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Tag Archives: Revolutionary War

On Jon’s Desk: Annals of the American Revolution, celebrating Patriots’ Day

17 Monday Apr 2017

Posted by Jonathan Bingham in On Jon's Desk

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Tags

Academy of Woodstock, Annals of the American Revolution, Battle of Concord, Battle of Lexington, Battle of Saratoga, Boston Marathon, Boston Tea Party, Calvinist Congregational Church, geography, George Washington, Jedidiah Morse, Jon Bingham, liberty, Maine, Massachussettes, Patriots' Day, Revolutionary War, University of Edinburgh, Yale University

Title page of the Annals of the American Revolution.

 

 

 

 

 

 

 

“Immediately upon the arrival of the tea-ships in the harbor of Boston, the first step taken was to request the consignees to refuse the commission. The inhabitants warmly remonstrated against the teas being landed in any of their ports, and urged the return of the ships without permitting them to break bulk. Resolved not to yield to the smallest vestige of parliamentary taxation, however disguised, a numerous assembly of the most respectable people of Boston and its neighborhood, repaired to the public hall, and drew up a remonstrance to the governor, urging the necessity of his order, to send back the ships without suffering any part of their cargoes to be landed. His answer confirmed the opinion, that he was the instigator of the measure.

…

Within an hour after this was known abroad, there appeared a great number of persons, clad like the aborigines of the wilderness, with tomahawks in their hands and clubs on their shoulders, who, without the least molestation, marched through the streets with silent solemnity, and amidst innumerable spectators, proceeded to the wharves, boarded the ships, demanded the keys, and without much deliberation knocked open the chests, and emptied several thousand weight of the finest teas into the ocean. No opposition was made, though surrounded by the king’s ships; all was silence and dismay.”

– Jedidiah Morse, Annals of the American Revolution, pages 176 & 177

Illustration (frontis piece engraving) of the Annals of the American Revolution, showing a depiction of the Boston Tea Party.

 

 

 

 

 

Title: Annals of the American Revolution; or a Record of the Causes and Events which Produced, and Terminated in the Establishment and Independence of the American Republic

Author: Jedidiah Morse, D.D.

Printed: Hartford, CT: 1824

First Edition

Call Number: E208 M88

Fold out plate (engraving) of the Battle of Saratoga from the Annals of the American Revolution.

 

 

 

 

 

 

 

Happy Patriots’ Day! Unless you are from the New England area, you may not know what Patriots’ Day is. It is the commemoration of the first battles of the American Revolution (Lexington and Concord) and is observed on the third Monday of April in some states (Maine and Massachusetts, for example). Each year the Boston Marathon is run on Patriots’ Day, linking the Athenian and American struggles for liberty (the twenty-six mile race being so named after the Greek Battle of Marathon). For those of us who want a link to the past that does not involve the pain of running twenty-six miles, a book about the American Revolution provides just such an opportunity. So while some people may show their Patriot-ism in Boston via running shoes, let’s take a look at Jedidiah Morse’s Annals of the American Revolution.

Preface to the Annals of the American Revolution.

 

 

 

 

 

 

Morse’s Annals of the American Revolution is a compilation of accounts relating events leading up to and through the Revolutionary War. The book also includes an index with descriptions of the notable military leaders of the time. The accounts begin with the establishment of the British colonies in North America in the 16th century and end with General George Washington’s resignation of his commission as the Commander-in-Chief of the Continental Army in front of Congress on December 23rd, 1783.

Jedidiah Morse was a geographer and pastor. Born August 23, 1761 in Woodstock, Connecticut, Morse attended the Academy of Woodstock and then Yale University (M.A., 1786), and later graduated with a Doctor of Divinity from the University of Edinburgh (D.D., 1795). His writing career began after starting and teaching at a school for young women. He saw the need for a geography text book and wrote Geography Made Easy (1784), followed by American Geography (1789). Morse was a pastor in the Calvinist Congregational Church, but remained active in education and geography throughout his life (died June 9, 1826, age 64, New Haven, Connecticut). He published sixty-three works during his career, most of them religious.

~Contributed by Jon Bingham, Rare Books Curator

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“The Books Opened My Eyes to New Possibilities:” A Visit From Utah State University Students

31 Friday Mar 2017

Posted by rarebooks in Uncategorized

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accordion format, al-Mutanabbi Street, Anagram Press, Baghdad, Berkeley, book arts, Book Arts Guild, Book Arts Program Studio, bookseller, Cal Ling, calico, Chandler O'Leary, Christina Kemp, collage, Connecticut, consitiution, copper, Denisse Gackstetter, Diano Bertolo, Fingin Furi, Flying Fish Press, Gampi Smooth, Giovanni Forlino, glass negatives, Granary Books, handmade paper, Heather Weston, Hermetic Press, High Falls, Iraq, Japanese, Jessica Spring, Jim Machacek, John Yau, Julie Chen, Katsushika Hokusai, Kincami, Kristen Reyes, Kyoto, letterpress, Lieutenant Colonel Jonathon Rhea, Logan, London, Marriott Library, Matt Jones, Mauree Cummins, Max Gimblett, Mount Fuji, Mt. Rainier, New York, non-adhesive binding, Philip Galo, Philippine Banana Bark, photographs, photography, rare books, Revolutionary War, Rumi, Sarah Christianson, schizophrenia, Sibyl Rubottom, spiral bound, Springtide Press, Steve Clay, strait jacket, stratovolcano, Sunomi, Susan Mills, Tacobet, Tacoma, Tacoma Artists Initiative Program, Tacoma Arts Commission, Tahoma, Tairei, Tamashiki, Tao Te Ching, triptych, typography, United States, University of Puget Sound Collins Memorial Library, Utah State University, Washington, watercolor, Weir Farm, Wilton, woodblock prints, wrapper, Yuzen

P1060569

“It was nice being able to get lost in someone’s work and to look at books in a way that I never have before. Being able to actually hold and handle the books teaches us many things. ”

Early in the cold, wet month of February, students from Utah State University made the perilous journey from Logan to the Marriott Library to visit Rare Books. Professor Denisse Gackstetter brought her Introduction to Book Arts class for a tour of the Book Arts Program Studio, after which the students spent two hours looking at forty of our books.

Prof. Gackstetter asked her student’s to respond to their visit. Here is some of what they saw and what they had to say about it.

PS3575-A9-B66-2012-spread
THE BOOK OF THE ANONYMOUS
John Yau (b. 1950) and Max Gimblett (b. 1935)
New York: Granary Books, 2012
PS3575 A9 B66 2012

John Yau wrote this poem in 2009 in response to several translations of the “Tao Te Ching” given to him by Max Gimblett. In response to Yau’s manuscript, Gimblett created a series of more than one hundred drawings and collages incorporating rare and unusual handmade papers from around the world. This publication contains the twenty-four part poem and twelve of the illustrations. An original ink drawing by Gimblett in black ink on silver is on the cover of each copy. Produced by Diane Bertolo, Steve Clay [founder and owner of Granary Press] and Susan Mills. Typography is by Steve Clay, the binding by Susan Mills. Philip Galo letterpress printed the text and images on double leaves at the Hermetic Press. The collages incorporate gold-leaf, photography, photocopy and drawing. The collages were made at Max Gimblett’s studio with assistance from Matt Jones, Giovanni Forlino and Kristen Reyes. The papers used include Kincami black, Cal Ling autumn, Tamashiki orange, Kingin Furi tan, Sunomi silver, Sunomi kraft, Yuzen cream, Kyoto M25 white, Tairei #1 white, Philippine Banana Bark alabaster and Gampi Smooth 43. Bound in black board covers, open spine with exposed stitching, a non-adhesive binding. Folded and coupled, the pages are gathered together and sewn to cloth-backed boards. Housed in handmade silver cloth-covered clamshell box with spine label. Edition of thirty-three copies, signed by the poet and the artist.

“The Book of the Anonymous by John Yau made the greatest impression upon me. I remember specifically pondering how the images or lack thereof contributed to the concept. I was intrigued by the questions Yau asked the reader, and I was inspired to read more into them by the beautiful pages and illustrations. The form made me want to understand the content.”

“The paper has lots of fiber and shimmer in it. One of the pages has string in the paper. The contrast in texture is very dramatic.”

“I can’t remember the imagery or the poem in that book because the handmade papers are so beautiful I could not stop looking at them. The pages were assembled in an interesting way where the two sheets of paper would sort of pocket-fold into each other. This gave the pages a very thick and substantial feel when turning them.”


N7433.4-W467-B56-2000-WrapN7433.4-W467-B56-2000-spread
BINDING ANALYSIS: DOUBLE BIND
Heather Weston
London: Heather Weston, 2000
N7433.4 W467 B56 2000

Author and artist Heather Weston holds a degree in Book Arts and works in the mental health profession. She uses the book form to explore both emotional experience and psychological structure. In this context she explores the inextricable link between form and content. Here, book structure says something about the experience of schizophrenia that text alone could not. The book is double spiral bound at right and left edges with the pages splitting down the center. Four separate narratives – one pictorial, two textual, and one structural – unravel concurrently. A calico wrapper, with a padded but rigid back panel gives the floppy book the firm containment of a strait jacket.

“I thoroughly enjoyed Binding Analysis: Double Bind by Heather Weston. Weston uses French doors to present an analysis of a schizophrenia patient through the recordings of a medical care provider. I only became aware of the patient’s recorded words, on the backside of the structure, midway through the book. The form informed me about the concept.”


N7433.4-C853-G46-2003-cover
GHOST DIARY
Maureen Cummins
High Falls, NY: M. Cummins, 2003
N7433.4 C853 G46 2003

From the colophon: “…[B]ased on a handwritten letter discovered by the artist in the archive of Weir Farm in Wilton, Connecticut, during a residency in the spring of 2001. The letter was written in 1807 by a former Revolutionary War officer, Lieutenant Colonel Jonathon Rhea, to his children on the anniversary of his wife’s death. The [5] images that accompany the text are original vintage glass negatives that date from the late nineteenth and early twentieth centuries.” Glass panels hinged in accordion format. Issued in collapsible black box with a tie string. Edition of twenty-five copies. University of Utah copy is lettered and signed by the artist.

“It uses a simple accordion structure, but utilizes it in an inventive way. The panels are see-through which coincides with its subject matter. A wonderful example of form and content informing each other.”


N7433.4-O45-L63-2010
LOCAL CONDITIONS: ONE HUNDRED VIEWS OF MT.…
Chandler O’Leary
Tacoma, WA: Anagram Press, 2012?

From the colophon: “Illustrated, designed, printed and bound by Chandler O’Leary, through freak snowstorms, record heat, and a thousand gentle rains in Tacoma, Washington. Each of the book’s 120 image flats is illustrated and compiled from sketches, photographs and data collected in person, on location, from September 2008 to October 2010. All text and images were letterpress printed in Hokusai’s indigo ink, down the street at Springtide Press. Images and topographic map patterns are hand-drawn and water-colored. For making it possible to turn this crazy idea into an even crazier reality, many heartfelt thanks to [the Tailor*], Jessica Spring, [Zooey*], Sarah Christianson, the Tacoma Arts Commission, the University of Puget Sound Collins Memorial Library, and the Book Arts Guild. Thanks also to the weather, for always, despite a notorious reputation, seeming to hold just long enough for me to grab the camera and jump in the car. Produced with the support of a Tacoma Artists Initiative Program grant from the City of Tacoma Arts Commission…Japanese artist Katsushika Hokusai (1759-1849) is perhaps best known for his seminal works, Thirty-Six Views of Mount Fuji and One Hundred Views of Mt. Fuji. The two series of woodblock prints, published from 1829 to circa 1847, depict the sacred peak within the context of landscapes and scenes of daily life. At the heart of the series is Hokusai’s own obsession with immortality, and his fascination with Fuji’s eternal presence. Therein lies the rub: Fuji is anything but eternal. Beyond the usual, abstract geologic transience of eroding rock and drifting continents, Fuji is an active stratovolcano. Its days – and those of the lives and lands at its base – are numbered. Here in Washington state, just forty miles southeast of my home, lies Fuji’s taller, more volatile, American twin. Variously named Tacobet, Tahoma, and Ti’Swaq’, amont others, by the region’s indigenous peoples, or simply “The Mountain” by contemporary locals – its most arbitrary…”

“What left the greatest impression on me was the box with different scenic areas layered upon one another. It made me want to go home and create one of my own. The intricate images mixed with the soft pastels are gorgeous. I think it is interesting that the viewer is able to arrange the book how they please. The book is really their own story to tell.”

“This book intrigued me. It is so different from a normal book, and so unconventional, it inspired me to think more outside the box.”

“I like the three-dimensional aspect.”

“This book has three drawers to pull out and a ton of different different pieces of scenery. I love how I could mix and match the different scenes. There were so many possibilities to create. I liked the facts that I learned about Mt. Rainier, as well. I could have read and played with this book for hours.”


N7433.4-C44-M46-2012-coverN7433.4-C44-M46-2012-open
MEMENTO
Julie Chen
Berkeley, CA: Flying Fish Press, 2012
N7433.4 C44 M46 2012

From the colophon: “The text that appears on the woven token in triptych was taken from the preambles to the constitutions of the United States and Iraq. The image that surrounds the token is of a bookseller’s stall on Al-Mutanabbi Street in Baghdad prior to the bombing in 2007, and is used by permission of the Al-Mutanabbi Street coalition.” Letterpress printed. Designed by Julie Chen. Copper locket fabricated by Christina Kemp, based on a design by Julie Chen. Edition of fifty copies. University of Utah copy is no. 43, signed by the artist.

“Blew my mind.”


N7433.4-R73-N49-2000-Open
NEW RULE: A POEM BY RUMI
Sibyl Rubottom and Jim Machacek
San Diego, CA: Bay Park Press, 2000
N7433.4 R73 N49 2000

A flecked, navy wrapper is folded in three, housing the primary sheet which is, in turn, folded into three, unequal sections. Letterpress from Bodoni and Times Roman on Fabriano Rosaspina Bianco and Fox River Confetti wrapper. Images created using polymer plates, monotypes, linocut, and screen printing. Edition of forty-five copies. University of Utah copy is no. 19.

“Looking at New Rule helped my own making for my next project. It is a good example of a poem in a book, without lots of pages, but with a creative structure. I like how it hides the colophon inside the back cover by folding inward.”


N7433.4-C414-C66-2013-spread
CONVERSION: (A CONVERSATION TOLD IN SYMBOLS)
Macy Chadwick
Portland, OR: In Cahoots Press, 2013
N7433.4 C414 C66 2013

A sequential, narrative story with abstract imagery and no text, a conversation using only symbols. From the artist’s website: “…a two-person conversation using a vocabulary of stencils and hand-drawn symbols shown in a key. What is said and what is thought, works spoken in a jumble without stopping, a rational response and an activated imagination are all carefully plotted and diagrammed. Two different communication styles clash, merge, and ultimately influence each other as one person finally speaks her mind.” Mulberry paper, Micron pens, book cloth, pochoir. Edition of five copies.

“This book was assembled very simply, hand drawn on a single sheet of mulberry paper and folded into a book with a thin book cloth cover. What really pulled me into this one was the concept behind it. The artist took the words out of a conversation and replaced them with symbols to show the structure of a conversation. It made me see that as an artist we don’t have to ‘write the story’ our viewers see, we can create a scaffolding of an idea that gets filled in with what the viewer has already experienced. It was very powerful. The book is a great vessel for this concept because it is such a personal experience turning the pages, touching the conversation with my own fingers. I learned a lot from that small book and from this whole experience.”

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Photographs of books by Scott Beadles.
Photographs of readers by Dennise Gackstetter. Thanks, Dennise!

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On Jon’s Desk: A gift from Dr. Ronald Rubin serves as a patriotic reminder

12 Monday Sep 2016

Posted by Jonathan Bingham in Book of the Week, On Jon's Desk

≈ 2 Comments

Tags

American Revolution, Fort McHenry, Francis Scott Key, Great Britain, James Madison, patriotism, printers, propaganda, Revolutionary War, S. Woodworth & Co., Star Spangled Banner, The Defense of Fort McHenry, The War. Being a Faithful Record of the Transactions of the War between the United States and their Territories and the United Kingdom of Great Britain and Ireland, United States, War of 1812

The War, Title Page

The War, Title Page

Title: The War. Being a Faithful Record of the Transactions of the War between the United States of America and their territories and the United Kingdom of Great Britain and Ireland

Volume 1. Issue Numbers 1 -52, dated 27 June 1812 – 15 June 1813

Printed by: S. Woodworth & Co., New York

Pages: 218

The War, Vol. 1, No. 1, Page 1

The War, Vol. 1, No. 1, Page 1

James Madison has the unfortunate distinguishment of being the first President of the United States to ask Congress to declare war on another nation. In the early nineteenth century the United States struggled as a young nation against more powerful countries for legitimacy. Americans were mostly farmers and, having thrown off the chains of British oppression by winning the Revolutionary War, most returned to their plows. In succeeding in their worthy cause they wounded deeply the pride of the great lion across the Atlantic Ocean. For the British it was a stinging wound not easily forgotten. The American Revolution stopped many infringements in the former colonial states, but Britain continued to teach the traitorous Americans a “lesson” abroad.

In early 1812 the executive leader of the infant nation knew that without further action his country would continue to suffer under economic bondage resulting from Britain’s policies. After diplomatic solutions failed, President James Madison made a report to Congress on the continued abuses laid upon the country by Great Britain and requested the country declare war against the abusers. His request resulted in the War of 1812, a conflict that gave us our national anthem, “The Star Spangled Banner,” and ultimately culminated in greater legitimacy as a sovereign nation.

More than slightly ironic, the United States’ federal government itself at the time fought for legitimacy. The state governments were powerful and for most citizens the necessity for war with Great Britain ended with the winning of the Revolution. Public opinion precluded support for a war because if there is one aspect of war that is constant and unchanging it is that war is expensive. No one wanted to pay for a war. How then would the federal government generate the support necessary to successfully defeat another nation with arguably the most powerful navy of the period? The answer: information. People needed to know why it was important to once again challenge Great Britain and be educated on the stakes of not doing so.

Printers played a crucial role in accomplishing this. They printed and sold newspapers, generating support for the federal government’s decision to declare war on Great Britain. Historians refer to this as war propaganda.

S. Woodworth & Co., Printers

Printer’s Advertisement

The word “propaganda” holds many negative connotations, but beauty is in the eye of the beholder and perspective matters. The act of uniting the United States would have been impossible without it. In the first issue of The War. Being a Faithful Record of the Transactions of the War between the United States of America and their territories and the United Kingdom of Great Britain and Ireland the editor tells the reader that the object, or purpose, of this publication includes: “To diffuse knowledge in the art of war, by communicating improvements calculated to render courage efficient against the enemy” and “To hand down to posterity the names of those heroes of America, who, by patriotism or courage, will signalize themselves in the present contest.”

The first issue of the publication provides the reader with a brief history in regards to the necessity of the American Revolution. The section ends with the conclusion that the United States’ quick recovery from that war led to its ability to economically compete with Great Britain and consequently caused that nation to become envious. The paper then offers two reports given by President Madison on the acts and injustices committed against the United States by Great Britain.

In issue number two the reader is confronted with examples of acts of patriotism and support. One section with the title “PATRIOTISM” offers an open invitation, almost a challenge, to the reader. One entry reads:

A Call for Patriotic Action

A Call for Patriotic Action

Support for the war did come from the nation’s citizenry and ultimately the United States succeeded in proving its sovereignty.

On September 12th, 1814 Frances Scott Key witnessed an attack on Baltimore, Maryland’s Fort McHenry from aboard a British ship. The next day he wrote a poem he titled “The Defense of Fort McHenry.” It was printed in newspapers. The United States’ victory at Fort McHenry in September 1814 turned the war in its favor. Frances Scott Key’s poem began to be sung set to a popular English tune (“To Anacreon in Heaven”) and in 1931 became our national anthem, “The Star Spangled Banner.”

Without support-generating propaganda such as The War, the United States may not have won the War of 1812 and we might be singing something other than “The Star Spangled Banner” at patriotic events. The War provides a glimpse into what the leaders of a young nation two hundred years ago needed from the country’s citizens in order to become the nation it is today.

 Contributed by Jon Bingham, Rare Books Curator

Editor’s note: Dr. Ronald Rubin has been a generous supporter of the Rare Books Department for years. For more about his donations see Dr. Rubin.

Thank you, Dr. Rubin!

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Her Campus at Utah — Its Time to Visit the Fourth Floor

16 Monday Nov 2015

Posted by rarebooks in Newspaper Articles

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Alice's Adventures in Wonderand, American Institutions, Common Sense, Gutenberg Bible, Her Campus at Utah, Kristen Woicek, Lewis Carroll, Luise Poulton, Marie Curie, Marriott Library, rare books, Reformation, Revolutionary War, Thomas Paine, Traite de Radioactivite, Uncle Tom's Cabin

Its Time to Visit the Fourth Floor

Kristen Woicek posted this advice today on “Her Campus at Utah,”
“While there I met Luise Poulton, the Managing Curator of Rare Books, she is anything but intimidating. She loves what she does and I strongly encourage collegiettes to make time and their way up to the Rare Books office and talk to her.”

Kristen mentions several pieces from the rare book collections:

Alice’s Adventures in Wonderland
Title page

Marie Curie’s Traite de Radioactivite
QC721-C98-1910-v.1-title

A leaf from the Gutenberg Bible
Gutenberg Bible, 1450-1455

Common Sense
Common Sense, 1776 Cover

Come see these and many others.

Thanks for the shout out, Kristen!

alluNeedSingleLine

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