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Tag Archives: engravings

Book of the Week — Paradise Lost

16 Monday Nov 2015

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Bernard Lens, Christian, engravings, God, Henry Aldrich, Index Librorum Prohibitorum, John Baptista de Medina, John Dryden, John Milton, Miles Flesher, Oliver Cromwell, pagan, Paradise Lost, Paradise Regain'd, Richard Bentley, Robert White, Roman Catholic Church, Satan, The University of Utah


PARADISE LOST. A POEM IN TWELVE BOOKS…
John Milton (1608-1674)
Printed by Miles Flesher, for Richard Bentley, at the Post-Office in Russell-street, 1688
First illustrated edition
PR3560 1688

John Milton’s Paradise Lost was first printed in 1667, in part, perhaps as a reaction to the defeat of Oliver Cromwell’s revolution and the restoration of the monarchy. Milton attempted to reconcile elements of pagan and Christian tradition, portraying Satan as an unlikable but sympathetic character who defied a tyrannical God and waged unsuccessful war against him. In spite of this, the Roman Catholic Church did not place the work on the Index Librorum Prohibitorum until 1758. This a copy from the first illustrated edition of Paradise Lost. It is also the first edition of the work in folio. University of Utah copy bound with Paradise Regain’d. A Poem. In IV. Books. To which is added Samson Agonistes…(1688). An engraved portrait of Milton by Robert White is bound in opposite to the title page. The portrait includes an epitaph for Milton by John Dryden. Twelve full-paged engravings accompany the text, one at the beginning of each of the twelve books. All of the engravings are tipped in. The illustrations for books III, V, VI, VII, IX, X, XI are by John Baptista de Medina, engraved by M. Burghers. Book IV was illustrated by Bernard Lens, engraved by P.P. Bouche. Book XII was illustrated by Henry Aldrich, engraved by Burghers. The illustrations for Books I and II are engraved by Burghers. The illustrator for these is uncertain.

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Memorial Day 2015

25 Monday May 2015

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Alfred H. Guernsey (1824-1902), Chicago, Civil War, engravings, Harper's Weekly, Henry M. Alden, Kaleidograph Press, Luise Putcamp jr, New York, Sonnets for Survivors, Thomas Nast, United States, Winslow Homer

AFTERMATH

My heart’s a scrapbook pasted by a child.
The lines run rampant and the colors wild
In pictures unrelated, and the words
Hop inconsistent like the tracks of birds.
And every other page holds empty space
Where time tore out the pictures of your face.

Luise Putcamp jr from Sonnets for Survivors, Kaleidograph Press, 1952
“Aftermath” published here with permission of the author



Harper’s Pictorial History of the Great Rebellion
Alfred H. Guernsey (1824-1902)
Chicago, IL: McDonnell Bros, 1866-1868
E468.7 G932 1866 oversize

Culled from the pages of Harper’s Weekly, the most popular magazine of its day, Harper’s Pictorial History of the Great Rebellion illustrated the chronology of the Civil War and a brief history of the United States with an emphasis on the causes of the war. Most of the copy was taken directly from issues of the magazine as it covered the war. Harper’s sent both reporters and artists with the troops. Nearly one thousand original engravings kept recent past in memory: battle scenes, camps, marches, soldier life, portraits of officers, and maps. Artists such as Thomas Nast and Winslow Homer contributed to the magazine. Editors Alfred H. Guernsey and Henry M. Alden worked to compile and publish a definitive history of the war, using their own magazine as their main source, adding unpublished information as well. The Chicago edition was issued contemporaneously with the New York first edition, using the same sheets.

 

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Book of the Week – DICTIONNAIRE DE MUSIQUE…

24 Tuesday Feb 2015

Posted by rarebooks in Uncategorized

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composition, dictionary, Dresden, engravings, harmony, Jean Philippe Rameau, Jean-Jacques Rousseau, music, opera, orchestra, Paris, Romantic


DICTIONNAIRE DE MUSIQUE…
Jean-Jacques Rousseau (1712-1778)
Paris: Chez la veuve Duchesne, 1768
First edition
ML108.A2 R7

Jean-Jacques Rousseau compiled this dictionary as an act of overt, radical departure from previous dissertations on music such as Jean Philippe Rameau’s rigid principles of harmony. Rousseau stressed the need for spontaneity in the composition and performance of music. For Rousseau, music was not to be an imitation of sound in nature, but a reflection of the composer’s feelings in an attempt to touch the audience in a similar sentiment. He valued vocal over purely instrumental works. Rousseau emphasized the moral power of music. Dictionnaire was instantly popular and remained so well into the Romantic period. The text is addended with engravings, including Rousseau’s celebrated plan of the opera orchestra at Dresden.

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Book of the Week – New World Saints: a Collection of Twenty-five…

29 Monday Dec 2014

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Catherine Ferguson, Craig W. Jensen, Dante Monotype, Domestic Etching, Donna Piers, engravings, letterpress, line engravings, New Mexico, Pamela Smith, pochoir, Press of the Palace of the Governors, Santa Fe, Somerset Cream, triptychs, University of Utah, watercolor


New World Saints: a collection of twenty-five…
Catherine Ferguson
Santa Fe, NM: Press of the Palace of the Governors, 1995
Z232.5 P7 F4 1995

Text by Spanish Colonial scholar Donna Piers. Pochoir by Palace Press staff. Text designed and printed letterpress by Pamela Smith. Illustrations from line engravings, hand-colored over a five year period. Twenty-six unbound die-cut sheets folded into triptychs set in Dante Monotype by Michael and Winifred Bixler, Skaneateles, New York. Triptychs are made of Somerset Cream paper. Prints are done on Domestic Etching papers. Hand-coloring with watercolors and pochoir process. Housed in an arched, tan cloth-covered box designed with double drop-spine covers to open like the doors of a church. Lined with Italian decorative print and gold papers. Boards held together with a metal closure on front. Box by Craig W. Jensen. Edition of one hundred and fifty copies, signed by the artist, author, and printer. University of Utah copy is no. 69.

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Book of the Week – Good and Evil in the Garden

27 Monday Oct 2014

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Barbara Hodgson, British Columbia, engravings, gampi, Garamont, Heavenly Monkey, HM Text, Reg Lissel, Rollin Milroy, Shinsuke Minegushi, Simone Mynen, University of Utah, Vancouver, Washington handpress


GOOD AND EVIL IN THE GARDEN
Barbara Hodgson
Vancouver, British Columbia: Heavenly Monkey, 2003
First edition

Designed by the author. Illustrated with engravings by Shinsuke Minegishi printed from the blocks on gampi. Typeface is Garamont. Printed on damp HM Text, an all-cotton paper made by Reg Lissel with a Washington handpress by Rollin Milroy. Issued in slipcase made by Simone Mynen. Edition of fifty copies, signed by the author and the artist. University of Utah copy is no. 24.

 

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Book of the Week – An Embassy From the East-India Company of the…

20 Monday Jan 2014

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Athanasius Kircher, China, Chinese, East-India Company, engravings, Holland, Jesuit, Johannes Nieuhof, John Ogilby, printers, printing, Wenceslaus Hollar

Nieuhof, An Embassy…, 1669, Cover
Nieuhof, An Embassy…, 1669
Nieuhof, An Embassy…, 1669, p.210-211

An Embassy From the East-India Company of the…
Johannes Nieuhof (1618-1672)
London: Printed by J. Macock for the author, 1669
First printing in English translation

Johann Nieuhof was delegation secretary under ambassadors Pieter de Goyer and Jocab de Keyser for Holland’s mission to China, arriving there in 1656. His book describing his travels in China quickly became a best seller of its day. First published in Leyden in 1665, it was reprinted in Dutch in 1670 and again in 1693. It was translated into French (1665), German (1666) Latin (1668) and English (1669). The English translation was reprinted in 1673.

Nieuhof’s book was richly illustrated with 150 maps and engravings of cities, flora and fauna, and costumes, all based on drawings by Chinese artists. The illustrations provided western Europeans with one of its earliest and most accurate depictions of the exotic Far East. John Ogilby, the English translator, included only about a third of the illustrations for the English edition.

The English artists, including Wenceslaus Hollar, who copied the original engravings, replaced the original artist’s signatures with their own, a standard practice at the time. Ogilby added nearly twenty-five illustrations that were not in the Dutch editions, some of which were copied from the works of Athanasius Kircher, an early Jesuit visitor to China.

Nieuhof included a history of China in the second half of his book, the first full history using Chinese sources to reach European readers. Among Nieuhof’s detailed discussions about what he saw in China, he included printing. He was impressed with the speed of the Chinese printers and compared their technique and the quality of their printing favorably with that of European printers. He wrote “…they print…with so much ease and quickness that one man is able to print 5000 sheets in a day…”

 

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