Book of the Week — Colours of Persia

26 Monday Dec 2016

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airbrush, Barcham Green, Baskerville, Bembo, calligraphy, carborundum, collages, color, crayon, Curzon, cut-outs, drypoint, English, etchings, Farsi, foldouts, Garamond Italic, goatskin, gold foil, Hafez, inlaid leather, Isfahan, Ker Porter, letterpress, linocuts, London, Mashad, onlays, Persia, Prix de Rome, Richard de Bas, Saadi, Shiraz, silver foil, Susan Allix, Tehran, tilework, University of Utah, watercolor, Yazd

Although I have no beauty, colour & perfume
Am I not after all the grass of His garden?”
— Saadi

COLOURS OF PERSIA: PERCEPTIONS, ACCOUNTS…
Susan Allix (b. 1943)
London, 2007
N7433.4 A57 C65 2007

From the artist: “The text is arranged around the headings of five cities – Tehran, Mashad, Yazd, Shiraz and Isfahan. These names are printed in English in 48pt. Garamond Italic and Farsi, which was cast in Tehran. Different typefaces have been used for the different voices of the authors: Ker Porter speaks in Bembo, Curzon in Baskerville, Hafez in varying sizes of Garamond.
Handset and letterpress printed on handmade Barcham Green. The paper for the prints is handmade Richard de Bas. Twenty-six prints, of which seventeen are etchings with drypoint, carborundum and other methods, seven are linocuts, and two are a combination of two or more of these processes. Four prints in black and white, the rest in color, including hand coloring by watercolor, crayon and airbrush, and gold and silver foil.
Additionally illustrated with some foldouts of varying sizes, including some with cut-out shapes. A variety of colored sheets act as interleaving or free colored collages.
Bound in goatskin, some of which has been dyed cobalt blue and yellow. The inlaid leather is also inlaid with waxed paper printed in a style similar to tilework, its semi-transparent quality allowing the title to show through in shadow. The design, based on architectural shapes, has onlays of black, freely-cut leather reminiscent of calligraphy. Within the edition, each binding differs slightly.”
This is the forty-fifth publication of Susan Allix, who has received the Prix de Rome for her book work. Edition of twenty-five copies, signed by the producer. University of Utah copy is no. 9.

Journal of the week — Vojvodjanski zbornik

23 Monday May 2016

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Arad, art, artists, Begrade, Bogdan Ciplic, Bogdan Suput, Bogdan Teodorovic, Budapest, children's literature, colorism, cubism, culture, Europe, fascists, German, Hungarian, Hungary, impressionism, Ivan Tabakovic, journal, landscapes, linocuts, Milan Konjovic, Milenko Sevan, modernist, Munich, Nava Sudarska, Novi Sad, Paris, Petar Dobrovic, portraits, Prague, prisoner-of-war, Romania, Serbia, Serbian, Serbo-Hungarian Baranya-Baja Republic, Sima Cucic, Stepan Bonarov, Vojvodjansk, Vojvojdina, woodcuts, World War II, Yugoslavia, Zagreb

Vojvodjanski zbornik: almanah. vols. 1 (1938) and 2 (1939)
Novi Sad: S.n., 1938-1939
PG1400 I5 V64

This journal of art and culture was produced in Vojvojdina, an autonomous province of Serbia, on the eve of the second World War. The journal, published in these two issues only, assembled the work of modernist artists and writers of the region, including many contributors whose work is otherwise unpublished or unrecorded. Many of the artists and writers did not survive the war.

The journals include prose, poetry and, in the first volume, illustrations – including original graphic works (woodcuts and linocuts) by Bogdan Teodorovic, Stefan Bodnarov, Milan Konjovic (1898-1993), Milenko Servan, Bogdan Suput (1914-1942), Ivan Tabakovic (1898-1977), Nava Sudarska, Petar Dobrovic (1890-1942) and others.

The journal was edited by Bogdan Ciplic and writer and critic Sima Cucic (1905-1988). Today in Serbia, annual awards for achievements in the field of children’s literature are given in the name of Sima Cucic.

Milan Konjovic (1898-1993) became a prominent Serbian painter. He went to school in Prague, lived in Paris between 1924 and 1932 and traveled throughout Europe before returning to Vojvodjansk. He survived a German prisoner-of-war camp.

Bogdan Suput, considered one of the great Serbian painters of the first half of the twentieth century, was born in 1914. He also spent time in Paris. In 1939 he returned to Belgrade where he became a member of the art group, “Ten.” That April, the Germans invaded Yugoslavia. Suput survived German captivity, but was shot by Hungarian fascists in Novi Sad in 1942. An art school in Novi Sad, begun sixty years ago, is named after him.

Ivan Tabakovic was born in Arad, Hungary (now Romania). He studied art in Budapest and Zagreb. He traveled briefly in Munich. In 1930 he moved to Novi Sad and began teaching in Belgrade in 1938.

Petar Dobrovic, a proponent, along with Milan Konjovic, of Serbian colorism, was known for his portraits and landscapes. He experimented with impressionism and cubism. He was President of the short-lived, small Serbo-Hungarian Baranya-Baja Republic in 1921. He died in Belgrade during the German occupation.

Book of the week — Kuthan’s Menagerie Completed

18 Monday Apr 2016

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animals, anteater, booksellers, Canada, clamshell, colophon, debossed, endsheets, Felicity Reid, flamingo, folio, George Kuthan, Golden Hind laid paper, Heavenly Monkey, Japanese paper, landscape, linocuts, monkey, Nevermore Press, Paris, peacock, penguin, Perpetua, preface, racoon, Robert Reid, Simone Mynen, St. Armand handmade paper, Stephen Lunsford, title page, University of Prague, University of Utah, Vancouver, Vancouver Zoo, waste sheets, William Hoffer

“In the zoo we see, on a small scale, how different all animals are from each other…We have to live together whether we like it or not.”

KUTHAN’S MENAGERIE COMPLETED
George Kuthan (1916-1966)
Vancouver: Heavenly Monkey, 2003

Descriptive text about six animals – a raccoon, flamingo, anteater, penguin, monkey and peacock – each representing a different part of the world and each viewed by the artist at the Vancouver Zoo. Illustrated with multi-color linocuts by George Kuthan. Kuthan studied art at the University of Prague and in Paris before he moved to Canada.

Kuthan’s Menagerie of Interesting Zoo Animals was first published in an edition of one hundred and thirty copies by Nevermore Press, a single private enterprise by Robert and Felicity Reid, in 1960. Sixty of these copies were bound in quarter leather and Japanese paper over boards. Kuthan and the binder both died soon after this first publication. The remaining sheets were left unbound and unsold. Vancouver booksellers Stephen Lunsford and William Hoffer bought the unbound copies from the original binder’s estate in the late 1980s.

Heavenly Monkey issued the remaining sheets within a sheet of yellow Japanese paper (which served as the endsheets for the bound edition). New content (a title-page, preface and colophon) was set by hand in 18 pt. Perpetua and printed on blank and waste sheets of the original Golden Hind laid paper. The whole is in an outer wrap of St. Armand handmade paper and housed in a custom clamshell box covered in red Japanese fabric, with printed debossed paper labels, designed and made by Simone Mynen. The work is comprised of sixteen sheets loose, printed landscape on one side and folded folio, plus three sheets of additional matter. Printer Robert Reid explained that the folded sheets helped solve two problems: the translucent quality of the paper and to add to the bulk of the book when bound. Edition of fifty copies. University of Utah copy is no. 7, signed by Robert Reid.

We recommend – Book Arts Program lecture

02 Tuesday Jun 2015

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Anna Embree, Audrey Niffenegger, Baskerville, Beth Grabowski, Bonnie Thompson Norman, bookmaking, Bull's Head & Branch, By His Own Labor, Caren Heft, Catherine May, Cathleen Baker, Colleen Dwire, College Book Art Association (CBAA), Coriander Reisbord, Cuba, Dard Hunter III, David Moyer, Deborah Mae Broad, Dennis Ruud, Eileen Wallace, Elsi Vassdal Ellis, Eric Bealer, fine press, Fond du Lac, Gray Parrot, hand papermaking, handmade, Havana, Heartbreak Thursday, Helene Hanff, Izel Marino Gonzales, Jack Malloy, James Horton, Joe Sanders, John DePol, Judi Conant, Julio César Peña Peralta, Karla Elling, Katrin Braun, letterpress printing, linocuts, Luis Francisco Diaz Sanchez, Maria Vargas, Mark Hark, Marriott Library, Mary Jo Pauly, Meriden-Stinehour, Michael and Winifred Bixler, Michael Sean Fallon, Minneapolis, Minnesota, Minnesota Center for Book Arts, North Carolina, Olga Broumas, Parallel Editions, Paula Maria Gourley, Penland School of Crafts, Pinkney Herbert, pochoir, Rafael Suan Lazo, Rare Books Classroom, Red Hydra Press, Red Ozier Press, Robert Bly (b.1926), Ruth Lingen, Sara Owen, Saturday Nights in Marietta, Steve Miller, T. Begley, Taller Experimental de Papel Artesanal (TEPA) de la oficina de Historiador de la Cuidad, TEPA, The Perishable Press, The University of Alabama, The University of Alabama School of Library and Infomration Studies Book Arts Program, The University of Wisconsin-Madison, Timothy Geiger, Travis Becker, Tuscaloosa, University of Alabama Center for Cuba Collaboration and Scholarship, University of Utah, Uso Ilegal del Alma, Van Dijk, vellum, Walter Hamady, Wisconsin

Why Books?
Steve Miller
June 4
Thursday, 6:30–7:30
Rare Books Classroom, Marriott Library, Level 4

Steve Miller was born in Fond du Lac, Wisconsin and educated at The University of Wisconsin-Madison. Having taken letterpress printing classes with Walter Hamady of The Perishable Press, he founded Red Ozier Press in 1976—a fine press devoted to publishing literary first editions in handmade limited editions.
Steve came to The University of Alabama in Tuscaloosa in 1988. He teaches letterpress printing, hand papermaking, and coordinates the MFA in the Book Arts Program. Although his primary focus at the university is in the teaching of traditional bookmaking, he is also the proprietor of Red Hydra Press and collaborates on various limited edition publishing projects with authors and artists. Steve is a co-director of Paper and Book Intensive, a nationally-recognized annual series of summer workshops in the book arts. He is also a trustee of the Penland School of Crafts in North Carolina and co-directs the University of Alabama Center for Cuba Collaboration and Scholarship. Steve was awarded the 2012 Distinguished Career Award from the College Book Art Association (CBAA)

Heartbreak Thursday
Helene Hanff (1916-1997)
Tuscaloosa, AL: Parallel Editions, 1993
ML422 S76 H36 1993

Printed by Steve Miller and Timothy Geiger with Baskerville types. Cap calligraphy and pochoir by Paula Marie Gourley. Bound in purple cloth-covered boards, printed cover label by Paula Marie Gourley with Catherine May and Coriander Reisbord. Edition of seventy-five copies. University of Utah copy is no. 69, signed by the author. Gift of Eileen Wallace.

unfolding the tablecloth of god
T. Begley (b. 1956) and Olga Broumas (b. 1949)
Tuscaloosa, AL: Red Hydra Press, 1995
PS3552 E377 U64 1995

Printed and bound by Steve Miller. Wrapper drawing by Pinkney Herbert. Edition of eighty-seven copies. University of Utah copy is no. 1, signed by the poets and printer. Gift of Eileen Wallace.

Artist’s Statement:
“The first time I read Bly’s poem Singing Late at Night at Chuck and Phil’s Farm, I saw a thunderous tornado sweeping across the fields, and poem lines swirling from it. No matter how hard I tried to rid myself of the image, it stayed. And so I made the reduction linocut with words swirled in photopolymer types around it. The words all come from several of Bly’s poems in his book Iron John, and one of his translations of Kabir in the same book. What I saw in Singing Late at Night…unleashed a riff of Bly words for me.” – Steve Miller

Saturday Nights in Marietta
Robert Bly (b. 1926)
Minneapolis, MN: Minnesota Center for Book Arts, 1999
PS3552 L9 S28 1999

Poems by Robert Bly accompanied by visual interpretations by Bonnie Thompson Norman, Steve Miller, David Moyer, Ruth Lingen, Colleen Dwire, Jack Molloy, Karla Elling, Beth Grabowski, James Horton, Elsi Vassdal Ellis, Audrey Niffenegger, Eric Bealer, Deborah Mae Broad, Joe Sanders, and Caren Heft. Poems printed by Michael Sean Fallon on handmade paper by Mark Hark. Type is Van Dijk from The Press and Letterfoundry of Michael and Winifred Bixler. Bound by Dennis Ruud with leather spine and vellum lacing; housed in box of barn board. Designed by May Brooks Kirkpatrick under the direction of MCBA Artistic Director Mary Jo Pauly. Deluxe edition of 26 lettered copies, signed by the poet. University of Utah copy is “Z.”

By His Own Labor
Cathleen Baker
Tuscaloosa, AL: Red Hydra Press, 2000
TS1098 H8 B34 2000b

From the colophon: “John DePol cut the Hunter portrait in wood, Michael and Winifred Bixler cast the types, Kathryn and Howard Clark and Travis Becker made the paper, Dard Hunter III made the endsheets using his grandfather’s Bull’s Head & Branch watermarked mould…designed and printed by Steve Miller and Cathleen Baker and the plate volume was printed by Meriden-Stinehour. Both the text and the plate volumes were bound at Gray Parrot; the box was made by Judi Conant.” Edition of one hundred and fifty numbered copies and twenty-six lettered copies. Numbered copies are quarter-bound in leather with printed pattern papers created from a single leaf & stem punch cut by the author. University of Utah copy is no. 45.

Uso Ilegal del Alma
Luis Francisco Diaz Sanchez
Tuscaloosa, AL: Parellel Editions, 2006
PQ7392 D53 U76 2006

From the colophon: “This book is a collaboration between The University of Alabama School of Library and Information Studies Book Arts Program, and our colleagues in Havana, Cuba. The collaborators from Alabama are Book Arts faculty bookbinder Anna Embree, faculty letterpress printer Steve Miller, graduate students Katrin Braun and Sara Owen, and translator Maria Vargas. The collaborators from Cuba are Luis Francisco Diaz Sanchez, artist Julio César Peña Peralta, and, from the Taller Experimental de Papel Artesanal (TEPA) de la oficina de Historiador de la Cuidad, Izel Marino Gonzales, Dra del TEPA, and Rafael Suan Lazo, Tecnico del TEPA…letterpress printed at The University of Alabama. Linocuts…printed in Havana by UA printers and the artist…Binding…done in Havana by UA binders and our Cuban friends.” Edition of fifty-five copies. University of Utah copy is no. 34, signed by author.

Rare Books is pleased to support the Book Arts Program with its fine press and artists’ books collections.

OPEN BOOK

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

Tag Archives: linocuts

Book of the Week — Colours of Persia

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Book of the week — Kuthan’s Menagerie Completed

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