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).
THE SECOND PASTORAL, OR ALEXIS.
TO DR GARTH.
A shepherd’s boy (he seeks no better name)
Led forth his flocks along the silver Thame,
Where dancing sunbeams on the waters play’d,
And verdant alders form’d a quivering shade.
Soft as he mourn’d, the streams forgot to flow,
The flocks around a dumb compassion show:
The Naïads wept in every watery bower,
And Jove consented in a silent shower.
Accept, O Garth the Muse’s early lays,
That adds this wreath of ivy to thy bays;
Hear what from love unpractised hearts endure:
From love, the sole disease thou canst not cure.
Ye shady beeches, and ye cooling streams,
Defence from Phoebus’, not from Cupid’s beams,
To you I mourn, nor to the deaf I sing,
‘The woods shall answer, and their echo ring.’
The hills and rocks attend my doleful lay;
Why art thou prouder and more hard than they?
The bleating sheep with my complaints agree,
They parch’d with heat, and I inflamed by thee.
The sultry Sirius burns the thirsty plains,
While in thy heart eternal winter reigns.
Where stray ye, Muses, in what lawn or grove,
While your Alexis pines in hopeless love?
In those fair fields where sacred Isis glides,
Or else where Cam his winding vales divides?
As in the crystal spring I view my face,
Fresh rising blushes paint the watery glass;
But since those graces please thy eyes no more,
I shun the fountains which I sought before.
Once I was skill’d in every herb that grew,
And every plant that drinks the morning dew;
Ah, wretched shepherd, what avails thy art,
To cure thy lambs, but not to heal thy heart!
Let other swains attend the rural care,
Feed fairer flocks, or richer fleeces shear:
But nigh yon mountain let me tune my lays,
Embrace my love, and bind my brows with bays.
That flute is mine which Colin’s tuneful breath
Inspired when living, and bequeath’d in death;
He said, ‘Alexis, take this pipe—the same
That taught the groves my Rosalinda’s name:’
But now the reeds shall hang on yonder tree,
For ever silent, since despised by thee.
Oh! were I made by some transforming power
The captive bird that sings within thy bower!
Then might my voice thy listening ears employ,
And I those kisses he receives, enjoy.
And yet my numbers please the rural throng,
Rough Satyrs dance, and Pan applauds the song:
The Nymphs, forsaking every cave and spring,
Their early fruit, and milk-white turtles bring;
Each amorous nymph prefers her gifts in vain.
On you their gifts are all bestow’d again.
For you the swains the fairest flowers design,
And in one garland all their beauties join;
Accept the wreath which you deserve alone,
In whom all beauties are comprised in one.
See what delights in sylvan scenes appear!
Descending gods have found Elysium here.
In woods bright Venus with Adonis stray’d,
And chaste Diana haunts the forest shade.
Come, lovely nymph, and bless the silent hours,
When swains from shearing seek their nightly bowers,
When weary reapers quit the sultry field,
And crown’d with corn their thanks to Ceres yield;
This harmless grove no lurking viper hides,
But in my breast the serpent love abides.
Here bees from blossoms sip the rosy dew,
But your Alexis knows no sweets but you.
Oh, deign to visit our forsaken seats,
The mossy fountains, and the green retreats!
Where’er you walk, cool gales shall fan the glade,
Trees, where you sit, shall crowd into a shade:
Where’er you tread, the blushing flowers shall rise,
And all things flourish where you turn your eyes.
Oh, how I long with you to pass my days,
Invoke the Muses, and resound your praise!
Your praise the birds shall chant in every grove,
And winds shall waft it to the Powers above.
But would you sing, and rival Orpheus’ strain,
The wondering forests soon should dance again,
The moving mountains hear the powerful call,
And headlong streams hang listening in their fall!
But see, the shepherds shun the noonday heat,
The lowing herds to murmuring brooks retreat,
To closer shades the panting flocks remove;
Ye gods! and is there no relief for love?
But soon the sun with milder rays descends
To the cool ocean, where his journey ends:
On me Love’s fiercer flames for ever prey,
By night he scorches, as he burns by day.