hundred and twenty-five copies. University of Utah copies are nos. 34 and 47.


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Book of the Week – The Life of George Washington, Commander in…

17 Monday Feb 2014

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C. P. Wayne, Chief Justice, David Edwin, engraving, frontispiece, George Washington, Gilbert Stuart, John Marshall, Philadelphia, President, stipple-engraving

Marshall, The Life of George Washington, 1804

Marshall, The Life of George Washington, 1804

The Life of George Washington, Commander in…
John Marshall (1755-1835)
Philadelphia: Printed and published by C.P. Wayne, 1804-07
First edition
E312 M33 1-5

Shortly after John Marshall became Chief Justice he was asked by George Washington’s nephew to write the first President’s official biography. As a personal friend of Washington, it was Marshall who announced the death of the President in 1799, offered the eulogy, chaired the committee that arranged the funeral rites, and led the commission to plan a monument in the capital city. Marshall wrote this biography using records and papers provided him by the President’s family. The seminal work was written as the Chief Justice was beginning the enormous task of constructing the judicial review and the American system of constitutional law. Gilbert Stuart’s famous portrait of Washington, introduced to the public through the engraved frontispiece of this work, was produced by Philadelphia stipple-engraver David Edwin. The second edition of this five volume work was issued within one year of the first.

 

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Book of the Week – Emblemata et Aliqvot Nvmmi Antiqvi…

31 Friday Jan 2014

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Arnold Nicolai, Christopher Plantin, Cornelis Muller, emblem book, emblemata, engraving, Ferdinand I, Geoffroy Ballain, Gerard Janssen van Kampen, humanism, Hungarian, Janos Zsamboki, Kenneth Lawrence Ott, Lucas d'Heere, Maximilian II, Okanagan County Museum, Pieter Huys, Plantin, Plantini, Roman coins, Rudolf II, vignettes, wood engravings, woodcuts

Zsamboki, Emblemata, 1569, Cover
Zsamboki, Emblemata, 1569, Title Page
Zsamboki, Emblemata, 1569

Emblemata et Aliqvot Nvmmi Antiqvi…
Janos Zsamboki (1531-1584)
Antverpiae: Ex officina Christophori Plantini, mdlxix [1569]

The emblem book addressed a wide range of interests within humanist culture, among them the purpose of poetry and the relative power of the visual and the verbal. The first edition of physician Janos Zsamboki’s Emblemata was printed by the Plantin press in 1564. It was the first new emblem book to appear outside of Italy or France and is one of the largest and most influential examples of the genre at an early state of its development. An expanded edition was published in 1566 and was reprinted four times.

Janos Zsamboky was a Hungarian humanist who spent much of his life in Vienna as court-historiographer to the Habsburg emperors Ferdinand I, Maximilian II, and Rudolf II. This edition opens with an emblem dedicated to the newly elected emperor Maximilian II. Zsamboky prepared his emblem book at the end of two decades of traveling throughout Germany, France, Italy, and the Low Countries, before he entered the court in Vienna. Other works from Zsamboki include editions of classical texts and historiographical works. His was renowned for his scholarly patronage and an impressive collection of books and old manuscripts.

Emblemata consists of single pages containing a motto, a woodcut illustration and an epigram. Nearly a third of the emblems are also accompanied by dedications to well-known humanists, powerful courtiers, clergymen and friends and relatives. Zsamboki commissioned Lucas d’Heere to draw the illustrations. Christopher Plantin had half of d’Heere’s designs redrawn by Geoffory Ballain and Pieter Huys. The woodcuts were produced by Gerard Janssen van Kampen, Cornelis Muller and Arnold Nicolai. The Plantin printer’s device appears on the title-page. A full-page engraving of Zsamboki faces the preface. Various decorative vignettes throughout. Several leaves with wood engravings of Roman coins at the end of the book.

From the Kenneth Lieurance Ott Collection donated to the Okanagan County Museum, Washington.

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Book of the Week – Harmonia Macrocosmica

07 Monday Oct 2013

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Andreas Cellarius, astronomers, astronomy, atlas, burins, cartography, cherubs, compasses, Copernicus, Dutch, engraving, Europe, Galileo, Gerald Valk, gravers, illustrations, Jan Jansson, Pieter Schenck, Pope Paul V, printing press, Ptolemy, transits, Tycho Brahe

Cellarius, Harmonia Macrocosmica, 1661
Cellarius, Harmonia Macrocosmica, 1661
Cellarius, Harmonia Macrocosmica, 1661

Harmonia Macrocosmica
Andreas Cellarius
Amsterdam: Jansson, 1661
Second edition
QB41 C39

The Celestial Atlas of Harmony was published in varying formats in 1660, 1661, 1666, and 1708.  Very few copies of the first edition of 1660 survive.  (One known copy is held by the British Museum). The Harmonia Macrocosmica, a summary of pre-Newtonian astronomy, compares the various cosmological theories up to and of that time, including those of Ptolemy, Tycho Brahe, and Copernicus.

The geocentric theories of Ptolemy, suggesting that the earth is the center of the universe, are contrasted with those of Copernicus, who put the sun at the center of our solar system. Tycho Brahe’s theory attempted to unify the two. Brahe’s version shows the sun revolving around the earth and the rest of the planets revolving around the sun.

The book also has sections on the Earth’s climate zones, the sizes of the sun, moon, and planets, and the constellations of the zodiac. It is this broad overview of astronomical thought that kept the book from being banned under strictures put in place by Pope Paul V in 1616. These same strictures put Galileo under house arrest for the rest of his life after the printing of his Dialogo (1632), which was based on Copernican theory.

Andreas Cellarius was the rector of a college in the northern Netherlands. The printer, Jan Jansson, was one of the preeminent publishers of his time. Both art and science were applied to this production, with discoveries heralded by imaginative images as well as observed fact. Cheerful cherubs, floating over head earnest astronomers hold transits and compasses. The first edition was extremely popular, prompting the second edition.

The second edition of the atlas contains twenty-nine lavishly designed and hand-colored engraved plates, some of the finest examples of seventeenth-century Dutch cartography in existence. The technique of engraving began in ancient times as a way to decorate objects, particularly of metal. After the development of the printing press in Europe in 1450, engraving became a way to create high quality illustrations which retained precise detail, even after multiple impressions. Specialized tools, known as “burins” and “gravers” of various sizes and shapes were used to cut away the surface of a metal plate. The 1708 reissue bears the engraved names of Gerald Valk and Pieter Schenck on each plate, although not one line had been changed.

View more images at the J. Willard Marriott Library Digital Library

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