Descripción
An impressive array of sample sheets and booklets of paper from the Japan Paper Company, collected by Burl Osburn in the 1930s. 53 loose sheets most of which (folded) measure between 12.25 x 9.75 inches and 9.5 x 6.3 (two of the 53 are smaller). Most deckle-edged; occasional light soil and foxing. One duplicate. As well: 16 more comprehensive items, as follows: St. Martin or The Blessings of Rags (5 x 4 inches, 6 leaves, 1931). Navarre: An all rag paper from France (9 x 6.2, 6 leaves, 1927). Shoreham Papers: Orange, Turquoise, Madder, Cobalt (9.25 x 5.75, 8 leaves, n.d.). Lombardia Covers (11 x 8, 8 leaves, n.d.). Normandy Vellum from France (9.25 x 6.25, 21 leaves + cover, 1927). Dutch Charcoal Papers (9.3 x 6.2, 12 leaves + cover, 1929). Murillo. An Italian Hand-made Cover Paper which comes in white and six tints (9.75 x 6.3, 6 stiff card leaves + cover, n.d.). Fabriano Single Weight (10.25 x 6.1 inches, 36 leaves, n.d.). Fabriano Double Weight (10.2 x 6.2, 16 leaves, n.d., the cover which was issued unattached is splitting along fold). Roma: Hand Made Papers from Italy (6.5 x 4.75 inches, 28 leaves, n.d.). Marbled Papers from France (3.6 x 4.6 inches, 54 leaves, n.d.). Samples from Japan Paper Company: Toyogami Papers (5.5 x 4.25, six leaves held with paper clip). The Natsume Papers (four examples, each 5.25 x 3.4 folded twice, n.d.). Japanese Papers for printing wood & linoleum cuts, wood engravings, etchings, etc. (4 x 5.75 inches, 22 leaves, n.d.). Kinkami Papers, Handmade in Japan (5.3 x 4 inches, 22 leaves, n.d.). Price List of High Grade Papers: April 15, 1930 (11.25 x 8.75, 25 [1] pages). And, one letter on Japan Paper Company letterhead, 7 December 1933, addressed to B. N. Osburn acknowledging an order for Japanese Vellum, signed Warwick C. Miller, Resident Manager. We have this account of Burl Osburn from his grandson: "My grandfather Burl was born in Benton Harbor Michigan in 1896 and began teaching Industrial Arts (newly established in schools at the time) in Sioux City, Iowa. He became Superintendent of Schools there and was able to complete his Master?s and move to Millersville PA, eventually obtaining his PhD and a professorship at Millersville State Teacher?s College in the 1930?s. He authored a number of books on the subjects of Early American Furniture, Pewter making, and Creative Design; he was also a letterpress printer and expert calligrapher. He was keenly interested in papermaking and sought hand-made papers from around the world. He was a woodcut artist and designed and collected bookplates; he had a 30-year correspondence and friendship with JJ Lankes, a woodcut artist who created woodcuts for Robert Frost?s early poetry books. (There is a recent biography of Lankes by Welford Taylor) He was also a cellist with his local symphony and a collector of early manuscripts. He became Director of the Industrial Arts Dept. In 1941 and became involved in the national organization of this fast-developing field and served as both Vice-President and President of the American Industrial Arts Association in the 1950?s. He was still teaching when he died in 1962 and had the honor of being the only living person to have a University building named after him, Osburn Hall being dedicated in 1961. An interesting side-story: As VP, he organized the Speakers for the 1956 AIAA Convention; in so doing he ran afoul of William Warner, his mentor and the father of the Industrial Arts movement, over his choice of Ashley Montagu as Keynote Speaker. Montagu was a noted anthropologist and authored ground-breaking books on anthropology, including The Myth of Race, which was influential to the Supreme Court decision on desegregation of schools, as well as authoring The Elephant Man. Warner had become a supporter of McCarthyism and mounted a smear campaign accusing Montagu of being a communist; Burl mounted a vigorous defense of Montagu and received wide support for his choice, and was voted President of AIAA the next year.". N° de ref. del artículo Books014775
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