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Frick Fine Arts Library

Frick Fine Arts Library William Morris’s The Kelmscott Chaucer & Other Book Arts Library Guide No. 16 "Qui scit ubi scientis sit, ille est proximus habenti." Brunetiere* Before Beginning Research FFAL hours: M-H, 9-9; F, 9-5; Sa-Su, Noon – 5 Hillman Library – Special Collections – 3rd floor: M-F, 9:00 – Noon and 1:00 – 5:00; Closed on weekends. Policies: Food and drink may only be consumed in the building’s cloister and not in the library. Personal Reserve: Undergraduate students may, if working on a class term paper, ask that books be checked out to the “Personal Reserve” area where they will be placed under your name while working on your paper. The materials may not leave the library. Requesting Items: All ULS libraries allow you to request an item that is in the ULS Storage Facillity at no charge by using the Requests Tab in Pitt Cat. Items that are not in the Pitt library system may also be requested from another library that owns them via the Requests tab in Pitt Cat. There is a $5.00 fee for journal articles using this service, but books are free of charge. Photocopying and Printing: There are two photocopiers and one printer in the FFAL Reference Room. One photocopier accepts cash (15 cents per copy) and both are equipped with a reader for the Pitt ID debit card (10 cents per copy). Funds may be added to the cards at a machine in Hillman Library by using cash or a major credit credit car; or by calling the Panther Central office (412-648-1100) or visiting Panther Central in the lobby of Litchfield Towers and using cash or a major credit card.
Annotated Bibliography

Annotated Bibliography: The William Morris Collection at the Archives and Rare Books Library, University of Cincinnati By Lilia Walsh Author’s note: This bibliography has been divided into sections by subject. All volumes written by Morris appear in the ‘Translated/written by William Morris’ section, even if they were also printed at Kelmscott. Attention! This is only the first half of the annotated bibliography. Please check back for books related to Morris’s influence in private press. Translated/Written by William Morris Morris, William. The Earthly Paradise, a Poem (Author's ed.). Boston: Roberts brothers, 1868. ARB RB PR5075 .A1 1868 Arguably the most popular of Morris’s written works; this novel made Morris’s name as a poet. It tells the story of twelve Norwegian sailors who flee the black plague and set off to look for the ‘earthly paradise’. They end up on an isolated island, which houses the last vestiges of an ancient Greek civilization. The book is made up of several poems, which are tied to the twelve months of the year, paralleling the 12 sailors. Morris, William. Letter to Aglaia Ionides Coronio. 24 October. 1872. ARB RB PR5083. A43 1872 See attached (or web linked) transcription and annotation. A three and a half page folded letter on one piece of paper with some repairs to original folds. Morris, William. Chants for Socialists. London: Socialist League Office, 1885. ARB RB PR5078 .C4 1885 Bound in red leather and red linen, with gold embossed title. Appears to be an inexpensive ‘propaganda’ pamphlet which has been but in a quality binding.
Pre-Raphaelites and the Book

Pre-Raphaelites and the Book February 17 – August 4, 2013 National Gallery of Art Pre-Raphaelites and the Book Many artists of the Pre-Raphaelite circle were deeply engaged with integrating word and image throughout their lives. John Everett Millais and Edward Burne-Jones were sought-after illustrators, while Dante Gabriel Rossetti devoted himself to poetry and the visual arts in equal measure. Intensely attuned to the visual and the liter- ary, William Morris became a highly regarded poet and, in the last decade of his life, founded the Kelmscott Press to print books “with the hope of producing some which would have a definite claim to beauty.” He designed all aspects of the books — from typefaces and ornamental elements to layouts, where he often incorporated wood- engraved illustrations contributed by Burne-Jones. The works on display here are drawn from the National Gallery of Art Library and from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library. front cover: William Holman Hunt (1827 – 1910), proof print of illustration for “The Lady of Shalott” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (9) back cover: Dante Gabriel Rossetti (1828 – 1882), proof print of illustration for “The Palace of Art” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (10) inside front cover: John Everett Millais, proof print of illustration for “Irene” in Cornhill Magazine, 1862, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (11) Origins of Pre-Raphaelitism 1 Carlo Lasinio (1759 – 1838), Pitture a Fresco del Campo Santo di Pisa, Florence: Presso Molini, Landi e Compagno, 1812, National Gallery of Art Library, A.W.
52Nd California International Antiquarian Book Fair List

52nd California International Antiquarian Book Fair List February 8 thru 10, 2019 John Howell for Books John Howell, member ABAA, ILAB, IOBA 5205 ½ Village Green, Los Angeles, CA 90016-5207 310 367-9720 www.johnhowellforbooks.com [email protected] THE FINE PRINT: All items offered subject to prior sale. Call or e-mail to reserve, or visit us at www.johnhowellforbooks.com, where all the items offered here are available for purchase by Credit Card or PayPal. Checks payable to John Howell for Books. Paypal payments to: [email protected]. All items are guaranteed as described. Items may be returned within 10 days of receipt for any reason with prior notice to me. Prices quoted are in US Dollars. California residents will be charged applicable sales taxes. We request prepayment by new customers. Institutional requirements can be accommodated. Inquire for trade courtesies. Shipping and handling additional. All items shipped via insured USPS Mail. Expedited shipping available upon request at cost. Standard domestic shipping is $ 5.00 for a typical octavo volume; additional items $ 2.00 each. Large or heavy items may require additional postage. We actively solicit offers of books to purchase, including estates, collections and consignments. Please inquire. This list prepared for the 52nd California International Antiquarian Book Fair, coming up the weekend of February 4 thru 11, 2019 in Oakland, California, contains 36 items including fine press material, leaf books, typography, and California history. Look for me in Booth 914, for more interesting material. John Howell for Books !3 1 [Ashendene Press] ASSISI, Francesco di (1181-1226). I Fioretti del Glorioso Poverello di Cristo S.
Literature and History in the Victorian Novel

The Plot of Attentional Transformation: Literature and History in the Victorian Novel by Aaron James Donachuk A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Aaron James Donachuk, 2018 The Plot of Attentional Transformation: Literature and History in the Victorian Novel Aaron James Donachuk Doctor of Philosophy Department of English University of Toronto 2018 Abstract This dissertation tracks the history of a formal phenomenon that is prevalent across nineteenth-century British novels, but which has gone largely overlooked by previous scholars. This is what I call the plot of attentional transformation, and it comprises two chief elements: a narrative agon that arises when the protagonist adopts an abject mode of attention such as inattention, distractibility, or absorption; and a denouement that takes place when the protagonist shakes off this abject condition to assume an antithetical, idealized attentional state. I argue that if nineteenth-century novelists as diverse as Walter Scott, W.M. Thackeray, George Eliot, Wilkie Collins, Robert Louis Stevenson, and William Morris all invoked this plot form, it is because it served a valuable organizing and coordinating function. At the same time as the attentional plot allowed these novelists to organize the fates of their differently classed and gendered characters into single teleological history, it also enabled them coordinate their otherwise independent and unrelated narrative interventions into social and literary politics into one coherent historical narrative. In analyzing how concepts of attention structure the Victorian novel, my project contributes to the area of attentional formalism—a body of research that ii studies connections between forms of human attention and the form of Victorian literature.
Fine Printing & Illustration

Fine Printing & Illustration ¶ Item 68. Jones (David). Coleridge (Samuel Taylor). The Rime of the Ancient Mariner. Modern Fine Printing & Illustration Catalogue 1484. Maggs Bros Ltd 48 Bedford Square London 2018 Wood-engraving by Simon Brett of the keystone above the front door at 48 Bedford Square, reproduced here in memory of Cobden-Sanderson’s sacrifice of his type to theThames. Front endpapers: Item 64. Henry (Avril K.). Toys. Back endpapers: Item 3.The endpapers for Donald Glaister's binding of the Ashendene Boccaccio. Maggs Bros Ltd., 48 Bedford Square, London WC1B 3DR Contents of Catalogue The William Lang Doves Press collection. 1. Margaret Adams calligraphic album. 2. Art Workers’ Guild. Sketches made on Lithography Night. 1905. 3–7. Ashendene Press. 8. Edward Bawden. How to Make Money. c. 1929. 9. Aubrey Beardsley. The Pierrot of the Minute. 1897 10 & 11. Ian Beck. Fugitive Lyrics. 2013. 12. Edward Burne-Jones. Mezzotint, signed, of Pan and Psyche. 1887. 13. Michael Caine. Lament for Ignacio Sanchez mejias. 1995. 14–16. Corvinus Press. Three rare T.E. Lawrence books. 17–19. Cresset Press. 20. Nancy Cunard, John Banting, John Piper, Ithell Colquhoun and others. Salvo for Russia. 1942. 21–22. Doves Press. 23. Eragny Press. Les Ballades de Villon. 1900. 24–26. Essex House Press. 27. Fleece Press. To the War with Paper & Brush. 2007. 28–30. Robert Gibbings. 31–36. Eric Gill. 37–54. Golden Cockerel Press. 55–61. Gregynog Press. 63. Temporary Culture. Forever Peace: To Stop War. 64. Avril Henry. Original illustrated manuscript of Toys. 65. High House Press. A Marriage Triumph.
A Brief History of Typefaces the Invention of Printing Movable Type Was Invented by Johannes Gutenberg in Fifteenth-Century Germany

A brief history of typefaces The invention of printing Movable type was invented by Johannes Gutenberg in fifteenth-century Germany. His typography took cues from the dark, dense handwriting of the period, called “blackletter.” The traditional storage of fonts in two cases, one for majuscules and one for minuscules, yielded the terms “uppercase” and “lowercase” still used today. Working in Venice in the late fifteenth century, Nicolas Jenson created letters that combined gothic calligraphic traditions with the new Italian taste for humanist handwriting, which were based on classical models. )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) )ADMIT)HAVEHADALITTLEWORKDONE 2PCFSU4MJNCBDITUZMFE!DOBE+FOTPO BGUFS/JDPMBT+FOTPOTSPNBOUZQFT ANDTHEITALICSOF,UDOVICODEGLI!RRIGHI DSFBUFEJOmGUFFOUIDFOUVSZ*UBMZ )DONTLOOKADAYOVERFIVEHUNDRED DO) The Venetian publisher Aldus Manutius distributed inexpensive, small-format books in the late fifteenth and early sixteenth centuries to a broad, international public. His books used italic types, a cursive form that economized printing by allowing more words to fit on a page. This page combines italic text with roman capitals. Integrated uppercase and lowercase typefaces. The quick brown fox ran over lazy d the lazy dog 2 or 3 times. ITC Garamond, 1976 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Adobe Garamond, 1986 The quick brown fox ran over the lazy d lazy dog 2 or 3 (2 or 3) times. Garamond Premier Regular, 2005 Garamond typefaces, based on the Renaissance designs of Claude Garamond, sixteenth century Enlightenment and abstraction The painter and designer Geofroy Tory believed that the proportions of the alphabet should reflect the ideal human form.
19Th Century English Literature, Presentation Copies, Private Press, Artists' Books, Original Art, Letters, Children's Book

LONDON BOOK FAIR 2016 19th Century English Literature, Presentation Copies, Private Press, Artists’ Books, Original Art, Letters, Children’s Books, African History, Travel, & More Pictured Above: Original Drawings by Max Beerbohm, Items 8* & 9* CURRENCY CONVERSION: $1 = £0.7 * Due to unexpected importation restrictions and fees, several items on this list are not at the fair 1. [Anvil Press] Racine, Jean; John Crowne (translator); Desmond Flower (foreword); Fritz Kredel (illustrator). Andromache: A Tragedy. Freely Translated into English in 1674 from Jean Racine's "Andromaque" Lexington KY: Anvil Press, 1986. Number 11 of 100 copies. According to an article by Burton Milward, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. Bound with black cloth spine and red paper covered boards with red paper title label to spine. Pristine with numerous illustrations by Fritz Kredel. In matching red paper dust jacket with black title to spine and front panels. Creasing to jacket and minor wear to edges. Printed in red and black inks at the Windell Press in Victor Hammer's American & Andromaque uncial types. 51 pages. (#27468) $825 £577 1 2. [Barbarian Press] Barham, Richard; Crispin Elsted, editor and notes; Illustrated by John Lewis Roget and Engraved by the Brothers Dalziel.
Copyrighted Material

INDEX A Betz, Jennifer, 211 Compatil, 74 Accented characters, 192 Binner Gothic, 79 Compugraphics, 25 Accent marks, 192 Bitmapped fonts, 32–33 Condensed type, regular vs., 80 Adobe Bickham Script Pro, 34, 45, Blackletter type styles, 47 Consistency of design traits, 61 80, 123 Blake, Marty, 79 Contextual alternates, 123 Adobe Caslon Pro, 42, 125, 165 Bodega Sans, 114 Contoured type, 136–144 Adobe Garamond, 55 Bodoni, Giambattista, 19, 20 Contrast, 77 Adobe Illustrator, 25 Bodoni fonts, 20, 81 Cooke, Nick, 202 Adobe Paragraph Composer, 145 Boldface, 88, 89 Copperplate, 44 Adobe Single-line Composer, 145 Boustrophedon, 17 Copyright symbol, 185–187 Adobe Trojan, 95 Bowl, 40, 41 Coquette, 49 Akuin, Vincent, 103 Boxed initials, 109 Coster, Laurens, 18 Aldus Freehand, 25 Braces, 189 Counter, 40, 41 Alexander Isley, Inc., 92 Brackets, 189–190 Courier, 181 Alfon, 61 Brewer, Amber, 55 Cuneiforms, 16 Alignment, 134–144 Brush scripts, 46 Curly brackets, 189 hung punctuation, 155–156 Bullets, 187–188 Curve, setting type on, 158 with initial caps, 105 Byrne-Sain, Theresa, 171 Custom typefaces, designing, 201–207 optical, 155 visual, 157–160 C D Alphabets, 16–17 Calcite Pro, 121 D’Amico, Dee Densmore, 203 Alternate characters, 123 Calligraphers, 67 Dartangnon, 46 A N D, 99, 190 Calligraphic typestyles, 46, 66 Dashes, 176–177 Angled brackets, 189 Caps: Deaver, George, 111 Apostrophes, 180 drop, 106 Decorative initials, 108 Appearance of typefaces: initial, 105–111 Decorative typefaces, 48–49 desirable characteristics in, lowercase vs., 80, 94 Deidrich,
The Auchincloss Collection of Fine Printing & Press Books

The Auchincloss Collection of Fine Printing & Press Books Catalogue o ne: a–D SoPhie SChneidemAn RARe BookS item 5 THE KENNETH AUCHINCLOSS COLLECTION OF FINE PRINTING & PRESS BOOKS catalogue one: a–d Including works from the allen, arion, ashendene, Barbarian, Bird & Bull, Bremer, Chamberlain, Colt, Cresset, Curwen & Doves Presses, as well as books illustrated and designed by thomas Bewick and W. a. Dwiggins SOPHIE SCHNEIDEMAN RARE BOOKS london If you are interested in buying or selling rare books, need a valuation or just hon- est advice please contact me at: SCHNEIDEMAN GALLERY open by appointment 7 days a week or by chance – usually Mon–Fri 11–2.30 331 Portobello Road, london W10 5Sa 020 8354 7365 07909 963836 [email protected] www.ssrbooks.com we are proud to be a member of the aba, pbfa & ilab and are pleased to follow their codes of conduct Prices are in sterling and payment to Sophie Schneideman Rare Books by bank transfer, cheque or credit card is due upon receipt. all books are sent on approval and can be returned within 10 days by secure means if they have been wrongly or inadequately described. Postage is charged at cost. eu members, please quote your vat/tva number when ordering. the goods shall legally remain the property of Sophie Schneideman Rare Books until the price has been discharged in full. Images of all the books are available on request and will be on the website 2 weeks after the catalogue has arrived. Set in emerson [designed by Joseph Blumenthal] and Sistina [designed by Hermann Zapf ] types.
Copyrighted Material

COPYRIGHTED MATERIAL 006_542514_ch01.indd6_542514_ch01.indd 1414 66/2/10/2/10 99:27:27 AAMM CHAPTER ONE A BRIEF HISTORY OF TYPE he story of type doesn’t begin with type per se, rather it starts with the beginning of mankind and civilization. Type has only existed for about 560 years, but its beginnings are rooted in the life of the caveman himself, as it was his developing needs and habits that led civiliza- tion on a path toward the evolution of the alphabet and subsequently the invention of type and printing. It is certainly possible to learn to use type effectively and tastefully without knowing its roots; but to fully understand and appreciate type today, it is important to know something of the past. Milestones in the history of type are highlighted throughout this chap- ter. Some of the dates, chronology, and details vary from source to source, but the spirit of the events remains the same. These events have taken mankind on a glorious ride from the crudest cave drawings to the bits and bytes of type in the digital age. SOUNDS TO SYMBOLS For many years, early humans communicated purely with sound. Verbal language–which is heard and not seen as opposed to visual language (or visible language, as it is often called)–has many limitations: it is gone the instant it is spoken and heard, and it is therefore temporary. Stories, history, and other information could not be passed on from generation to generation in a permanent way, only by direct word of mouth. The earliest attempts to record stories and ideas were through cave drawings; the ﬁ rst known is dated around 25,000 bc.
William Morris, Edward Burne-Jones, and the Kelmscott Press:An Exploration of the Thing and a Non-Commodified Mode of Vision

The University of Maine DigitalCommons@UMaine Honors College Spring 5-2017 William Morris, Edward Burne-Jones, and the Kelmscott Press:An Exploration of the Thing and a Non-Commodified Mode of Vision Daniel Perry III University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Perry, Daniel III, "William Morris, Edward Burne-Jones, and the Kelmscott Press:An Exploration of the Thing and a Non-Commodified Mode of Vision" (2017). Honors College. 269. https://digitalcommons.library.umaine.edu/honors/269 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. WILLIAM MORRIS, EDWARD BURNE-JONES, AND THE KELMSCOTT PRESS: AN EXPLORATION OF THE THING AND A NON-COMMODIFIED MODE OF VISION by Daniel Perry III A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Art History) The Honors College University of Maine May 2017 Advisory Committee: Michael Grillo, Associate Professor of History of Art and Chair, Advisor Justin Wolff, Associate Professor of History Sarah Harlan-Haughey, Assistant Professor of English and CLAS-Honors Preceptor Elizabeth Neiman, Assistant Professor of English Joel Anderson, Assistant Professor of History © 2017 Daniel Perry III All Rights Reserved Abstract This thesis attempts to view William Morris and his work at the Kelmscott Press as a thoroughly modern endeavor, instead of the nostalgic enterprise his work is usually branded as.