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Tag Archives: Zerkall

Book of the Week – The Romance of Parzival and the Holy Grail

02 Monday Feb 2015

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chivalry, Chrétien de Troyes, compassion, English, German, Gwasg Gregynog, Holy Grail, humility, medieval, Middle High German, Monotype Bembo, mould-made, Newton, Parzival, Percival, Powys, romance, spirituality, Stefan Mrozewski, Wolfram von Eschenbach, wood engravings, Zerkall

PT1682-P8-E56-1990(1)The Romance of Parzival and the Holy Grail
Wolfram von Eschenbach (12th century)
Newtown, Powys: Gwasg Gregynog, 1990

The story of the knight Parzival is a medieval German romance written in Middle High German, dating from the first quarter of the thirteenth century. The story is based on Chrétien de Troyes’s “Perceval, the Story of the Grail” which in turn centers on the Arthurian hero Parzival, or Percival in English, and his quest for the Holy Grail. All of the versions emphasize the importance of humility, compassion and spirituality. Heroic acts of chivalry, inspired by true love, dominate the story. Illustrated with twelve full-page wood engravings by Stefan Mrozewski. The engravings were intended for a 1936 book, aborted by the outbreak of war. Abridged version translated by Carl Lofmark. Typeset and in 14 and 16 pt. Monotype Bembo. Printed on Zerkall mould-made paper. Bound in quarter leather and red decorated boards. Edition of one hundred and ninety-five copies. University of Utah copy is no. 106.

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Recommended Workshop – Quarter Leather Flatback Lap-Case Binding

22 Thursday May 2014

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Acme Bookbinding, Alcoa, alum-tawed, aluminum, Austin, Ben Verhoeven, Book Arts Program, BookLab II, Bridgeport National Bindery, Brigham Young University, Cartier Magnani, Christopher Stern, cloth, Columbian handpress, Craig Jensen, Dartmouth College, Dearborn, Didot, Don Etherington, engraving, Environment Defense Fund Headquarters, flatback, Ford Motor Company, Gary Frost, Gary McLerran, Gaylord Schanilec, gold, Gregynog Prize, Harold B. Lee Library, Harry Ransom Humanities Research Center Conservation Department, Italy, Japanese, Jennifer Sorensen, Jensen Bindery, Jim Larsen, laid paper, lap-case binding, leather, lettering, letterpress, letterpress printed, Marnie Powers-Torrey, Michael Bixler, Michigan, Midnight Paper Sales, milling, Monotype Bembo, Monotype Univers, mould-made, National Design Award, Oxford Book Fair, paper mill, Paul Parisi, Peter Waters, Presidential Award for Sustainable Development, Provo, Rare Books Division, Red Butte Press, relief prints, Salt Lake City, San Marcos, slipcase, Smithsonian Cooper-Hewitt National Design Museum, sycamore, Texas, The Guild of Book Workers, The Library of Congress Restoration Office, tooled, trees, University of Texas, Utah, Utah State Board of Education, William McDonough, Winifred Bixler, Wisconsin, wood cuts, wood engravings, Yale University, Zerkall

The Book Arts Program presents
Quarter Leather Flatback Lap-Case Binding

Thursday, Friday, & Saturday, June 19-21
9PM – 5PM
Book Arts Studio, Level 4
J. Willard Marriott Library
Workshop fee: $240 plus materials fee

This workshop focuses on the construction of a flatback lap-case binding. The lap-case binding, sometimes mistakenly called a modified Bradel binding, has been used frequently over the years for editions bound by Jensen Bindery, BookLab, Inc. and BookLab II. The structure has continuously evolved through its many applications. This workshop tracks that evolution, specifically addressing structure, materiality, and the relationships between parts to make a beautiful looking and functioning book. Examples of various lap-case bindings are available for students to examine. Previous bookbinding experience required, preferably previous leather working skills.

Instructor Craig Jensen began his career in 1977 when he was appointed Library Conservator for the Harold B. Lee Library at Brigham Young University in Provo Utah. From 1977–1978 Craig served an internship at The Library of Congress Restoration Office under the direction of Peter Waters and Don Etherington. In 1981, Craig was recruited by Don to serve as Head of Book Conservation at the Harry Ransom Humanities Research Center Conservation Department at the University of Texas at Austin. In 1988 Craig became President and CEO of BookLab, Inc., a partnership with Gary Frost, Paul Parisi of Acme Bookbinding and Jim Larsen of Bridgeport National Bindery. BookLab expanded its offerings beyond edition binding and box making to include library repair services, and pioneered preservation photocopy and digital reproduction of out-of-print brittle books. BookLab was one of the first companies to digitize a book. Following the close of BookLab in 1998, Craig worked for Acme Bookbinding as Vice President for Imaging. In January 2003, Craig returned to his roots and predilection for hand work by forming BookLab II in San Marcos, Texas. He continues to produce custom designed housings and fine limited edition bindings for some of the best-known libraries and private presses in the world. In 2011 Craig received the Lifetime Achievement Award from The Guild of Book Workers.

http://www.oxfordamerican.org/articles/2014/feb/20/solost-most-beautiful-books/

Relicensure points are available from the Utah State Board of Education.

 For more information:bookartsprogram@utah.edu or 801-585-9191

The Rare Books Division supports the Book Arts Program through its collections.

Sylvae: Fifty Specimens Printed Directly from the Wood with Historical Anecdotes and…
Ben Verhoeven
Stockholm, WI: Midnight Paper Sales, 2007
N7433.4 V45 S9 2007

Artists’ statement: “Twenty wooded acres surround Midnight Paper Sales in western Wisconsin. This book documents the journey Ben Verhoeven and Gaylord Schanilec into the woods to create a work not only about these trees, but of these trees. In all, 24 species have been catalogued through image, historical anecdotes, and notes taken during the cutting, milling, engraving and printed. The 53 images consist primarily of long grain and end grain specimens which have been taken from this property. In each case the image is manipulated through either color, impression, engraving, or some combination of the above to emphasize a certain characteristic of a species. The text varies as well from tree to tree, focusing on what role each played in the local history and in this project.” Illustrated by Gaylord Schanilec with 53 relief prints (wood cuts and wood engravings) printed by reduction process engraving directly from the wood specimens; including two fold-out illustrations of the maple grove and a map of Farm 590 indicating where the wood was harvested. Letterpress printed by Ben Verhoeven and Gaylord Schanilec on Zerkall mould-made laid paper. Michael and Winifred Bixler cast the Monotype Bembo. Lapped case binding by Craig Jensen and Gary McLerran in quarter leather over bare quarter-sawn white oak boards, white alum-tawed goat skin spine with tooled title lettering in gold. Issued in a dark blue Japanese cloth slipcase, lined with black paper. Awarded the Gregynog Prize at the Oxford Book Fair, 2007. Edition of one hundred and twenty copies. University of Utah copy is no. 105, signed by the author and the artist.


 

Something Lived, Something Dreamed
William McDonough
Salt Lake City: Red Butte Press, 2004
HT167.5 W47 M33 2004

In 1981 William A. McDonough founded William McDonough + Partners which designs environmentally sustainable buildings and industrial manufacturing processes. He attended Dartmouth College and Yale University. His first major commission was in 1984 for the Environmental Defense Fund Headquarters. He re-engineered Ford Motor Company’s River Rouge Plant in Dearborn, Michigan, covering more than ten acres of the roof of the truck assembly plant with a low-growing ground cover. He is the only individual recipient (1996) of the Presidential Award for Sustainable Development. In 2004 he received a National Design Award from the Smithsonian Cooper-Hewitt National Design Museum. His essay, “Something Lived, Something Dreamed” was commissioned by the Red Butte Press. Printed with Monotype Univers and Didot on cotton paper commissioned from Cartier Magnani paper mill in Italy by Marnie Powers-Torrey and Jennifer Sorensen using an 1846 Columbian handpress. Illustrated by Christopher Stern (d. 2007). Bound at Book Lab II (San Marcos, Texas) by Craig Jensen in recycled aluminum donated by Alcoa, over sycamore boards. Edition of one hundred and twenty-five copies. University of Utah copies are nos. 34 and 47.


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Book of the Week – Martyrs

19 Monday Aug 2013

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Bembo, Bembo italic, Edinburgh, England, Gaelic, Isle of Lewis, Jerusalem, Ken Campbell, Ogma, Oxford, Pictish Ogham, Precentor, psalms, saltire, School of Scottish Studies, Scots, St. Andrews, Stornoway Congregation, Stuart Elliot Rae, Western Isles, Zerkall

Campbell, Martyrs, 1989
Campbell, Martyrs, 1989
Campbell, Martyrs, 1989


Martyrs
Ken Campbell (b. 1939)
Oxford, England: K. Campbell, 1989
N7433.4 C35 M38 1989

http://openbook.lib.utah.edu/wp-content/uploads/2013/08/06Martyrs.mp3

 

From the artist’s statement: “One day in Edinburgh I happened to pass the School of Scottish Studies. Remembering some music that I had heard twenty years before and wished to trace, I went in. An extremely patient lady told me it was on a record of polyphonic singing called ‘Gaelic Psalms from Lewis…which was first published in 1615. This stunning music gets right to your soul; it’s very upsetting. It is a style of singing that arose because Gaelic populations of the Western Isles had no psalm books in their native tongue. Consequently a form developed whereby the Precentor (or priest) would sing a line, and then the congregation would follow with great passion and devotion but, being Scots, often at their own speed. This action produces great waves of sound that sometimes start before the Precentor has finished ‘singing the line.’ I got a friend of mine, Stuart Elliot Rae, to transcribe the music for me, and translate the Gaelic to match the text with the music that was being sung. Then I put the note being sung at the top of a stave composed of brass rules. Underneath, I put the syllable that was being sung in Gaelic in woodletter, then below that the Pictish Ogham script equivalent, again in brass rule (Ogham is a Celtic script consisting of grouped lines). This looked faintly martial and certainly not Roman. I thought I would show Gaelic as a thing of beauty. The colour in the book was celebratory: it goes from cool to hot, with royal purple and gold and silver. Each new stanza starts with a representation of the saltire, the St Andrew’s cross, printed from a cut zinc solid that just kisses the small wavetops of the Zerkall paper to appear like granite. The notes are represented by Bembo italic capital Os set on their side. These are strung together at the end of the book, to make the chain that went from the tongue of the Celtic god Ogma as language binding all men…I tried to make this book as simple as I could, allowing such typographic skills as I may possess to carry its elements as a chant for the eye and the heart. The English, in progressively diminishing sizes, is at the back. Copy no. 1 of this edition now rests at the Stornoway Congregation on the Isle of Lewis, whose recorded singing inspired its making. The book is dedicated to those Scots who, circa 1800, when they were but 3% of the population of this nation state, nonetheless supplied 38% of its infantry. Text is Psalm 79, verses 3 & 4: “Their blood have they shed like water round about Jerusalem…’ rendered into Gaelic, (sung to the tune ‘Martyrs’). Printed on double leaves in traditional Oriental format. Edition of 40 copies.

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Book of the Week – The Epic of Gilgamesh

04 Monday Mar 2013

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balanced verse, Bill Griffiths, Bodoni, letterpress, marbled boards, Mary Parry, Mesopotamia, Nicholas Parry, paper, Tern Press, type, woodcuts, Zerkall

The Epic of Gilgamesh, 1992 Cover
The Epic of Gilgamesh, 1992 Title Page
The Epic of Gilgamesh, 1992

The Epic of Gilgamesh: Episode One, Gilgamesh & Enkidu
Bill Griffiths
Market Drayton, Shropshire: Tern Press, 1992
PJ3771 G5 E5 1992

Set in Mesopotamia in the third century B.C., this is the tale of the legendary, semi-divine Sumerian hero-king. Translated into balanced verse by Bill Griffiths. Illustrated with color woodcuts by Nicholas Parry. Letterpress from Bodoni type on Zerkall paper. Sewn into marbled boards by Mary Parry. Edition of ninety-five copies. University of Utah copy is no. 38, signed.

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