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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: University of Utah

Gentle Readers

28 Friday Sep 2018

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administrative, angels, archive, blog, book, campus, cruelty, deliberation, evil, gentle, IT, J. Willard Marriott Library, marketing, Marriott Blog, Open Book, Rare Books News, readers, University of Utah

Open Book is moving to a new venue with a new look. University of Utah campus marketing says so. Our faithful followers will be moved seamlessly and effortlessly from our current home to our new home. Our IT angels say so.

Open Book is the first blog to be continually produced on behalf of the Marriott Library. Open Book began in a shy and quiet way as Rare Books News in April 2011. In August 2013 we gained the sponsorship of the library, which meant no more ads. Yay.

On Monday, October 1st, we officially join the Marriott Blog and its various constituents from throughout the library. Good company, indeed.

We will look like this.

Find more about Rare Books.

Explore Open Book archive.

 

 

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Book of the Week — Platōnos epta eklektoi dialogoi

14 Tuesday Aug 2018

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booksellers, boycott, Dublin, English, English Copyright Act, gilt device, Greek, Ireland, Irish, Joseph Leathley, leather, London, Plato, raised bands, sprinkled calf, Trinity College, University of Utah


“Books are immortal sons defying their sires.” — Plato

Platōnos epta eklektoi dialogoi
Plato
Dublinii: E typographia academiae, MDCCXXXVIII [1738]
PA4279 A3 1738

This is the first book printed at Trinity College’s printing house, built in 1734, and the first complete Greek text printed in Ireland. Thirty copies were printed on large paper and specially bound as gifts for important people, while the remaining seven hundred and fifty copies were awarded as prizes for the best answers at examinations.

This copy was presented in 1752 and was likely bound at Joseph Leathley’s Binder. The style is similar and the leather identical to many of this shop’s bindings.

In 1735, London booksellers lodged an official complaint that the Dublin book trade was undercutting London book-prices. Given the choice of a London “original” or a Dublin reprint at the same price, Irish readers often chose the former, except in times of patriotic boycott of English goods. The driving force behind choice, however, was cost. Foreign and colonial customers also preferred London imprints, but only if Dublin imprints were equally priced.

English booksellers objected to Dublin booksellers for the obvious: they spoiled the market for English editions in Ireland, and illegally imported copies threatened sales in English provinces and, to some extent, in English colonies. In 1709, the English Copyright Act allowed the reprinting of works first issued in other countries. This opened the trade considerably for Dublin printers. Throughout the 18th century, London booksellers resented the ensuing competition and often accused Dublin of piracy.

While this edition was clearly not a threat to retail commerce, Trinity College’s printing house took jobs away from English printers.

University of Utah copy bound in contemporary sprinkled calf with gilt device of Trinity College on both covers; gilt spine with raised bands, decorated with star, spade, and wavy line tools. Edition of one thousand copies.

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Rare Books Help Illustrate VERVE, Season 6, Episode 1

23 Wednesday May 2018

Posted by rarebooks in Video

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Asbern, Barbara Hodgson, Bernard Moitessier, Book Arts Program, booklets, Florida, Florida State University, French, gum bichromate prints, intaglio, letterpress, Marnie Powers-Torrey, Michelle Ray, Neenah Environment, Optimal, photographs, photolithographs, photopolymer, Salt Lake City, Tallahassee, The Small Craft Advisory Press, Trajan, Twentieth Century Medium Italic, University of Utah, Utah, VERVE, yachtsman

Several pieces from the rare book collections were used to help illustrate “What Makes A Book So Special,” episode 1, season 6, Its All About the Book, from VERVE, featuring Marnie Powers-Torry, director of the Book Arts Program.

A Casual Commentary: front seat, u.s.a.
Marnie Powers-Torrey
Salt Lake City: UT: M. Powers-Torrey, 1999
N7433.4 P69 C37 1999

Typeface is Twentieth Century Medium Italic. Handset and printed on an Asbern letterpress. Photographs are gum bichromate prints, photolithographs, and intaglio prints from photopolymer plates. Edition of 15 copies, signed and numbered. University of Utah copy is no. 4.


God Created the Sea and Painted it Blue So We’d…
Michelle Ray
Tallahassee, FL: The Small Craft Advisory Press, Florida State University, 2013
N7433.4 R395 G63 2013

Title is derived from a quote by Bernard Moitessier, a French yachtsman. Eleven unpaged booklets issued in a basswood box attached to linen hardcover with embossed title and printed endsheet. Inside the box are two compartments. One contains a tunnel of cut-out illustrations. The second compartment holds a cardboard box with title printed above tab enclosure and which contains the booklets. Images and text created with photopolymer plates, using Trajan and Optima typefaces on handmade cotton/abaca, French Construction, and Neenah Environment papers.


Mrs. Delany Meets Herr Haeckle
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.”

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.

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

MrsD&HerrHCover2


Jabberwocky
Barry McCallion
East Hampton, NY: 2015
PR4611 J32 2015 oversize

India ink washes, various collage and drawing elements incorporating metallic gold paper and aluminum foil with text from newspaper type, copied on various papers, each letter cut out and collaged in a myriad of shapes and sized as well as colors. Richard de Bas cream wove paper. Bound by Joelle Webber: hand-sewn yellow colored silk over boards with title on front panel, a reduced reproduction of the title-page. Blue and silver endpapers by St. Armand, terracotta colored guards. Housed in tan linen over boards, clamshell box, title in red reproduced from the title-page with yellow and red reproduction of first page inset on front panel. Signed and dated by the artist.

Jabberwocky


The Arctic Plants of New York City
James Walsh (b. 1961)
New York City: Granary Books, 2015
N7433.4 W355 A73 2016

From the publisher’s website: “The Arctic Plants of New York City combines personal letters, poetry, prose essays, scholarly research, botanical exploration and artistic investigation, and ranges from the Doctrine of Signatures to the sleep of plants, and from Jean-Jacques Rousseau and John Muir on mental travel to Giacomo Leopardi and Charles Baudelaire on the necessity of illusion for art and life. Interspersed throughout the book are a number of two-page spreads that focus on a single plant, such as Common Mugwort, with a mounted botanical specimen of that plant surrounded by texts drawn from earlier writers on botany and set in verse, creating a field of word-objects interacting with plant-objects. The letters that open the book lead into a prose essay that touches on the souls of plants, their use in medicine and as spurs to mental travel, their transience, their migrations, their meaning. A bibliography lists the most essential works from the author’s research and the book concludes with a reproduction of the index from Nicholas Polunin’s Circumpolar Arctic Flora (1959), in which the author has marked in red pen the eighty-eight Arctic plants that occur in New York City. Written, designed, and printed letterpress by James Walsh, with eighteen botanical specimens pressed and mounted by the author. Bound by Daniel Kelm at Wide Awake Garage.” From the colophon: “All the plants were gathered in Brooklyn.” Printed by the author using two Vandercook proof presses at the Center for the Book Arts. Text paper is Somerset Book White, endsheets are Hahnemuhle Ingres Blue Green. Cloth bound in Dover Oxford Black. Edition of forty copies, 34 of which are for sale.

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Rare Books goes to UMFA

23 Friday Mar 2018

Posted by rarebooks in Rare Books Loans, Recommended Exhibition

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Arabic Papyrus, Aziz S. Atiya, Brigham Young University, J. Willard Marriott Library, Lincoln Blumell, Lola Atiya, rare books, University of Utah, Utah Museum of Fine Arts

Greek inscription

A piece from the rare book collections is on loan at the Utah Museum of Fine Arts, in its ongoing exhibition,  Ancient Mediterranean Art: Res Mortis. The piece may be viewed at the museum through September, 2018.

The carved fragment of limestone celebrates the life of Helene, to whom is given the credit “In peace and blessing Ama Helene, a Jew, who loves the orphans, [died]. For about 60 years her path was one of mercy and blessing; on it she prospered.”

The piece has been at the J. Willard Marriott for nearly thirty years, a gift of Aziz S. and Lola Atiya. Aziz Atiya founded the University of Utah’s Middle East Center and the Marriott’s Middle East Library in 1969. Rare Books holds many gifts from Dr. and Mrs. Atiya, including this epitaph and one of the largest collections of Arabic papyrus fragments in the world.

When the epitaph was given to the library, it was provisionally identified as a “Coptic inscription, dating from the dawn of the use of the Greek alphabet, not earlier than the second century, but not later than the third.”

Years later, in 2016, Lincoln Blumell, associate professor of ancient scripture, at Brigham Young University translated it, publishing his translation in Journal for the Study of Judaism in the Persian, Hellenistic and Roman Period. News of the piece attracted world wide press attention.

For more information on Dr. Blumell’s translation see our previous post.

— photographs by Scott Beadles

 

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Rare Books Goes to Utah State University!

23 Tuesday Jan 2018

Posted by rarebooks in Rare Books Loans

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ailments, Alexa Sand, Andromachus, animal, antidotes, Antioch, antiquity, Arab, Arabic, aristocracy, artists, Athalus III, Avicenna, Baghdad, Barcelona, benefits, Bibliotheque National de France, binding, bites, border, Byzantine Renaissance, Cairo, climate, codex, Constantinople, court, covers, Criton, culture, display, doctor, drink, drugs, Egypt, Ellucasim Elimittar, exhibition, facsimile, food, formulas, French, fruits, Giovaninno de Grassi, grammarian, Graz, Greek, handbook, happiness, healing, health, Hebrew, Hellenistic, herbal, herbs, Homeric, household, hygiene, Ibn Butlan, illustration, Italian, Italy, King of Pergamum, Latin, layout, layperson, leather, magical, management, manual, Materia medica, medical, medicine, medieval, Merrill-Cazier Library, Mesopotamia, Middle Ages, mineral, miniatures, Mithridates, Moleiro, monk, movement, nature, Nero, Nestorian, Nicander of Colophon, observation, occidental, opium, pain, paper, patrician, Pedanius Dioskurides, pharmacological, physician, plants, poet, poisons, potions, publicity, rare books, reception, remedies, rest, Roman, sadness, samples, scholar, science, simples, sleep, Special Collections, stings, substances, symposium, Syria, Syrian, Theatrum sanitatis, therapeutic, toxicology, Trajan, Ububchasym of Baldach, University of Utah, Utah State University, vegetables, Venice, woman, wooden

Last semester, Rare Books loaned six of its medieval manuscript facsimiles to the Merrill-Cazier Library at Utah State University in collaboration with an art history course taught by Professor Alexa Sand. The upper-level course, “Special Topics Seminar in Medieval and Early Modern Art: Rare Books and Facsimiles,” provided a wide-ranging introduction to the interdisciplinary field of manuscript studies. The focus was the history of the codex from its advent in late Roman times to the early print era.

Each student selected a facsimile and researched its origins, history, and significance toward the final assignment of including it in a group-curated exhibition displayed in the library. The seminar concluded with a one-day symposium in which student researchers played an active role in discussion.

The materials selected for study related to botany and its medical and magical associations from late antiquity through the early modern period. Students prepared all aspects of the exhibition, from layout and display to publicity and the opening reception, working with Special Collections faculty and staff and Professor Sand.

Facsimiles on loan from Rare Books were:


Des Pedanius Dioskurides aus anazarbos arzneimittellehre in funf buchern
Ca. seventh century, Italy
Graz: Akademische Druck-u. Verlagsanstalt, 1988
R126 D56 1988

Facsimile. This manuscript is one of the oldest in the tradition of Materia medica, a pharmacological treatise written by Greek physician Pedanius Dioscorides in the first century CE. Dioscorides’ work was used by the medieval world for centuries. In the sixth century it was translated into Latin and by the ninth century it had been translated into Arabic, Syrian and Hebrew. More than four hundred plants are described in this illustrated herbal manual, each illustration bordered in red ink. The binding of wooden covers and leather accords with the character of the original.


Theriaka y Alexipharmaka de Nicandro
Nicander of Colophon
Barcelona: Moleiro, 1997
QP41 N53 1997

Facsimile. The Greek text for this codex, produced in the tenth century, was written in Constantinople in the second century BCE. Nicander, a trusted doctor, poet, and grammarian served in the court of Athalus III, King of Pergamum. In Homeric-style verses, Nicander describes poisons caused by animal bites and stings and by the ingestion of plant, animal, and mineral substances. Antidotes are given for each type of poisoning. These nearly sixty formulas were later improved upon by Mithridates, who added opium and aromatic herbs to the potions. Nicander’s work was used by Criton, the doctor of Trajan, and Andromachus, Nero’s doctor, and is the oldest extant Greek text relating to toxicology. Using this text as his basis, Andromachus compiled a list of seventy-one curative remedies – a list used until the nineteenth-century as the panacea textbook for all and any poisonings. The tenth-century codex, a product of the Byzantine Renaissance, is the only remaining illuminated copy of Nicander’s poetry. The forty-one illustrations form a part of the Hellenistic artistic tradition. The original is now housed at the Bibliotheque National de France. Facsimile edition of nine hundred and eighty-seven copies. University of Utah copy is no. 469.


Theatrum sanitatis
Ububchasym of Baldach (d. ca. 1068 AD)
Eleventh Century
Barcelona: M. Moleiro, 1999
RS79 T46 1999

Facsimile. This handbook of health was written between 1052 and 1063 CE by the Arab scholar Ububshasym of Baldach, better known throughout medieval literature as Ellucasim Elimittar. Many of the concepts used in his writing were derived from earlier Greek, Roman, and Arabic medical treatises. Good health depended upon six essential factors: climate, food and drink, movement and rest, sleep and wakefulness, happiness, pain and sadness. Plants, fruits, vegetables, and basic hygiene also affect a person’s health. Ninety-nine of these and other elements are described with the therapeutic properties of each and the ailments that may be helped by them. The illustrations were influenced by the school of Giovannino de Grassi. Two hundred and eight red-framed, nearly full-page illuminations illustrate scenes from daily life as well as the elements described.


Tacuinum sanitatus in medicina.
Graz, Austria: Akademische Druck-u. Verlagsanstalt, 1986
RS79 T335 1986

Facsimile. Northern Italy. This illuminated medical handbook was produced for a layperson – a woman of the upper aristocracy or of a rich patrician family able to read, and afford, a lavish book. A reference of sorts for the household management of health and healing, this type of book goes back to an Arab source written by the physician Ibn Butlan in the 11th century. The Arab art and science of healing decisively influenced occidental medicine and enjoyed a long-lived and distinguished reputation. The Latin translation, which made the codex accessible to the educated of the medieval western world, was widely known. Many copies survive. This particular copy is one of the finest of its kind, displaying over two hundred full-page miniatures of all that was considered important with regard to human health and well being. Beginning in the 14th century, the text was placed below an individual image. The evocative miniatures portray everyday life of late Medieval Italian culture. With a natural style and strong colors, two artists portrayed plants, animals, food, and drugs. All of the objects are within scenes centered upon a human. The text below each miniature describes both the benefits and shortfalls of the object depicted. Derived from the classical herbal tradition, but closely related to Arab manuscripts, the format follows a later western tradition. Bound in leather on wooden boards with hand stamping according to contemporary pattern.


Livre des simples medecines
Antwerp : De Schutter, 1984
QK99 A1 L58 1984 v.1

Facsimile. This late fifteenth-century manuscript is of what has become known as “Livre des Simple Medecines,” a major text of medieval science. Many manuscript copies of this work exist – at least twenty-three from the fifteenth century and one from the sixteenth century. It was first printed in 1488 and printed nine more times before 1548. In classic herbal format, Livre des simple medecines is an alphabetical list of “simples,” that is, unadulterated vegetable, mineral or animal products. Each entry provides a description and, among other things, its usefulness in treating ailments. Herbals as pharmacopeia began in ancient Mesopotamia and Egypt. The earliest surviving medical herbal is a work in Greek compiled by Pedianos Dioscorides. This work would dominate European herbals for the next fifteen centuries. It was translated into Arabic as early as the ninth century and influenced Avicenna and other physicians from the Arab world. Herbals were living works. That is, copyists, often practitioners of medicine themselves or copying for practitioners, would contribute to adapt or modify an herbal depending on new or different experience. In this tradition, the French translation here includes new sources such as ibn Butlan, an Arab physician, and others. The four hundred and fifty-seven illuminations in this copy, the Codex Bruxellensis IV, reveal an attempt by the artists to be faithful to nature. In this sense, the desire was to return to copying nature, instead of merely copying degraded illustrations from older herbals. Deliberate observation and representation of nature emerged in all forms of art in the fifteenth century. Codex Bruxellensis IV was copied onto paper. Written in maroon ink by a single hand sometime in the second half of the fifteenth century in a cursive script, the copy also contains marginal annotations by at least two sixteenth-century hands. An attempted pagination was added by a seventeenth-century hand. At some point in its history, one owner added dried samples of plants within its leaves. Facsimile edition of two thousand copies. The University of Utah copy is no. 316.


Tacuinum sanitatis/enchiridion virtutum vegetablilium, animalium, mineralium rerumque omnium: explicans naturam, iuvamentum, nocumentum remotionemque nocumentoru[m] eorum/ authore anonymo
Graz: Akademische Druck- u. Verlagsanstalt, 1984 RS79 T33 1984

Facsimile. Venice, 1490. Tacuinum Sanitatis (Handbook of Health) is the modern title given to one of the most popular treatises on medicine during the later Middle Ages. It combines Arabic and western knowledge on many types of foods, plants, and circumstances, with particular reference to their useful and harmful properties, and how the latter could be cured if necessary. The illustrated versions of this text yield much information on medieval daily life. The manuscript is comprised of 82 leaves, with four miniatures per page, a total of 294 miniatures. The captions or text are based on the Taqwin al-sihhah of Ibn Butlan (d. 1066), which was unillustrated. Ibn Butlan, originally from Baghdad, visited Cairo about 1049, after which he went to Constantinople before settling at Antioch in Syria and becoming a Nestorian monk. Facsimile edition of nine hundred and eighty copies, numbered.

Photographs of people by Andrew McAllister/Caine College of the Arts, Utah State University

Digital scans of books by Scott Beadles/Department of Art, University of Utah

Special thanks to our colleague Jennifer Duncan, Head of Special Collections, Book Curator, Merrill Cazier Library, Utah State University.

 

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Book of the Week — An Essay Towards a Real Character…

18 Tuesday Apr 2017

Posted by rarebooks in Book of the Week

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animals, Bishop of Chester, cryptography, engravings, Gellibrand, grammar, Great Fire of London, John Ray, John Wilkins, Joseph Moxon, language, Latin, letterforms, London, music, Oliver Cromwell, paneled calf, phonetics, plants, printing, Robert Boyle, Robert Hooke, Royal Society, space travel, symbols, theology, Trinity College, typography, University of Utah, vowels, William Harvey, William Lloyd

P101-W4-1668-pg311
“…Letters, the Invention of which was a thing of so great Art and exquisiteness, that…doth from hence inferr the divinity and spirituality of the humane soul, and that it must needs be of a farr more excellent and abstracted Essence that mere Matter or Body…” — John Wilkins

An Essay Towards a Real Character, and a Philosophical Language
John Wilkins (1616-1672)
London: Printed for S. Gellibrand, 1668
First edition

John Wilkins, Bishop of Chester, was the chief founder of the Royal Society and its first secretary. He was Master of Trinity College. Wilkins was acquainted with many of the great minds of his day: William Harvey, Christopher Wren, Robert Boyle and Robert Hooke. He married the younger sister of Oliver Cromwell. In 1662, he lost all of his library and scientific instruments to the Great Fire of London. He was interested in just about everything — from theology to cryptography, music to space travel. He worked on creating an artificial universal language to replace Latin as a means of clearer communication between scholars and philosophers.

In this book Wilkins discussed the origin of language and letterforms, as well as a theory of grammar and phonetics. He classified words by their meanings and assigned each class a set of typographical characters, in an attempt to create a rationally ordered language and system of symbols.

P101-W4-1668-pg186

He divided the universe into forty classes, or categories, and subdivided these, and then subdivided these. To each class he assigned a monosyllable of two letters; to each subdivision he added a consonant; to each further subdivision, or species, he added a vowel. Each letter, or symbol, had meaning.

P101-W4-1668-Faces

John Ray drew up systematic tables of plants and animals for the book. An index was created by Dr. William Lloyd. Joseph Moxon (1627-1691) cut the typographical characters Wilkins proposed for his language. Moxon was the author of Mechanick Exercises, the first comprehensive manual of printing and letter-founding in any language.

The first issue of the first edition appeared without any of the engraved plates. This copy, apparently a second issue, contains all of the plates, although two folded leaves of tables and diagrams that are in other copies are missing. Bound with Wilkins’ An alphabetical dictionary, wherin all English Words According to their various significations, are either referred to their Places in the Philosophical Tables, Or explained by such words as are in those tables. The second work functions as an index to the first.

University of Utah copy bound in contemporary paneled calf with covers ruled in blind.

P101-W4-1668-NoahsArk

“From what hath been said it may appear, that the measure and capacity of the Ark, which some Atheistical irreligious men make use of, as an argument against the Scripture, ought rather to be esteemed a most rational confirmation of the truth and divine authority of it. Especially if it be well considered, that in those first and ruder ages of the World… men were less versed in Arts and Philosophy, and therefore probably more obnoxious to vulgar prejudices than now they are… — John Wilkins

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Book of the Week — Images and Impressions

27 Monday Feb 2017

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Brewster Ghiselin, copper etchings, Department of Art, English Etching, Optima, Printmaking Department, Rives BFK, Russell T. Gordon, Salt Lake City, stone lithograph, University of Utah, zinc etchings

Z239-U8-U8-1969-foreward

“Out of heaven the stars we were reading a little as they tarried
into exile.”
— Brewster Ghiselin, from “Light”

Images and Impressions
Salt Lake City: Printmaking Department, University of Utah, 1969
Z239 U8 U8 1969

Project conception by Professor Russell T. Gordon, Department of Art. Work by students of the Printmaking Department consisting of sixteen prints (fifteen zinc and copper etchings and one stone lithograph). Type is Optima. Papers are Rives BFK and English Etching. Edition of twenty-five copies, signed by the poets and the artists.

Z239-U8-U8-1969-Shell

Z239-U8-U8-1969-Wheel

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Book of the Week — Colours of Persia

26 Monday Dec 2016

Posted by rarebooks in Book of the Week

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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

n7433-4-a57-c65-2007-cover

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.

n7433-4-a57-c65-2007-i-saw

n7433-4-a57-c65-2007-carpet

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Book of the Week — Color for the Letterpress

19 Monday Dec 2016

Posted by rarebooks in Book of the Week

≈ 2 Comments

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color, Colorado Springs, James Trissel, letterpress, The Press at Colorado College, University of Utah

ne1850-t75-1987-title

“The simplest color relationship…still requires understanding of the color characteristics…that is, hue, value, intensity and temperature, etc.”
–James Trissel

COLOR FOR THE LETTERPRESS
James Trissel
Colorado Springs: The Press at Colorado College, 1987
NE1850 T75 1987

Twenty unnumbered, unbound folded leaves issued in plastic and wooden cases. Edition of seventy-five copies, signed by the author. University of Utah copy is no. 11.

ne1850-t75-1987-yellow

ne1850-t75-1987-blue

ne1850-t75-1987-purplegold

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We recommend — Mother Goose Refigured

29 Tuesday Nov 2016

Posted by rarebooks in Recommended Reading

≈ 1 Comment

Tags

Cassel & Company, Charles Perrault, chocolate, Christine A. Jones, Christine Jones, Cinderella, Circle Publishing Co., collotype, Detroit, Dunewald Printing Corporation, Edmund Dulac, fairy tale, folklore, France, history, Hollywood, Honors Humanities Professorship Lecture, Jennifer Schacker, Julian Wehr, Kathryn Kay, Leon Bakst, Little Red Riding Hood, luxury, magic, Matt Saunders, medicine, Mother Goose, Pierpont Morgan Library, rare books, Special Collections, The University Distinguished Teaching Award, tippet, trades, University of Utah, Wayne State University Press


cover art by Matt Saunders

cover art by Matt Saunders

“…its no surprise
If the wolf takes many a prize.
I say the wolf because not all wolves are the same.
There are those of courteous fame,
No noise or bile or rage,
But reserved, compliant, and sage,
Who will trail a girl well bred
All the way home, into her bed.
Ah! But as everyone knows, it’s the saccharine tongues,
Of all the wolves, who are the most dangerous ones.”
— Charles Perrault, “The Little Red Tippet”
—- translation by Christine Jones

Mother Goose Refigured: A Critical Translation of Charles Perrault’s Fairy Tales
Christine A. Jones
Detroit: Wayne State University Press, 2016

University of Utah Associate Professor Christine Jones is a specialist of seventeenth- and eighteenth-century France, with interests in the luxury trades and the fairy tale. She is the author of Shapely Bodies: The image of Porcelain in Eighteenth-Century France, as well as numerous articles on trade history. With folklore scholar Jennifer Schacker, she coedited Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives and Feathers, Paws, Fins, and Claws: Fairy-Tale Beasts.

Her work as a scholar and a teacher has been recognized with numerous honors and awards, including The University Distinguished Teaching Award (2014) and the Honors-Humanities Professorship (2015). For the Honors-Humanities Professorship Lecture she spoke to a packed house about “When Chocolate was Magic and Medicine.” She has introduced numerous undergraduate and graduate students to the enchantment of working with rare books and Rare Books.

We celebrate the publication of Christine’s latest book with an invitation to hold some of the rare magic for yourself by visiting Special Collections.

Tales of Mother Goose: the dedication manuscript of 1695 reproduced in collotype facsimile, Pierpont Morgan Library, 1956 Z115Z P43

Tales of Mother Goose: the dedication manuscript of 1695 reproduced in collotype facsimile, Pierpont Morgan Library, 1956
Z115Z P43

pq1877-c66-1955-v-2-portrait


“Cinderella is not a singular but plural, not a stable identity but a constantly shifting one. She is made of so many different versions of identity layered up in printed, oral, and visual media that she might be called a ‘palimpsest.'” — from the Introduction, Mother Goose Revisited

Possible Squeeze Play. This Advice I chanced Upon, That's Influenced Me Quit a Lot -- "If the shoe fits--put it on!" Just Look What Cinderella Got!, Kathryn Kay, Circle Publishing Co., 1942

Possible Squeeze Play. This Advice I chanced Upon, That’s Influenced Me Quite a Lot — “If the shoe fits–put it on!” Just Look What Cinderella Got!, Kathryn Kay, Circle Publishing Co., 1941 PS3521 A88 P677 1941


“Dressing the part so that people take you seriously as a way to draw attention to yourself when you would otherwise go unnoticed…sounds logical.” — from the Introduction, Mother Goose Refigured

A FAIRY GARLAND, BEING FAIRY TALES… Edmund Dulac, Cassel & Company, 1928 PZ8 F1685 1928 PZ8 F1685 1928

A FAIRY GARLAND, BEING FAIRY TALES…
Edmund Dulac,
Cassel & Company, 1928
PZ8 F1685 1928


“Even a wit of the dimmest cast,
Who is not so very worldly,
Will discover anon that this story
Is a tale of times long past.
No more the horrible husband of old
Whose demands were impossibly bold.
Though now he be discontent and domineering
Still with his wife he’s endearing.
The color of his beard no longer stands
To show among them who wears the pants.”
—Charles Perrault, “The Blue Beard”
—-translation by Christine Jones

L'Oeuvre de Leon Bakst pour La belle au bois dormant, M. de Brunhoff, 1922 ND699 B3 L38

L’Oeuvre de Leon Bakst pour La belle au bois dormant, M. de Brunhoff, 1922
ND699 B3 L38

nd699-b3-l38


“While she was crossing the woods, she ran into the neighborhood wolf, who very much wanted to eat her but did not dare because of the woodsmen in the forest. He asked her where she was going. The poor girl, who did not know that it is dangerous to stop and listen to wolves, told him…”
—Charles Perrault, “Little Red Tippet”
—-translation by Christine Jones

Little Red Riding Hood, animated by Julian Wehr, Dunewald Printing Corporation, 1944 PZ8 L783 We

Little Red Riding Hood, animated by Julian Wehr, Dunewald Printing Corporation, 1944
PZ8 L783 We

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