Alison Conner, Rare Books Curator and MLIS candidate at the University of Washington, used rare books as the focus of her capstone project. Based on a physical exhibition Alison curated in 2012 as another school project, Alison designed and produced a collaborative, multimedia, online exhibition. Visit fightingwordsonline.org to enjoy a virtual tour of the American Revolution, told through the words of those who fought it. Videos, scanned images, and text work together to enhance the experience. Alison worked with faculty and students from the University of Utah’s Theater department, Film and Media Arts department; and staff from the J. Willard Marriott Library’s Scholarship and Information Services and Special Collections’ Rare Books Division.
Contra Haereticos et Gentiles
Saint Patriarch of Alexandria Athanasius (293-373)
Impressum Vicentiae: a Leonardo basilensi, Feb. 1 (cal. Februarias), 1482
BT1350 A8162 1482
A collection of letters, speeches and tracts written against heretical beliefs. “The Father of Orthodoxy,” Athanasius conducted a life-long battle against Arianism. Before the outbreak of the Arian controversy, which began in 319, Athanasius became known for his two essays addressed to a convert to Christianity, one of them entitled Against the Gentiles, the other On the Incarnation of the Word. The treatises argue such questions as monotheism and the necessity of divine interposition for the salvation of the world. Contra Gentiles is an explanation of the Incarnation and the doctrine of the Trinity. In Contra Gentiles, Athanasius discusses the means by which God can be known. These are principally two: the soul and nature. God may be known through the human soul, for “although God Himself is above all, the road which leads to Him is not far, nor even outside ourselves, but is within us, and it is possible to find it by ourselves” (30.1). A study of the soul reveals something about the nature of God. Sin prevents the soul from perfectly attaining the vision of God, but the soul was made according to the divine image and it was intended to be like a mirror in which that image, which is the Word of God, would shine. The soul is invisible and immortal; therefore, the true God must be invisible and immortal. God may be known through his creation, which, “as though in written characters, declares in a loud voice, by its order and harmony, its own Lord and Creator” (34.4). This is the only edition of this work printed in the 15th century.
Robert Hooke (1635 – 1703)
London: Printed for and sold by J. Bowles, 1745
Robert Hooke, a gifted student, became the research assistant to Robert Boyle, founding member of the Royal Society. He was appointed Curator of Experiments in 1662 and by 1663 was conducting microscope demonstrations for the Society. Within months, Hooke was invited to Whitehall, where he demonstrated some of his exciting findings to King Charles II. By order of the King, his discoveries were then published as a commemorative book, Micrographia, in 1664. Micrographia was an instant bestseller. Samuel Pepys, who owned a microscope during his tenure at the Navy Office, wrote that he liked Micrographia better than any other book he had purchased, and that he sat up half the night reading it. Seventy years later, plates from the original edition were reprinted by Henry Baker, an amateur enthusiast of Hooke’s work. This new book, Micrographia Restaurata, was published in 1745 and again in 1780.
Book Arts Program, Craig Dworkin, David Wolske, Emily Tipps, Flatbed Splendor, Granary Books, Grey Spider Press, Kenneth Patchen, Luise Poulton, Marnie Powers-Torrey, Nexus Press, Untide Press, Whale Cloth Press
Rare Books worked with the Book Arts Program to contribute to Mimeo Mimeo 8: Curator’s Choice. Mimeo Mimeo editors asked “librarians, publishers, poets, printers, book dealers, book collectors, and others bibliographically inclined” from around the country “to curate six pages of Mimeo Mimeo with six items from their personal or institutional collections.” Rare Books Managing Curator Luise Poulton joined Marnie Powers-Torrey, David Wolske, Emily Tipps (Book Arts Program faculty); Prof. Craig Dworkin (Dept. of English, University of Utah); and Becky Thomas (graduate student, Dept. of English, University of Utah) as part of the “Utah posse” of contributors. Each chose one book from the rare book collections.
Luise wrote about Kenneth Patchen’s An Astonished Eye Looks Out of the Air, Waldport, OR: Untide Press, 1945 PS3531 A764 A77 1944
Marnie Powers-Torrey wrote about Bridget Elmer’s Fibre Libre, Tuscaloosa, AL: Flatbed Splendor, 2010 N7433.4 E545 F5 2010
David Wolske wrote about Rebecca Brown’s Excerpts from a Family Medical Dictionary, Sedro-Wooley, WA: Grey Spider Press, 2001 RC265.6 B76 B76 2001
Emily Tipps wrote about Ruth Laxson’s A Hundred Years of: LEX FLEX, Atlanta, GA: Nexus Press, 2003 N7433.4 L39 H8 2003
Craig Dworkin wrote about Robert Grenier’s Sentences, Cambridge, MA: Whale Cloth Press, 1978 N7433.4 G797 S4 1978
Becky Thomas wrote about Jen Bervin’s The Desert, New York City: Granary Books, 2008 N7433.4 B47 D47 2008
AIGA, award, BFK, binding, Book Arts Program, Cheltenham Italic, Claire Taylor, Copper Ingot, Copper Ingot award, David Wolske, Emily Tipps, Franklin Gothic, Greg Thompson, Laura Decker, letterpress, Linotype, Marnie Powers-Torrey, pamphlet, paper, papers, photopolymer plates, Red Butte Press, Rives Heavyweight, sans serif, serif, typeface, typefaces, W-fold, W-fold pamphlet
Wo/Men at Work
Salt Lake City: Red Butte Press, 2012
N7433.4 W65 2012
Three texts (“Consuming labor: a preface to Wo/Men at Work” by Matt Basso and Andrew Farnsworth, “Cooking from Scratch” by Judy Blunt, and “Everything’s dangerous: an essay from the 1941 collection Men at Work” by Ralph Powell) printed in a W-fold pamphlet. Titles printed on opposite covers. From the colophon: “…Book Arts Program staff contributors are Managing Director Marnie Powers-Torrey, Creative Director David Wolske, Laura Decker, Claire Taylor, Becky Thomas and Emily Tipps. David designed and typeset the text. The typefaces, evocative of the 1930s and ‘40s printshop vernacular, are as follows: bold titling is Hamilton, a revival of a popular 19th century wood type; bylines and colophon are Franklin Gothic, a workhorse sans serif found in printshops across America; italic subheadings are Cheltenham Italic, a ubiquitous early 20th century serif design; and the main body typeface is a version of Fairfield, released in 1939 and designed for the Linotype machine. Claire and Laura produced the saddle and pressure cooker drawings, respectively, in dialogue with the essays and one another…Andrew [Farnsworth], Dayna Kerns, and Chris Dunsmore, under the direction of Book Arts staff, letterpress-printed the imagery and text from photopolymer plates on Rives Heavyweight and BFK papers. Emily oversaw binding design and production of the W-fold pamphlet…Associate Director for Special Collection Greg Thompson provided the committed support that helped make this endeavor a reality.” Edition of twenty-six copies. University of Utah copies are letters ‘U’ and ‘V.’
Congratulations to the Book Arts Program and Red Butte Press staff for receiving one of 7 AIGA 100 Show Professional Copper Ingot awards for Wo/men at Work. The AIGA 100 Show showcases the year’s best design, advertising, and digital media. Of those pieces, a select few are awarded the Copper Ingot, one of the most sought-after communication awards in the Intermountain West. Visit http/aigaslc100show.com for information, to view pictures from the awards ceremony, and download the 100 Show Book PDF.
Bon Bon Mots
Berkeley, CA: Flying Fish Press, 1998
N7433.4 C44 B66 1998
A box designed to resemble a candy box contains three miniature books (two of which are accordion folded), one folded octagonal object with text, and a small box with text also containing five copper balls which are to be placed into five holes on the larger box’s bottom surface. The contents are all designed to resemble pieces of candy, and are nested in a cloth which fits over the partitioned bottom of the larger box. A leaf with box’s contents is mounted on the inside lid. Text is letterpress printed. Edition of one hundred copies. University of Utah copy is no. 32.
Albrecht Meyer, botany, Columbian Encounter, De Historia Stirpium, Erfurt University, Fuchsia, German, Greek, Heinrich Fullmaurer, herbals, Ingolstadt, Latin, Leonhart Fuchs, maize, marigold, medicine, Mexico, plague, plants, potato, pumpkin, Renaissance, tobacco, Veit Rudof Speckle, William Morris, woodcuts
De Historia Stirpivm Commentarii Insignes…
Leonhart Fuchs (1501 – 1566)
Basileae: In officina Isingriniana, 1542
QK41 F7 1542
During the European Renaissance, medical treatments were based on botany, but the herbals and other books available to practitioners often inaccurately identified plants. This herbal, The History of Plants, established a new standard of scientific observation and accurate illustration. Leonhart Fuchs compiled his text from various classical sources but added his own field observations. The remarkably detailed woodcuts, drawn by Heinrich Fullmaurer and Albrecht Meyer and cut by Veit Rudolf Speckle represent the first published illustrations of American plants, including the pumpkin, the marigold, maize, potato, and tobacco – all native to Mexico and introduced into Europe as a consequence of the Columbian Encounter. The plants were identified in Latin, Greek, and German. Leonhart Fuchs was somewhat of a child genius, matriculating at Erfurt University at the age of twelve. He went on to take a degree in medicine at Ingolstadt. His medical work during an outbreak of plague in 1529 was outstanding and contributed to an already growing reputation. In his De Historia Stirpium he gave full recognition to his artists by praising them in his preface and publishing their portraits. The artists achieved an extraordinary beauty of line. Their renderings demonstrate the Renaissance shift to the accurate observation and drawing of plants from life. Fuchs would be immortalized in the lovely genus Fuchsia. English artist and designer William Morris owned a copy of Fuchs’s book and clearly took inspiration from it for some of his own designs.
The Dollmaker’s Son
S.l.: November Press, 1991
Text handset and printed by the author. Typeface is Bodoni 14 pt. Illustrations are aquatints. Covers are stained plywood embellished with acrylic doll eyes. Edition of sixty copies. University of Utah copy is no. 3.
Leslie Bicknell and Derek Humphries
London: Oblivion Boys Press, 1985
N7433.4 B515 S35 1985
From the Catalogue of the Press: “A passport to maturity, a document of and for our times dealing with birth, death, chance, experience and communication. Based on a cycle of eight poems. Printed on buff imitations parchment incorporating glue prints, rubber stamps, passport photos, raffle tickets, fortune fish and money.” From the colophon: “Derek Humphries and Leslie Bicknell are the proud parents of Samizdat, conceived whilst enjoying the life of the idle poor.” Edition of twenty casebound copies, numbered; one hundred copies on newsprint, bound with masking tape in bare boards. University of Utah copy is no. 10.