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Tag Archives: Garamond

KUED’s VERVE features Tryst Press

02 Thursday Aug 2018

Posted by rarebooks in Video

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1493, A. Dean Larsen Book Collecting Conference, Ashley Swansong, Brigham Young University, Cabeza de Vaca, Caslon Oldstyle, Garamond, Georgia Buchert, handmade paper, handset type, Haniel Long, Harmann Schedel, Harold B. Lee Library, India, J. Willard Marriott Library, Jerusalem, KUED, letterpress, Michael Wolgemut, Nicolas Cochin, Nuremberg Chronicle, olive wood, Provo, rare books, Rob Buchert, Special Collections, Tal Walton, The University of Utah, Tryst Press, VERVE, woodcut

“Its not just this linear experience of open the book and get to the end of the book. Its also a trans-generational experience…you can open a book that was printed in 1780 and somebody sprinkled it with camphor and you can smell the camphor. Its not just the words that relate you to the book. Its the physical action somebody took on that object that is also important.” — Rob Buchert, Tryst Press

KUED‘s online video series, VERVE, features Rob Buchert and Tryst Press in its latest episode of the season, “It’s All About the Book.” VERVE is produced by Ashley Swansong, a graduate of The University of Utah and past student employee of Special Collections at the J. Willard Marriott Library.

Rare Books holds all Tryst Press productions. We chose these three as favorite examples of Tryst Press’s work of the book.


“Their eyes followed us every moment. I do not forget their eyes…”

Interlinear for Cabeza de Vaca
Haniel Long (1888-1956)
Provo, UT: Tryst Press, 1996
E125 N9 L62 1996 oversize

Illustrated by Tal Walton. Printed by Rob and Georgia Buchert on handmade paper from India with Caslon Oldstyle type. Edition of one hundred and fifty copies.



“Behold, for this last time have we nourished my vineyard. And thou beholdest that I have done according to my will and I have preserved the natural fruit, that it is good, even like as it was in the beginning. And blessed art thou, for because that ye have been diligent in laboring with me in my vineyard and have kept my commandments — and it hath brought unto me again the natural fruit, that my vineyard is no more corrupted and the bad is cast away — behold, ye shall have joy with me because of the fruit of my vineyard.”

The Allegory of the Olive Tree
Provo, UT: Tryst Press, 2006
BX8643 O44 A42 2006

Printed letterpress with handset Nicolas Cochin and Garamond types on paper hand made for this edition. Edition of fifty copies. Rare Books copy is no. 6, one of eight bound with olive wood boards.


Jerusalem (Hierosolima)
Provo, UT: Tryst Press, 2007
Z241 L5 S32 2007

“Oldest printed view of Jerusalem. Woodcut by the shop of Michael Wolgemut. From Liber cronicarum (Nuremberg Chronicle) by Hartmann Schedel, 1493. Printed at Tryst Press as a keepsake for attendees of A. Dean Larsen Book Collecting Conference, Harold B. Lee Library, Brigham Young University, March 30, 2007.”

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A Donation Makes a Difference in Denmark

25 Thursday Jan 2018

Posted by rarebooks in Donations

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20th century, article, Brooklyn, commercial, communication, composing, Compugraphic, Compugraphic Universal V, Dad, Danish Association for Communication, Denmark, Design & Media, Don Gale, donation, electrical, electronics, ephemera, Fotosetter, Garamond, GRAKOM, gravure, Henning Impgaard Madsen, industry magazine, Intertype, Intertype Corporation, KSL, letterpress, lithographic plates, machine, manuals, marketing, media production, museum, offset, Outcome, paper, photographic, platemaking, plates, printer, rare books, Royal Danish Library, Special Collections, technology, type specimens, typographers, UDKOM, United States, Viborg, Vingaard Officinet


“These showings of Intertype “Fotosetter” Garamond mark an important event in the history of Intertype Corporation. All of the composition was produced on an Intertype Fotosetter photographic line-composing machine. The original film positives were used to make deep-etch lithographic plates, from which this booklet was printed. Quite appropriately for such an occasion Garamond, considered among leading typographers to be one of the most successful type faces ever introduced, was selected for these introductory specimens of Fotosetter technique.”

Fotosetter Garamond
Brooklyn: Intertype Corp., 1949
Z250 F75 1949


Any one of a certain age living in Utah knows who Don Gale is. Three times a day, in the seventies, eighties, and nineties, KSL aired Don’s short, stern, fair editorials. Don was the Vice President for Public Affairs and Editorial Director at KSL.

Over the years, Don has donated personal papers, videos of his editorials and other material to Special Collections. In 2006, Rare Books was the happy recipient of a collection of books and printed ephemera concerning twentieth century commercial printing technologies, including manuals and type specimen books.

Don’s dad was a printer.

In late November we received an email from Henning Impgaard Madsen in Denmark, who had discovered through the internet that we had “some information about the first Fotosetter in the world.” The Royal Danish Library did not have “any information.” Mr. Madsen said that he was helping a museum get an Intertype Fotosetter working but that he needed “some details about the electrical parts and how to work it.”

Thanks to Don’s donation, we were able to provide Mr. Madsen with all the details he needed.

Like Mr. Gale, Mr. Madsen is “retired,” although neither one of them is spending much time retiring. He studied electronics in school. Among other things, he worked with Fotosetters, “mainly Compugraphic from US.”
After he retired, Mr. Madsen and his wife visited museums featuring typesetting, but never ran across a Fotosetter. Then, in a museum in Viborg, the Vingaards Officinet, he found an Intertype Fotosetter. “I had no idea that the first Fotosetter looked like this.

“I talked to the people at the museum and asked why they did not have a Compugraphic, the one I knew from the 1970[s]. They answered, ‘If you can find one we would very much like to have one.’ Mr. Madsen thought to himself, no problem, easy job. “I started to call around, but all the machines or my old customers [had] disappeared. [Someone] gave me the idea” to contact, GRAKOM, the Danish  Association for Communication, Design & Media. That contact led to an article about Mr. Mardsen in UDKOM (Outcome), an industry magazine covering issues and news for companies straddling design, media production, communication and marketing.

The article eventually led to a phone call from a man who had a Compugraphic Universal V. It wasn’t working, but Mr. Mardsen found some parts, did what he could and donated it to Vingaards Officinet.

The museum staff then asked Mr. Madsen to get their Intertype Fotosetter running.

And that is how Don Gale’s donation made a difference in Denmark. We supplied Mr. Madsen scans of a manual for operating the first Intertype Fotosetter, from Mr. Gale’s collection. And Mr. Madsen got the mid-century Fotosetter running. A generation made to last.

Thank you, Don Gale and good work, Mr. Madsen!

###


“The Fotosetter is an automatic, photographic line composing machine. It produces justified composition in galley form directly on film or photographic paper in one operation. This composition can be reproduced on offset-lithographic, gravure and letterpress plates, using standard platemaking methods in each case.”

Introducing the Fotosetter: the photographic line composing machine
Brooklyn, NY: Intertype Corp., 1950
TR1010 I58 1950



“The greater party of this manual is devoted to suppplying the Fotosetter operator with the information which he must have to set up, operate, and maintain his machine, and to understand the principles of its operation.”

Operators manual for the Intertype Fotosetter photographic typesetting machine
Brooklyn, NY: Intertype Corporation, 1955
Z249 O643 1955

Rare Books copy is a gift from Don Gale.



“Following a three year period of field testing in the U. S. Government Printing Office in Washington the first commercial installation was made in 1949. Since then Fotosetter photographic line composing machines have been installed and proven highly successful in all types of printing and composition plants throughout the United States and the world.”

Fotosetter type faces
Brooklyn: Intertype Corporation, ca. 1950
Z250 I58 F6

Rare Books copy is a gift from Don Gale.

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Book of the Week — He Kaine Diatheke

04 Monday Apr 2016

Posted by rarebooks in Book of the Week

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Antoine Augereau, Aristotle, astrology, Bible, bibliographer, binding, Book of Hours, calendar, Calvin, Chartres, Christmas Eve, Cicero, classics, cosmology, Demarruello, Estienne, Euclid, France, French, Garamond, Geoffroy Tory, Gothic, Greek, Greek New Testament, Henri Estienne, heresy, heretic, Hesiod, hinges, Hippocrates, Horace, Hore beate marie, indices, initials, italic, Latin, Louvain, Lutheran, New Testament, Ovid, Paris, Paris Parlement, pressed paper boards, printing, proof sheets, Protestant, putti, R. Peter, Renaissance, repair, Robert Estienne I, Roman Catholic, signatures, Simon de Colines, Sophocles, subheadings, Terence, The University of Utah, theological, tools, typeface, typefounder, University of Paris, Virgil, woodcut

Title page

“For I will be merciful to their unrighteousness, and their sins and their lawless deeds I will remember no more.” — Hebrews 8:11, New King James Version

HE KAINE DIATHEKE
Paris: [Antoine Augereau for] Simon de Colines, [29 November or 22 December] 1534
BS1965 1534

This is the first Greek New Testament printed in France. Simon de Colines edited the text, using printed and manuscript sources. To save his own neck, Colines hid the involvement of the book’s printer, Protestant typefounder Antoine Augereau. Augereau was condemned as a heretic, hung, and then burned at the stake on Christmas Eve 1534, only a few days after finishing the printing of Ha Kaine Kiatheke.

In 1520, Colines married the widow of Henri Estienne, the founder of the distinguished Estienne press, and took charge of that press until Estienne’s son, Robert I, took over in 1526. Colines then set up his own shop nearby. He focused his publishing efforts on Greek and Latin classics – works by Aristotle, Cicero, Sophocles, Hesiod, Horace, Ovid, Virgil, Terence, Euclid, Hippocrates and others – works then considered the literary backbone of the civilized world. He added to the classics publications of anti-Lutheran theological writings and works by the faculty of the University of Paris. In all, Colines’ press produced at least seven hundred and fifty publications. Although not a scholar himself, he used his considerable familiarity with the Estienne publications and extended his own press to include writings on the natural sciences, cosmology, and astrology.

Colines was an important part of the development of book and reading structure in Renaissance printing. It was during this time that chapter headings, subheadings, running heads, page numbers, tables of content, indices and source notes became elemental fixtures in the publication of texts.

Pg210

Colines designed his own italic and Greek fonts and a roman typeface from which Garamond type was derived. He was one of the earliest printers to mix italic fonts with roman typefaces. During at least one of his printing projects, he worked with type designer Geoffroy Tory.

Ha Kaine Kiatheke is the first book printed in Simon de Colines’ second Greek font, including initial guide letters. The University of Utah copy has three lines (possibly an oath) written in an early hand in French and signed by “Demarruello.”

Inscription

It also contains the book plate of Calvin bibliographer R. Peter.

Pastedown

The University of Utah copy bound in contemporary tan calf blind decorated with an outer roll of foxes, winged putti, acanthus leaves and lilies, central rectangle with brazier and foliage tools.

FrontBoard

An earlier repair to the hinges of the binding revealed the following, making up the pressed paper boards: 28 leaves from Les choses co[n]tenues en ce present liure…Le contenu en ceste second partie du nouveau testament, Paris, S. de Colines 10 January 1524; and leaves from Hore beate marie [virgi]nis Secundu[m] vsum insignis ecclesia[?e] Cathedraiis Carnoten[sis]…, Paris, s.n., ca. 1511-1512.

The printed signatures found hidden in the binding appear to be proof sheets for the first Protestant French translation of the New Testament, second edition.

Leaf3

The printing of this edition was completed only months before the Paris Parlement condemned the work as heresy. Yet, the 1524 edition, due to its literary quality and scriptural analysis, served as the basis for nearly all future French versions throughout the century. Ironically, it also served as the 1550 Roman Catholic Louvain Bible.

The leaves from Hore beate…, which also formed part of the binding’s pressed boards, are from an unrecorded Latin-French Book of Hours for the use of Chartres, with a calendar for 1512-1520. The type is Gothic, printed in red and black and includes two-line woodcut initials.

Leaf2

Leaf1

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Book of the Week – Winter Wreath

30 Monday Dec 2013

Posted by rarebooks in Book of the Week

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Christopher McAfee, Garamond, Leslie Norris, Tryst Press

Leslie Norris, Winter Wreath, 2000, Last Leaves
Leslie Norris, Winter Wreath, 2000, Owl
Leslie Norris, Winter Wreath, 2000, Revealed by Winter

Winter Wreath
Leslie Norris
Provo, UT: Tryst Press, 2000
PR6027 O44 W56 2000

Type is ATF Garamond. Binding by Christopher McAfee. Edition of 140 copies, nos. 1-10 bound by Christopher McAfee. University of Utah copy is no. 4, signed by author and printer.

alluNeedSingleLine

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