Ars Calligraphica et Typographica: Catalogue 66 Bromer Booksellers, Boston, Massachusetts, 1991, Wraps, , , Very Good
157 pp. 159 items. Light wear to edges, two small, light discolorations to front wraps (directly to the left of 'Ars,' and below Boyleston; the darkish line diagonally from upper right in photo is a shadow). Ars Calligraphica et Typographica has two main concentrations: 1) The original calligraphic manuscript as a book art and 2) The relationship of calligraphy to the printed page. One-of-a-kind books manuscripts include traditional historic pieces such as a Vitorian Carta Ejecutoria and Graily Hewitt manuscripts and pieces that were commissioned specifically for this catalog: Nacy Culmone, Jean Evans, Ann Hechle, Thomas Ingmire, Donald Jackson, Nancy Leavitt, Gino Lee, Richard Lipton, Suzanne Moore, Susan Skarsgard, Melissa Sweet, Julian Waters, and Sheila Waters. The second section, calligraphy as a complement to the typographic page, offers calligraphy applied by hand, printed from wood blocks, or metal plates, with work by American, English, and German artists of the last century.
The American Language Reprint (ALR) series aims to compile the various word-lists, vocabularies and phrase books which were collected in the early years of North American settlement. The series begins with the languages and dialects of the Eastern Woodlands, with a primary emphasis on the Eastern Algonquian and Iroquoian families. We hope to progressively extend the geographical scope of the project to form a comprehensive linguistic record of native North America prior to the advent of modern linguistics.
The Lucile project is an attempt to recover the publishing history of a single 19th century book. Owen Meredith's Lucile was first published in 1860, by Chapman & Hall in England and as a Ticknor & Fields "Blue & Gold" in the United States. It was reviewed in the New York Times, as well as other newspapers and magazines. In England, it saw only a handful of editions over the next 40 years. In the United States, however, it remained in print until 1938, last offered as a surviving title in Burt's Home Library remaindered to Blue Ribbon Books in 1936. It went out of print in 1938.
In 1945 the Zamorano Club published The Zamorano 80: A Selection of Distinguished California Books Made by Members of the Zamorano Club. The criterion for inclusion was that a selection above all should be distinguished, and that rarity and importance would be secondary. Yet, over time, it appears that the eighty books selected are both distinguished and important, and a number of them are definitely rare. The Club's goal was to choose those books considered cornerstones of a serious collection of Californiana. The books listed in The Zamorano 80 for the most part have withstood the test of time.
The International Joan of Arc Society / Société Internationale de l'étude de Jeanne d'Arc is a WWW repository of scholarly and pedagogic information about Joan of Arc collected by faculty, independent scholars, and students.
The Center for Book Arts, a not-for-profit organization founded in 1974, offers over 100 classes and workshops in bookbinding, letterpress printing, paper marbling, typography, and related fields. The Center has mounted over 140 exhibitions during the last 25 years.
"With over 250 titles in print, Pendragon Press is a leader in the publication of musicological research, reference works, and studies of many aspects of musical life. With 27 series, ranging from Aesthetics to the history of theory, to vocal music, we have been servicing the musicological community for over 30 years, and, with the help of our friends, hope to continue for another 30. "
19th Century Schoolbooks"The Nietz Old Textbook Collection is one of several well-known collections of 19th Century schoolbooks in the United States. Among the 16,000 volumes are many titles that are rarely held and have not yet been reproduced in microform collections or reprint editions. The collection is used by Pitt faculty and students as well as visiting scholars from other colleges and universities. The ULS received two U.S. Higher Education Act Title IIC grants (1985-1987) to catalog the original collection."
"NYU Bobst Library, NYU Institute of Fine Arts, NYU Courant Institute of Mathematical Sciences, NYU Real Estate Institute, The New-York Historical Society, New York School of Interior Design, Cooper Union, New School University, Parsons School of Design, Mannes College of Music."
The New York Public Library has been an essential provider of free books, information, ideas, and education for all New Yorkers for more than 100 years. Founded in 1895, NYPL is the nation’s largest public library system, featuring a unique combination of 88 neighborhood branches and four scholarly research centers, bringing together an extraordinary richness of resources and opportunities available to all.
“Most people know the legend of Thomas Chatterton -- brilliant poet who failed to make a living, starved himself to send expensive presents to his family, and died by his own hand at seventeen -- much better than his poems. Like all legends, it is partial and exaggerated, but was a powerful influence on the Romantic movement and long after. The painting "The Death of Chatterton" by Henry Wallis epitomises this reputation. His fame rests, apart from this almost unbearably romantic life story, on his "Rowley Poems". These he wrote in a sham Middle English dialect, and passed off as the work of Thomas Rowley, a priest of Bristol in the fifteenth century, and some of his friends. The imposture was quickly detected (though some continued to believe in him for many years), but they were published in a collected edition after his death and were popular and much admired by the Romantic poets, especially Wordsworth, Shelley, and Keats, who dedicated "Endymion" to the memory of Thomas Chatterton.”
An Online Repository of Works
Printed in English Between the Years 1477 and 1799. “Renascence Editions is an effort to make available online works printed in English between the years 1477 (when Caxton began printing) and 1799. These texts have been produced with care and attention, but are not represented by the publisher as scholarly editions in the peer-reviewed sense. They are made available to the public for nonprofit purposes only. The publisher and general editor is Richard Bear at the University of Oregon. If you would like to edit a text in this series, send email to the Publisher.”
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society.An Auction Report by Maureen E. Mulvihill as published in
Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers,
prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS,
PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008).
Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y.
483 Lots (books, manuscripts, images). Sales total: $1.6 million,
including premium. Photograph, Margie Van Dyke.
Bookplate from Peyraud copy of Frances Burney’s Cecilia,
(lot 218, buyer McGill University). Bookplate bears inscribed
initials (“FCP - EKP”), being the collector’s
grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud,
both visual artists (see “Peyraud,” Benezit, vol.
10, 2006 edition).
MY KINGDOM IN THE CLOUDS.
I SAT and gazed into the burning sky
Where, like some dying king, the parting day,
In calm majestic prescience of decay,
Lighted his pyre that he a king might die.
And I, whose thought upsoars on wider wings,
Since thy pure soul has breathed into my life
A quickened kinship with diviner things—
I builded there, remote from din and strife,
A spacious solitude, where thou and I
Might reign untroubled by the pace of time.
How with thy fleetest wish the cloud would thrill,
And, like some sweet, unmeditated rhyme,
Bend with melodious impulse to thy will!
And I, strong in thy love, unquailingly
Would greet the gaze of dread eternity.
I SAW the lily pale and perfect grow
Amid its silent sisters in the mead.
Methought within its chilly depth to read
A maidenly severity, as though
A cool young life lay slumbering in the snow
Of its frail substance. In that chalice white
Whose fairy texture shone against the light
An unawakened pulse beat faint and slow.
And I remembered, love, thy coy disdain,
When thou my love for thee hadst first divined;
Thy proud, shy tenderness—too proud to felgn
That willful blindness which is yet not blind.
Then toward the sun thy lily-life I turned—
With sudden splendor flushed its chalice burned.
IF THE ROSE COULD SPEAK.
WITHIN the rose I found a trembling tear,
Close curtained in a gloom of crimson night
By tender petals from the outer light.
I plucked the flower and held it to my ear,
And thought within its fervid breast to hear
A smothered heart-beat throbbing soft and low.
I heard its busy life-blood gently flow,
Now far away and now so strangely near.
Ah, thought I, if these silent lips of flame
Could be unsealed and fling into the air
Their woe, their passion, and in speech proclaim
Their warm intoxication of despair;—
Then would I give the rose into thy hand;
Thou couldst its voice, beloved, not withstand.
THY WONDROUS NAME.
How can I lightly speak thy wondrous name,
Which breathes the airy fragrance of thyself;
As might, far straying from his flower, the elf
Hold yet a breath within his fragile frame
Of the flower?s soul, betraying whence he came?
I too, beloved, though we stray apart,
Since in the vestal temple of thy heart
I dwell secure, glow with a sacred flame.
A breath of thy sweet self unto me clings—
A wondrous voice, as of large unborn deeds,
With deep resoundings through my being rings,
And unto wider realms of vision leads.
And dead to me are sorrow, doubt and pain;
The slumbering god within me wakes again.