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AN ELEGANT HAND, THE GOLDEN AGE OF AMERICAN PENMANSHIP & CALLIGRAPHY.
Henning, William E.
Edited by Paul Melzer
This work chronicles the history of the Golden Age of American penmanship and calligraphy. The author guides the reader through the lives and careers of some of the most important American penmen, including Platt Rogers Spencer, the Father of American Handwriting, and Spencer's gifted student, George A. Gaskell, whose books and periodicals reached hundreds of thousands of students throughout the second half of the 1800s. Paul Melzer, the editor of this work, added more than 400 examples taken from original specimens to handsomely illustrate Henning's manuscript.
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Books of related interests - -
> Nash, Ray, AMERICAN PENMANSHIP, 1800-1850. A HISTORY OF WRITING AND A BIBLIOGRAPHY OF COPYBOOKS FROM JENKINS TO SPENCER.
> Holliday, Peter, EDWARD JOHNSTON: MASTER CALLIGRAPHER
> Gaines, Pierce W., WILLIAM COBBETT AND THE UNITED STATES, 1792-1835. A BIBLIOGRAPHY WITH NOTES AND EXTRACTS.
> Joyce, William L., David D. Hall, and Richard D. Brown, PRINTING AND SOCIETY IN EARLY AMERICA
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THE WOOD ENGRAVINGS OF DAVID GENTLEMAN.
Printed in an edition limited to 350 numbered copies. The first published collection of David Gentleman's engravings, this book contains over 300 wood engravings. Includes work ranging from book illustrations done while still a student at the Royal College of Art to the well-known engravings for Clare's "The Shepherd's Calendar" to designs for postage stamps, press advertisements, and book covers. The small engravings which were enlarged twenty times for the Charing Cross Underground mural are also featured. With only a few exceptions the engravings are printed directly from the artist's original wood blocks. Fiona MacCarthy's introduction describes Gentleman's upbringing and training and reveals the influences on his work. Acknowledging his unique creative skills and sensitivity, she reviews his work not only as a wood engraver but also as an artist and designer. The foreword by Gentleman describes the evolution of his responses to the medium and his clients. His insightful commentary which details how each was commissioned, conceived and carried out, accompanies each group of engravings. Simon Brett, writing in Multiples Jan. 2001, recognizes Gentleman as "the engraver of light" and praises this volume which allows this aspect of the engravings to leap from the page. In the London Times Jan. 31, 2001, Jim McCue also finds great pleasure in the pages of this homage to a talented and gentle man.
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