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. The printers in ULS libraries also accept the Pitt ID debit card. NOTE: One may also pay for library fees and fines with the Pitt ID debit card or a major credit card.

Retrieving Materials in the FFAL and Hillman Library – Special Collections: Journals and books will be retrieved for you by student assistants in the

1 Reading Room of the FFAL. Please submit to them a complete citation for the items you need (including complete call number).

Use My Account Tab in Pitt Cat to keep track of requests made, know what fees may have accrued in your account, and renew books yourself.

Notes on Using the Internet for Research

• For research purposes, the Internet consists of the “free web” and Internet resources that are purchased and provided by ULS Libraries on the “deep web” (i.e., Grove’s Dictionary of Art and other databases listed below and Pitt Cat, the ULS online catalog).

• Web resources on the “deep web” – including many article databases – are carefully chosen to support academic work. Use these resources to locate books, articles, and other resources that you cannot access through the “free web.” Start on the ULS home page to search Internet resources provided by the ULS.

• The “free web” is a great place to look for factual and introductory information and for some types of images. Note, however, that only about 6% of the “free web” is academic in nature. Much of the rest of what is on the Internet is commercial or personal.

• Sites on the “free web” vary greatly in quality and must be critically evaluated. While books and journals are usually reviewed for substance and accuracy before they are published, anyone can create a web site that says anything at all. Evaluate each web site and choose the best ones for your work. For more on this topic see the ULS web site entitled Surfing the Cyber Library http://www.library.pitt.edu/guides/eval/

• Use search engines to search the “free web.” Each search engine has strengths and weaknesses and will produce different results. None effectively searches the entire web. Try using more than one search engine for your searches. Use an “advanced search” more to do more flexible searching.

Navigating the ULS Digital Library www.library.pitt.edu

Login: Pitt User Name and Password

ULS Digital Library includes over 400 databases that are available for your use with your Pitt User Name and Password 24/7 from dorm, office, or home.

Connecting From Home or Dorm Room You can connect from home to the ULS Digital Library and search the online databases to which it subscribes by using a web- based service called SSL VPN. Instructions on doing this are provided at a link in the NEWS section of the ULS

2 Digital Library home page. Click on “Accessing Library Resources from Off Campus.” No special software is required. If you have problems connecting with SSL VPN, please contact Pitt’s Technology Department help line at 412-624- HELP (4357) for assistance.

NOTE: If you do not connect to SSL-VPN, you will not be able to access any databases to which the ULS subscribes! Part of the fees you pay to attend Pitt pays for the databases, so you will want to put them to good use during your research projects.

Introduction

This bibliography is highly selective and is intended only as a guide to follow when beginning the research process. All items listed are either in the Frick Fine Arts Library or Hillman Library, but one must also note whether the title is in the Reading. Reference Room or stacks of the Frick Fine Arts Library or the Reference Department (Ground floor) of Hillman Library or in another ULS location like Hillman Library – Special Collections (3rd floor)..

Gathering Information

An important word of advice:

• Throughout the research process it is essential that you record the complete citations as you find them. Incomplete citations will cause you to spend additional time attempting to locate them later!

Creating Your Working Bibliography It is important to create a working bibliography while you search for materials. • E-mail, save to a disk / flash drive or printout the class reserves list • E-mail, save to a disk / flash drive or printout Pitt Cat records; or use the BookBag feature of “My Account” in Pitt Cat to keep a list of citations of interest. • E-mail, save to a disk / flash drive or printout citations for journal articles in databases • Fully explore footnotes and/or bibliographies in encyclopedia articles, books on reserve, books found in Pitt Cat, essays and journal articles • Keep a list of where illustrations are located that you may want to use in your written paper

Introductory Information

When beginning research on a topic with which one is unfamiliar, it is sometimes wise to look for background information. This can be accomplished by using specialized

3 dictionaries and encyclopedias as a starting point for research. Their function is two- fold:

• To present introductory information clearly and concisely; articles are written by scholars in the field • To lead the reader to further sources of information (by using the bibliographies at the end of each article)

Encyclopedias

Dictionary of Literary Biography, v. 184: Nineteenth Century British Book Collectors and Bibliographers. Detroit: Gale Research, 1997. Hillman Library – Reference – Ground floor – Z5051/D5/v. 184 This article` discusses Morris mostly as a book collector and explains how he was attached to certain books and how his interest in manuscripts and early printed books grew as the Kelmscott Press became a reality.

Encyclopedia of the Victorian Era. Ed. by James Eli Adams, Tom Prendergast and Sara Pendergast. 4 vols. Danbury, CT: Grolier Academic Reference, 2004. Hillman Library – Reference – Ground floor – DA550/E527/2004 See articles on William Morris, Kelmscott Press, Illustration, Arts and Crafts Movement, Decorative Arts and Design, and Pre-Raphaelites.

Grove Dictionary of Art. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “G” and then choose the title of the database. This recent full-text encyclopedia for the field of art and architecture provides articles under the names of individual countries, including those in Africa and Asia (i.e., Central Asia, China, et al); different types of art; biographies of individual artists and architects; and articles on art schools and concepts. The articles and bibliographies have been written by art and architectural historians around the world. All of the information is current and updated periodically. Grove’s is particularly good for biographies on all but the most obscure artists -- and it is written in English, unlike many biographical resources on artists. See the article on William Morris where the Kelmscott Press is discussed; the article on the Arts and Crafts Movement is also useful. NOTES: Each article includes information on “How to Cite the Article” (scroll to the bottom of the article). While this database now places illustrations within recently written articles, when the database was first created, the images were located at a separate Links button and then search by subject or artist’s name.

Kaplan, Wendy. Encyclopedia of Arts and Crafts: The International Arts Movement, 1850-1920. London: Headline, 1989. Frick – NK1140/E53/1989 See the Graphics article.

4 Oxford Companion to the Decorative Arts. Ed. by Harold Osborne. Oxford: Clarendon Press, 1975. Frick – Reference – Encyclopedias – NK30/O98 See the articles on William Morris, Kelmscott Press, the Private Press Movement, the Arts and Crafts Movement, and on typography.

Gathering Substantial Information

Selected Bibliographies (Listed in Reverse Chronological Order)

Book-length bibliographies will lead you to books and other published material on the subject of William Morris. Books will provide you with more extensive information than what can be found in encyclopedias, dictionaries and other reference sources. One can ascertain what books are owned by the ULS by searching Pitt Cat, the ULS online catalog . Its use is explained below.

LeMire, Eugene D. A Bibliography of William Morris. New Castle, DE: Oak Knoll Press; London: British Library, 2006. Hillman Library – Special Collections – 3rd floor – f PR5083/L46/2006

Coupe, Robert L. M. Illustrated Editions of the Works of William Morris in English: A Descriptive Bibliography. New Castle, DE: Oak Knoll Press; London: British Library, 2002. Hillman Library – Special Collections – 3rd floor – q Z8595/C68/2002

Latham, David and Sheila. An Annotated Critical Bibliography of William Morris. London: Harvester Wheatsheaf; New York: St. Martin’s Press, 1991. Hillman Library – Reference – Ground floor – Z8595/L38/1990

Aho, Gary L. William Morris: A Reference Guide. Boston: G. K. Hall, 1985. Hillman Library – Reference – Ground floor – Z8595/A37/1985

Pitt Cat, the ULS Online Catalog

Books will provide you with more extensive information than what can be found in encyclopedias, dictionaries and other reference sources. One can ascertain what books are owned by the ULS by searching Pitt Cat, the ULS online catalog. It is accessible through the ULS Digital Library, mounted on terminals in all ULS libraries. Pitt Cat is a database of all materials in ULS libraries and may be searched by author, title, Library of Congress subject heading and keyword. It is important to know how to combine terms and revise keyword searches. For additional information on using Pitt Cat, consult the library’s instructional sheets on how to use Pitt Cat. Copies of the sheets are available near the computer terminals in all ULS libraries.

Begin at the ULS Digital Library (www.library.pitt.edu), click FIND BOOKS and click on Connect to Pitt Cat. Chose the type of search you want. Examples are listed below.

5 To locate books within the ULS libraries, see Library Guide No. 2 entitled Frick Fine Arts Library: How to Find Books. It also explains how to locate materials that are not owned by ULS libraries.

Author Search Morris William (for a list of books written by Morris)

Title Search Art Enterprise and Ethics: The Life and Works of William Morris

Keyword Search (allows you to select search fields and use search connectors)

Morris William [as a phrase] [subject search] AND Kelmscott

Boolean Search (allows you to use truncation symbols, search connectors, and search results include essays and chapters within books) The quotation marks tell the computer to search for the words as a phrase in the order written. The question mark tells the computer to search for all forms of the word (i.e. [print, printed, printing, printmaker, printmakers, prints).

“William Morris” AND print?

“Kelmscott Press” AND “Burne Jones”

“Aubrey Beardsley” AND Savoy

Books on William Morris and the Kelmscott Press may be found by searching the artist’s name in Pitt Cat or by using the following Library of Congress Subject Headings in Pitt Cat, the ULS online catalog (described more fully below).

Subject Searching in Pittcat

General Subject Headings

Arts and Crafts Movement Great Britain Book Design England Hammersmith (London) Decorative Arts History 19th Century Printers England Printing England Hammersmith Hammersmith (London) Private Presses – England – Hammersmith (London)

Specific Subject Headings

Kelmscott Press Morris William Morris William Bibliography

6 Morris William Biography Morris William Criticism and Interpretation Morris William Exhibitions Morris William Influence Morris William Political and Social Views

Original Manuscripts

Medieval painting often took the form of an illuminated manuscript because the Roman Catholic Church, royalty or members of the nobility were normally the patrons of such art works. The Frick Fine Arts Library owns a few original manuscripts, two of which are listed below.

Jacobus da Voragine. Legendario di Sancti. 2nd ed. in Italian, preceded by Jenson’s edition of 1475. Venezia: Gabriele de Pietro, 1477. Frick – Cage – Z155/J17 On the cover: Legenda aurea. Original wood boards with metal clasps, half white stamped pig skin.

“The Frick Hours” [an original illuminated manuscript]. Horae Beatae Mariae Virginis, cum Kalendario. Illuminated manuscript on vellum. [French, XVth century]. Paris, c. 1489-1490. Frick – Cage – ND3363/P23B5

Facsimiles of Illuminated Manuscripts

Significant manuscripts in codex form are sometimes reproduced in a type of art book called a facsimile. Medieval illuminated manuscripts of the Bible and liturgical works as well as prayer books are most often the subjects of facsimiles, although they can also include bestiaries, herbals, travel guides and other secular books. Recently produced facsimiles, published in limited editions, are so true to the originals that it is sometimes hard to identify them at first glance as copies. The rich leather bindings have been fashioned to mimic the originals as closely as possible, sometimes even to the point of including metal clasps and mounted imitation jewels.

The pages are replicas of the originals, as clear and as close to the colors and lines used by the medieval illuminators and calligraphers as photographic reproductions can be. Even the worm holes, dirt or spills and other damage to the pages of the original manuscripts are reproduced in the facsimiles. It has only been within the last thirty years or so that modern book-making technology has been able to produce excellent facsimiles. They have been extremely useful to researchers of medieval studies because they make the unique, carefully guarded manuscripts, usually locked away in European libraries and museums.

The Beatus Manuscripts

The Beautus manuscripts provide a beautiful record of the apocalyptic thoughts of 8th century Spanish people who believed that the end of the world was eminent in 800 CE

7 because of the upheaval of the times in which they lived. Beautus, an orthodox monk from the monastery of San Martin de Turieno in Liébana located in northern Spain, compiled the text that would become the basis for some of the most important works of Spanish art ever produced. In 776 CE Beatus assembled a commentary on the Book of Revelation, also known as the Apocalypse, culled from the apocalyptic writings of such patristic fathers as Augustine, Jerome, Isidore de Seville, and Tyconius, a North African exegetical writer. Lavishly illustrated and known today as the Beatus manuscripts, the copies of some of the texts made by medieval scribes and illuminations hold a singular place in the history of medieval manuscript illumination. Currently, the Frick Fine Arts Library owns three facsimiles of some of the manuscripts dating from 885-1240.

Beatus de Saint-Sever (Manuscript). Comentarios al Apocalipsis y al Libro de Daniel: edición facsímil del códice de la abadía de Saint-Sever consevado en la Biblioteca Nacional de Paris bajo la signatura Ms. lat. 8878 / Commentaires sur l’Apocalypse et le Livre de Daniel: edition en facsimile du manuscript de l’abbaye de Saint-Sever conserve à la Bibliothèque naitonale de Paris sous la cote Ms. lat. 8878 / Beato de Liébana. Madrid: Edilán, 1984. Frick – Cage – iBS2822.5/B43/1984a Full color facsimile of the 11th century Spanish manuscript. Text in Latin. Only the commentary on the Book of Revelation is by Beatus; the commentary on the Book of Daniel (beginning at f.218r) is by Saint Jerome. A commentary volume by Xavier Barral I Altet is issued under the title El Beato de Saint-Sever: Ms. lat. 8878 de la Bibliothèque Nationàle de Paris. Madrid: Edilán, 1984. Frick – Cage – iBS2822.5/B43/1984a/Suppl In French and Spanish.

Beatus, Saint, Presbyter of Liebana. In Apocalipsin. Apocalipsis. Ashburnham Morgan Beatus. Estudio del Manuscrito de apocalisis de San Igan. 3 vols. Torino: Scriptorium, 2000. Frick – Cage – iND3361/R52B43/2003 Title of commentary: Estudio del Manuscrito de apocalipsis de San Igan Beato de Liébana de San Miguel de Escala. M 644, Beato Morgan, Pierpont Morgan Library.

Beatus, Saint, Presbyter of Liebana. In Apocalipsin. Apocalipsis de San Juan Apóstol. Expositio im Apocalism. Ed. facsimilar. 2 vols. Valencia: Vincent Garcia Editores, 1993. Frick – Cage – N6494/K5H8 Facsimile text in Latin, commentaries in English and Spanish. No. 12 of 1,380 copies. Title on box: Apocalypsis beati Liebanensis: burgi oxomensis. Issued in velvet covered box with gold stamping.

Other Selected Facsimiles

The Book of Kells = Codex Cenannensis. 3 vols. Bern: URS Graf, 1950-1951. Frick – Cage – iND3359/K29 Of this edition of five hundred copies have been printed. The type has been distributed. The plates used for the black and white reproductions have been destroyed. The plates used for the color reproductions are held in the Swiss National Library, Berne, subject to the control of the Board of Trinity College, Dublin. No. 212 of 500 copies. Codex purpureus Rossanensis. Edizione integrale in facsimile del manuscritto Codex purpureus Rossanensis. Roma: Salerno editrice; Graz: Akademische Druck- u. Verlagsanstalt, 1985. Frick – Cage – iBS2571.5/P87/1985 Full color facsimile of the 6th century codex containing the whole gospel of Matthew and the gospel of Mark to the 14th verse of the last chapter. Limited edition of 750 copies, and lettered sample copies

8 (not for sale). A companion volume of commentary by Gugielmo Cavallo, Jean Gribomont and William C. Loerke was published in Rome by Salerno editrice during 1987. Frick – Cage – iBS2571.5/P87C38/1987

Die Kreuzritter bibel = The Morgan Crusader Bible = La Bible des Croisades. Switzerland: Facsimile Verlag Luzern, 1998. 1 v. (unpaged): chiefly col. ill.; 40 cm. Frick – Cage - iBS715.5 /C7/1998 Also known as The Morgan Crusader Bible or Le Bible des Croisades, this work was published in a single edition limited to 980 copies … this copy is number 926. Forty-three sheets of the manuscript reside at the Pierpont Morgan Library (MS M.683), two sheets at the Bibliotheque nationale de France (ms. nouv. Acq. Lat. 2294) and one sheet at the J. Paul Getty Museum (83.MA55). Commentary volume by Daniel H. Weiss. In Latin, German, French and Arabic.

Les Petites heures du duc de Berry. Includes commentary volume. Luzern: Faksmiile Verlag, 1988-1989. Frick – Cage – ND3363/B5/C36/1988 This facsimile edition of the famed manuscript of the French Gothic period includes commentary volume plus Stundenbuch portfolio. It is thought to have been illuminated by Jacquemart, de Hesdin [1380-1411] for Jean Berry, duc de France [1340-1416].

Psautier d’Ingeburge de Danemark = Ingeborg Psalter; Ms. 9 olim 1695, aus dem Besitz des Musée Condée, Chantilly. Faksimile-Ausgabe im Originalformat der Handschrift. Graz: Akademische Druck-u. Verlagsanstalt, 1985. Volumen 80 der Reihe Codices selecti, Codices selecti phototypice impressi, v. 80. [200] l; col. ill.; 30 cm. Frick – Cage – ND3357/I5D4/1985 In Latin with miniature caption and 2 flyleaf inscriptions in French. Full-color facsimile of the ms. executed ca. 1195, probably in the diocese of Noyon. Before being identified with its first owner, Ingeborg, the psalter was called the Psautier de Saint Louis after a later owner. One of 500 numbered copies in a limited edition. Issued in a slipcase with a commentary volume: Der Ingerborg Psalter = Le Psautier d’Ingeburge de Danemark by Florens Deuchler. Virgil. Georgica. Liber 3-4. Selections. Vollständige Faksimile-Ausgabe im Originalformat von Codex Vaticanus Lat. 3225 aus dem Besitz der Bibliotheca Apostolica Vaticana. Virgilius Vaticanus. Graz: Adademische Druck- u. Verlagsanstalt, 1980. Frick – Cage – Z114/V345/v.40. For commentary volume see Virgilius Vaticanus (1984) Frick – Cage – Z114/V345/vol. 40a Full-color facsimile of the codex containing major fragments of the Georgics, books 3-4, and of the Aeneid. Issued in slipcase with title: Vergilius Vaticanus. Limited ed. of 750 copies. Vergilius Vaticanus: Informationen der Akademischen Druck- u. Verlagsanstalt zur Faksimile-Ausgabe furnished with the publication. A commentary volume intended for use with this facsimile was issued in 1984 as: Vergilius Vaticanus by David H. Wright (see below).

Virgil. Vergilius Romanus, Vat. Lat. 3867. Zürich: Belser, 1985-1986. Frick – Cage – oZ114/V345/vol. 66 Limited ed. of 500 copies. Reduced facsimile of 5th (?) century manuscript in Latin. Accompanied by full-color reproductions of miniatures and commentary volume (in German).

William, of Auvergne, Bishop of Paris, d. 1249. Biblia de San Luis. Barcelona: M. Moleiro, 2000-2002. 3 vols., col. ill., facsims.; 39-49 cm. Frick – Cage - o ND3355.5/B526/B53/2000

9 The library has copy 605 of an edition of 987. Facsimile of The Bible of St. Louis, composed in Paris between 1226 and 1234 under the direction of Guillaumne d’Auvergne, Bishop of Paris (1228-1249), for King Louis IX of France. The Bible was given to Alfonso X the Wise (King of Castile and Leon, 1221-1284) and now is held in the treasury of the Cathedral of Toledo. Facsimile issued in a case.

Selected Works in ULS Libraries by William Morris’s Kelmscott Press

Listed in chronological order:

Jacobus da Voragine. The Golden Legend. Ed. by Frederick Startridge Ellis. Trans. by William Caxton. 3 vols. Hammersmith: Kelmscott Press; sold by B. Quaritch, London, 1892. Frick – Cage – Z239.2/K2/J17 One of 500 copies. Decorated initals by Sir Edward Burne-Jones. Bound in pale blue paper boards; linen shelfback; printed paper label on spines. Completed on November 3, 1892; includes two illustrations by Edward Burne-Jones which represent his first contribution to the Kelmscott Press. This title was first published in Latin in 1275 as the first compilation of the lives of the saints and was used as a source by medieval and renaissance artists and theologians. Arranged according to the church calendar beginning with Advent. On September 11, 1890, William Morris made an agreement with Bernard Quaritch to reprint Caxton’s Golden Legend, Morris having sole control over paper, type and choice of printer, which was to be himself. His first type face, Golden, was named after the book, which was intended to be the first book printed it and by the Kelmscott Press, but work was delayed because of difficulty in obtaining the required size of paper. The three volumes show the Golden type used at its plainest and stateliest, many of the pages being completely without ornament. The book, however, does include the first of the great woodcut titles designed by Morris, and the first illustrations designed by Edward Burne-Jones for the Kelmscott Press.

Morris, William. The Defence of Guenevere: And Other Poems. London: Reeves and Turner, 1892. Hillman Library – Special Collections – 3rd floor – Leuba – PR5078/D36/1892 Printed at the Kelmscott Press.

The History of Reynard the Foxe … by William Caxton corrected by Henry Halliday Sparling. Hammersmith: Kelmscott Press, 1893. Hillman Library – Special Collections - 3rd floor – Leuba – f PT5584/E5/C33/1893

Morris, William. Gothic Architecture: A Lecture for the Arts and Crafts Exhibition Society. Hammersmith, London: Kelmscott Press, 1893. Hillman Library – Special Collections – Room 363 – Leuba – NA440/M86/1893

Shakespeare, William. The Poems, Printed after the Original Copies of Venus and Adonis, 1593; The Rape of Lucrece, 1594; Sonnets, 1609; The Lover’s Complaint. Ed. by Frederick Startridge Ellis. Hammersmith: Kelmscott Press, 1893. Hillman Library – Special Collections – 3rd floor – Leuba – PR2841/A2E4/1893 Bound by Rivière. Copy no. 25 of a limited edition of 500 copies.

Morris, William. The Tale of the Emperor Coustans and of Over Sea. Hammersmith: Kelmscott Press, 1894. Hillman Library – Special Collections – 3rd floor – Leuba – PR5079/E5/1894 From the ancient French into English by William Morris. 525 copies on paper, 20 are on vellum.

10 Sire Degrevaunt. Ed. by Frederick Startridge Ellis after the edition printed by J. O. Halliwell from the Cambridge MS., with some additions and variations from that in the library of Lincoln Cathedral. Hammersmith: Kelmscott Press, 1896. Hillman Library – Special Collections – 3rd floor – Leuba – PR2065/D45/1896 Frontispiece by Edward Burne-Jones. 350 copies on paper and 8 on vellum.

Chaucer, Geoffrey. The Floure and the Leafe, & The Boke of Cupide, God of Love, or The Cuckow and the Nightengale. Ed. by Frederick Startridge Ellis. Hammersmith: Kelmscott Press, 1896. Hillman Library – Special Collections – Room 363 – Z232/M87/C6 Printed on August 21, 1896. 300 copies printed on paper; 10 on vellum. The Boke of Cupide was written by one Clanvowe, who is now generally accepted as Sir Thomas Clanvowe.

Chaucer, Geoffrey [d., 1400]. The Works of Geoffrey Chaucer, now newly imprinted. Ed. by Frederick Strartridge Ellis; ornamented with pictures designed by Sir Edward Burne-Jones, and engraved on wood by W. H. Hooper. Upper Mall, Hammersmith, in the county of Middlesex, England: Printed by William Morris at the Kelmscott Press, 1896. Frick – Cage – o Z239.2/K2C49 Edition of 425 copies. Issued in box. Bound in pale blue paper boards; linen shelfback; printed paper label on spines.

A facsimile edition published in Cleveland by World Publishing Co., 1958 is available in Hillman Library – Special Collections – Room 363 – PR1850/1896b (2 copies); a copy of the facsimile is also in Information Science Library – Elizabeth Nesbitt Room – Room 305 – same call number as the Special Collections facsimile edition.)

During the late 19th century, William Morris – professional designer, decorator, and writer – founded the Kelmscott Press in Hammersmith, England in January 1891. It was named after Kelmscott Manor, Morris’s beloved country house. Between then and 1898, the press produced fifty-three books including the three-volume The Golden Legend (1892) the two-volume The Recuyell of the Historyes of Troye (1892), and the massive Works of Geoffrey Chaucer (1896).

The Kelmscott Press was the culmination of Morris’s life as a craftsman in many diverse fields. He set out to prove that the high standards of the past could be repeated – even surpassed – in the present. In his own words, he hoped to print books that “would have a definite claim to beauty.” Morris abhored most aspects of modern civilization, which he found mechanical and spiritually deadening. One of the beliefs that directed his many artistic passions was that a revival of values and practices of the Middle Ages could serve as an alternative to these pernicious modern influences.

The books Morris produced were, therefore, medieval in design and modelled on the books printed during the fifteenth century. Noteworthy for their harmony of type and illustration, Morris’s main priority was to have each book seen as a whole. This included the painstaking care with all aspects of production, including the paper, the

11 form of type, the spacing of the letters, and the position of the printed matter on the page.

The books Morris designed were decorated with woodcuts for illustrations because that is what was used by 15th and 16th century printers, but also as a protest against the poor quality of contemporary illustrations printed on smooth paper by the new line- block process. Kelmscott books re-awakened the ideals of book design and inspired better standards of production at a time when the printed page was generally very poor. Numerous other presses were set up to perpetuate Morris’s aims, including the Doves, Eragny, Ashendale and Vale Presses.

Widely recognized as one of the very finest publications ever produced by a private press, The Kelmscott Chaucer is especially noteworthy because it is the culminating book of the press and is considered the major publication of the English Arts and Crafts Movement. It contains more than 550 pages of beautiful handset printing and eighty-seven illustrations printed directly from woodblocks by Edward Coley Burne- Jones’s (1833-1898). This celebrated Victorian painter had been Morris’s lifelong friend. The book was exceptional in its ambitious number of illustrations and rich decorative borders. “If we live to finish it,” Burne-Jones wrote, “it will be like a pocket cathedral – so full of design and I think Morris the greatest master of ornament in the world.”

It all began when Morris attended a lecture on letterpress printing on November 15, 1888 by his friend and neighbor, Emery Walker, at the first of the Arts and Crafts Exhibitions. Morris was immediately enchanted with the subject, but had been collecting manuscipts and incunabula prior to this time because he greatly aprpeciated their beauty and technical qualities. Morris began to design type in 1889, purchased a cottage near his residence in 1891 and devoted his life principally thereafter to designing beautiful books of the quality of early printers.

As in any of his endeavors – textiles, tapestries, wallpapers – Morris reached back to the basics of any medium he employed. For printing he took as his inspiration manuscripts he had been collecting and those that he saw in English museums and libraries. Three types were designed by Morris: a Roman style based on that of Nicholas Jenson in 1470s Venice that Morris named Golden; a Gothic style he called Troy modelled on medieval typefaces of Peter Schoeffer of Mainz, Gunther Zainer of Augsburg and Johann Mentelin of Strassburg; and Chaucer, a smaller version of Troy which he used on the Kelmscott Chaucer. The latter was especially cut and ready for production in June 1892.

Morris also insisted that his books be printed on handmade paper. His research in this area led to a paper-mill owned by Joseph Batchelor at Little Chart in Kent. Morris preferred a Bolognese paper made in 1473 and Batchelor agreed to try to imitate it. Morris insisted on using unmixed linen rags with a patient sequence of fermentation, careful boiling and beating; laid slowly sheet by sheet on a mold that was hand-strung with wire to allow for slight irregularities in texture. Three papers were eventually

12 made for the Kelmscott Press. The artist was no less particular in his search for the proper ink which came from the German firm of Gebrüder Jänecke of Hanover, but only after Morris gave up the idea of making his own in order to be absolutely certain of the quality of its ingredients. He was convinced that the German ink consisted of only old and pure materials.

An Albion hand-press was acquired second-hand and installed at the Kelmscott Press in January 1891. It was similar to the press Caxton used and two others were installed later. During January 1891, the first page of Morris’s own book, The Glittering Plain, was pulled off the press. It must be remembered that while Morris was ultimately chiefly committed to printing at this time, he thought of it as a hobby and also had to attend to his business operations. He found printing a source of delight and relaxation because it was in that work that his craft as a designer and his love for the written book combined and found expression.

Morris and Burne-Jones had both admired Chaucer’s work, as the first master of the English language, while undergraduates at Oxford University. In addition, Burne- Jones painted scenes from the Prioress’s Tale on a wardrobe that he gave Morris as a wedding gift years earlier. The creation of the Chaucer Society in England during 1868 also raised interest in the author’s works. They began design on what would become renowned as the Kelmscott Chaucer in February 1893. The first sheet of the book was printed on August 8, 1894. During the following summer Morris’s health and strength began to fail gradually. Work was, however, completed after twenty-one months of intensive effort on May 8, 1896. The completed Kelmscott Chaucer was issued on June 26, 1896. 425 copies were printed and quickly sold out. An additional thirteen copies were printed on vellum and forty-eight copies were specially bound in while pig’s skin with silver clasps by Thomas. J. Cobden- Sanderson at the Doves Bindery using designs by Morris. The copy in the Frick Fine Arts Library collection is not bound.

In all, the Kelmscott Press completed a total of firty-three titles in sixty-six volumes and a total of 18,234 copies. Morris died October 3, 1896 at age of 63, only a few months after the Kelmscott Chaucer was issued. Edward Burne-Jones survived him by two years.

One notices in the completed edition of the Kelmscott Chaucer that Morris followed the pattern of medieval bookmakers in terms of the positioning of material on the printed page. His margins increased in width by increments of twenty percent, with the inner margin the narrowest followed by the top margin, fore-edge margin, and the bottom and largest margin. This was to allow the finished book to be held without covering the text. In addition to planning the layout of the Chaucer, Morris also designed the title page, fourteen large outer borders, eighteen different frames for the illustrations, and twenty-six large initial words for the text. The text is densely set in double-columns, using the verso and recto as two columns of type.

13 The wood engraving for the decoration and illustration was as great a project as the printing. There were eighty-seven illustrations, a woodcut title, fourteen large borders, eighteen frames for the illustrations, twenty-six initial words and a multitude of smaller initials. Burne-Jones’s strength lies in the composition of his drawings and handling of figures against intricate backgrounds designed by Morris. The essential task of the illustrator to make his pictures form an integral unit with the text they adorn. His illustrations alone rank as masterpieces of English graphic art. They typify much of the best of the Victorian age and of the Pre-Raphaelite Movement of which Burne-Jones was a leader.

The Kelmscott Chaucer set a new benchmark for book design at the end of the nineteenth century and, as mentioned above, was also the last great project of Morris’s life, bringing together two of his passions. First, his love of medieval literature, which inspired his subjects and style of much of his own writing. Second, his socialist philosophy, which looked back to a time before mechanization and division of labor had destroyed, as he saw it, the personal fulfillment and social function of meaningful work. The carefully crafted and ornate style of Morris’ presentation of Chaucer is both a loving and personal appreciation of the medieval master and a key piece of evidence in the study of how interpretations of the Middle Ages have affected Western culture over the last two hundred years.

Morris, William. The Sundering Flood. Overseen by May Morris. Hammersmith: Kelmscott Press, 1897. Hillman Library – Special Collections – 3rd floor – Leuba - PR5079/S9/1897b

Isumbras. The Romance of Sir Isumbras. Hammersmith: Kelmscott Press, 1897. Hillman Library – Special Collections – 3rd floor – Leuba – PR2065/I8/1897 Limited edition of 350 copies.

Selected Works about William Morris

Harvey, Charles. Art, Enterprise, and Ethics: The Life and Works of William Morris. London; Portland, OR: Frank Case, 1996. Hillman Library – HC252.5/M65H367/1996

Harvey, Charles. William Morris: Design and Enterprise in Victorian England. Manchester, England; New York: Manchester University Press; New York: dist. … by St. Martin’s Press, 1991. Hillman Library – HC252.5/M65H37/1991 Henderson, Phliip. William Morris: His Life, Work and Friends. London: Thames and Hudson, 1967. Hillman Library – PR5083/H4/1967 (Copy of the 1977/1986 edition in Frick – NK942/M8/H46/1986)

MacCarthy, Fiona. William Morris: A Life for Our Time. New York: Knopf, 1995. Frick – PR5083/M23/1995 (Copies also in Hillman Library – General Collection and in Special Collections – 3rd floor)

Morris Centenary Conference (1996: Exeter College Oxford). William Morris: Centenary Essays: Papers from the Morris Centenary Conference. Ed. by Peter

14 Faulkner and Peter Preston. Exeter: University of Exeter Press, 1999. Frick – PR5083/W55/1996

Needham, Paul. William Morris and the Art of the Book. New York: Pierpont Morgan Library; Oxford University Press, 1976. Hillman Library – Special Collections – 3rd floor – Leuba f Z232/M87/N4 Includes essays on William Morris as a book collector by Paul Needham, as calligrapher by Joseph Dunlap, as typographer by John Dreyfus.

Salmon, Nicholas. The William Morris Chronology. Bristol: Thoemmes Press, 1996. Hillman Library – PR5083/S35/1996 (copy also in Frick Fine Arts Library)

Thompson, Edward Palmer. William Morris, Romantic to Revolutionary. London: Lawrence & Wishart, 1955. Hillman Library – CT M8773/T4

Vallance, Aymer. The Art of William Morris: A Record. London: G. Bell, 1897. Frick – Cage – iNK942/M877/V1 This edition is limited to 220 copies of which 210 were for sale. This is no. 209. Includes “Publications of the Kelmscott Press.”

We Met Morris: Interviews with William Morris, 1885-1896. Ed. by Tony Pinkney. Reading: Spire Books in assoc. with the William Morris Society, 2005. Hillman Library – PR5083/A39/2005 Includes thirteen interviews with William Morris which appeared in newspapers or journals between 1885 and 1896, the year of his death. Includes “Kelmscott Press: An Illustrated Interview with Mr. William Morris.”

William Morris. Ed. by Linda Parry. [Exhibition: Victoria and Albert Museum, London, May 9 – September 1, 1996] New York: Harry N. Abrams, 1996. Frick – NK1535/M67A4/1996a

Works about the Kelmscott Press

Ellis, Frederick Startridge. Lectures on Sir Edward Burne-Jones’s Illustrations to Chaucer. Hammersmith: Kelmscott Press, 1899. Frick – NE3000/B963/E4

Morris, William. The Ideal Book: Essays and Lectures on the Arts of the Book. Ed. by William S. Peterson. Berkeley: University of California Press, 1982. Information Sciences Library – Z116/A3M65425/1982

Morris, William. A Note by William Morris on His Aims in Founding the Kelmscott Press. With a short description of the press by S. C. Cockerell, and an annotated list of the books printed thereat. Shannon: Irish University Press, 1969. Hillman Library – Special Collections – 3rd floor – Z232/M87M83/1898b (Copy also in ULS Storage: From the Pitt Cat record, click the “Requests” button – same call number as above) Facsimile reprint of 1st ed., London: Kelmscott Press, 1898. This is no. 13 of an edition of 100 copies bound in vellum by Desmond Smith at the Irish University Press bindery.

15 Peterson, William S. A Bibliography of the Kelmscott Press. Oxford: Clarendon Press, 1984. Information Sciences Library – Z232/M87/P44/1984

Peterson, William S. The Kelmscott Press: A History of William Morris’s Typographical Adventure. Oxford: Clarendon; New York: Oxford University Press, 1991. Information Sciences Library – Z232/M87P45/1991

Sparling, Henry Halliday. The Kelmscott Press and William Morris Master-Craftsman. London: Macmillan and Co., Ltd., 1924. Hillman Library – CT M8773/S7 (copy also in Hillman Library – Special Collections – 3rd floor – Leuba – Z232/M87/S73)

Walsdorf, John J and Joseph Fennewald. William Morris and the Kelmscott Press: Selected Works from the Collection of John J. Waldorf …. [Exhibition catalog: University of Scranton, University Art Gallery and Harry and Jeanette Weinberg Memorial Library, October 23 – December 9, 1994] Scranton, PA: University of Scranton, 1994. Hillman Library – Special Collections – 3rd floor – Z232/M87W54/1994 Limited to 500 copies.

William Morris and the Kelmscott Press. [Exhibition catalog: October 9 – December 1959]. Providence, RI: Brown University, Library, 1960. Frick – Z232/M87/B8 (Copies also in Hillman Library – Special Collections – 3rd floor – Z232/M87/B7 and also in ULS Storage: From the Pitt Cat record, click the “Requests” button – same call number as above) Includes an address by Philip C. Duschnes before the Friends of the Library of Brown University.

Selected Examples of Fine Printing in the Frick Fine Arts Library

The Savoy; An Illustrated Monthly. Ed. by Arthur Symons and illustrated by Aubrey Beardsley. 3 vols. London: Leonard Smithers, 1896. Frick – Cage – Shelved alphabetically A quarterly with cover, title pages and other illustrations by Aubrey Beardsley (1872-1898) published from January – December 1896. Hardback blue cover with illustrations by Beardsley. This journal was published at the same time William Morris and Edward Burne-Jones were working on the Kelmscott Chaucer. The Savoy followed Beardsley’s work as art editor of The Yellow Book (1894). He accepted this job for Leonard Smithers’ new quarterly, The Savoy, in financial straits. It soon folded, but not until it included notable writers such as Yeats, Shaw and Berrbohm. Beardsley provided all the covers and numerous interior illustrations, some of which some extraordinary intricate illustrations to Pope’s mock-epic “The Rape of the Lock” and also his own highly erotic (but incomplete tale) “The Story of Venus and Tannhauser,” probably inspired by the opera by Richard Wagner, whom Beardsley admired.

Malory, Thomas, Sir. The Birth, Life and Acts of King Arthur …. The text as written by Sir Thomas Malory, and imprinted by William Caxton at Westminster the year MCCCCLXXXV, … with many original designs by Aubrey Beardsley. With an intro. by Professor John Rhys and a note on Aubrey Beardsley by Aymer Vallance. London: Dent, 1927. Frick – Cage – NC1115/B368/M2 This is the third edition of Le Morte d’Arthur with Aubrey Beardsley’s (1872-1898), designs, is limited to 1,600 copies, after printing. The type has been distributed. Decorated cloth binding. Beardsley was one of the greatest of the Symbolists and a master of pen and ink. He developed a highly oriiginal,

16 formally elegant style, inspired in part by Greek vase painting, in which ornamental rhythm of line combines with a perverse and wickedly satiric imagination to create unforgettable images, often hilarious, frequently erotic, and sometimes deeply moving. His work for this edition of Malory was his first art commission. The assignment entailed over three hundred illustrations and chapter heads, which the artist executed in a mock-medieval, Pre-Raphaelite style. An edition of Reproductions of Eleven Designs Omitted from the First Edition of Le Morte d’Arthur Illustrated by Aubrey Beardsley …. London: Aldine House by J. M. Dent & Sons Ltd., 1927. (Limited to an edition of 300 copies on handmade paper) is located in Hillman Library – Special Collections – 3rd floor – Leuba – PR2040/1927

Selected Artists’ Books in the Frick Fine Arts Library

Scholars have struggled with a definition of the term “artists’ books” during the past thirty years. Simply put, an artist’s book is an item that has been created by an artist and is intended as a visual object. This genre covers a broad spectrum of book works, from highly sculptural creations like Wardrobe by Teresa Pankratz and Sacred Space by Jeffrey Morin to tunnel books (like Octopus by Elizabeth McDevitt and Julie Chen) to more traditional printed texts like A Plague on Your House: A Eulogy & Necrological Etchings of the Frog by Michael Kuch.

While the form of artists’ books is related to the work of avant-garde modernists in Russia as well as artists working in the Dada and Surrealism movements in Europe, current artists’ books derive more from the serial and conceptual works created by artists during the 1960s and 1970s. The growth of a self-conscious artists’ book tradition blossomed in the 1980s and 1990s and continues today.

Artists books may be located by using author, title and other searches in Pitt Cat, the ULS online catalog (as described above).

Author Search – One may use the author search mode to look for either an artist’s name or an author’s name.

Artist’s Name Author’s Name Broaddus John Eric Bury Stephen Chen Julie Castleman Riva McGillivray Nora Drucker Johanna

Because artists’ books are so unique, they sometimes offer special challenges to the librarians who catalog them. One artists’ book in the collection of the Frick Fine Arts Library (212 McCarty Street Matches) is cataloged without an artists’ name, so it is wise to also check for artists’ books by title.

Title Search

On can also locate artists’ books by searching for them by title.

In the Land of Shadows Printers Exquisite Corpse Mapping the Great Book Radio Silence

17 In addition, one may locate artists’ books by using some of the following Library of Congress Subject Headings.

Artists Books Paper Sculpture Book Design Papermaking Bookbinding Photography Artistic 20th Century Conceptual Art Printing Specimens Copy Art Private Press Books Illustration of Books Private Presses Specimens Mail Art Toy and Moveable Books

Chen, Julie. Leavings Berkeley, CA: Flying Fish Press, 1997. Frick – Cage – N7433.4/C44/L43/1992 Illustrated in card stock in accordian fold format, with mounted text, illustrated with cutout mats, and artifacts attached to baggage labels that are inserted in pockets of some of the panels. Issued in cloth- covered box with diapered lid and tie. .

Chen, Julie. Life Time. Berkeley, CA: Flying Fish Press, 1996. Frick – Cage – tN7433.4/C44L54/1996 Poem. Printed on a series of 8 concentric paper discs attached by paper hinges in accordian fold format, designed to be read through a center hole when the construction is fully extended. Issued in a decorated paper box with hinged window lid. Edition limited to 100 copies, numbered and signed by the artist.

Chen, Julie. Radio Silence. Berkeley, CA: Flying Fish Press, 1995. Frick – Cage – N7433.4/C494R34/1995 Papers include Wyndstone Mica and tuxedo bronze, found aeronautical charts and embossed paper designed by Margaret Ahrens Sahlstrand at Icosa Studio. Produced in an edition of 75 copies. In fabric covered box with hinged glass lid. Signed by the artist.

Gilbert and George. Oh, the Grand Old Duke of York. Koln: Oktagon, 1996. Frick – Cage – tN7433.4/G485/O4/1996 This book edited by Hans Obrist is published together with “Lost Day” in an edition of 900 numbered and signed copies. This work was first published in 1972 as a catalogue of the Kunstmuseum Lucerne. The Frick copy is not numbered or signed and is not accompanied by “Lost Day.” Consists of 35 photographs of British artists, Gilbert and George, descending a staircase.

Jackman, Sandra. War Path / Diabolecho 9:11:2001. New York: Sandra Jackman, 2001. Frick – Cage – iN7433.4/J32/W36/2001 One volume, unpaged; housed in a collaged brown paper bag + 1 fold out binocular. Six double page layered spreads opening to nineteen inches. Painted altered book, with collages, ink, thread, photos, onlays, etc., using archival glue. Front board painted and with onlay; back board with small book consisting of two strips of lift-up card filled with small images, also a gray painted and layered strip which conveys the impression of twirling and falling people. In a punched see-through small plastic bag are fold-out binoculars, painted and collaged with photographic image on the one side; they have the effect of making things smaller, more distant rather than bringing them closer. Jackman writes: “The opening pages portray the sting of attach; on the lower right hand page are three figures that appear to be cut from newsprint – they pop-up on the thread that crisscrossed the page.”

Johnson, Paul. [Small unique book]. Manchester: Paul Johnson, 2003. Frick – Cage – tN7433/J6S63/2003

18 In slip case. Hand-painted pages in triangular shaped book with cover constructed of painted paper over boards housed in black card slipcase with painted cord.

Kinnell, Galway. When the Towers Fell. Woodcuts and mixed media illustrations by Ilse Schreiber-Noll. S.l.: I. Schreiber-Noll?, 2005. Frick – Cage – PS3521/I582/W56/2005 This book was conceived, printed and bound by the artist in an edition of eight copies during 2004 and 2005, with woodcuts on paper and cheesecloth and mixed media on paper. The handwritten manuscript, which contains the first stanza and seven lines of the eleventh stanza of the poem, was written by Galway Kinnell in January 2005 for this project and was reproduced, slightly enlarged, from the original. The entire poem was printed on the letterpress while the excerpts in the second part of the book were cut from linoleum. ... Poem copyright 2002 by Galway Kinnell. Artwork copyright 2005 by Ilse Schreiber-Noll. The entire poem was printed on letterpress sewn in a gray paper wrapper with title: "And now, not seeing them, we see them" in brown. While in the second part of the book, consisting of excerpts from the poem cut from linoleum and overlaid with printed cheesecloth. Housed in a drop back box. No. 6 in an edition of 8 copies, signed by the poet and the artist in both parts.

Laxson, Ruth. Wheeling. Atlanta, GA: Press 63 Plus, 1992. Frick – Cage – N7433.4/L38W4/1992 Number 40 in an edition of 200. This book was printed on Beckett enhance and graphica 100 frost. Franklin gothic and other types were handset and printed on a challenge proof press and the off-set on a Heidelberg Kord. Some images were silk-screened.

McDevitt, Elizabeth. Octopus. Illustrated by Julie Chen. Berkeley, CA: Flying Fish Press, 1992. Frick – Cage – PS3563/C355/O3/1992 Bound in accordian style to produce a three-dimensional effect. In case. Limited edition of 100 copies of which this is no. 15.

McPherson, Sandra. Beauty in Use. Newark, VT: Janus Press, 1997. Frick – Cage – PS3563/A326B43/1997 Poems inspired by the artist’s collection of African-American quilts, illustrated by Claire Van Vliet with pages of interlocking papers to form two-sided quilt squares. Edition of 150 copies, signed by the artist, the poet of which this is number 40. In clamshell case covered with various cloths. Accompanied by poly bag with small pieces of paper left over from the construction of the book.

Melazzini, Santiago. Day of the Dead = Dio de los muertos. Buenos Aires: La Marca Editora; New York: Dist. by D.A.P., 2005. Frick – Cage - tN7433.4/M442/D28/2005 A small example of a flip book.

Ng, Katherine. Fortune Ate Me. S.l.: Second Story Press, 1992. Frick – Cage – N7433.4/N53F4/1992 Consists of one pink pastry box with red titling and a linoprint dragon that opens up to reveal seven fortune cookies made from folded discs of Strathmore Bristol board. Each origami cookie contains a fortune – a brief observation of the author’s struggle with depression and a fortune related to that particular aspect of the struggle. Inspired by letters from the artist’s father, this artists’ book makes a comment on the stereotype of her ethnicity by utilizing the forms of a Chinese take-out box and, the American invention, fortune cookies.

Phillips, Tom. Dante’s Inferno. Trans., illustrated, designed and published by Tom Phillips. London: Talfourd, 1983. Frick – NE2238.5/P47D32/1983

19 Smith, Keith A. Book 91. Barrytown, NY: Space Heater Multiples, 1982. Frick – Cage – iN7433.4/S65A4/1982 An artwork, without printing except for the embossed title page. Termed a “string book” in the artist’s Structure of the Visual Book (1984, p. 95), this item is considered one of the seminal works in the artists’ book movement. The covers of the book have a strong pattern, hinting at what’s to be found inside. Upon opening the book, a cut page is found that reveals glimpses of the title page beneath it – one that is barely legible because the words are blind embossed on the page. The fact that the text is not inked seems to emphasize just how unimportant text is in this book. The title page, in fact, provides the only text in this book whose leaves are strung together with linen cords and punched with holes to create varying effects of light and shadow when viewed with a single light source. This is no. 33 of a limited edition of 50 copies numbered and signed by the artist.

Vonnegut, Kurt. Pandora’s Box./ Slaughterhouse-Five. Santa Cruz, CA: Peter and Donna Thomas, 1997. Frick – Cage – PS3572/O5/S684/1997 An innovative miniature-scrolling book created like Pandora’s Box of the Greek myth. When the box is opened and the scroll pulled out, all the evils (printed on the scroll) are released. Hope is left that is represented on the scroll by the text, a quote from Kurt Vonnegut’s Slaughterhouse-Five. Constructed from exotic wood and marbled, hand-made linen rag paper. Text printed in four colors using metal and linoleum blocks. Title stamped on lid of box in gold. This is no. 49 of 130 copies.

Weier, Debra. O + O / Circle Plus Circle. Princeton Junction, NJ: Debra Weier, 2003. Frick – Cage – iN7433.4/W425/O2/2003 Unique pop-up artist's book designed and constructed by Debra Weier, green, blue, orange, khaki and brown pages with light khaki wrappers. Laid in a strong red cloth drop-back box. Signed edition.

Selected Publications about Artists’ Books

Bury, Stephen. Artists’Books: The Book As a Work of Art, 1963-1995. Aldershot, Hants, England; Brookfield, VT: Scolar Press, 1995. Frick – N7433.3/B87/1995

Castleman, Riva. A Century of Artists’ Books. [Exhibition catalog: October 23, 1994 – January 24, 1995] New York: Museum of Modern Art; dist. by Abrams, 1994. Frick – N7433.3/C37/1994

Drucker, Johanna. The Century of Artists’ Books. New York: Granary Books, 1995. Frick – N7433.3/D78/1995 Hubert, Renée Riese. The Cutting Edge of Reading: Artists’ Books. New York: Granary Books, 1999. Frick – N7433.3/H83/1999

Lyons, Joan. Artists’ Books: A Critical Anthology and Sourcebook. Rochester, NY: Visual Studies Workshop Press; Layton, UT: Dist. by G.M. Smith, Peregrine Smith Books, 1985. Frick – N7433.3/A75/1985

Perrée, Rob. Cover to Cover: The Artist’s Book in Perspective. [Exhibition catalog: November 2002] Rotterdam: Nai Publishers, 2002. Frick – N7433.3/P47/2002

Smith, Keith A. Structure of the Visual Book. 3rd ed. Rochester, NY: Keith A. Smith Books, 1994. Information Sciences Library – Z116/A3S58/1994 (copy also in Frick)

20 Talking the Boundless Book: Art, Language, and the Book Arts: Essays from Art & Language, Re-Reading the Boundless Book. Ed. and intro. By Charles Alexander. Minneapolis: Minnesota Center for Book Arts, 1995. Information Sciences Library – N7433.3/T36/1995 (Frick – N7433.3/T36/1995

Current or More Detailed Information

After obtaining the necessary books and completing request forms for items that you may need, but that we do not own, it is important to search for more current or specific information. Begin at the ULS Home Page (www.library.pitt.edu)

™ Use FIND ARTICLES and then click “Find a Particular Database to the right of the screen for a title list of individual databases

Relevant ULS Databases

Art Index Retrospective. 1929-1983. Indexing only. Art Full Text. 1984+, Full Text of SOME titles, 1997+ Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “A” and then choose the title of the database. One can either search these databases individually or simultaneously. The databases cover the art of all periods in most American and major European art journals and museum bulletins. Coverage includes African, Chinese, Egyptian, classical Greek and Roman, Indian and Southeast Asian, Islamic, Japanese, Latin American, Native American, Oceanic and Pre-Columbian arts written in English and European languages. Includes journal articles, book reviews, exhibition reviews, and indexing of art reproductions. For assistance in using this database, see Library Guide No. 4 entitled Art FullText which will soon be mounted as a Research Guide on the Art and Architectural History Subject Page of the ULS Digital Library.

Artbibliographies Modern. 1974+ ; Citations and abstracts (summaries) ONLY Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “A” and then choose the title of the database. Provides access to citations and abstracts (summaries) for journal articles, books, exhibition catalogs, essays, dissertations, and exhibition reviews. Covers all aspects of modern and contemporary art, including performance art and installation works, video art, computer and electronic art, body art, graffiti, artists’ books, theater arts, crafts, jewelry, illustration and more, as well as the traditional fine arts of painting, printmaking, sculpture, and drawing. Photography is covered from its invention in 1839 to the present. Excludes architecture. A particular emphasis is placed upon adding new and lesser-known artists and on the coverage of foreign-language literature. Approximately 13,000 new entries are added each year. Updated bi- annually. For assistance in using ABM, see Library Guide No. 28 entitled

21 ArtBibliographies Modern that will soon be mounted as a Research Guide on the Art and Architectural History Subject Page of the ULS Digital Library.

Bibliography of the History of Art (BHA) 1990+ ; Citations and abstracts (summaries) ONLY. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “B” and then choose the title of the database. BHA provides citations and abstracts (summaries) to published materials in all periods of art and architectural history, including the entire contents of its predecessor, RILA (1975-1989) and part of the contents to another predecessor (RAA, 1973-1989; NOTE: 1929-1972 of this index are only available in the printed edition located in the library’s reference room). BHA is the most comprehensive art bibliography available worldwide, covering European and American visual arts from late antiquity to the present. This database indexes and abstracts books, exhibition catalogs, dissertations, essays, journal articles, Festschriften, conference proceedings and dealer catalogs. Broad in scope, the bibliography’s citations encompass art, architecture, painting, sculpture, drawing, prints, decorative arts, crafts, graphic arts, and folk and popular art. BHA is updated quarterly. For assistance in using BHA, please consult Library Guide No. 5 entitled Bibliography of the History of Art. It will soon be mounted as a Research Guide on the Art and Architectural History Subject Page on the ULS Digital Library.

Library Literature and Information Science 1980+ Citations, abstracts (summaries) and links to full text. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “L” and then choose the title of the database. Library Literature offers easy access to information crucial to the operation of school, university, public, special and professional libraries. The database covers rare books and publishing as well as automation, cataloging, censorship, circulation procedures, copyright legislation, government funding, information brokers, library associations, CD-ROM searching, personnel management, public relations and more. Library Literature covers 297 key journals (in English and other languages) and is a valuable source of timely information on current library trends and developments. Updated quarterly.

MLA International Bibliography. 1963+ Citations, abstracts (summaries) only. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “M” and then choose the title of the database. Volumes for 1921-1962 only available in the printed edition. It is arranged by country, then by time period, and then alphabetically by author. Hillman - Reference - Ground floor - Z7006/M64 The MLA (Modern Language Association) bibliography provides citations and abstracts with some full text articles available on scholarly research in over 3,000 journals, books, dissertations, book reviews, Festschriften and essays. It also covers

22 relevant working papers, proceedings, bibliographies, and publications in other formats. Includes coverage of film as well as language and literature. The database is updated 10 times per year. For assistance in using the MLA International Bibliography, please consult the “Searching MLA” feature provided in the database.

To locate journals within ULS libraries, see Library Guide No. 3 entitled Frick Fine Arts Library: How to Find Journal Articles. It also includes information on how to loate materials that are not owned by ULS libraries. Journals in other ULS libraries (i.e. Hillman and the Information Sciences Library) are located on shelves and arranged by titles.

Internet Sites on William Morris and the Kelmscott Chaucer

Fine Printing www.english.umd.edu/engfac/WPeterson/MFP/index.html Created by William Peterson of the University of Maryland, as expert on the Kelmscott Press, this site contains several articles from the period just after the existence of the Press, as well as information about many of the presses that were influenced by Morris’s work. It also contains several bibliographic guides, including one for the Kelmscott Press, and a general one for fine printing.

The Victorian Web www.victorianweb.org/authors/morris/morrisov.html Originally created at Brown University, Victorian Web is an extremely comprehensive compendium of articles about the Victorian period. The William Morris section provides information about all aspects of his life including information on the Kelmscott Press. All pages contain links to other relevant parts of the site.

Voice of the Shuttle http://vos.ucsb.edu/browse.asp?id=2101 Based at the University of California, Santa Barbara, and run by English professor Alan Liu, this site provides extensive access to Web information on William Morris and the Kelmscott Press, including many digital reproductions of Kelmscott press materials.

William Morris Society www.morrissociety.org The official Web site of the William Morris Society, this site provides a brief biography of Morris, links to other resources, and news about Morris. Some of the articles from The Journal of William Morris Studies may also be found online here. There are title and author indexes which, unfortunately, are not searchable.

Internet Sites on Artists’ Books

Bookartist Virtual Gallery (University of Idaho) http://darkwing.uoregon.edu/~artv460/CIA1w_link.html

Book Arts Gallery (Peter Verheyen) http://www.bookarts.com/gallery/

Colophon Page Gallery http://colophon.com/gallery/gallery.html

23 Other Internet Sites about Artists’ Books and Book Works

The Artist’s Book as Idea and Form (First chapter of Johanna Drucker’s book entitled The Century of Artists’ Books) www.granarybooks.com/books/drucker2/drucker2

Artists’ Book Image Database (Otis College of Art and Design Library) http://artbook.library.otis.edu/

Artists Books Information Resource (Yale University) http://www.library.yale.edu/~jwilliam/artistsbooks/

Book Arts Web http://www.philobiblon.com/

Center for Book Arts (New York City) http://www.centerforbookarts.org

Discovering Artists’ Books http://www.goshen.edu/~theodoreb/discovering/brief9.htm

Franklin Furnace Archive http://franklinfurnace.org/

Internet Resources for Artists Books http://www.library.unisa.edu.au/resources/subject/artistsbks.asp

Joan Flasch Artists’Book Collection, John M. Flaxman Library, School of Art at the Art Institute of Chicago http://www.artic.edu/saic/art/flasch/

MOMA Artist Book Collection http://www.moma.org/research/library/index.html

Printed Matter, Inc. http://www.printedmatter,org

Visual Studies Workshop http://www.vsw.org/

Women’s Studio Workshop http://www.wsworkshop.org/artistsbooks.html

Zybooks (London) http://www.zyarts.com/zybooks/

24 Searching for Images by William Morris & Aubrey Beardsley

Even though the Internet has made it somewhat easier to locate images, it can still be a time-consuming business. The following databases are good places to use for locating images. See the section above on “Art Databases” for additional information on using them.

Art Full Text and Art Index Retrospective – Provides you with a citation to a journal article that includes a reproduction of the artwork. See complete description above.

ARTstor. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “A” and then choose the title of the database. A digital libray of images, their associated information, and software tools designed to enhance teaching, learning, and scholarship. The ARTstor Digital Library contains approximately 500,000 images from a wide range of cultures and time periods; including images of architecture, painting, photography, prints, drawings, sculpture, decorative arts, design, archeological and anthropological objects. One must be a Pitt-affiliated user in order to utilize the full features of the database, including downloading and saving images. Users of ARTstor may print, export or download images for educational use by employing the database’s print or export functions as described in its “Terms and Conditions” section. One must be a Pitt-affiliated user in order to utilize the full features of the database.

Grove Dictionary of Art. Available for you to search yourself at any electronic device in ULS libraries. Begin at the ULS Digital Library Home Page, click FIND ARTICLES, click “Find a Particular Database” in the box to the right of the screen, click the letter “G” and then choose the title of the database.

See description above. While this database now places illustrations within recently written articles, when the database was first created, the images were located at a separate Links button and then search by subject or artist’s name.

Selected Image Search Engines on the Internet

Google Image Search Altavista Image Search www.google.com www.altavista.com Click on Images tab Click on Images Tab

Writing Manuals

The writing aids listed below will assist you in learning how to write about a work of art. Each author addresses the issues of analyzing a work of art, defining and compiling a bibliography, and how to put an academic paper together.

25 Barnet, Sylvan. Short Guide to Writing about Art. 9th ed., 2008. Frick – Reference – N7476/B37/2008

Sayre, Henry. Writing about Art. 4th ed. 2002. Frick – Reference - N7476/S29/1999

Style Manuals

Style manuals provide assistance with citing different types of materials (books, journal articles, essays, etc.) when compiling a bibliography for a term paper. There is a link to several style manuals, including the Chicago Manual of Style and Art Bulletin Style Guide, mounted on the ULS Digital Library at http://www.library.pitt.edu/guides/citing/ . • Choose the portion on “Citation Styles Online” and click on “Chicago Manual of Style.”

Questions: Remember to E-mail the Public Services Librarian in the Frick Fine Arts Library at [email protected] and use “Ask-a-Librarian” feature on the ULS Digital Library.

*"The person who knows where knowledge is, as good as has it." – Brunetiere 16 – Rev. 10/25/07

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