tag:blogger.com,1999:blog-73873946139597053742024-03-17T23:02:51.260-04:00Tampa Book Arts StudioUnknownnoreply@blogger.comBlogger83125tag:blogger.com,1999:blog-7387394613959705374.post-25495365135618098762020-04-09T18:40:00.000-04:002020-04-14T14:54:49.089-04:00From Printmaking to Making Books<div class="MsoNormal" style="margin: 0in 0in 0.0001pt; text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;"> Not everyone knows what it means to retire. After saying goodbye to the 9-to-5 routine, some people find new ways to stay as busy as ever, either by beginning second careers, or pursuing avocations purely for pleasure. One person who didn’t know what it means to slow down after reaching retirement age is the subject of this post: Herschel C. Logan.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">Herschel and Anne Logan with their Baby Reliance press.</span></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Herschel Logan came to our attention through another of Lee Harrer’s generous gifts. The TBAS library includes miniature books published under the Log-Anne Press imprint, a name made by compounding Herschel's surname and the first name of his (second) wife, Anne. These were published between 1966 and 1987, after the Logans retired to Santa Ana, California. Each was printed by hand on a Baby Reliance Washington Press, as seen in the photograph above. Their books are a charming mix of unpretentious titles, many written by Herschel, on subjects ranging from the Gold Rush and Kansas to patriotism and Native American culture. One is a bit of fun titled </span><i style="font-family: Georgia, "Times New Roman", serif;">What I Know About Printing Miniature Books</i><span style="font-family: "georgia" , "times new roman" , serif;">, made up of blank pages with a note that reads: “If you know any more than this, here is your chance to write a book.” The humor is a touch disingenuous, though, since a perusal of the thirty-five Log-Anne Press books in the Harrer collection shows that Herschel and Anne could easily have filled those blank pages with good advice.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">A selection of Log-Anne Press miniature books.</span></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"> If Herschel Logan was so productive during his Golden Years, one wonders what he achieved during his first 65 years. The story begins in Missouri, where Herschel was born in 1901. His family soon moved to Kansas, where he lived and worked until retirement. As a boy Herschel began to draw, and his first formal schooling in art was by way of a correspondence course. In 1920 he went to Chicago to study for a year at the Chicago Academy of Art, then returned to Wichita, Kansas, to work for the printing firm McCormick Armstrong as a commercial and advertising artist. His love of art led him to pursue more personal avenues of expression, and he found his métier in printmaking as a woodcut artist.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Herschel produced his first woodcut in 1921. From the beginning, his work revealed a sensitive appreciation for the Kansas landscape. In crisp, carefully composed images, Herschel portrayed scenes like farmhouses nestled in untouched foothills, cows grazing beneath the cool shade of a tree, the play of light and shadow in a field, a woodland hut half-built into the earth, apple trees in brilliant bloom, and a sod shanty on the open prairie. By 1928 he’d produced enough prints to illustrate a book. <i>Other Days: In Pictures and Verse </i>(Burton Publishing, Kansas City), a collection of prose poems by Everett Scrogin, includes twelve of Herschel’s woodcuts and page decorations by C. A. Seward.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">"Noonday Rest"</span></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;"> He was making a reputation for himself as the “Prairie Woodcutter” when he joined with other artists to found The Prairie Print Makers. It was organized in Wichita, Kansas, on December 28, 1930, with ten charter members: </span><span style="background: white; font-family: "georgia" , "times new roman" , serif; text-align: justify;">Charles M. Capps, Leo Courtney, Lloyd C. Foltz, Arthur W. Hall, Norma Bassett Hall, C. A Hotvedt, Edmund Kopietz, Birger Sandzen, C. A. Seward, and Herschel Logan.</span><span style="font-family: "georgia" , "times new roman" , serif; text-align: justify;"> Between 1931 and 1964, the society issued thirty-four annual “Presentation Prints” to its members. Strangely, none of them were by Herschel.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif;">"Autumn"</span></td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"> Herschel produced 140 or so prints from 1921 to 1938. Many of them were issued in editions of fifty or fewer. While the majority of his prints were wood engravings, Herschel also worked with rubber and linoleum, and produced one lithograph and a few etchings. Though he lived for nearly fifty years more, Herschel never produced another woodcut print after 1938. He is said to have abandoned printmaking following the death of his mentor and fellow Prairie Print Maker, C. A. Seward. H</span><span style="font-family: "georgia" , "times new roman" , serif;">erschel did not abandon art, though. </span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"> He continued to produce illustrations for books, including </span><i style="font-family: georgia, "times new roman", serif;">The Muzzle Loading Rifle Then and Now </i><span style="font-family: "georgia" , "times new roman" , serif;">(1942) by Walter M. Cline and his own books: </span><i style="font-family: georgia, "times new roman", serif;">Hand Cannon to Automatic: A Pictorial Parade of Hand Arms </i><span style="font-family: "georgia" , "times new roman" , serif;">(1944), </span><i style="font-family: georgia, "times new roman", serif;">Cartridges </i><span style="font-family: "georgia" , "times new roman" , serif;">(1948), </span><i style="font-family: georgia, "times new roman", serif;">Buckskin and Satin: The Life of Texas Jack </i><span style="font-family: "georgia" , "times new roman" , serif;">(1954), and </span><i style="font-family: georgia, "times new roman", serif;">Underhammer Guns</i><span style="font-family: "georgia" , "times new roman" , serif;"> (1960). </span><span style="font-family: "georgia" , "times new roman" , serif;">Most of Herschel’s miniatures also feature his illustrations. They are stripped down and spare compared to his wood engravings or the detailed line work of his earlier book illustrations. But their simpler, cartoon-like style suits the small format and lighter subjects of the tiny books.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">A woodcut by J. J. Lankes from 1930</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Farmhouse by Herschel Logan (circa 1930s)</td></tr>
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<span style="font-family: "georgia" , "times new roman" , serif;"> The printmaking aspect of Herschel Logan’s career brings to mind the large number of J. J. Lankes woodcut prints in the TBAS collections, most of them gifts from the Lankes scholar Welford D. Taylor and J. B. Lankes, the artist’s son. </span><span style="font-family: "georgia" , "times new roman" , serif;">Anyone familiar with J. J. Lankes’s work could be excused, upon first encountering Logan’s woodcuts, for attributing a Logan print to Lankes. The same subjects predominate in both artists’ work: pastoral and rustic scenes animated by the lives of modest people who live close to the land. Both men responded to the rapid changes they witnessed as they grew up and came of age in the early decades of the twentieth century. The America celebrated in their prints is made up of landscapes gently marked by dirt roads and rough stone walls or crooked fences. In the most populated and developed parts of the country, that idyllic America gave way to a country scarred by endless miles of paved roads to accommodate the ever-growing number of automobiles; skylines became grossly interrupted in every direction by telephone and power lines. Aside from the subject matter, one also notices that some prints by both men are “signed” with similar “L” monograms. The two prints above show examples of these monograms. One wonders if collectors and researchers have ever confused the work of one man for another. And though there is no evidence, one likes to imagine that Lankes and Logan could have known one another. They would have had much to discuss!</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"> This isn’t the first time that Lee Harrer’s miniature books have been the subject of a TBAS blog. We previously examined our rich holdings of Achille St. Onge’s elegant leather-bound minis, as well as those commissioned by Stanley Marcus of Neiman-Marcus. (In case you missed the earlier post, you will find it at <a href="http://tampabookartsstudio.blogspot.com/2016/09/" target="_blank">this link</a>.)</span> <span style="font-family: "georgia" , "times new roman" , serif;">We’re sure this won’t be the last time, either, since there are many other parts of the Harrer miniature collection that deserve and reward close attention.</span></div>
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Unknownnoreply@blogger.com93tag:blogger.com,1999:blog-7387394613959705374.post-15002429938455674432019-01-31T18:00:00.000-05:002019-01-31T18:00:00.702-05:00The TBAS and Cracker Country Work Together to Produce the New Edition of an Old-Time Newspaper at the Florida State Fair<div style="text-align: justify;">
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Studio Associate Joshua Steward stands on the porch of the <i>Chronicle</i> building. He previously worked as a docent for Cracker Country acting as resident printer for school tours. Now at the Tampa Book Arts Studio, he helps Carl rework and update the<i> Cracker Country Chronicle</i> pages each year.</div>
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Joshua Steward in the printshop at Cracker Country shows</div>
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young visitors how to print a page.</div>
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Thousands of visitors to the Florida State Fair will stop by the vintage printshop in the “Cracker Country” area of the Fairgrounds this year, to watch volunteers demonstrate old-fashioned letterpress printing and to collect a sample of the <i>Cracker Country Chronicle</i> “hot off the press.” The “hot type” for that old-fashioned local newspaper has been set and cast in metal here at the Tampa Book Arts Studio at the University of Tampa.</div>
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Known formally as the “Mildred W. and Doyle E. Carlton, Jr. Cracker Country,” the Florida pioneer village at the Florida State Fairgrounds is Tampa's only living history museum. It includes a collection of thirteen historic buildings dating from 1870 to 1912 that were relocated to the grounds from around the state. Today they have been restored and decorated with period furnishings. Staffed by costumed history interpreters, they help portray a sense of daily living for early Florida pioneers.</div>
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Of course, a printing press was a key resource for Florida pioneer residents. It helped spread important news, share commercial messages, announce local births and deaths, and build community.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJe6W3cE71e6tH0ugSkTKQ9MVwElubiIv49eu8_MqRO9OcxM29A4a9eWetBy_aWOo0m88rD-HG9TcKyeB2CsDyZdN_-J_mZ8Ruiw8Ds-D2mkHoyjtVjvNZpF1NZcbMDtGaKgSYeoSr70/s1600/Robin-Willis_600px.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="399" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFJe6W3cE71e6tH0ugSkTKQ9MVwElubiIv49eu8_MqRO9OcxM29A4a9eWetBy_aWOo0m88rD-HG9TcKyeB2CsDyZdN_-J_mZ8Ruiw8Ds-D2mkHoyjtVjvNZpF1NZcbMDtGaKgSYeoSr70/s1600/Robin-Willis_600px.jpg" /></a></td></tr>
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<span style="text-align: justify;">Robin Willis standing at the turn-of-the-century platen press on which the newspaper is printed each year.</span></div>
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(Photo courtesy of Cracker Country)</div>
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This year the Florida State Fair, February 7-18, 2019, will be doubly significant for the <i>Cracker Country Chronicle</i>, since a new front-page story in the <i>Chronicle</i> is a tribute to long-time Cracker Country volunteer Robin Willis, who passed away in August at the age of 92.<br />
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After serving in the Navy during WWII, Robin worked for various newspapers in the South before settling in Tampa, where he lived and worked for almost sixty years. His services for both typesetting and printing were in demand, and after retiring, he demonstrated printing and hot metal typesetting on a Linotype for fairground visitors to Cracker Country. When the machine Robin had used there was no longer in operating condition, he came to the TBAS to set the <i>Chronicle’s</i> type, bringing his own Linotype mats with him so that the typeface would be the same from year to year.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh8FLykKYEhk6Whvx9yo1lpcUd4uH61d-npOW6vgRFbeAqkgSryclsSDxLsWog18cmpmKmjYvNVS6zTKsEYzZaiOsUcnul4BCL7Ytwa6tM0plVEozoiJrkjnlc8F-0Via8hz0X6U5dI_I/s1600/Carl_intertype.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="225" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh8FLykKYEhk6Whvx9yo1lpcUd4uH61d-npOW6vgRFbeAqkgSryclsSDxLsWog18cmpmKmjYvNVS6zTKsEYzZaiOsUcnul4BCL7Ytwa6tM0plVEozoiJrkjnlc8F-0Via8hz0X6U5dI_I/s1600/Carl_intertype.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;">TBAS volunteer Carl Mario Nudi typesetting at the keyboard of our Intertype linecasting machine.</td></tr>
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Since 2015, TBAS volunteer Carl Mario Nudi has done the annual typesetting for <i>Cracker Country Chronicle</i> on our Intertype linecasting machine, producing newly written articles and news items, designing new headlines, and giving the form a general freshening-up each year. The annual newspaper is, all told, a labor of love that celebrates and supports the work of Cracker Country and helps sustain appreciation for the old-time letterpress printers. And in Carl’s case, working on the <i>Chronicle</i> newspaper is especially appropriate, harkening back to his years of doing hot-metal composition work for the <i>Detroit Free Press</i> daily newspaper, and then becoming a reporter for the <i>Bradenton Herald</i>. For this year’s 2019 Florida State Fair the work continues, as the Tampa Book Arts Studio and Cracker Country continue their collaboration, this time with a mutual admiration and appreciation for the many contributions of Robin Willis.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiJQZNbCOtSlyV4SADKD9JpZCDaet5WE3x-Foz-8TAN9mvJ3zBpWE-HHhvMb3xI3T6TMiICcA4AfftgAXt9I2hELacqFq1TMaTiLS3oQHztSinAhQpuOJ-d7Z8Irelxj_pV6r5mEIACUE/s1600/CarlJosh.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="368" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiJQZNbCOtSlyV4SADKD9JpZCDaet5WE3x-Foz-8TAN9mvJ3zBpWE-HHhvMb3xI3T6TMiICcA4AfftgAXt9I2hELacqFq1TMaTiLS3oQHztSinAhQpuOJ-d7Z8Irelxj_pV6r5mEIACUE/s1600/CarlJosh.jpg" /></a></td></tr>
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Carl inspects and proofs freshly cast lines of text (left) while Josh tightens the <i>Chronicle</i> form in its chase for proofing.</div>
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Unknownnoreply@blogger.com65tag:blogger.com,1999:blog-7387394613959705374.post-86458094152336897912018-12-03T17:35:00.000-05:002018-12-08T09:42:46.742-05:00Poet Laureate Peter Meinke and Artist Jeanne Meinke Share a Taste of Letterpress Printing at the Tampa Book Arts Studio<div class="separator" style="clear: both; text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSlZf74eofY4YQuuexjma1RvkG02Wts3G6Jq2JUpSFkSlFPa2CVIi7L8N9v19fKg_1f5xmV2FOlbW7fojHga_D0qXM1_5WbChNGA4qRvGDJJkINyshyI4vey6VkjXL7CvFW84-XKboc20/s1600/Meinke_TBAS_600px.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="390" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSlZf74eofY4YQuuexjma1RvkG02Wts3G6Jq2JUpSFkSlFPa2CVIi7L8N9v19fKg_1f5xmV2FOlbW7fojHga_D0qXM1_5WbChNGA4qRvGDJJkINyshyI4vey6VkjXL7CvFW84-XKboc20/s1600/Meinke_TBAS_600px.jpg" /></a></div>
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Florida’s Poet Laureate, Peter Meinke, and his wife, artist Jeanne Clark Meinke, stopped by the Tampa Book Arts Studio recently to celebrate the publication of their most recent book, <i>Tasting Like Gravity</i>. He and Jeanne got the feel of making a solid letterpress impression by hand on one of the vintage Kelsey platen presses.</div>
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<i>Tasting Like Gravity</i> was published this fall by the University of Tampa Press in hardback and paperback editions. It features 35 new poems by Peter, including 22 “Rondeaux for the 21st Century,” with drawings and a cover image by Jeanne. It is Peter’s seventeenth book of poetry, and their sixth collaborative publication with the University of Tampa Press.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfZBfv9AcfkpbyB8j657_XFn36ZuA_UBVBThEkTYN2oq8xpotdw1sVfjNJqHDCBiHX7UtuYZmZuPm9t4ZY2JH0OL6PMRm1wFcXL1FAUWejRuq1Sr0spEN0_72c-M25bsa-__W5EsUh_JU/s1600/MeinkeTasting_spread2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfZBfv9AcfkpbyB8j657_XFn36ZuA_UBVBThEkTYN2oq8xpotdw1sVfjNJqHDCBiHX7UtuYZmZuPm9t4ZY2JH0OL6PMRm1wFcXL1FAUWejRuq1Sr0spEN0_72c-M25bsa-__W5EsUh_JU/s1600/MeinkeTasting_spread2.jpg" /></a></div>
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Our commemorative bookmark celebrating the new book’s official debut reproduces a small apple-tree woodcut by J. J. Lankes, with the opening lines of the first poem in the collection, handset in Kennerley Old Style types designed by Frederic Goudy:<br />
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falls around me</div>
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like apples from a music tree</div>
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tasting like gravity . . .</div>
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<b><i>Tasting Like Gravity</i></b> is now available</div>
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for purchase in <a href="http://www.ut.edu/TampaPress/pressDetail.aspx?id=34359739147" target="_blank">paperback</a> and <a href="http://www.ut.edu/TampaPress/pressDetail.aspx?id=34359739152" target="_blank">hardback</a> editions.</div>
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Unknownnoreply@blogger.com10tag:blogger.com,1999:blog-7387394613959705374.post-53426940996180702092018-08-23T15:24:00.004-04:002018-09-07T08:47:15.509-04:00Christopher Morley — A Life in Books<div class="separator" style="clear: both; text-align: center;">
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Lee Harrer has enriched the TBAS Special Collections Library with another generous gift: his collection of Christopher Morley books and ephemera lovingly assembled over several decades. TBAS associate Sean Donnelly recently brought half a dozen empty boxes to Lee’s home and gently packed the collection for its journey from Clearwater to Tampa. As Sean cataloged the collection, he looked over its many gems with Richard Mathews and Joshua Steward, and they decided the books would make a great exhibit. This tribute to Morley and our friend Lee can now be seen on the second floor of the Macdonald-Kelce Library.</div>
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The most striking thing about the books is their visual appeal, thanks to the fact that Lee bought examples that include the scarce jackets. These jackets from the 1910s to the 1940s reflect the artistic styles of the time. The influence of Art Deco is perhaps the most obvious, but even within that idiom there is great variety. The jackets designed for the books of this popular and prolific author provide a microcosmic glimpse of the entire period between 1919 and 1940.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbddz3FBnDgTcrlzgxw_AdB0Bh25A94SovGmW4p3vCTA4TTtwHovEgm83trnyTPpLTv9hpPWzzRmboRJl7-fojI2PlsdPBwwF4BWEcbmUk5YiEFYWLRi7f6UatnpfNUUFHNVgFlqNUpgQ/s1600/Morley-photo_for-blog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="400" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbddz3FBnDgTcrlzgxw_AdB0Bh25A94SovGmW4p3vCTA4TTtwHovEgm83trnyTPpLTv9hpPWzzRmboRJl7-fojI2PlsdPBwwF4BWEcbmUk5YiEFYWLRi7f6UatnpfNUUFHNVgFlqNUpgQ/s200/Morley-photo_for-blog.jpg" width="200" /></a></div>
Christopher Morley (1890-1957) was a “man of letters” in the classic sense. Over the course of a forty-year career he wrote everything: essays, poetry, novels, short stories, journalism, plays, and biography. His popularity made him a public figure and he used that fame to share his love of literature. He did so as a columnist for the <i>Philadelphia Evening Public Ledger</i> and the <i>New York Evening Post</i>; as contributing editor of the <i>Saturday Review of Literature</i>; as one of the founders of The Baker Street Irregulars, the most famous club devoted to Sherlock Holmes; and as editor of two editions of <i>Bartlett’s Familiar Quotations</i>.</div>
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Beginning with <i>The Eighth Sin</i>, published in 1912 while he was studying at Oxford on a Rhodes Scholarship, he embarked on a prolific career, often publishing more than one book a year. By the time a series of strokes slowed him down in the early 1950s, he had more than 100 books to his credit. Most of them were published by “the trade,” that is to say major publishing houses like Doubleday and Lippincott. Those books are the basis for the part of this exhibit entitled <b>“Between the Wars: Book Jacket Design, 1919-1940.”</b> Eighteen books were chosen to show the range of handsome work done by American publishers during the period. They are in the window display. A complementary selection of books representing Morley's private press publications is on display in an adjacent standing case.</div>
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<i><span style="font-size: large;">~ The Display ~</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-S9_twF5BRRrTMyPDGwz_4CWHNIybTDlSUBGkWaEHNpEiHf2O5UvqVqkceSNnILcHEzxRK89vakrstqRBqZQ3PPB07sSvbzZ5MOlQQo6Ey3PjUI3WqTiv0xx88CVw0dIxZW3vQXyQoS4/s1600/Display-for-blog.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-S9_twF5BRRrTMyPDGwz_4CWHNIybTDlSUBGkWaEHNpEiHf2O5UvqVqkceSNnILcHEzxRK89vakrstqRBqZQ3PPB07sSvbzZ5MOlQQo6Ey3PjUI3WqTiv0xx88CVw0dIxZW3vQXyQoS4/s1600/Display-for-blog.jpg" /></a><br />
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<span style="font-style: italic; text-align: justify;">The last title shown in the window display (bottom shelf, far right), </span><span style="text-align: justify;">Kitty Foyle</span><span style="font-style: italic; text-align: justify;">, was</span></div>
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<i><span style="text-align: justify;">Morley’s greatest literary success, selling over one million copies. It was also adapted</span></i></div>
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<i><span style="text-align: justify;">into an Oscar-</span></i><i><span style="text-align: justify;">winning film that starred Ginger Rogers.</span></i></div>
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<i>(A portion of the pamphlet accompanying the exhibit is shown below. </i><i>Included </i><i>is a catalog of</i></div>
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<i>titles selected for the two parts of the exhibit: jacket designs, and private press publications.)</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL5uVNAEIip1fhiDJ6YSJQU8K39miNfkP7PCNwZC8kqlS7o4WkrgwT1GjoDDVz_7W_Gb2tNIp4dvFjG0CY6m_u37rRFEOkofHz_Cw451ZFwX2zCpM-PQw282Kv_wUE_9-7XlaseiYWmJs/s1600/Morley-pamphlet_for-blog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL5uVNAEIip1fhiDJ6YSJQU8K39miNfkP7PCNwZC8kqlS7o4WkrgwT1GjoDDVz_7W_Gb2tNIp4dvFjG0CY6m_u37rRFEOkofHz_Cw451ZFwX2zCpM-PQw282Kv_wUE_9-7XlaseiYWmJs/s1600/Morley-pamphlet_for-blog.jpg" /></a></div>
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<i><b>Morley’s Private Press Publications</b> </i></div>
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Aside from his “trade” publications, Morley is also well-represented as the author of many books published by the private presses of his day. The interwar period was a Golden Age for the American private press movement. Despite the Depression, book lovers found the money to support these independent ventures. Their books are distinguished by the high quality of their printing, their small limited editions, and their distinguished designs. </div>
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One of Morley’s private press books, <i>In Modern Dress</i> (1929), was an early publication of the Peter Pauper Press. Their books are close to the hearts of the Tampa Book Arts Studio’s staff because one of the best Peter Pauper Press collections to be found anywhere is right here in our TBAS library. The collection was made by J. B. Dobkin and then donated to the Book Arts Studio. The standard reference book on the Peter Pauper Press—<i>The Peter Pauper Press of Peter and Edna Beilenson, 1928-1978</i>—was based in large part on this collection.</div>
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One other title found in the case lies a little outside the scope of the exhibit, but no bibliophile would forgive us for excluding Morley’s paean to bookstores and those who love them: <i>The Haunted Bookshop</i> (Doubleday, Page - 1919). This is a sequel of sorts to <i>Parnassus on Wheels</i> (1917), which introduced the bookstore’s owner, Roger Mifflin.<br />
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-7387394613959705374.post-23524276963679679822018-05-04T13:48:00.000-04:002018-05-29T13:28:59.610-04:00In Memoriam: J. B. Dobkin<div class="separator" style="clear: both; text-align: justify;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-xuuYWi0GtCgotF7od-B7kXjMA-HSzViLGlh3_R51kYlYrO7cn1DKzrIGkOOm82mcCbJ4XxVHmkDaNZpz1VB03kVJoyjWU93SYOD3XLUWvRn9d2yUBTMdjajaNiCTY4OmnDFNGZQ4Mos/s1600/JD_for-blog.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-xuuYWi0GtCgotF7od-B7kXjMA-HSzViLGlh3_R51kYlYrO7cn1DKzrIGkOOm82mcCbJ4XxVHmkDaNZpz1VB03kVJoyjWU93SYOD3XLUWvRn9d2yUBTMdjajaNiCTY4OmnDFNGZQ4Mos/s1600/JD_for-blog.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">J. B. Dobkin—Librarian, Bookman, Man of Letters—1922-2018.</td></tr>
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Friends and associates of the Tampa Book Arts Studio share a profound sense of loss with the passing of J. B. Dobkin, Chief Librarian for the Tampa Book Arts Studio’s Special Collections Library and a major donor of books and early printed leaves to our research collections.</div>
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Known to friends and colleagues as “Jay,” Joseph B. Dobkin made significant contributions to major research libraries, printing history, local history, and genealogical research collections during his 96 years of life and learning. </div>
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Jay was born in New York City in 1922, but his family moved to Daytona Beach in 1925, where his father bought a small apartment building on the ocean and opened a business on Beach Street there called Fashion Frocks. A few years later, his father purchased a large clothing business in Charlotte, N.C., and he expanded into fashion wholesale as well as retail operations, maintaining business interests in both North Carolina and Florida. Jay grew up in the two locations, though he attended schools mostly in Florida. He graduated from Fletcher High School in Jacksonville Beach, completed an undergraduate degree at the University of Florida, and joined the Naval Air Corps in 1942. After the war, he left the service and worked with his father's businesses for a time, but soon started his own consumer finance company in Charlotte, expanding it into thirty loan offices in North and South Carolina. </div>
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His father died when Jay was 40, prompting him to reexamine his own career choices. He knew the business world was really not for him. He loved reading and the world of books. He sold his businesses and returned to graduate school to earn a degree in Library Science. Building on his strong knowledge of history, literature, and art, he found he was able to work with special collections and rare books in ways that highlighted their strengths, extended their depth through acquisitions, and made them accessible to scholars. His professional library career included an impressive range of leadership positions, with appointments as Assistant Director in the Department of Rare Books and Special Collections at the University of Toronto, Canada; Director of Special Collections at the University of Florida, Gainesville; Director of Libraries at Arizona State University, Tempe; and Special Collections Librarian at the University of South Florida, Tampa, where he served from 1974 until he retired in 1988.</div>
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He also served for many years as Executive Secretary of the Florida Historical Society, has been both President and Vice President of the Florida Bibliophile Society, Chairman of the Pinellas County Public Library Cooperative Board, and President of the Largo Library Foundation. He was also a founding board member of Konglomerati Florida Foundation for Literature and the Book Arts, a pioneering book arts studio in Pinellas County that was funded as one of only five regional literary centers in the country by the National Endowment of the Arts. (Konglomerati’s letterpress equipment and printing collections are now part of the Tampa Book Arts Studio.)</div>
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<span style="font-size: small;">A folio leaf from “The Golden Legend” </span></div>
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<span style="font-size: small;">printed and published in 1488 by</span></div>
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<span style="font-size: small;">the German printer Anton Koberger, one</span><br />
<span style="font-size: small;">of more than 500 early printed leaves</span><br />
<span style="font-size: small;">donated by Jay Dobkin.</span><br />
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After retirement, Jay volunteered at the Largo Library and built the genealogy collection there into one of the largest in Florida. He also served as a volunteer archivist at Heritage Village in Pinellas County and worked tirelessly to organize and add to its collections. At the same time, he served as Chief Librarian of the Tampa Book Arts Studio Library Collections at the University of Tampa. He advised and guided us in building our special collections, and he sought out, acquired, and donated more than five hundred rare printed leaves, from fifteen-century incunabula to examples of the work of nearly every major sixteenth-century printer in Europe. He also presented the Studio with his Peter Pauper Press collection of books and ephemera, and he continued to add materials to complete it, making that collection at the University of Tampa one of the best in the world. The collection formed the basis for his 2013 reference book with Sean Donnelly, <i>The Peter Pauper Press of Peter and Edna Beilenson, 1928-1979: A Bibliography and History</i>. He also published numerous articles on juvenile literature—particularly boys’ series books—in collecting magazines and bibliographic publications. He co-authored or edited <i>Spain in the New World: An Exhibition of Books, Maps, and Manuscripts</i> (Arizona State, 1972); <i>American Boys’ Series Books, 1900-1980</i> (University of South Florida Library Associates, 1987); and a popular booklet that was widely distributed and highly valued among amateur book collectors, <i>A Non-professional’s Guide to Book Values</i> (1976).</div>
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Jay always enjoyed sharing stories and anecdotes involving his most famous relative, his great-uncle Sholem Aleichem, whose fiction formed the basis for the popular musical <i>Fiddler on the Roof</i>. Aleichem’s will contained detailed instructions to family and friends with regard to burial arrangements and how to observe his <a href="https://en.wikipedia.org/wiki/Bereavement_in_Judaism#Annual_remembrances">yahrtzeit</a>. He told his friends and family to gather, “select one of my stories, one of the very merry ones, and recite it in whatever language is most intelligible to you. . . . Let my name be recalled with laughter,” he said, “or not at all.”</div>
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This was Jay's own attitude. He always closed his emails, “BE HAPPY!”</div>
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Jay passed away peacefully at his Largo home on Tuesday, April 24, 2018. He will be deeply missed. </div>
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<tr><td class="tr-caption" style="text-align: center;">This framed tribute from the Florida Bibliophile Society was presented to Jay in 1987 upon his retirement as Director of Rare Books and Special Collections at the University of South Florida. It recognizes his “support and encouragement to students of the book, wherever he found them,” his achievement in raising his collections “to national prominence,” and his “legacy of pride and a standard of excellence,” all principles he sustained in helping to build the Tampa Book Arts Studio collections.<br />
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Photograph of J. B. Dobkin courtesy of Carl Mario Nudi</div>
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Unknownnoreply@blogger.com202tag:blogger.com,1999:blog-7387394613959705374.post-51261501764389273292017-05-18T14:40:00.000-04:002017-05-25T13:26:36.015-04:00A Tiny and Tremendous Milestone<div class="separator" style="clear: both; text-align: center;">
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<span style="-webkit-font-kerning: none;"><span style="font-family: inherit;">The Tampa Book Arts Studio’s Library Collections took another big step forward this week as J. B. Dobkin added a milestone item to the group of letterpress miniature books in our Book Arts Studio Special Collections. Jay has just donated a tiny but significant miniature almanac that completes our holdings of the thumb-sized <i>Hazeltine’s Pocket Book Almanac</i> through 1905. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: inherit;">The new addition is <i>Hazeltine’s Pocket Book Almanac</i> for 1881, and it completes our collection of the quaint miniatures, starting with the first publication of the tiny almanac in 1879 through all the annual editions up to its continuation as <i>Piso’s Pocket-Book Almanac</i> in the early twentieth century up to 1905, the arbitrary date we tentatively set as the cut-off for our initial Victorian miniature collection. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: inherit;">The unusual Hazeltine miniatures measure just 1 3/8 by 2 inches and are of interest for a variety of reasons: noteworthy as letterpress printing, miniature books, early advertising art, and pure Americana.</span></span></div>
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The first edition of the almanac appeared in 1879 from the E. T. Hazeltine Company in Warren, Pennsylvania. It resulted from a partnership of Ezra T. Hazeltine, who was something of a marketing genius, with Dr. Micaja C. Talbott—also a Warren, Pa., resident—who had developed a formula for a patent medicine for consumption and other maladies. The two men decided to go into business together with a third partner, a wealthy Warren businessman, Myron Waters, who would provide financial backing, forming Hazeltine & Company, with Ezra as president. It seems to have been Hazeltine who came up with the name for Dr. Talbott’s formula: “Piso’s Cure for Consumption.”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFmeRQvjMML3Zk5LJYE-daLGGse1Rt3SuU96aHDmVPVT9M2xqYopcfhmKXPManGix_AYGWfgadkKhQBuT3UasepVJtX7nF0LbxkaiyyCjzauHLj25ZAopHx5zqUgBRgIBvJvPP6TMLjA/s1600/pisos-norman-rockwell-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFmeRQvjMML3Zk5LJYE-daLGGse1Rt3SuU96aHDmVPVT9M2xqYopcfhmKXPManGix_AYGWfgadkKhQBuT3UasepVJtX7nF0LbxkaiyyCjzauHLj25ZAopHx5zqUgBRgIBvJvPP6TMLjA/s320/pisos-norman-rockwell-2.jpg" width="320" /></a><span style="-webkit-font-kerning: none;"><span style="font-family: inherit;">The Pocket-Book Almanacs were promotional items for the Piso’s products, given away in drugstores to promote, in particular, “Piso’s Cure for Consumption” and “Piso’s Remedy for Catarrh,” patent medicines distributed by druggists. The formula was patented and protected, but seems to have contained alcohol, cannabis, and chloroform, among other ingredients. Ezra Hazeltine’s marketing, perhaps combined with a formulation that surely could make one feel good, resulted in increasing sales. And the promotions, not only through the almanac, but with trade cards, postcards, and advertising—including at least one by famed illustrator Norman Rockwell—were effective, and often charming.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: inherit;">Hazeltine’s miniature almanac continued after 1895 as the <i>Piso Pocket Almanac</i>, published by the Piso Company of Warren, Pennsylvania. </span></span><span style="background-color: white; font-family: inherit; line-height: normal;"> Every almanac included a monthly calendar, with dates for eclipses and seasonal changes, together with testimonials from readers who were cured of coughs, asthma, bronchitis and hemorrhaging of the lungs by the Piso products.</span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: inherit;">It seems to have stopped publication after the First World War in 1919. With the first twenty-two volumes of the almanac in our collections now complete, we hope to extend our collection forward to add the last fourteen individual pieces with the help of generous donors to complete the lifetime array of the fascinating little American almanac.</span></span></div>
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Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-7387394613959705374.post-17301187554294663862017-04-28T17:10:00.002-04:002017-04-29T08:32:34.231-04:00Tampa Book Arts Studio Shares Some Fresh Impressions<div class="separator" style="clear: both; text-align: center;">
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<span style="text-align: justify;">The oldest and largest antiquarian book fair in the Southeast—and one of the largest in the country—the Florida Antiquarian Book Fair completed its thirty-sixth year over the weekend of April 21-23, 2017, at the Historic Coliseum in St. Petersburg. This year, the Tampa Book Arts Studio joined the celebration of collectable printing and bookmaking, and visitors were able to share a taste of twenty-first-century letterpress activities by printing a keepsake bookmark at the Tampa Book Arts Studio booth.</span></div>
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<tr><td class="tr-caption" style="text-align: justify;">Carl Mario Nudi, Letterpress Coordinator at the Tampa Book Arts Studio, discusses the printing action of our little Kelsey tabletop press with Allen Singleton and Amber Shehan of the popular rare book online website Biblio.com. Allen holds the bookmark he just printed. (Photo by T. Allan Smith, Florida Antiquarian Book Fair.)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpnKPhVRoivBsBaybK5cMLCaBcg3dgNbm7lU_I5asY0f6eBulkW2qRZFW03Oelm7pmnD69lAMYz4RslL8kcuNeDql8j7IEPXBJ6b73Sn7uqG-K6FexOCmPc84MnKOkVKPaXlNOlagnVfM/s1600/BookFair_bookmark_280.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpnKPhVRoivBsBaybK5cMLCaBcg3dgNbm7lU_I5asY0f6eBulkW2qRZFW03Oelm7pmnD69lAMYz4RslL8kcuNeDql8j7IEPXBJ6b73Sn7uqG-K6FexOCmPc84MnKOkVKPaXlNOlagnVfM/s1600/BookFair_bookmark_280.jpg" /></a></div>
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Along with the press demonstration, we also displayed an exhibit related to <a href="http://tampabookartsstudio.blogspot.com/2015/02/a-celebration-of-companion.html" target="_blank">our holdings of the only surviving matrices for a rare and unique typeface</a>—Companion Old Style—designed by famed American type designer Frederic Goudy in the late 1920s as an exclusive typeface for the <i>Woman’s Home Companion</i>.</div>
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Today Companion Old Style brings a unique and historic touch to the pages of<i> Tampa Review</i>, the literary journal published twice each year by the University of Tampa Press. <i>Tampa Review </i>is the oldest literary journal in Florida, now celebrating 53 years of publication. It is also the only hardback literary journal in the nation, and <a href="http://www.ut.edu/TampaPress/pressDetail.aspx?id=18871" target="_blank">subscriptions are still only $25 for two issues</a>.</div>
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<span style="text-align: justify;">Also on display in the TBAS booth was a small tabletop “proof press” that was recently restored at the TBAS by Letterpress Coordinator Carl Mario Nudi and Studio Associate Joshua Steward. It is a small flat-bed cylinder press manufactered by the mid-century Doehler Die-Casting Company, and was probably used for making signs and sales notices, as well as print work by </span><span style="text-align: justify;">hobby printers.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3w_9KrQ5YPzZbv7DGhhUUWzOWUoPSeE7MIFg5xjAtEmQoDd7rDqNFfaZd2o2a_3jXVDH1qAB1MRzF8EZ7aA1-DQg5IxF7LzZEAL_G7lkuCDJm9oniM6gKMPi0z04y-haJCqirA3oyoRA/s1600/Jonathan-Tomhave.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3w_9KrQ5YPzZbv7DGhhUUWzOWUoPSeE7MIFg5xjAtEmQoDd7rDqNFfaZd2o2a_3jXVDH1qAB1MRzF8EZ7aA1-DQg5IxF7LzZEAL_G7lkuCDJm9oniM6gKMPi0z04y-haJCqirA3oyoRA/s1600/Jonathan-Tomhave.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;">Jonathan Tomhave of Everglades Books in Naples, Florida, prints a bookmark on the Kelsey press. Visible in the background is the TBAS Doehler tabletop cylinder press. Photo by T. Allan Smith, Florida Antiquarian Book Fair.</td></tr>
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<br />Unknownnoreply@blogger.com12tag:blogger.com,1999:blog-7387394613959705374.post-89809389126476122372017-01-19T14:49:00.002-05:002017-01-19T14:49:33.517-05:00In Memoriam: R. C. H. Briggs<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFKk_Uerc4Bfo_5LDaQcbsBWCRbiQNNg0LitSjCbtUT_-JJnEMxiNLqDp7IkvJnB7kJ6YJxcTPYdXPeC3NbI1uBIvhxRiKJjorhGSNN1ZIBfqaD2nXvqJ3pMAfKkPtxdUWbJrsaD_CvQZX/s1600/RCHBrigss1999.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFKk_Uerc4Bfo_5LDaQcbsBWCRbiQNNg0LitSjCbtUT_-JJnEMxiNLqDp7IkvJnB7kJ6YJxcTPYdXPeC3NbI1uBIvhxRiKJjorhGSNN1ZIBfqaD2nXvqJ3pMAfKkPtxdUWbJrsaD_CvQZX/s320/RCHBrigss1999.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px; text-align: center;">Author and Barrister R. C. H. Briggs<br />
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The editors and staff of the University of Tampa Press and the Tampa Book Arts Studio share a deep sense of loss at the passing of a friend and mentor, the British writer, barrister, and editor R. C. H Briggs. He died peacefully on December 28, 2016, in his bed at home in Coombe Bissett, near Salisbury, with his family around him. He was 92.<br />
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Ronald Charles Hawkswell Briggs was born in West Yorkshire, and graduated from New College, Oxford. After serving in the Royal Armoured Corps (RAC) from 1943 until 1947, earning the rank of Captain, he completed a Master of Jurisprudence degree and an advanced degree in French. He became a barrister at law, and following a period of practice at the Common Law Bar, in 1972 he accepted appointment as Legal Secretary for the independent legal watchdog organization Justice, the UK section of the International Commission of Jurists. There he advanced the group’s mission of “promoting human rights” and “improving the system of justice.”<br />
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During his years at Oxford University, and even as he began his legal work, Ron was also becoming a leading authority on the work of William Morris. He was drawn to Morris for a host of reasons, from printing to politics. In 1957, Ron proposed and successfully launched the first important traveling exhibition of Morris’s work as a printer and typographer:<i> The Typographic Adventure of William Morris. </i>He completed a groundbreaking "Handlist of the Public Addresses of William Morris” in 1960, which called attention to Morris’s speeches as a central and neglected part of his achievements. He launched the first issue of the <i>Journal of the William Morris Society </i>in 1961, serving as its founding editor, and continuing to edit and publish it for seventeen years and making it the single most important source for William Morris studies. In his "Editorial" for the first issue, Ron wrote: “Morris’ central theme, epitomized by him as ‘Reverence for the life of Man upon the Earth,’ led him to criticize much in the world around him; and much that Morris criticized still exists.”<br />
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As a leading light for the William Morris Society, he served as its Honorary Secretary as well as a trustee of the Kelmscott House Trust. He designed numerous publications and led the Society’s publishing program, including introducing a custom of hand printing an annual Christmas greetings card, often in the Kelmscott House basement, which housed a treadle-operated Arab press and one of the original Albion presses from the Kelmscott Press. He organized excursions to important Morris sites, launched the William Morris Centre at Kelmscott House, and was instrumental in the historic home’s preservation and improvement. Today it continues to be home to the William Morris Society.<br />
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Ron was deeply committed to issues of human rights and human dignity, equitable justice, political integrity and reform, historical preservation, international thinking, and the preservation of the environment. He worked to sustain and contribute to many of the works and perceptions that Morris advocated. His friend and colleague Martin Williams, who served with him as an officer of the Morris Society and later became a founding trustee of the Emery Walker Trust, aptly observed: “Ron was a remarkable character—inspirational, idiosyncratic, and truly larger than life. There was something of William Morris about him, with that continuous energy and unrelenting pursuit of what he perceived to be the right.”<br />
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As a dedicated amateur printer, Ron was also drawn to the achievements and influence of Morris’s friend and Hammersmith neighbor, Emery Walker. He campaigned in many ways for greater recognition of Walker's achievements, promoting him as not only an inspiration and virtual partner in Morris’s Kelmscott Press, but for his many impressive achievements as a photographer, photographic engraver, printer, and founding partner of the influential Doves Press. Ron championed efforts that led the London County Council to place a blue plaque at Walker’s residence at 7 Hammersmith Terrace in 1959. For that occasion, he produced the earliest draft of another influential work, which was later revised and published by the University of Tampa Press—<i><a href="http://www.ut.edu/TampaPress/pressDetail.aspx?id=18866&terms=" target="_blank">Sir Emery Walker: A Memoir</a>. </i><br />
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Ron is survived by his wife, Joan; his children, Julian, Roland, and Jeni; and his grandchildren, Sylvie and Sasha.<br />
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A memorial service was held in Salisbury on January 12. In lieu of flowers, the family suggested donations to one of Ron’s favorite charities, the Tibet Relief Fund.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfY_Vgo6_uA3o6y66JcbSklM9NBSjZ_0ViOaTlxgpU1p5l87pHu0rOeMPRHF-J4v-rpuCnskg_g4dsotAaKERGK84VZO-UEqilqEl2iEk769M6EiDFvHjazinEWyJtxB2KUsDyDhu3phyphenhyphen7/s1600/RonBriggs2013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfY_Vgo6_uA3o6y66JcbSklM9NBSjZ_0ViOaTlxgpU1p5l87pHu0rOeMPRHF-J4v-rpuCnskg_g4dsotAaKERGK84VZO-UEqilqEl2iEk769M6EiDFvHjazinEWyJtxB2KUsDyDhu3phyphenhyphen7/s400/RonBriggs2013.jpg" width="381" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Ronald Briggs at his home a few months before his 90th birthday.</td></tr>
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<br />Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-7387394613959705374.post-23816349476806267442016-09-15T18:34:00.000-04:002016-09-15T19:36:01.002-04:00Good Things Come in Small Packages<div style="text-align: justify;">
<span style="font-family: inherit;">The phrase “good things come in small packages” may bring to mind a diamond ring in a blue Tiffany gift box, but it can be
applied to the world of books as well, in the shape of miniature books. To be considered miniature, a book must be no more than three inches in height, width, or thickness. The origin
of these small wonders can be traced to the earliest days of writing. As long
as 4,000 years ago, scribes and scholars made miniature clay tablets, scrolls,
and manuscripts. Soon after the invention of printing in the fifteenth century,
miniature books became regular productions of presses throughout Europe. It is
estimated that about 200 miniatures were produced in the 1500s – including forty-six Bibles and editions of Dante and Ovid. Until the late 1800s, miniatures were
often on religious subjects or made for children. Then, grown-up bibliophiles
began to discover their charms, and clamored for miniatures of their own. Now, Conclaves are held annually by the most devoted collectors; fine printers
specialize in making them; and miniatures are eagerly sought by private and
institutional collectors. One of the largest collections is at the Lilly
Library at Indiana University, where they have 16,000 miniatures. The Tampa
Book Arts Studio is still working on its first 1,000, but we are delighted by those donated by our generous patrons, Lee Harrer and J. B. Dobkin.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6ynRunjVYzkLXrhqMWe_gByVIGu4R6SP5-3WgNFgcNfOhEsNKXzXXbxyW3MKMKyCnno5E2KohlzMz_GtHRZ2I6Vyt91Z9pcVoe4Kuk9TaG9xiyeoyWbqKw58VJwOSBZhz7HtLWlmd1U/s1600/White-Mustang_full_for-blog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6ynRunjVYzkLXrhqMWe_gByVIGu4R6SP5-3WgNFgcNfOhEsNKXzXXbxyW3MKMKyCnno5E2KohlzMz_GtHRZ2I6Vyt91Z9pcVoe4Kuk9TaG9xiyeoyWbqKw58VJwOSBZhz7HtLWlmd1U/s1600/White-Mustang_full_for-blog.jpg" /></span></a></div>
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<span style="font-family: inherit;"><span style="font-family: "georgia" , "times new roman" , serif;">Lee recently hand-delivered dozens of miniatures to our office, housed in a custom bookcase. As we cataloged them, two stood out: <i>The Gift of the Magi</i> by O. Henry (1978) and <i>Frontier Tales of the White Mustang</i> by J. Frank Dobie (1979). Though they share the same imprint—Somesuch Press—they were produced by different
printers – Andrew Hoyem and David
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilvttVKn9x35XWxnld0C3JTJurYbWdQ5SReISjGWgAln8hQuuX2gYj0cuT8GCjOref2zNFbTRk7zfVj638oznyAIgCW1XHqzJWsssgqdGZARsphjlt5koPy2rBlSiRlMRxW8Vvyq2l5Q/s1600/Magi_for-blog.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiilvttVKn9x35XWxnld0C3JTJurYbWdQ5SReISjGWgAln8hQuuX2gYj0cuT8GCjOref2zNFbTRk7zfVj638oznyAIgCW1XHqzJWsssgqdGZARsphjlt5koPy2rBlSiRlMRxW8Vvyq2l5Q/s1600/Magi_for-blog.jpg" /></a>
Holman, who signed and numbered their books<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">. They are both of high quality, but are also</span></span></span><span style="font-family: "georgia" , "times new roman" , serif;"> distinguished from one another by typography, paper, and binding. This brought to mind the approach taken by the Limited Editions Club, </span><span style="font-family: "georgia" , "times new roman" , serif;">established in 1929 by George Macy, who hired a different team of typographers, printers, binders, and illustrators to produce each of his books. And so we wondered who was behind the
Somesuch imprint. The fact that the press was located in Dallas gave us a clue. A little research revealed that Stanley Marcus, of Neiman-Marcus fame, and his wife Billie were behind these handsome books. Stanley was a famous bibliophile with a deep interest in miniatures. It was his wife’s idea to have a miniature edition made of Stanley’s memoir, <i>Minding the Store</i>. That led to the creation of the Somesuch imprint and nearly two dozen handsome books. We hope the two that we own will have company on the shelves before long.</span></span><br />
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNo45eJlW9r3IRsXSfjnwRB5w7q1Xv4pxsrWbGzr7dEou0DIT8A6HDnejVxGOssME1gcblZ1NMMcbZD9bWp8PWpOVHZ0eXC9sYtPRKtmuJTTeHuCUyAhdDIVnr2QVmj8guDORhSI-P0FM/s1600/White-Mustang-Spread_for-blog.jpg" /><i><span style="font-family: inherit;">The title page of “Frontier Tales of the Wild Mustang”</span></i></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Jay has
been pursuing the books of Achille St. Onge for some time. He has
now assembled a substantial run of St. Onge’s handsomely made books. Lee had several in his
collection as well, and by luck they didn’t duplicate what Jay had bought.
We now have nearly half of the forty-six miniatures published by St. Onge between 1935
and 1977. Though he began with </span><i style="font-family: Georgia, 'Times New Roman', serif;">Noel,
Christmas Echoes Down the Ages </i><span style="font-family: "georgia" , "times new roman" , serif;">and closed his career with </span><i style="font-family: Georgia, 'Times New Roman', serif;">Addresses of Her Majesty Queen Elizabeth II</i><span style="font-family: "georgia" , "times new roman" , serif;">,
the majority of his books are very American in flavor – Presidential inaugural
addresses, works by or about Abraham Lincoln, Henry David Thoreau, and Paul
Revere, and others on the Mayflower, St. Augustine, Florida, and the
Declaration of Independence. Beyond the excellent choice of subjects for his
books, St. Onge paid special attention to the quality of the books and their
design. Some early titles were printed for him by D. B. Updike’s Merrymount
Press and The Chiswick Press (the latter with bindings by Sangorski and
Sutcliffe). By 1959, though, the venerable firm of Joh.
Enchede en Zonen, in Haarlem, Holland, had become St. Onge’s printer of choice, and
they produced a long series of uniformly handsome leather-bound editions for him.</span></div>
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<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTSpBfkbpj0j9jFXEfWRZpJE8zqm0lCDAxvlATNPJcfAxdcn57jpBnsEPtqF51puZ-I1_cbBEECmFREpOR9qTb9vxFSxadpyvRhgNMNRuzpHh-gFZq-GECFNZjrK71Wu5u1xbDr0qWjVA/s1600/St.-Onge_for-blog.jpg" /><i style="text-align: center;"><span style="font-family: inherit;">The Achille St. Onge titles of the TBAS miniature collection</span></i></div>
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</span></span>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7387394613959705374.post-81927361930518326112016-04-22T12:54:00.000-04:002016-04-22T12:54:40.784-04:00Official Publication Day for “The Rich Mouse”<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglbEWXFBwk3S7P7EP5hyNo_zkRZ3eSaQek3GOx1ZiQ4dqG7LA9Zkvt9X0HGpDe31kQj8Sqmw1JgmSlUtHyi9-vduukSZ4CPr4RmmSkHt2q8otlhXFfp6PGuZ0Qvv345GBkheEjIKNfO8A/s1600/RM_for-blogger.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglbEWXFBwk3S7P7EP5hyNo_zkRZ3eSaQek3GOx1ZiQ4dqG7LA9Zkvt9X0HGpDe31kQj8Sqmw1JgmSlUtHyi9-vduukSZ4CPr4RmmSkHt2q8otlhXFfp6PGuZ0Qvv345GBkheEjIKNfO8A/s1600/RM_for-blogger.jpg" /></a></div>
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Today is the 56th anniversary of the death of the American woodcut artist Julius J. Lankes and it marks the official publication date for our letterpress first edition of his previously unpublished story, “The Rich Mouse.” Since completing the printing of the text last year, we have been working on a companion volume, “The Rich Mouse Compendium,” which includes essays, photographs, and even reproductions of the author’s original draft manuscripts.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSm54qM1pLaG97m3geZJD5SYTQmmlviaW4z2j8YUigvpa9bOJkOiVDV_hyVDm6zxFY-jA2fIW14vCJCL362f-yC5voKTpziZC7wojoJMsmTIBloFMyFsGfRhrA4_9doqExhXfSIX0HR0/s1600/RM_spread.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSm54qM1pLaG97m3geZJD5SYTQmmlviaW4z2j8YUigvpa9bOJkOiVDV_hyVDm6zxFY-jA2fIW14vCJCL362f-yC5voKTpziZC7wojoJMsmTIBloFMyFsGfRhrA4_9doqExhXfSIX0HR0/s1600/RM_spread.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The title-page spread from “The Rich Mouse Compendium” set in P22 Village digital type</td></tr>
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<span style="text-align: justify;">The special letterpress edition also celebrates another milestone American artistic achievement. It is handset in a special foundry casting of Frederic W. Goudy’s original Village type, and the fact that it was typeset and printed during the year marking the 150th anniversary of Goudy’s birth made it even better.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSS0IXg5Dq4iKB0VOwsxpOwEze6eaOZdvbRjXPsBZAGVx_k2XZPaD9Rag5tT6y2pOio2ruz37qEnRJDBDFXGdWITznzEkfapTZ5S_Z3H5sN57eJDGIbbj-r1LfvhrLJC_-9-T26MpTL0o/s1600/Village_P22.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSS0IXg5Dq4iKB0VOwsxpOwEze6eaOZdvbRjXPsBZAGVx_k2XZPaD9Rag5tT6y2pOio2ruz37qEnRJDBDFXGdWITznzEkfapTZ5S_Z3H5sN57eJDGIbbj-r1LfvhrLJC_-9-T26MpTL0o/s200/Village_P22.jpg" width="200" /></a></div>
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Today, coinciding with the official “Rich Mouse” unveiling, P22 Type Foundry is releasing the first digital version of Village type, designed by Paul Hunt. This is the same Open Type font we used to produce the “Rich Mouse Compendium” volume, which is the first book publication for this unique type in digitized form. P22 are celebrating an anniversary of their own today—their 22nd Anniversary of offering unique digital types—and are offering the digital Village font for 50% off this month, with an additional 22% discount on April 22. Be sure to visit the <a href="https://www.p22.com/family-Village" target="_blank">P22 website for a full showing</a>. </div>
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Over the next month we will be gathering, collating, and carefully packing the completed pieces of our special edition. It will be mailed first to the supporters who made the project possible by being a part of the original Kickstarter campaign.</div>
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Copies of the letterpress edition are <i>still available</i>, but the edition is limited to only 150 copies!</div>
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<a href="http://tampabookartsstudio.blogspot.com/p/richmouse.html" target="_blank"><span style="font-size: large;">You can reserve a copy for yourself here!</span></a></div>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7387394613959705374.post-76540589108278386062016-03-03T12:33:00.000-05:002016-03-04T18:22:15.937-05:00Binder David Barry Ties Up ‘The Rich Mouse’ Loose Ends<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpG0tfrAuI9_MllhY7swqNrYCI8VsBFgu28iZf_2HDPER9e2zvbNhKxtinX7ivrUr6ELzzYy6xUawNwfKm9JIgT4EqJq68TKfBzOojLURbIjVNpGelvcBWQWYxi48sf9OoCF_Yadx8TMc/s1600/DBbinding.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpG0tfrAuI9_MllhY7swqNrYCI8VsBFgu28iZf_2HDPER9e2zvbNhKxtinX7ivrUr6ELzzYy6xUawNwfKm9JIgT4EqJq68TKfBzOojLURbIjVNpGelvcBWQWYxi48sf9OoCF_Yadx8TMc/s400/DBbinding.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Binder David Barry binds a signature of the book; nearby, the board-patterned cases he has<br />
already completed for <i>The Rich Mouse</i> await being united with the finished book blocks.</td></tr>
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Bookbinder David Barry has been working steadily since the beginning of the year to complete the binding of the TBAS letterpress edition of <i>The Rich Mouse</i>. The first of March finds him threading his way toward the end.<br />
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Now all of the signatures are folded and punched, the boards have been covered with the letterpress decorative papers we made especially for this edition, and David has finished all the cases. He is currently sewing the signatures for the complete edition of 150.<br />
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We had originally hoped to be mailing copies to subscribers by the end of January, but complications in the final stages of printing—combined with some longer-than-expected research going into the <i>Rich Mouse Compendium </i>companion volume—has slowed us down.<br />
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Now we’re a little more than a month behind where we guessed we would be. Still, the array of supplementary photographs and information in the <i>Compendium </i>will make the Rich Mouse even richer! It still remains to finish this second book—which has just passed 100 pages—so that David knows how big to make the slipcases that will contain the two volumes!<br />
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But for those of you waiting for your copies, we think you will agree it's worth the wait! And for those of you who are interested in purchasing one of the remaining copies, you can do so by <a href="http://tiny.cc/richmouse" target="_blank">clicking here</a>!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXQxdeob9F_jzFKhDrW_dTVs-NiSYpOoofkgboFtwLvvjv9RIbEWPUB9g-Z-63DZvo7SJtfeYVjV_Rm8lXOsni21ON2cvVuN4L1fzGsmtwIIq97HJKBEfJjYpwo_ZM4G1GtFhO5xeKgd4/s1600/DBbinding2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXQxdeob9F_jzFKhDrW_dTVs-NiSYpOoofkgboFtwLvvjv9RIbEWPUB9g-Z-63DZvo7SJtfeYVjV_Rm8lXOsni21ON2cvVuN4L1fzGsmtwIIq97HJKBEfJjYpwo_ZM4G1GtFhO5xeKgd4/s400/DBbinding2.jpg" width="300" /></a></div>
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<span style="font-size: medium;">You can reserve your copy of</span></div>
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<span style="font-size: medium;">“The Rich Mouse” at</span></div>
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<span style="font-size: medium;"><a href="http://tiny.cc/richmouse">tiny.cc/richmouse</a></span></div>
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Unknownnoreply@blogger.com29tag:blogger.com,1999:blog-7387394613959705374.post-53376975281664299742015-12-23T15:58:00.002-05:002015-12-23T15:58:46.688-05:00Nearing the end of the Rich Mouse's tale . . .<h2>
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With the end of 2015 near, the completion of “The Rich Mouse” limited-edition project at the Tampa Book Arts Studio is also in sight!</div>
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Early this week, Richard Mathews, Carl Mario Nudi, and Joshua Steward completed the printing of the unique, Lankes-inspired decorative papers for the hardback covers on the Vandercook 219AB proof press.<br />
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“The Rich Mouse” is a hand-bound, limited letterpress edition of the nearly-lost short story by woodcut artist J. J. Lankes, accompanied by his woodcut illustrations and printed on his 1848 Hoe Washington iron handpress here at the Tampa Book Arts Studio.</div>
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Since the completion of the printing of the four, eight-page signatures of “The Rich Mouse” story on the Lankes handpress, we have continued to work on the various elements needed to complete the project. In addition to the final letterpress run of these cover sheets, we also designed and typeset the title and spine labels, and the other premiums offered as rewards for contributing to the Kickstarter campaign used to raise funds for the production of the book.</div>
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The signatures, cover papers, and title labels soon will be ready to deliver to bookbinder David Barry of Griffin Bookbinding in St. Petersburg, who will hand bind each of the 150 copies of the book.</div>
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TBAS Associate Sean Donnelly's near-daily documentation of the project’s progress with photographs can be seen on <a href="https://www.flickr.com/photos/82350122@N06/albums/with/72157658453385184">his Flickr page</a>.<br />
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<span style="font-size: large;">You can reserve your copy of</span></div>
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<span style="font-size: large;">“The Rich Mouse” at</span></div>
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<span style="font-size: large;"><a href="http://tiny.cc/richmouse">tiny.cc/richmouse</a></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7387394613959705374.post-46859244478654739442015-10-07T18:45:00.000-04:002015-10-09T15:58:52.926-04:00A visit by USF Students of the Renaissance Book<div style="text-align: justify;">
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<span style="text-align: start;"><i>Professor Helena Szépe, standing at left </i></span><i>in the </i><i>Tampa Book</i></div>
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<i>Arts Studio Library, guides her students as </i><i>they </i><i>begin their</i></div>
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<i>“Printed Books ‘Field’ Notes” for printed leaves </i><i>of the </i><i>fif-</i></div>
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<i>teenth and sixteenth centuries from our TBAS collections.</i></div>
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They say that the printed page comes to life in the mind of a reader, but sometimes a whole group can bring special life to the page. We saw this first-hand recently at the Tampa Book Arts Studio when pages from books printed in the fifteenth and sixteenth centuries on the other side of the world—mostly in Latin—began to speak to a twenty-first century seminar.</div>
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Professor Helena Szépe of the University of South Florida, who researches and teaches on books of the Renaissance era, with a focus on illustration, both in manuscript and print, brought her talented, perceptive graduate and advanced undergraduate students to visit the Studio to see some of the basics of typesetting and printing by hand and to examine selected leaves from early printed books held in our Tampa Book Arts Studio Library collections.</div>
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Prof. Szépe’s seminar this semester is entitled “The Renaissance Book,” and she and her students are exploring how these early printed pages helped shape nearly every aspect of life and culture, from economic transactions to technology, medicine, education, and art. They are studying leaves from many different types of books, from many countries, but she has focused her students on one undertaking especially—a publication known as the Nuremberg Chronicle that attempted to print all knowledge and history known at the time. It was a kind of Wikipedia of the age.</div>
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“The central research project I’ve developed is for the students to look at the various leaves from Nuremberg Chronicle editions which are spread across the Tampa Bay area” Prof. Szépe says, “to figure out from which edition each is from, from where in the book, and to contextualize them further in various ways.”</div>
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She has developed a detailed format of five pages as a worksheet of “Printed Books ‘Field’ Notes.” It has students making notes about the “opening line” printed on the page, details of page dimensions, columns, number of lines per page, foliation and pagination, and much more.<br />
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Photos from the day by graduate Art History student Shanna Goodwin help show the story:</div>
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<i>Richard Mathews, TBAS Director, speaking about early printing and casting</i></div>
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<i>TBAS Associate Joshua G. Steward assists as students</i></div>
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<i>and Prof. Szépe ink and print a keepsake on a handpress.</i></div>
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<span style="text-align: start;"><i>Special thanks to Shanna Goodwin for her photos!</i></span></div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-7387394613959705374.post-53948812749443362752015-10-04T09:59:00.003-04:002015-12-23T12:32:22.613-05:00The Rich Mouse Completes the Home Stretch!<h2 class="normal title" style="border: 0px; color: #0f2105; font-size: 32px; font-weight: normal; line-height: 40px; margin: 0px 0px 20px; padding: 0px; text-align: center; vertical-align: baseline;">
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Our Favorite Mouse Flings Open the Door and Crosses the Finish Line!</span></h2>
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<span style="font-style: inherit;">You can imagine our delight as </span><i>The Rich Mouse</i><span style="font-style: inherit;"> Kickstarter campaign crossed the finish line on Tuesday of this week—more than ten days early and just rich enough to guarantee a happy ending!</span></div>
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Cheers, thanks, and fireworks in Tampa! We are very happy now to turn our full attention to the many details of bringing this J. J. Lankes tale into print in a manner and style the artist and author would approve.</div>
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Meantime, we will continue to make the remaining premiums available and will welcome additional support. We will use any additional funds beyond our initial goal to advance the quality of the finished work. Please help us by forwarding our Kickstarter link and mentioning our project to anyone you know who might be interested.<br />
<a href="https://www.blogger.com/goog_699612374"><br /></a>
<a href="http://kck.st/1IGVvjY">http://kck.st/1IGVvjY</a></div>
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We are thrilled to know that the Mouse is a winner!</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7387394613959705374.post-12376126500173809222015-08-22T19:51:00.001-04:002015-12-23T12:32:39.406-05:00TBAS launches its first-ever Kickstarter campaign<div class="separator" style="clear: both; text-align: center;">
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The Tampa Book Arts Studio has launched its first-ever Kickstarter campaign to assemble a project that brings an unpublished story of notable American woodcut artist J. J. Lankes into print in a fine, limited letterpress edition. And after just ten days, the project is nearly halfway to its funding goal!</div>
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In 1950, nearing the end of his career as an illustrator and woodcut artist, Lankes wrote an allegorical fable that takes place in the lives of two mice, a story that emphasizes the snares of materialism versus the redeeming strength of love and forgiveness. Lankes also completed two illustrations to accompany it, but both the story and the cuts were set aside. They were never published or even publicly known, and they were nearly lost. In fact, they have been lost—until now!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lXxVRTyrOUCN__6uF97oGEbalGpCs0eu1Rzwu1dpi9YrBtV98uiGdfW54lfzDELP-u7hdt7Lz4AhPgvJzPdqr1Js93zjQGknoCQn-UQ1bxmYGiiQkRKaq0mSo5pl1BewOon_L6lsoPE/s1600/RMLogo.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0lXxVRTyrOUCN__6uF97oGEbalGpCs0eu1Rzwu1dpi9YrBtV98uiGdfW54lfzDELP-u7hdt7Lz4AhPgvJzPdqr1Js93zjQGknoCQn-UQ1bxmYGiiQkRKaq0mSo5pl1BewOon_L6lsoPE/s320/RMLogo.jpg" width="320" /></a>In 2006, more than fifty years later, the manuscript was discovered by Dr. Welford Taylor, Professor of English Emeritus at the University of Richmond and curator of the University Museums’ recent exhibition, “Julius J. Lankes: Survey of an American Artist.” Dr. Taylor has edited the <i>Rich Mouse</i> manuscript, written an introduction outlining its history and meaning, and proposed its publication to Dr. Richard Mathews, Director of the Tampa Book Arts Studio. As readers of our blog probably know, the TBAS is home to Lankes’s c. 1845 Hoe Washington hand press, No. 3126, on which he proofed and printed his blocks for Robert Frost and others. After his death his son gave the press to the University of Richmond, which placed it on extended loan at the Tampa Book Arts Studio.<br />
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This is only the latest Lankes-related project that we have undertaken using his artistic images and his Hoe Washington press. Previously, we have designed and printed a <a href="http://tampabookartsstudio.blogspot.com/2013/11/lankes-keepsake-is-hit-at-frost.html" target="_blank">keepsake portrait for the Robert Frost Symposium</a>, designed and produced a <a href="http://tampabookartsstudio.blogspot.com/2012/09/bestbarns.html" target="_blank">broadside including an engraving and quote by Lankes</a>, and printed a <a href="http://tampabookartsstudio.blogspot.com/2009/09/lankes-his-woodcut-miniatures.html" target="_blank">hand-bound collection of Lankes’s miniature wood engravings</a>. This time, using the press on which Lankes printed his woodcuts to illustrate books by Robert Frost, Sherwood Anderson, and others, we aim to bring a previously unpublished text by Lankes himself into print, together with his illustrations for his own work.<br />
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A third collaborator, Bob Oldham, a typographer, press historian, author of <i>The Columbian Handpress At 200: An Historical Summary and World-wide Census</i>, and proprietor of Ad Lib Press, who actually moved the Lankes press from Virginia to Tampa—suggested that the text of <i>The Rich Mouse</i> be set in a special casting of Frederic W. Goudy’s original “Village” private press typeface.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVsGKfXSf5me4RGABeLHTERjv7WkTKWjwDye-UFzm5Om2bJP9tdp9Yxo2Mr6ZqdNa0wpeY2r31j0ck8cg_tqMg3F6Rm_OiFr3cfxPw_gK66sPKGzY7SdJatEMtORZbHBp0eOzWcX6674/s1600/Box-set2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #444444; font-family: Times, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVsGKfXSf5me4RGABeLHTERjv7WkTKWjwDye-UFzm5Om2bJP9tdp9Yxo2Mr6ZqdNa0wpeY2r31j0ck8cg_tqMg3F6Rm_OiFr3cfxPw_gK66sPKGzY7SdJatEMtORZbHBp0eOzWcX6674/s1600/Box-set2.jpg" /></span></a></div>
We agreed that is a great idea. So, in celebration of the 150th anniversary of the great American type designer this year, we plan to print the book using a hand-set special casting of the original Village type, the face that Goudy designed for his own Village Press. At this point, we have only done preliminary design work, but in addition to printing it on Lankes’s own Washington hand press, we know that we will use a fine mouldmade or handmade all-cotton paper. The edition will be limited to 150 copies. It will be hand-bound in boards covered with special decorative papers we plan to adapt to echo the grain of weathered barn boards in the Lankes woodcuts.<br />
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<span style="color: #444444; font-family: Times, Times New Roman, serif;">Read a more complete account of the project and see the list of special premiums available when you <a href="https://www.kickstarter.com/projects/1704311236/the-rich-mouse-by-jj-lankes-a-limited-first-printi" style="text-decoration: none;" target="_blank">lend your support on Kickstarter</a>. </span></div>
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<span style="color: #444444; font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 21px;">And please share the news of this project with your friends and colleagues! While we have never before launched a Kickstarter campaign, we do understand that the secret for success is just having effective spread of the news through social media. We hope you’ll pass the word along.</span></span></div>
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<span style="background-color: white; color: #444444; font-family: Times, Times New Roman, serif; line-height: 21px; text-align: justify;">fbhfgh</span>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-7387394613959705374.post-30588340032558443412015-07-21T15:47:00.002-04:002015-07-31T16:52:16.148-04:00TBAS Library Highlights: Printers of the World, Unite!<div class="separator" style="clear: both; text-align: center;">
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Printers have long been at the forefront of the struggle for workers' rights. From the dawn of the American republic, they have organized locally and regionally to protect their rights, privileges, and wages. Printers' unions actually pre-date better-known organizations like the United Auto Workers, the Teamsters, and the American Federation of Teachers by many years, as revealed by a recent gift from J. B. Dobkin.</div>
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At a glance, the 1850 edition of <i>Robinson Crusoe</i> by Daniel De Foe looks like just another one of the hundreds of editions of the classic work produced in the United States in the nineteenth century. But look closely, and notice the handsome device on the cover of the elaborately decorated binding. Beneath a tangle of iconography that includes angels holding hands, a radiant star, a bald eagle, and a laurel wreath, is something immediately recognizable to anyone who has set type: a hand grasping a composing stick. (Actually, if you look very closely, you'll see “Stick & Rule" engraved on the edge of the stick. We learned that this is an obsolete name for the composing stick used until the early twentieth century.) In the ribbon below the composing stick is the name “Journeymen Printers' Union." That organization, based in Philadelphia, is credited as the publisher on the title page, and one of its members edited this edition. The reader has only to turn another page to learn why the Union issued the book themselves, rather than one of the publishers that its members worked for. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4NW-3-9pykeOuK_l-MvRa7SwPvNhpVDLPXzHESwGMVtWRWETniHSPPiqUxNtW70BiVfsMiCrALZTwQBVZfQmyfGbPNlsN-HVT0S9MzwH868GXSWfp7w1lqN0uOOQoVj1RsceshoypDjw/s1600/DSC06574.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4NW-3-9pykeOuK_l-MvRa7SwPvNhpVDLPXzHESwGMVtWRWETniHSPPiqUxNtW70BiVfsMiCrALZTwQBVZfQmyfGbPNlsN-HVT0S9MzwH868GXSWfp7w1lqN0uOOQoVj1RsceshoypDjw/s640/DSC06574.JPG" width="386" /></a></div>
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According to a two-page “Advertisement," the union was founded on June 27, 1850, “to improve the condition of the craft." One thing they did to achieve that end was to adopt a scale of prices — what we would call a minimum wage — for the various kinds of work its members did in newspaper offices, and in book and job offices. The scale went into effect on September 2, and while the majority of employers conceded to it, some employers refused to comply, which led to the dismissal of nearly one hundred union members from their jobs. The union went on strike against those employers, and decided to support the unemployed members by printing and selling this new edition of <i>Robinson Crusoe</i>. Our copy is from the third edition, following a first edition of 1,000 copies and a second edition of 2,000 copies. Ultimately, five editions totaling 17,000 copies were issued, but the venture cost the union money. Even though it was unprofitable, the venture was a great exercise in solidarity and fraternity, as the strike went on for nearly six months, and only a handful of members “left the cause to which they had solemnly pledged themselves and subscribed their names. These, in printers' language, are denominated <i>rats</i>, and as such, no doubt, they will find snares set by themselves at every opening to their lurking places."</div>
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As the strike drew to a close, a meeting was held on December 2, 1850, in New York City, bringing together the Journeymen Printers' Union and representatives from similar unions in New York, New Jersey, Maryland, and Kentucky to form what would become the National Typographical Union, which was formally organized in Cincinnati, Ohio, on May 5, 1852. Philadelphia's journeymen's union became the Philadelphia Typographical Union No. 2.</div>
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The future of organized labor must have seemed bright. We wonder if those printers of 1850 would be surprised to know that the struggle continues, 155 years later, “to redeem men from the virtual slavery into which they have been reduced by the unrighteous ascendency of capital."</div>
Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7387394613959705374.post-34986264614767514382015-04-18T09:02:00.000-04:002015-04-24T12:33:22.787-04:00Ringling College Letterpress Students Visit the TBAS<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj27h98qhdKCr9RBl-MHZpw-ecXFxc6pDusxHSAcW2PXxeQR9hQWDa092eciNA55FrPXhOtCbRHy8d68HVYte-O8OMJ4w7Dhr2mUFI27pywroaVEIrOdDlF-Wf16qh76nyaREtEfpap7gM/s1600/Richard_4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj27h98qhdKCr9RBl-MHZpw-ecXFxc6pDusxHSAcW2PXxeQR9hQWDa092eciNA55FrPXhOtCbRHy8d68HVYte-O8OMJ4w7Dhr2mUFI27pywroaVEIrOdDlF-Wf16qh76nyaREtEfpap7gM/s1600/Richard_4.jpg" height="automatic" width="600" /></div>
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Crossing Tampa Bay earlier this Spring, students of the Ringling College Letterpress and Book Arts Center (Sarasota) made their way to the TBAS, led by book artist Bridget Elmer, coordinator of the Ringling program. Our focus during their visit was to highlight two particular strengths of the Tampa Book Arts Studio: working typecasting machines and pre-1900 iron hand presses.</div>
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After welcoming the class and making introductions, Studio Director Richard Mathews began with a small tour of our “casting corner,” where the Intertype, the Monotype Composition and Sorts casters, and the Ludlow Typograph sit. He explained the workings and mechanics of each machine and spoke about their differences, advantages and disadvantages, and how each was typically used in commercial and book printing.</div>
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Following that initial talk the class separated into two groups. One group stayed to do hands-on work with the casters to set and cast their own lines of hot metal, while the other group moved to the hand press to ink and pull their own prints.</div>
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Letterpress Coordinator Carl Mario Nudi manned the Intertype, and after a bit of instruction had the students sit at the machine themselves to type their lines on the keyboard and cast their own slugs.</div>
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Both Carl and Studio Associate Joshua Steward split time helping students set large display type in Ludlow sticks and cast their settings on the Ludlow Typograph.</div>
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Because the students at the Ringling Book Arts Center primarily print using mid-century Vandercook cylinder presses for their projects, we gave them the opportunity to hand-ink and pull prints on our 1860s Hoe Washington iron hand press. In the spirit of Bridget Elmer’s other letterpress venture, <a href="http://thesouthernletterpress.com/">Southern Letterpress</a>, we had the students use a large hand roller to ink up the forme (a short quote by Benjamin Franklin, fittingly, a hand press printer himself) with a “rainbow roll”—a three-color gradient, blue to yellow to red.</div>
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<i>Thanks to Bridget Elmer and the Ringling College Letterpress & Book Arts Center.</i></div>
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<i><span style="text-align: justify;">The TBAS is glad to add typecasting, hand-inking, and iron hand press printing</span></i></div>
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<i><span style="text-align: justify;">to the students’ growing knowledge and experience in letterpress printing.</span></i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7387394613959705374.post-8342220491907431042015-02-18T07:20:00.002-05:002015-02-18T11:27:12.661-05:00The Itinerant Printer Revives a Printerly Tradition by Visiting the TBAS<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: inherit;">Letterpress printer and book artist Chris Fritton turned the TBAS into his personal studio for a few days last week as part of his year-long project called “The Itinerant Printer.” Fritton is traveling the nation in part to renew the lost tradition of tramp printers—printers’ apprentices who left the Master Printer’s shop where they had learned the craft of printing to travel and see more of the world, finding work in other places and</span> learning other printing techniques <span style="font-family: inherit;">before opening their own print shops.</span><br />
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<span style="font-family: inherit;">Taking advantage of Chris’s visit, two University of Tampa art classes stopped by the Studio to listen, watch, and print as they took part in informal presentations and demos. Chris explained the history of printing, showed the basic elements of letterpress printing and typecasting—having the students cast their own names on the Ludlow Typograph and print a class keepsake—as well as guiding them through his portfolio of prints and talking about his traveling “tramp printer” project.</span></div>
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Chris also set aside time to create and print some original letterpress works of his own. During his two-day visit, he designed, set up, and printed a three-color poster and two editions of two-color postcards to fulfill pledges that are part of his Indiegogo online fundraising campaign. Visitors were invited to stop by, talk with him, and see him at work during an Open Studio on Monday afternoon.</div>
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Chris officially began his Itinerant Printer tour, which is projected to take him to 48 states, the last week of January in the Miami area, making the Tampa Book Arts Studio only his third stop, following IS Projects (Ft. Lauderdale) and the Jaffe Center for Book Arts at FAU Libraries (Boca Raton). While in the West Central Florida area, Chris also visited the Letterpress and Book Arts Center at Ringling College in Sarasota and The Southern Letterpress in St. Petersburg before moving north to the Florida panhandle and Georgia.<br />
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More information about the Itinerant Printer project and a schedule of the tour can be found on the project website, <a href="http://itinerantprinter.com/">itinerantprinter.com</a></div>
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<i>Thanks to Chris Fritton (The Itinerant Printer) for his visit, </i><i>and to </i><i>Ina Kaur,</i><br />
<i>Jono Vaughn, the UT Art Department, t</i><i>he Dept. of English and Writing, </i><i>Writers at</i><br />
<i>the </i><i>University, and the College of Arts and Letters for sponsoring The Itinerant Printer.</i></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7387394613959705374.post-89182619037967011482015-02-13T07:55:00.001-05:002015-02-13T17:25:43.166-05:00A Celebration of Companion Old Style<div class="separator" style="clear: both; text-align: center;">
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<a 1="" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnta5wItlasmy6dQUQ8k86yeVE9l7V2Dh0wIRZXYyYT6adj_VGTRoaTg0L8X-56BLZQJrR_AhhiXQb8TnB6XN_XazGURLCPemH9kkBQ77_eZ3A7QpuWXkktOvoBY7M_DLFfXslm_761nc/s1600/Richard_talk_edit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 0px; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnta5wItlasmy6dQUQ8k86yeVE9l7V2Dh0wIRZXYyYT6adj_VGTRoaTg0L8X-56BLZQJrR_AhhiXQb8TnB6XN_XazGURLCPemH9kkBQ77_eZ3A7QpuWXkktOvoBY7M_DLFfXslm_761nc/s1600/Richard_talk_edit.jpg" height="240" width="320" /></a><span style="font-family: inherit;"><span style="text-align: center;">The Tampa Book Arts Studio completed January 2015 by beginning its year-long celebration of the 150th anniversary of the birth of the great American type-designer and printer Frederic Goudy—a party capped-off by casting type from the only surviving matrices for his unique Companion Old Style types. </span>The event centered around a talk given by Richard Mathews, Director of the TBAS, who described the impetus for the creation of the face, its design, and the history of the use of the typeface. Mathews, drawing from a large volume of research, including materials from our own Tampa Book Arts Studio Library Collections, began by discussing Goudy’s early life and his development as a type designer, moving into a discussion of Goudy’s first types and into the commission Goudy accepted in 1927 to create a new typeface for the<i> Woman's Home Companion </i>magazine. Mathews pointed out unique elements of the typeface itself and discussed the face in context with Goudy’s other types and ornament designs. The talk ended with the story of how amateur printer and type enthusiast Les Feller discovered the Companion Monotype matrices during the liquidation of Monsen Typographers in Chicago, and <a href="http://tampabookartsstudio.blogspot.com/2014/12/a-lost-goudy-type-becomes-our-new.html" target="_blank">how the Companion matrices found their home at the TBAS</a>.</span><br />
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As part of the event, two films were played on a loop that could be viewed whenever convenient by those who attended. The first was a 2014 video interview with Les Feller, describing his discovery and rescue of the Companion matrices (click on video at right to play). Paired with it was <i><a href="https://www.youtube.com/watch?v=gBeFZ4b7hZU" target="_blank">The Design to The Print by Frederic W. Goudy</a></i>, a silent film from the 1930s that enables the viewer to look over the shoulder of Goudy as he shows his process for creating a new type, from first drawings, to engraving the matrices, to casting the type.<br />
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<span style="font-family: inherit;">Following the talk, the crowd moved from the classroom into the Studio where there were opportunities to ask questions of the associates, learn more about Goudy, and to see a demonstration of typecasting from the original mats on a Monotype Sorts Caster, which produces individual pieces of type just as Goudy did in his foundry. </span><span style="font-family: inherit;">Designs by Goudy, enlarged photographs of Fred and Bertha Goudy, and enlarged, signed proofs were displayed, together with items from the TBAS collections, including original copies of Goudy’s type publication </span><i style="font-family: inherit;">Ars Typographica</i><span style="font-family: inherit;">, original copies of </span><i style="font-family: inherit;">Woman's Home Companion</i><span style="font-family: inherit;">, and the first book to be set entirely in Companion, <i>Water Colors</i>, published </span>in 1979 <span style="font-family: inherit;">by Konglomerati Press. </span><span style="font-family: inherit;">Notable items of the display were a grouping of facsimiles of Goudy’s first, dated proofs of three sizes of Companion (courtesy of the Cary Collection at RIT), photographs of Goudy's home and studio at Deepdene, and a printed sample of Companion known to be hand-set by </span><span style="font-family: inherit;">Bertha</span><span style="font-family: inherit;">, </span><span style="font-family: inherit;">overlaid over a photo of her </span><span style="font-family: inherit;">setting type in a composing stick.</span></div>
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Casting on our Monotype “Orphan Annie” Sorts Caster from the Companion matrices themselves, TBAS Associate Joshua Steward demonstrated how Goudy’s original engraved Companion mats would have been used to cast type for hand-setting and printing. The 36-point Companion Italic capital “G”s that were cast on the machine as part of the demonstration were handed out as small tokens to take home for those who attended.<br />
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At the Studio’s Vandercook 4 printing press, Richard Mathews assisted attendees to print their own keepsake designed for the occasion and handset in 36-point, 18-point, and 12-point Companion roman and italic types. The broadside included decorative Bruce Rogers ornaments also cast on the Monotype. The broadside design will serve as the basis for a more elaborate limited-edition keepsake for a portfolio of tributes being assembled by the Rochester Institute of Technology as part of their 150th Anniversary of Goudy.</div>
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<i>Thanks to those who attended the event and special appreciation to</i></div>
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<i>Rich Hopkins </i><i>for his Monotype typecasting advice and support</i></div>
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<span style="font-size: large;">Goudy’s Companion Old Style Comes to the TBAS</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PbxF9LYpDZVYXtvtBHELmr9imrGOxi4qkPGYaN1wz89DLQQjVrSjVx4PpWbJuHoofPM-_oCBPf8caJ13kHOEQBAAy7e2jAOTTxJQrI5mD3DFrlIl9CnGD-I-_XW2RDGHtEhAMtOQcsA/s1600/CompanionTypeSample.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PbxF9LYpDZVYXtvtBHELmr9imrGOxi4qkPGYaN1wz89DLQQjVrSjVx4PpWbJuHoofPM-_oCBPf8caJ13kHOEQBAAy7e2jAOTTxJQrI5mD3DFrlIl9CnGD-I-_XW2RDGHtEhAMtOQcsA/s1600/CompanionTypeSample.png" height="254" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A sample setting of Companion Old Style<br />
arranged by Richard L. Hopkins</td></tr>
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A rare and virtually unknown typeface designed by the acclaimed American type designer Frederic Goudy now has a new home here at the University of Tampa. Thanks to a David Delo Research grant and the generosity of the Lester Feller Family, the only known surviving mats for Goudy’s Companion Old Style type have become jewels in the crown of the Feller Family Collections at the Tampa Book Arts Studio.</div>
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Richard Mathews, Dana Professor of English and Writing at the University of Tampa, and Director of the TBAS, received a David Delo Research grant from the University of Tampa to acquire, document, cast, and write about Goudy’s little-known type, Companion Old Style. As part of the grant he will give a talk on the history and discovery of the mats at the Tampa Book Arts Studio on January 31, 2015, where he will explain the background and design of the roman and italic fonts and demonstrate their casting on the Studio’s antique Monotype “Orphan Annie” caster.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPyAmlz0PGxAfOedX3N86FvMxB4zDAUD8avuHCdDiQvERnuZsimHF17ZEuJUkkjgpOHf2t15humhS6WWtxxqYHulcRno_MjXFanKY4Wh24ls-jNiTA8v_zR6RPnBuebqV7PJWm5pfVdUo/s1600/WHCompanion.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPyAmlz0PGxAfOedX3N86FvMxB4zDAUD8avuHCdDiQvERnuZsimHF17ZEuJUkkjgpOHf2t15humhS6WWtxxqYHulcRno_MjXFanKY4Wh24ls-jNiTA8v_zR6RPnBuebqV7PJWm5pfVdUo/s1600/WHCompanion.png" height="320" width="269" /></a> The brass Monotype matrices arrived in sixteen battered plastic cases, each containing a complete roman or italic alphabet. They are the masters for casting an exceedingly rare private typeface, never made commercially available. Commissioned in 1927 by Henry B. Quinan, Art Director for the <i style="mso-bidi-font-style: normal;">Woman’s Home Companion</i> magazine, the type was designed for exclusive use in the magazine, which had a national circulation of more than four million in the 1930s.<span style="mso-spacerun: yes;"> </span>Goudy worked on the project for several years, during which time he taught himself how to engrave the mats, developing his own tools for cutting the shape of each letter, number, and punctuation symbol into a flat brass matrix designed for use on the Monotype casting machine.<span style="mso-spacerun: yes;"> </span>The finished types first appeared in the <i>The Woman’s Home Companion</i> for June, 1931. In the end, not only did he make the patterns for each letter, but he also cut each of the mats himself. The mats today include 12-, 14-, 16-, 18-, 21-, 24-, 36-, and 42-point sizes in roman and italic.</div>
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<span style="font-size: large;">How Companion Made Its Way to the TBAS</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhag1KQyP8fvHp5kaNDV-aF4boMwsNrvURAt4FFBgqAwnAltPBOckRx2ak24sJ_UvtZDr16JOxHkbBHLscJybeGDXP6GUSZPUOKyc1-MyArBxfcqlJxVhiYAftx0no_FaPRPM1B-Qeqkl8/s1600/MonsonBoxes_end_edit.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhag1KQyP8fvHp5kaNDV-aF4boMwsNrvURAt4FFBgqAwnAltPBOckRx2ak24sJ_UvtZDr16JOxHkbBHLscJybeGDXP6GUSZPUOKyc1-MyArBxfcqlJxVhiYAftx0no_FaPRPM1B-Qeqkl8/s1600/MonsonBoxes_end_edit.jpg" height="200" width="157" /></a></div>
The mats were discovered and saved by Lester Feller in 1976 when the equipment of Monsen Typographers of Chicago was being liquidated. Feller, <span style="font-size: 16px;">an amateur printer and type enthusiast who founded and operated the Twin Quills Press in Niles, Illinois, and later established the Printer’s Row Printing Museum in Chicago, </span>collected antique types and cuts <span style="font-size: 16px;">throughout the 1960s and 1970s </span><span style="font-size: 16px;">for his serious letterpress hobby that he pursued from home base in a crowded garage</span><span style="font-size: 16px;">. </span><span style="mso-spacerun: yes;">At the liquidation </span>Les noticed the unidentified mats in custom Monsen Typographers plastic boxes with the Monotype number 359 identification, a number he was not familiar with, and he took a few mats out of the case to see if he could recognize the face. Though he couldn’t identify the type, he thought the slant of the letter “o” was interesting and he noticed that the old style numerals had a certain flair, and so decided to buy the mats without knowing what they were.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJR4Gdcpwb41Eul3J6mP20jjxABQ9zCL1J88WKUUTQ3j4muOOy8vQsmUyH2d-xHRql9VSBfDTMz7BdtAA8EFrtr68_J3oANprqe_z-lgasD7QuoRnJccEcYPKUOLOEW_0U_QNzi7qj1o/s1600/Goudy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJR4Gdcpwb41Eul3J6mP20jjxABQ9zCL1J88WKUUTQ3j4muOOy8vQsmUyH2d-xHRql9VSBfDTMz7BdtAA8EFrtr68_J3oANprqe_z-lgasD7QuoRnJccEcYPKUOLOEW_0U_QNzi7qj1o/s1600/Goudy.jpg" height="320" width="232" /></a> Les later showed a one-line printed setting of the word “Companion” to Rich Hopkins at a meeting of hobby printers, the Almagamated Printers Association Wayzgoose in Indiana in 1977, still not knowing what he had. Printers often saved scraps and type samples from job work that could show what a typeface looked like, and Les thought that “Companion” might be a word from a headline or ad to show the type. It certainly didn’t strike him as the name of a type, let alone being a type designed by Frederic Goudy. He had unsuccessfully looked through Monotype lists in various catalogs and specimen books, but he had not been able to find number 359.<span style="mso-spacerun: yes;"> </span>Hopkins was also intrigued, and turned to his own extensive references, including two different typeface encyclopedias, but the mats were not listed in any of the usual sources.<span style="mso-spacerun: yes;"> </span>Rich remained on the chase, following various clues that eventually included that one-line sample word, and he was able to identify the mats as Companion Old Style, an exclusive, private type commissioned by the art director of the <i style="mso-bidi-font-style: normal;">Woman’s Home Companion</i>, and used exclusively by the magazine.<br />
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In 1979 Rich Hopkins wrote the whole story of the discovery and identification of the type in a beautifully printed issue of his <i style="mso-bidi-font-style: normal;">Typographic Curiosities</i>, set in Companion types cast from the mats that Feller had loaned especially for the booklet. Dr. Richard Mathews, who was directing the Konglomerati Florida Foundation for Literature and Book Arts at that time, knew Rich through the American Typecasting Fellowship and soon heard about the Companion discovery.<span style="mso-spacerun: yes;"> </span>He contacted Les and was able to arrange to have enough of the type cast to complete the first book ever issued in the private typeface: a collection of poetry by Ohio poet Hale Chatfield entitled <i style="mso-bidi-font-style: normal;">Water Colors</i>.<span style="mso-spacerun: yes;"> Published in 1979, it was t</span>ypeset by hand in Companion, letterpress printed, and hand bound at Konglomerati Press, with partial funding by a grant from the National Endowment for the Arts.</div>
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Feller and Mathews had lost touch over the years since then, but as the Tampa Book Arts Studio was first taking shape a decade ago, they made contact again.<span style="mso-spacerun: yes;"> </span>Les and his wife, Elaine, were spending winters in Florida, and they arranged to stop at the University of Tampa to see the new setup.<span style="mso-spacerun: yes;"> </span>Presses, type, and typecasting equipment from Konglomerati had been supplemented by donations from others, and the growing collection reminded Les of what they had hoped to do with the Printer’s Row Printing Museum: inform and inspire others with an appreciation of the history and the desire to keep the equipment in use.</div>
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<span style="font-size: large;">Future Legacy of Companion at the Tampa Book Arts Studio</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA1vGXhtrk6EZaXx-_nx9efP6lfs9se-V96s7eUimtp5ISKPJPNss2Wg_cTMKRt9E0_BBrscYO3zJswo7WfLJcDLUTU6NBUKAjVbmgLdzYExAXXqb8XA3C-S7eBbxKywi5dVIgcsIF7NY/s1600/Les.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA1vGXhtrk6EZaXx-_nx9efP6lfs9se-V96s7eUimtp5ISKPJPNss2Wg_cTMKRt9E0_BBrscYO3zJswo7WfLJcDLUTU6NBUKAjVbmgLdzYExAXXqb8XA3C-S7eBbxKywi5dVIgcsIF7NY/s1600/Les.jpg" height="148" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Les Feller speaking about his 1979<br />
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Les and Elaine established the Feller Family Collections as part of the special collections library of the Tampa Book Arts Studio.<span style="mso-spacerun: yes;"> </span>They have contributed hundreds of original antique printer’s blocks from the early twentieth century children’s books published by the Donohue Company of Chicago, antique letterpress models, displays of wood-engraving processes, hundreds of printed books and pamphlets on letterpress printing, and a collection of antique letterpress posters and broadsides from the seventeenth through the nineteenth century.<span style="mso-spacerun: yes;"> </span>Many of these are framed, and now hang permanently in the TBAS.</div>
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Today the Companion Old Style types will form a unique living legacy as the highlight of the Feller Family Collections, offering a very special opportunity for students to handle a private typeface found nowhere else in the world.<span style="mso-spacerun: yes;"> Faculty and students together will </span>explore new ways of utilizing this distinctive and nearly lost typeface by America’s best-known and most prolific type designer.<span style="mso-spacerun: yes;"> </span>Here it will be cast sparingly and used for special projects.<span style="mso-spacerun: yes;"> </span>Most importantly it will offer students a hands-on experience with history. In the process, they will also contribute to history and scholarship themselves as they find ways to feature and reveal the possibilities for expression that this virtually unknown typeface holds.</div>
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Frederic Goudy wrote of Companion in his book <i style="mso-bidi-font-style: normal;">A Half Century of Type Design and Typography</i>: <span style="mso-spacerun: yes;"> </span></div>
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<i>“Companion Old Style and its italics show greater consistent</i></div>
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<i>original </i><i>features </i><i>than any other face I have ever made.”</i></div>
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The Tampa Book Arts Studio is thrilled to be the permanent home for this extraordinary type.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7387394613959705374.post-7280666286930936122014-10-24T16:17:00.000-04:002014-11-14T11:11:59.722-05:00TBAS Letterpress Coordinator Visits Lead Graffiti in Delaware<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIcG3eE5L5o6Ht7DT7a1mIiSsdt_2M9sC5XQZcF694ear7I9zi9Xxji2jYF1dopevQWZULh-g7ZakPmmy0h4sF2aJ-nh2HaDJD1HFZ93XbO9Z14pKE_3AIyhWvF2-fj1M4qaXIhqe9Y-A/s1600/SAM_2580+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIcG3eE5L5o6Ht7DT7a1mIiSsdt_2M9sC5XQZcF694ear7I9zi9Xxji2jYF1dopevQWZULh-g7ZakPmmy0h4sF2aJ-nh2HaDJD1HFZ93XbO9Z14pKE_3AIyhWvF2-fj1M4qaXIhqe9Y-A/s1600/SAM_2580+copy.JPG" height="388" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jill Cypher and Ray Nichols in the Lead Graffiti studio, Newark, Delaware.</td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: medium;"> </span><span style="font-family: inherit;"><span class="Apple-style-span" style="font-size: medium;">When Tampa Book Arts Studio Letterpress Coordinator Carl Mario Nudi headed North last month to visit relatives and friends, he was happy to see that his road trip would take him near Newark, Delaware, where the creative letterpress studio Lead Graffiti is located. Jill Cypher and Ray Nichols, the studio’s owners, greeted our “itinerate inquirer of all things letterpress” with gracious and overwhelming hospitality. </span><span class="Apple-style-span" style="font-size: 14px;"><span style="color: black; font-size: medium;"></span></span></span><br />
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<span style="color: black; font-family: inherit; font-size: medium;"> Lead Graffiti not only produces unique and innovative books, broadsides, and other book arts pieces, but Jill and Ray, and Ray’s son, Tray, also do commercial letterpress commissions. They work with traditional materials in surprising and contemporary ways. Their studio resources include a variety of traditional wood and foundry types, supplemented by new and wonderful wood type that they have designed and manufactured entirely in-house.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">An example of the wood type made at Lead Graffiti.</span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: medium;"> During Carl’s visit, Jill and Ray generously took the time to show him around and explain some of their techniques. They also presented him with some inspiring samples of their work to share with the TBAS associates. One of the most interesting broadsides is from the 2014 series of their “Tour de Lead Graffiti” project. The sample print they sent back to Tampa is one of twenty-one posters interpreting the stages of this year’s Tour de France bicycle race held in July in France and nearby European countries.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Some of this year’s posters from Tour de Lead Graffiti.</span></td></tr>
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<span style="color: black; font-family: inherit; font-size: medium;"><br /></span><span style="color: black; font-family: inherit; font-size: medium;"> Each day during the Tour de France, Jill, Ray, and a team of collaborators watched television coverage of the race and related activities to soak up the atmosphere, and to catch some of the memorable commentary, interviews, and incidents. They would then go to lunch and discuss how to translate and interpret their impressions into a poster using wood and metal types, decorative elements, and colored inks on a 14.5” x 22.5” sheet. What is immediately obvious about this project is the spontaneity that the finished work communicates. Even the composition and lockup were done directly on the bed of their Vandercook press without preparation.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"> Bringing the Tour to TBAS.</span><br />
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<span style="font-size: medium;"> The posters are limited editions—this year being the fourth in their yearly series—and copies of many of them remain available for purchase. </span><span style="font-family: inherit; font-size: medium;">Check out Lead Graffiti’s web site to see more of the series, along with some of the other great stuff they are doing: </span><a href="http://www.leadgraffiti.com/index.asp" style="font-family: inherit; font-size: large;">www.leadgraffiti.com/</a></div>
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</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7387394613959705374.post-42474664178660450902014-08-11T14:24:00.000-04:002014-08-11T14:32:59.491-04:00Summer Project: Proofing Antique Donohue Blocks from the Feller Family Collections<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEaUC-T9j6FrP6c5FMjn1Czs_pMUZmgKKtWhIFwSFMheGd2ZQ12UmKOR51kt8O6AcVx6W9-gzf1yQsG9UwKA6TGyy66D4snddK9V0tL4CRPgvz0FesttteDCR5Ih7uArj3zCtYKVnGxQ/s1600/SAM_2209.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEaUC-T9j6FrP6c5FMjn1Czs_pMUZmgKKtWhIFwSFMheGd2ZQ12UmKOR51kt8O6AcVx6W9-gzf1yQsG9UwKA6TGyy66D4snddK9V0tL4CRPgvz0FesttteDCR5Ih7uArj3zCtYKVnGxQ/s1600/SAM_2209.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carl Mario Nudi, at the Vandercook 4 in the background, has already completed more than two hundred proofs.</td></tr>
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One of the most interesting projects this summer has been the proofing of our complete holdings of antique blocks from the M. A. Donohue & Company of Chicago. The blocks are just one component of the Les Feller Family Collections now at the Tampa Book Arts Studio. Letterpress Coordinator Carl Mario Nudi is leading the effort, with help from Joshua Steward, Caitlin Carty, and others. The project involves unwrapping each block, cleaning away at least the first layers of accumulated ink, dust, and dirt with the help of brushes, toothbrushes, and a variety of solvents, and pulling a proof.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXi72kp6zs_SeMLAhQoot3lGPjF-z-DuPelEOpIUX-mM3NXvCHjXXadnDnsILfYj37d6gidPg7M9NTtM1DEH-k3VND1K4eZfh2zut_wfB0Qp7J0-LPlLVT31YWkkpBFQRhiF6GTvpszA/s1600/SAM_2205.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGXi72kp6zs_SeMLAhQoot3lGPjF-z-DuPelEOpIUX-mM3NXvCHjXXadnDnsILfYj37d6gidPg7M9NTtM1DEH-k3VND1K4eZfh2zut_wfB0Qp7J0-LPlLVT31YWkkpBFQRhiF6GTvpszA/s1600/SAM_2205.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One cover block after cleaning, ready to be inked and proofed.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTs8Ez60ueUoVPKarwV0_QI4nmOaPmabmBSfmVM4v6Xr_GStsQnxNoJIy9JbXBVhyphenhyphenNnb61lPJ_sqD07UJlaxUgF3LH-xf_yA3skn6uKdyUTSoTz4xkM4IhroguKznNaeEuIt3mhs-lYCM/s1600/SAM_2211.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTs8Ez60ueUoVPKarwV0_QI4nmOaPmabmBSfmVM4v6Xr_GStsQnxNoJIy9JbXBVhyphenhyphenNnb61lPJ_sqD07UJlaxUgF3LH-xf_yA3skn6uKdyUTSoTz4xkM4IhroguKznNaeEuIt3mhs-lYCM/s1600/SAM_2211.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carl Mario Nudi pulls a proof from the block.</td></tr>
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When the project is finished, the studio will have two complete notebooks of proofs that will serve as a catalog of all the blocks in the Feller Family Collections. Donor Lee Harrer and others are already busy locating actual books to match the plates, and this week Carl found a copy of <i>The Natural History ABC. </i>His copy of the complete book arrived just after he had finished proofing that set of blocks. But, as is often the case with Donohue Company books, the interior and exterior blocks are not always paired consistently from printing to printing. The inside blocks in the case of <i>Natural History </i>are completely different in this physical copy from the blocks held in our collection. This appears to be a standard practice of the company, which supplied young children with interesting and inexpensive books. Donohue & Co. evidently reprinted quickly to replenish stocks, and they appear to have been happy to swap around the texts, as long as they made sense. The outside covers are identical, and both our blocks and the printed book are identified as Series No. 120.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjydnCtin9cyo7HKUpgNDa-aMfOiKy1kWRGSKoHr-nBe1idJlwi6q5dEYg-EKoN94Tr6RuIzyc5-SlWKWatOkH5aeXRgzvWbfimTh4BemPblfkUEPSoYSHZvyuKi6H4v2ijozCV9DhDVDY/s1600/SAM_2220.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjydnCtin9cyo7HKUpgNDa-aMfOiKy1kWRGSKoHr-nBe1idJlwi6q5dEYg-EKoN94Tr6RuIzyc5-SlWKWatOkH5aeXRgzvWbfimTh4BemPblfkUEPSoYSHZvyuKi6H4v2ijozCV9DhDVDY/s1600/SAM_2220.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The printed cover, together with our first proof of the black block, which still needs makeready.</td></tr>
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Most of the interior blocks in our collection include the signature of the illustrator, Constance White; however, the interior pages in the printed copy are by multiple illustrators—W. A. Cranston, Stanley Berkeley, and Harrison Weir—and they show a range of dates from 1873-1890. Neither the printed copy nor the set of blocks is dated, though our blocks appear to have been made sometime between 1900 and 1920.</div>
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With summer nearly over, there is still a great deal of proofing to be done to complete the project, but each printing session brings fresh discoveries and delightful surprises. We are looking forward to knowing much more about the full archive—which includes well over four hundred blocks—and about the Donohue Company by summer's end.</div>
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<tr><td class="tr-caption" style="text-align: center;">Joshua Steward proofs another sheet on the Vandercook 4.</td></tr>
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-7387394613959705374.post-52453958847384785602014-08-01T12:09:00.001-04:002014-08-01T15:43:46.640-04:00TBAS Library Highlights: Rare Book from American Printer Isaiah Thomas<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizMs28p0OBWhrZWEf-NvafaQ2SnUMjmgkVIx7SD-1HTQ-k_2jE7DYxo6ts1OrAH4-ycF29G6YpZw55a3RGHnXTwhRwzXuwWsLEuR1QGJ7vH9QpANJ7J-dsR8ZVwL_5a7wBPffJDyZ8EaQ/s1600/IMG_0420Open.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizMs28p0OBWhrZWEf-NvafaQ2SnUMjmgkVIx7SD-1HTQ-k_2jE7DYxo6ts1OrAH4-ycF29G6YpZw55a3RGHnXTwhRwzXuwWsLEuR1QGJ7vH9QpANJ7J-dsR8ZVwL_5a7wBPffJDyZ8EaQ/s1600/IMG_0420Open.jpg" height="355" width="640" /></a></div>
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A battered, heavily worn leather binding from the nineteenth century conceals one of the gems of the Tampa Book Arts Studio Library Collections: the <i>Columbian Dictionary of the English Language </i>published in 1800 by the great American printer and patriot Isaiah Thomas in partnership with his friend and fellow publisher Ebenezer T. Andrews. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwVXFy-hS_rekAcZ4H3w2MR66Fo2eOSzXVwXLqb3VgN1vr4eFKYEYn_K46j7in-bBFxbimu8rDOshrxJWW2XMU8TNCDEDI5nDCrkxX1QUl3EQtCpMO72gnICQ_gBpD9w45b7dnw76-Yw/s1600/IMG_0417.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwVXFy-hS_rekAcZ4H3w2MR66Fo2eOSzXVwXLqb3VgN1vr4eFKYEYn_K46j7in-bBFxbimu8rDOshrxJWW2XMU8TNCDEDI5nDCrkxX1QUl3EQtCpMO72gnICQ_gBpD9w45b7dnw76-Yw/s1600/IMG_0417.jpg" height="222" width="320" /></a>Our copy is a gift from our collections chief, J. B. Dobkin, and is one of only nine surviving copies that we have been able to locate in libraries throughout the world. Dobkin describes it as "extremely rare." Our copy is inscribed with the name of John Lesslie, who lived with his wife, Polly Hyde, in Plymouth, Vermont.<br />
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The book was compiled by Yale-educated Massachusetts teacher Caleb Alexander and includes “many new words peculiar to the United States, and many words of general use not found in any other English Dictionary.” The elaborate title page also states that “the whole is calculated to assist foreigners in acquiring a just pronunciation of the English language, and to be used as a school book by any who wish to study the language grammatically.”<br />
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Isaiah Thomas was born in Boston in 1749 and in his youth was apprenticed to a printer. He is widely known for his publication of the famous eighteenth-century newspaper named the <i>Massachusetts Spy, </i>which he established just about the time he turned twenty-one. In it he championed American Patriot politics from 1770 to 1776 and the outbreak of the Revolutionary War. Thomas also printed and published the <i>New England Almanac </i>(1775-1803), published many other important books, established a paper mill, and wrote and published the first comprehensive printing history in the U.S., <i>The History of Printing in America (</i>1808).<br />
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<br />Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-7387394613959705374.post-9617995146986747272014-07-03T17:42:00.005-04:002015-07-21T11:50:35.302-04:00TBAS Library Highlights: One of our favorite things<div class="separator" style="clear: both; text-align: center;">
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So many gems are tucked away in the Tampa Book Arts Studio library that it’s difficult to choose one to inaugurate this series of posts about the “best” of the collection. We plan to feature one item, or a related group of items, regularly on this blog, so check back often and see what we've brought out to delight you. Since there are nearly 8,000 items in the collection, it will be a long time before we run out of the “best” of what we have to share. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMlwfZ-yVSZxaC2aAnjkKBxP1zrjjNDeHOLbcmX3wXKbAFCEugjVHpZa4WrDcpbqx9EshYzWRtDIMLPfAAgCQarI3fg51rJLuExiG07jmONt1MzzXirW4rkSKl4hk1pdw6FtLIjhZ09gk/s1600/ZK9v4q_p4t-NV-CnK8Khtpq7W_y-PG057Q_nDl-Pvlk.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMlwfZ-yVSZxaC2aAnjkKBxP1zrjjNDeHOLbcmX3wXKbAFCEugjVHpZa4WrDcpbqx9EshYzWRtDIMLPfAAgCQarI3fg51rJLuExiG07jmONt1MzzXirW4rkSKl4hk1pdw6FtLIjhZ09gk/s1600/ZK9v4q_p4t-NV-CnK8Khtpq7W_y-PG057Q_nDl-Pvlk.jpg" width="250" /></a></div>
We decided to begin the series with the copy of <i>An Essay on Typography</i> that came to us as part of Lee Harrer's generous donation. This first
edition was published in June 1931 in an edition of 500 copies. Eric Gill (1882-1940) not
only wrote and illustrated the book, he also printed it by hand, with his
son-in-law, Rene Hague. This book exemplifies Gill’s versatility. His great talents complemented one another in the fields of sculpture,
type design, writing, illustration, engraving, and printing, and he made this book at a high point in his career, having just completed the design of Gill Sans types and finished a major sculptural commission for reliefs on the headquarters building overlooking St. James's Park for the Underground Electric Railways Company of London, which was awarded a London Architectural Medal in 1931 from the Royal Institute of British Architects.<br />
Gill first trained to be an architect, but gave it up after meeting and studying with the renowned calligrapher Edward Johnston. After that meeting, he became interested in calligraphy and the cutting of letters in stone, and the art of sculpture generally. His work exemplifies the Art Deco style and unashamedly portrays human sexuality and the body. He and his wife moved to Ditchling in Sussex, England, in 1903, where he founded the Guild of St Joseph and St Dominic after World War I. The Guild and the workshops he established later were communities of craftsmen that put into practice the anti-industrial ideas that Gill propounded in essays on art and the modern world.<br />
His career took a new turn after Stanley Morison, the type designer most famous for the ubiquitous Times New Roman, invited Gill to design new type faces for the Monotype Corporation. The results of their collaboration include Perpetua, Gill Sans, and Joanna. American type designer Beatrice Warde was also employed at Monotype when Gill was working for them, and was inspired by Gill’s Perpetua type to write her famous broadside titled "This Is a Printing Office." (Warde was also the model for his woodcut of a female nude called “La Belle Sauvage.”) The Joanna type was specifically designed for Gill’s own press, and he used it to set <i>An Essay on Typography</i>. The year 1931 also marked the publication of Gill's masterpiece in the field of book design: <i>The Four Gospels</i>, published by the Golden Cockerel Press. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7387394613959705374.post-25937363569089074542014-06-24T10:53:00.000-04:002014-07-02T13:19:04.789-04:00Christmas in Midsummer for TBAS Library<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfhidIkg3fl6cYlEHxT7-liTVZQQGnFj2Q3MpizQDMiEYaPvn-i6yTcGfhhZarUx7HWjhQ3yXfYluHF2JVqcIOB_hfAcJOAPx41Xcb4P9rlO8JT9cEs5pTllYXpWI1KrG2_rzquroVr3M/s1600/Scan-140613-0001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfhidIkg3fl6cYlEHxT7-liTVZQQGnFj2Q3MpizQDMiEYaPvn-i6yTcGfhhZarUx7HWjhQ3yXfYluHF2JVqcIOB_hfAcJOAPx41Xcb4P9rlO8JT9cEs5pTllYXpWI1KrG2_rzquroVr3M/s1600/Scan-140613-0001.jpg" height="320" width="230" /></a></div>
The Tampa Book Arts Studio Library Collections received an unexpected summertime visit from Santa Claus as donor Lee J. Harrer brought in some special vintage gifts that complement and showcase the antique printing blocks in our Les Feller Family Collections. Lee is extending the Harrer Collection of Books about Books to include original editions published by <a href="http://tampabookartsstudio.blogspot.com/2012/07/a-sampling-of-chicagos-historic.html" target="_blank">Donohue & Co. of Chicago that are printed from the antique blocks that were rescued and preserved by Les Feller</a>, who discovered them in the vaults of the Chicago printer. They are now a treasured part of the TBAS Feller Family Collections. <a href="http://tampabookartsstudio.blogspot.com/2012/08/jollyjingle.html" target="_blank">(See our post about a title, <i>Jolly Jingles</i>, discovered early on in the Collection.)</a><br />
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This color cover is from the <i>Santa Claus Big Picture Book</i> published by Donohue about one hundred years ago. The Feller Collection blocks include many sets of four-color separations, along with some engravings intended to be printed in a single color. The Studio plans to produce limited-edition prints from the original blocks and will be making them available in portfolio sets as a fundraising activity. Meantime, we look forward to being inspired by antique examples of the original printings, thanks to Lee’s book-collecting skills and generosity.<br />
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If you happen to have original children’s books from Donohue and Company that you would like to contribute to the library, please contact us at utpress@ut.edu.Unknownnoreply@blogger.com0