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Tag Archives: Holland

Book of the Week — تاريخ راشد افندي

10 Monday Jul 2017

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America, Arabic, Austria, Celebizade, dictionary, European, France, grammar, historian, historiographer, Holland, Hungarian, Ibrahim Muteferrika, Islam, Istanbul, Latin, Muslim, Muteferrika Press, Ottoman, Ottoman Empire, Ottoman Turkish, poet, Rasit Efendi, Turkish, typeface, woodcut

DR531-R36-1741-v.1-firstimage
تاريخ راشد افندي
تاريخ راشد
قسطنطنية : ابراهيم من متفرقه كان

The first Turkish printing house was established in Istanbul on December 14, 1727. The director of the press was Ibrahim Muteferrika (1674-1745), a Hungarian convert to Islam. In 1726 Muteferrika sent a report on the efficiency of the printing press to Vizier Damat Ibrahim Pasha, the Grand Mufti. After he submitted another report to Sultan Ahmed, he recieved permission to publish non-religious books, over the objections of calligraphers and religious leaders.

Muteferrika Press published sixteen books between 1729 and 1742. Each edition consisted of between five hundred and one thousand copies. The presses themselves came from France, the typefaces were designed and cut by Muteferrika. The printers were from Austria. The press’s first title, a dictionary, contained maps and drawings from the Islamic world. A grammar (1730) was the first printed Ottoman work in Latin. In 1732, the press published a history of the discovery of America. This was the first book by a Muslim author about the Americas and included thirteen woodcut illustrations.

The work presented here is Rasit Efendi’s Tarih-i Rashid Afandi, published in 1741 by the Muteferrika Press. This was the sixteenth book to be published by the press. The work covers the period 1071-1134AH (1660-1772) of the official Ottoman history.  Rashid’s work is added to with Celebizade Isma’il Asim’s Tarih-i Celebizade Efendi, a history by Celebizade (d 1173 [1760]. Both Rashid and Celebizade held the post of official historiographer for the Ottoman Empire. This publication, printed in four volumes, here bound as one, is considered the prime source for the period.

The text, printed in Arabic script, is in Ottoman Turkish. Rare Books copy has evidence of at least one hand underlining and marking in faded brown ink. Bound in Ottoman style with blind-stamped European leather, lined with patterned paper.

DR531-R36-1741-v.1-pattern

DR531-R36-1741-v.1-colophon

DR531-R36-1741-v.1-secondimage

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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 – 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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