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~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

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Tag Archives: Japan

Stop and Smell the Flowers

24 Thursday May 2018

Posted by scott beadles in Uncategorized

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Alaska, Alfred Lord Tennyson, Asia, Australia, Bill Edwardes, botany, climate, commerce, découpage, E. C. Alexander, endangered, English, Europe, flora, flower specimens, flowers, France, French, German, Germany, Hebrew, herbaria, Holy Land, International Pressed Flower Art Society, J. Willard Marriott Library, Japan, Jerusalem, Joyce Fenton, Lyuba Basin, May, Mexico, Middle East, nomenclature, olive wood, Oshibana, plant species, poppies, Pressed Flower Craft Guild, pressed flowers, repository, Russian, Ruth Miller Staats, Samurai, San Francisco, seeds, Silk Road, sunflowers, taxonomies, The Popular Bookstore, The University of Utah, tourism, United Kingdom, United States, Valdez, Valdez Museum Historical Archive, vegetation, Worldwide Pressed Flower Guide

“But I must gather knots of flowers and buds, and garlands gay;
For I’m to be Queen o’ the May, mother, I’m to be Queen o’ the May.”
–  Alfred Lord Tennyson, “The May Queen”

When was the last time you stopped to smell the flowers? I did it just two days ago, when the purple and white lilac bushes in front of my house produced such an aroma after the rain that I had to stop in my tracks to take it in. Some days I’ll pick the poppies and sunflowers that grow wild in the backyard and set them in a vase on the kitchen table, and if I’m feeling particularly extra, I will even go out and buy an arrangement to add some oomph to the room.

Although my allergies have been getting worse and worse every year, my enthusiasm for flora has yet to subside. I’ve been enjoying the slower campus days at The University of Utah, when I can wander around outside the library and take in all of the new blooms. I am always impressed with the assortment of flowers lining the pathways, some of which I recognize as native to the state, while others look unfamiliar, yet still alluring.


 

Natural Flowers of the Holy Land
Jerusalem, 1900s
QK 378 N37 1900z


We might find flowers attractive for a number of reasons ranging from color, shape, texture or smell, but did you know the craft of pressing flowers is actually an ancient art that dates back to 16thcentury? It is said that Samurai warriors in Japan once practiced this art, called Oshibana, as part of their discipline to promote patience and harmony with nature, as well as to enhance their powers of concentration.

The art of drawing with petals gradually spread from Asia to the Middle East along growing trade networks of the Silk Road. One outcome of this global commerce and tourism were elaborate souvenir books, popular in the late 19th century, Jerusalem. Different renditions of Flowers of the Holy Land combined photographs of holy sites in and around Jerusalem with pressed flowers gathered from those sites. These flowers were artistically formatted, bound between olive wood covers, and included translations from Hebrew into French, German, English and Russian, as they were sold to visitors coming from different parts of the world.


 

 

Flowers of the Holy Land
Jerusalem, 1900s
QK89 F56


Around the same time, botanists in Europe began systematically collecting and preserving flower specimens from all over the world. No longer a simple art form, the pressed plant books allowed scientists to study the flora of other countries and understand the variety of plant taxonomies, geographic distributions, and to develop an efficient and stable nomenclature. Furthermore, the books are able to preserve a record of change in vegetation over time for future scientists who are tracking changes in climate and human impact. Some books can even be viable repositories, holding seeds of extinct or endangered plant species. These specimen books, or herbaria, are not just pretty to look at for they contain crucial knowledge on every page.


 

A Collection of Wild Flower of California
E.C. Alexander
San Francisco: The Popular Bookstore, 1895
QK 89 A375


Anyone can gather flowers and create their own pressed flower book. Like Ruth Miller Staats, a resident of Valdez, Alaska who sold cards, artwork and booklets of pressed flowers to tourists during the 1930s and 1940s. Although Ruth had been paralyzed from the waist down following an airplane crash (she had sustained a double compound fracture of both legs, fracture of the pelvis, and a fractured lumbar vertebrae), her friends and neighbors gathered flowers for her to compile the pieces. Many of her items can now be found in the Valdez Museum Historical Archive.

Wild Flowers of Alaska
Ruth M. Staats
Valdez, Alaska, 1930s
QK 89 S73


The craft of pressing flowers can also extend beyond books. Petals and leaves can be applied to trays and other wood furnishings using the technique of découpage. Those who have a deep interest in the art can join the Pressed Flower Craft Guild, founded by Joyce Fenton and Bill Edwardes in 1983. Other organizations include the International Pressed Flower Art Society and the Worldwide Pressed Flower Guild, with members coming from countries such as Japan, Mexico, France, Germany, Australia, the United Kingdom and United States.

So come by and smell the flowers and allow yourself to appreciate the little things in life. Reflect on what is beautiful, fragile and simple, such as this small collection of books.

~Contributed by Lyuba Basin, Rare Books

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Book of the Week — A General Account of the Development of Methods of Using Atomic Energy for Military Purposes Under the Auspices of the United Stated Governement

07 Monday Aug 2017

Posted by rarebooks in Book of the Week

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Albert Einstein, Army Corps of Engineers, atomic energy, electromagnetism, fission, Franklin D. Roosevelt, General Leslie R. Groves, Henry De Wolf Smyth, Hiroshima, isotopes, Japan, Manhattan Project, Metallurgical Laboratory, military, Nagasaki, neutrons, nuclear weapon, physics, Princeton, science, Smyth Report, United States, United States War Department, University of Chicago, uranium, war, weapons

UF767-S52-1945-cover

“These questions are not technical questions; they are political and social questions, and the answers given to them may affect all mankind for generations. In thinking about them the men on the project have been thinking as citizens of the United States vitally interested in the welfare of the human race. It has been their duty and that of the responsible high government officials who were informed to look beyond the limits of the present war and its weapons to the ultimate implications of these discoveries. This was a heavy responsibility. In a free country like ours, such questions should be debated by the people and decisions must be made by the people through their representatives. This is one reason for the release of this report. It is a semi-technical report which it is hoped men of science in this country can use to help their fellow citizens in reaching wise decisions. The people of the country must be informed if they are to discharge their responsibilities wisely”
— Henry De Wolf Smyth

A GENERAL ACCOUNT OF THE DEVELOPMENT OF METHODS OF USING ATOMIC ENERGY FOR MILITARY PURPOSES UNDER THE AUSPICES OF THE UNITED STATES GOVERNMENT, 1940-1945
Henry De Wolf Smyth (1898- 1986)
Washington, D. C: U. S. Govt. Print. Off., 1945
First edition

On August 6, 1945 the United States government dropped a uranium bomb on Hiroshima, Japan. One week later, after a second bomb was dropped on Nagasaki, Japan, the United States War Department issued an official account of the Manhattan Project which produced the bombs, written by Princeton physicist Henry D. Smyth.

The program to develop a nuclear weapon had its origins in 1939, when a group of scientists, including Albert Einstein, apprised President Franklin D. Roosevelt of the vast destructive power that could be unleashed by the recently-discovered fission of uranium. By mid-1942 a top-secret program had been instituted under the Army Corps of Engineers’ Manhattan District. Smyth’s involvement began with his research at Princeton, where he headed the physics department, on electromagnetic methods of separating uranium isotopes. In 1943 he was appointed associate director of the Metallurgical Laboratory at the University of Chicago, working on the production of the heavy water needed to regulate the speed of neutrons in a chain reaction.

In April 1944 General Leslie R. Groves, chief of the Manhattan Project, asked Smyth to prepare a report on the project for release after the expected deployment of the bomb. The press release became known simply as the “Smyth Report.”

UF767-S52-1945-foreword

UF767-S52-1945-preface

UF767-S52-1945-pg165

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Book of the Week — Mrs. Delany Meets Herr Haeckel

06 Monday Mar 2017

Posted by rarebooks in Book of the Week

≈ 2 Comments

Tags

Arches, Arches MBM Ingres, artist, Barbara Hodgson, biologist, botanical, Canada, Claudia Cohen, cut-paper, decorations, English, Ernst Haeckel, Europe, German, Gifu, gilt, Hahnemuhle Ingres, hand-colored, handmade, HM Editions, Ingres, initials, Japan, Kiraku kozo, Kitikata, Kozuke, marbling, Mary Delany, microscopic organism, morocco, mulberry, paper, papermaker, Reg Lissel, single-cell, Suminigashi, Turkish, Vancouver, wove, Yatsuo

MreD&HerrHTitle

“Mrs. Delany’s was an age when genteel women, whether amateur or professional, were occupied with crafts, decorative works, design and fine arts. Embroidery, quilling, shellwork, japanning, silhouette making, drawing, painting in oils and watercolours, knitting, sewing, flower making, modelling in wax and clay, miniature painting, and horticulture were among the arts practiced.”

MRS. DELANY MEETS HERR HAECKEL
Barbara Hodgson
Vancouver: HM Editions, 2015
N7433.4 H63 M77 2015

From the publisher’s website: [Mrs. Delany] is an “imagined collaboration between Mrs. Mary Delany (1700-1788), an English widow, woman of accomplishment, and creator of imaginative botanical ‘paper mosaics’ and Herr Ernst Haeckel (1852-1911), a distinguished and controversial German biologist and artist who devoted much of his time to the study and rendering of single-celled creatures.”

MreD&HerrHPlateVIII

Cut paper image of a microscopic organism affixed to frontispiece with another cut-paper image affixed to the recto of the same sheet; eleven cut-paper interpretations of microscopic organisms tipped on to captioned plates; tipped-in cut-paper initials, numerous smaller cut-paper decorations. The paper cuttings are adapted from Ernst Haeckel’s Die Radiolarien (1862) and Kunstformen der Natur (1899-1904). They are cut from a variety of papers, including Yatsuo, Kozuke, mulberry, Gifu, Kitikata, and Kiraku kozo from Japan; Ingres and unidentified wove from Europe; and Reg Lissel handmade papers from Canada. Some were cut from papers previously marbled in the Turkish or Suminigashi styles. Some were dyed by the papermaker; some were dyed or otherwise hand-colored for this book. The cuttings are mounted on one of Arches text wove (white), Arches MBM Ingres (black) or Hahnemuhle Ingres (black).

Bound in full polished morocco, ruled and stamped decoratively in red and gilt with a gilt-lettered spine by Claudia Cohen. Marbled endpapers. Issued in orange clamshell case with a gilt-lettered spine label.

MrsD&HerrHCover2

MrsD&HerrHMarble

Edition of twenty-five copies plus six hors de commerce, each signed by the author, printer, and binder. Rare Books copy is XXII.

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Book of the Week — The Architextures 1-7: The Man of Music

13 Monday Feb 2017

Posted by rarebooks in Book of the Week

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abaca, Anthropology, Belgium, bookbinding, brass, California, Cambridge, Carolee Campbell, clamshell, English, Felix Titling, Fuji Paper Mills Cooperative, Fulbright, Guatemala, history, Ian Robinson, initials, Japan, Jonathan Cape, Katie MacGregor, King's College, kyosei-shi, letterpress, London, London School of Economics, MacGregor/Vinzani, Maine, Meridien, Nathaniel Tarn, Ninja Press, Pablo Neruda, papermaking, Paris, poetry, Princeton University, Rutgers University, Sherman Oaks, Tokuschi-ma, United States, University of Chicago, Vandercook Universal I, Whiting, wood blocks, Yale University

PS3570-A635-A7-1999-cover

“Who are we that fled the thousand lives we did not lead in order to escape the very one life that we were destined for?”

The Architextures 1-7: The Man of Music
Nathaniel Tarn (b. 1928)
Sherman Oaks, CA: Ninja Press, 1999
PS3570 A635 A7 1999

Nathaniel Tarn was born in Paris and lived in Belgium until he was eleven. He studied history and English at King’s College, Cambridge. After returning to Paris he studied anthropology and received a Fulbright grant. He studied at Yale University and the University of Chicago and did his doctoral fieldwork in Guatemala. He then completed his graduate studies at the London School of Economics. Tarn published his first volume of poetry, Old Savage/Young City, in 1964. His next published work was a translation of Pablo Neruda’s The Heights of Macchu Pichhu, published by Jonathan Cape, in London. He joined Jonathan Cape as General Editor of its international series.

In 1970, he immigrated to the United States, became a citizen, and taught as Visiting Professor of Romance Languages at Princeton University, and later, at Rutgers and other universities.

Of his poetry, Ian Robinson wrote in 1982, “Landscape, geography, and the history and culture of that landscape, that geography, of the societies living there now and that lived there once, all of the present in its present, are the key factors for Tarn.”

The Architextures 1-7 are the first seven from a collection of seventy prose poems.

The book was handset and letterpress printed on a Vandercook Universal I with Meridien type in six colors and 72pt Felix Titling for display and opening initials. Paper is dove-gray abaca, made by Katie MacGregor at the MacGregor/Vinzani papermaking studio in Whiting, Maine. Six-color wood blocks illustrate the text throughout.

PS3570-A635-A7-1999-Title

Ninja Press was begun in 1984 by Carolee Campbell, whose main publishing focus is contemporary poetry. Carolee began her book work as a photographer working with nineteenth and twentieth-century photographic processes. Binding her photograph sequences introduced her to bookbinding and experimental book structures. She then expanded her book work with letterpress printing. Bookmaking opened “the way into contemporary poetry — confronting it for the first time with a directness and penetration she seldom experienced as a reader.” (Ninja Press) All book work from Ninja Press is by Carolee Campbell.

Bound in torched and patinated thin brass boards, with a spine of brass and stainless steel hinges. Issued in a clamshell box covered in black kyosei-shi, a handmade paper from the Fuji Paper Mills Cooperative in Tokushi-ma, Japan. Edition of sixty-five numbered copies, signed by the poet and the bookmaker.

PS3570-A635-A7-1999-quote

PS3570-A635-A7-1999-Spread1

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Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

28 Thursday Jul 2016

Posted by rarebooks in Recommended Workshop

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barrens, Book Arts Studio, brayers, brushes, calligraphy, Cleveland Museum of Art, Connecticut, copperplate engravings, Daniel Kelm, Fogg Museum, Francis Willughby, Franklin Nichols Woodworking, Gerald Lange, handmade, Harvard University, Henryk Goreski, ink, J. Willard Marriott Library, Japan, Japan Foundation, Japanese paper, John Wareham, Keiichiro Uesugi, Keiji Shinohara, kozo paper, Krystyna Carter, Kyoto, Library of Congress, Middleton, Milwaukee Art Museum, Osaka, pallet knives, Paul Shaw, poetry, Polish, polymer plates, presses, printing, printmaker, rag papers, Robin Price, triptych, Ukiyo-e, United States, University of California, Wesleyan University, William Everson, woodblock, woodcut

The Practice of Ukiyo-e Woodblock
Keiji Shinohara, instructor

August 5-6
Friday & Saturday, 10:00-6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Registration for this workshop is closed.

Leave the brayers, pallet knives, rag papers, and presses behind, and journey eastward. With brushes and barrens, master printmaker Keiji Shinohara guides participants gently through the traditional Ukiyo-e technique of woodblock printing on Japanese papers. As new practitioners, participants have time to carve small, simple blocks using one or two colors. The focus of the workshop is on observance and practice of process rather than on a producing a masterful print.
– – – – –
Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United States. Shinohara’s nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He is currently teaching printmaking at Wesleyan University in Middletown, Connecticut and has been a visiting artist at over 100 venues and 30 solo shows. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Cleveland Museum of Art, the Fogg Art Museum at Harvard University, Milwaukee Art Museum, and the Library of Congress.

Rare Books is pleased to support the Book Arts Program with its collections.

N7433.98-A48-1996

Altar Book of Gorecki
Middleton, CT: Robin Price, Publisher, 1996

Inspired by a 1992 recording of Henryk Goreski’s Symphony No. 3. English translation by Krystyna Carter. Calligraphy of Polish lyrics by Paul Shaw. Bird illustrations are from seventeenth-century copperplate engravings by Francis Willughby. Photographed by John Wareham, the illustrations were digitally adapted and made into polymer plates by Gerald Lange. Woodcut designed and carved by Keiji Shinowara. Triptych structure with the consultation of Daniel Kelm. Box design and construction by Franklin Nichols Woodworking. Designed, printed and bound by Robin Price. Edition of sixty copies.

PS3509-V65-R38-1998-Bird-Spread

PS3509-V65-R38-1998-Socket-Of-Consequence

Ravaged With Joy
William Everson (1912-1994)
Middletown, CT: R. Price, 1998
PS3509 V65 R38 1998

A record of the poetry reading at the University of California, Davis, on May 16, 1975. Woodcuts by Keiji Shinohara. Issued in slipcase. Edition of one hundred and fifty copies, signed by the artist. University of Utah copy is no. 62.

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We recommend — Utah Calligraphic Artists presents…

21 Thursday Apr 2016

Posted by rarebooks in Events, Recommended Lecture

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Ameriprise Financial, Australia, Brigham Young University, Canada, Harold B. Lee Library, Heritage Edition of St. John's Bible, Japan, Judith Sommerfeldt, lecture, lettering arts, Medtronics, Saint John's University, Special Collections Department, St. John's Bible, United States, University of Minnesota, Utah Calligraphic Artists, Westlaw

Special Treatments Illuminations from the Wisdom Volume

Special Treatments Illuminations from the Wisdom Volume

The Utah Calligraphic Artists guild is pleased to host an evening lecture with Diane von Arx, one of three American calligraphers invited to be part of the artistic team for the St. John’s Bible project.

Thursday
May 5, 2016
7PM
Utah Cultural Celebration Center
1355 West 3100 South
West Valley City, Utah

Diane von Arx worked as an illuminator on the St. John’s Bible and was also responsible for the design and completion of the Book of Honor, the donor volume for the collection. She is a renowned calligrapher and graphic designer of corporate resolutions and documents of recognition. Her corporate clients include Target Corporation; General Mills, Inc.; University of Minnesota, Westlaw, Medtronics, Ameriprise Financial, and Saint John’s University. She has taught lettering arts throughout the United States, Canada, Japan, and Australia.

Diane’s lecture will focus on her experiences working on the St. John’s Bible. The Special Collections Department of BYU’s Harold B. Lee Library will display two volumes of their Heritage Edition of the St. John’s Bible at the lecture. Refreshments and an opportunity to talk to Diane follows the presentation.

This event is free and open to the public.

For more information please contact Judith Sommerfeldt judithsommerfeldt@comcast.net

alluNeedSingleLine

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Rare Books acquisition made possible with help from Latin American Studies

24 Thursday Sep 2015

Posted by rarebooks in Uncategorized

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accordion, Aesop, Alabama, Alan Sundberg, Allesandro Zanella, American, American Institute of Graphic Arts, Anthony O'Hara, Antonio Frasconi, Argentina, Art Students League in New York City, ASU School of Art, avante-garde, Biennale, broadside, Buenos Aries, Caldecott Medal, California, Carlos Oquendo de Amat (1905-1936), Cartiere Enrico Magnani, Catholic, Center for Latin American Studies, Cesar Vallejo (1892-1938), Charles Baudelaire, children, Chile, Christmas, Claribel Alegria (b. 1924), Communist Party, Cottondale, Craig Jensen, Cuba, David M. Guss, Distinguished Teaching Professor of Visual Arts, Ernesto Cardenal (b. 1924), European, fables, Gabriel Mistral (1889-1957), Gabriel Rummonds, George Wieck, Glenway Wescott, Goudy modern, Guggenheim Fellowship, H. Berthold A.G., Henry Holt & Company, Idea Vilarino (1902-2009), Isla Vista, Italian, Italo Calvino, Italy, Japan, Japanese paper, Joaquin Pasos (1914-1977), John Risseeuw, Joseph Blumenthal, Juan Gelman (1930-2014), Juana de Ibarbourou (1892-1979), Kitty Hawk, La Editorial Minerva, Lake Titicaca, Latin American Studies, Lima, linoleum blocks, Marco Antonio Montes de Oca (1932-2009), Metropolitan Museum of Art, Mexico, Mohawk, Montevideo, Museum of Modern Art, National Academy of Design, National Gallery of Art, New York City, New York Public Library, Nicanor Parra (b. 1914), Nicaragua, Nicolás Guillén (1902-1989), Octavio Paz (1914-1998), Pablo Neruda (1904-1973), Panama, paste paper, Peru, Plain Wrapper Press, poetry, Post Mediaeval, postage stamps, printer, Puno, Purchase, Pyracantha Press, rare books, Republic of Uruguay, Robert Frost (1874-1963), Roberto Fernandez Retamar (b. 1930), Sanctuary, Sergio Pausig, Smithsonian, Sorbonne, Spain, Spiral Press, State University of New York, Tempe, The House That Jack Built, The University of Utah, Tom and Elfie Rummonds, Turkey Press, type, typeface, United States, Uruguay, Venice, Vicente Garcia Huidobro Fernandez (1893-1948), Walt Whitman, Washington handpress, William Weaver (1923-2013), woodcuts, World War I, World War II

Thanks to generous support from the Center for Latin American Studies, Rare Books has purchased a rare copy of a work by Argentinian artist Antonio Frasconi.

19-Poemas-Spread1 19-poemas-Spread2 19-Poemas

19 Poemas de Hispano America
Antonio Frasconi (1919-2013)
South Norwalk, CT: 1969
PQ7798.16 R374 D5 1969

Twenty-one full-page color woodcuts, each signed by the artist. Printed on Japanese paper. Poets include Juana de Ibarbourou (1892 – 1979, Uruguay), Cesar Vallejo (1892-1938, Peru), Vicente Garcia Huidobro Fernandez (1893-1948, Chile), Gabriel Mistral (1889-1957, Chile), Nicolas Guillen (1902-1989, Cuba), Pablo Neruda (1904-1973, Chile), Nicanor Parra (b. 1914, Chile), Joaquin Pasos (1914-1977, Nicaragua), Octavio Paz (1914-1998, Mexico), Idea Vilarino (1920-2009, Uruguay), Claribel Alegria (b. 1924, Nicaragua), Ernesto Cardenal (b. 1924, Nicaragua), Juan Gelman (1930-2014, Argentina), Roberto Fernandez Retamar (b. 1930, Cuba), Marco Antonio Montes de Oca (1932-2009, Mexico). Issued in orange cloth tray case made by George Wieck. Edition of fifteen signed copies. The University of Utah copy is no. 3.

Antonio Frasconi was born in Buenos Aries and grew up in Montevideo, Uruguay. His parents, of Italian descent, had moved from Italy to Argentina during World War I. At the age of twelve, he began apprenticing with a printer. Frasconi liked the idea of making multiples in order to offer art at reasonable prices. Frasconi moved to the United States from Argentina in 1945 at the end of World War II on a scholarship to study at the Art Students League in New York City. In 1952, he received a Guggenheim Fellowship. In 1959, he was a runner-up for the Caldecott Medal, an honor awarded to the illustrator of the best American picture book for children. The House That Jack Built, was also written by Frasconi and remains a favorite today. He was elected into the National Academy of Design as an associate member and became a full Academician in 1969. In 1982, Frasconi was named Distinguished Teaching Professor of Visual Arts at the State University of New York at Purchase. Frasconi illustrated more than one hundred books. His woodcuts appeared on album and magazine covers, holiday cards, calendars, posters and a U.S. postage stamp. His work is in the Metropolitan Museum of Art, the Museum of Modern Art, the New York Public Library, the National Gallery of Art, the Smithsonian and private collections.

19 Poemas de Hispano America joins several other pieces illustrated by Frasconi in the rare book collections:

12 Fables of Aesop
New York: Museum of Modern Art, 1954
PA3855 E5 W48

Linoleum blocks by Antonio Frasconi illustrate fables adapted by Glenway Wescott. The book was designed by Joseph Blumenthal and honored by the American Institute of Graphic Arts as one of the year’s 50 best books. Edition of nine hundred and seventy-five signed copies. University of Utah copy is no. 724.



Kitty Hawk, 1894
Robert Frost (1874-1963)
New York: Spiral Press, 1956
PS3511 R94 K57 1956

Issued as holiday greetings from Henry Holt and Company, Christmas, 1956.

PS3511-R94-K57-1956-dustjacket


Kaleidoscope in Woodcuts
Antonio Frasconi
New York: Harcourt, Brace & World, 1968; Japan: Zokeisha Publications, Ltd., 1968
NE1112 F72 A4 1968

Printed to honor Antonio Frasconi by the Republic of Uruguay at the 34th Biennale in Venice. Color reproductions of woodcuts printed on a continuous strip of paper folded accordion style. Bound in grey cloth boards. Issued in black slipcase with printed paper label. University of Utah copy gift of Gabriel Rummonds.

NE1112-F72-A4-1968-spread


Overhead the Sun: Lines from Walt Whitman
Walt Whitman (1819-1892)
New York: Farrar, Straus and Giroux, 1969
First edition
PS3204 F65

Color woodcuts by Antonio Frasconi. University of Utah copy signed by artist.

PS3204-F65-SunImage


¡Apoye santuario!
Tempe: ASU School of Art Pyracantha Press, 1985
HV645 F73 1985

Broadside designed and printed by Antonio Frasconi and John Risseeuw “in support of the churches that take part in the new underground railroad known as Sanctuary.” – from the colophon. University of Utah copy nol. 123, signed by the designers.

HV645-F73-1985


Prima che tu dica « Pronto »
Italo Calvino
Cottondale, AL: Plain Wrapper Press, 1985
PQ4809 A45 P713 1985

From Fantasies and Hard Knocks, Gabriel Rummonds, 2015: “…in October 1983 Antonio Frasconi invited me to give a talk to a group of art students at the State University of New York at Purchase. During that visit he inquired about the Calvino project and I reluctantly had to admit that I still had not published it – partly because I had been unable to find an artist who would work within my specified parameters. I related the problems I had had working with Alan Sundberg and Sergio Pausig. Antonio, who had always wanted to illustrate at least one PWP book, asked me to send the manuscript to him, saying he would like to give it another try. Knowing of his wonderful landscapes and not wanting to risk disappointment again, I gave up on the idea of having circular illustrations and suggested that he use the geographic locations mentioned in the story as themes for his illustrations. And that is exactly what he did with great success.”

PQ4809-A45-P7713-1985-LandscapeSpread

English translation by William Weaver (1923-2013). The aesthetic and technical challenge of binding this edition inspired Craig Jensen to pursue edition binding over an intended career in book conservation. It also marked the beginning of his work with master printer Gabriel Rummonds. Illustrated with four multi-colored woodcuts by Antonio Frasconi. Printed on an 1847 Washington handpress by Gabriel Rummonds and Alessandro Zanella. Some pages printed on double leaves. Type is handset Post Mediaeval cast by H. Berthold A.G. Paper handmade at the Cartiere Enrico Magnani, printed damp. Tan quarter leather with paste paper sides by Antony O’Hara. Binding is a tight joint, in-boards style, incorporating a spine hollow and handsewn silk endbands. Housed in a cloth-covered, drop-spine box with the Plain Wrapper Press device set in a recess on front board. Edition of seventy-five numbered copies, signed by the poet and the artist. University of Utah copy is no. 4, printed for Tom and Elfie Rummonds.

PQ4809-A45-P713-1985-spread


Five Meters of Poems
Carlos Oquendo de Amat (1905-1936)
Isla Vista, CA: Turkey Press, 1986
First English edition
PQ8497 O5 C513 1986

Carlos Oquendo de Amat was born in Puno, Peru, but spent most of his childhood on the streets of Lima. Puno was a provincial capital on the shores of Lake Titicaca. Amat’s father was a Sorbonne-educated progressive newspaper publisher, a prominent member of Puno society and a vocal opponent of Peru’s conservative Catholic establishment. Upon the death of his father in 1918, Amat and his mother moved from genteel comfort in Pano to poverty in Lima, at a time when the city experienced growth and transformation in the form of new working and professional classes. Amat became a part of an extensive avant-garde poetry movement in Lima. Cinco metros de poemas is his only publication, written between 1923 and 1925, and printed in 1927, when Amat was 19. The original publication, produced in Lima by La Editorial Minerva, was printed on a single sheet of folded paper five meters long. The lines were composed in varying layouts throughout the sheet. The poem-object is reminiscent of earlier and contemporary European modernist movements that included poets such as Baudelaire and known to the literati in Lima. Amat joined the Communist Party, and spent the rest of his life in and out of jail for dissent. He contracted tuberculosis in prison. He was deported to Panama, from where he managed to get to Spain. He died there shortly after he arrived and just before the Spanish civil war. Translation of Cinco metros de poemas by David M. Guss, with an introduction by Guss. Illustrated with woodcuts by Antonio Frasconi. Formed as one folded sheet, five meters long. Typeface is Goudy modern. Paper is Mohawk. Edition of three hundred copies.

PQ8497-O6-C513-1986

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You are invited – Exhibit and Reception

30 Wednesday Apr 2014

Posted by rarebooks in Uncategorized

≈ Comments Off on You are invited – Exhibit and Reception

Tags

accordion, Allied Occupation, Catherine Tierney, Chinese, furigana, Japan, Katherine W. Dumke Fine Arts and Architecture Library, Lennox Tierney, manuscript, Marriott Library, orihon, Rare Books Division, Special Collections

PicturingPast

Sponsored by the Katherine W. Dumke Fine Arts and Architecture Library, Picturing the Past: Exploring Past Images of Japan with Professor Lennox Tierney features photographs taken by Professor Emeritus Lennox Tierney while he was stationed in Japan during the Allied Occupation after World War II, and on frequent return visits over the next sixty years. The Lennox and Catherine Tierney Photograph Collection, comprised of more than 500,000 slides and prints, was donated to the Marriott Library’s Special Collections Department.

Thursday, May 15
4:30-6PM
Marriott Library, Level 1

For more information about the collection, please see:
http://www.lib.utah.edu/collections/Professor-Lennox-Tierney-project.php

See also:
Guide to the Lennox Tierney interviews audio-visual collection 1994-1997

and
Inventory of the Lennox Tierney papers 1911-2010

The Rare Books Division holds many books donated by Professor Tierney.

Kumaraju yaku
Japan: publisher not identified, approximately 1760
BQ1993 C5 K86 1760

Manuscript text in Chinese, with Japanese furigana, folded accordion style (orihon). University of Utah copy from the library of Lennox Tierney.


Kumaraju yaku
Shimane-gun: Matsuo Jokyu, Horeki 13, (1764)
BQ2053 J3 K86 1764

Manuscript text in Chinese, folded accordion style (orihon). University of Utah copy from the library of Lennox Tierney.


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