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PART II: Contemporay Calligraphers
Wherever a Code Symbol appears to the right of a description, it
refers to the List of Lenders. Where no Symbol is given, the item
was loaned by the calligrapher.*Denotes a printed reproduction.
ANTONIUS, JAMES. Los Angeles, Calif. Professional
117. Informal hand: texts with lino prints. Bond paper.
Mounted. 20 x 12.
ASHBROOK, JAMES. Philadelphia, Pa. Professional
118. Collect for Nineteenth Sunday after Trinity. Adapted from
10th-century English minuscules; illuminated capitals.
( Florence, AD 1375; Walters Art Gallery, MS. 153.)
Scarlet, blue, & black. Invicta English handmade paper.
Mounted. 11½ x 14.
119. Proposed Page-book of Remembrance. Modernized
half uncials. Scarlet, blue, & black. lnvicta. 10 x 12.
120. Ordination Certificate, Diocese of Pennsylvania. Un-
cials and half uncials. Scarlet & black. Invicta. Original
and *. 12½ x 20½.
121. Canto III Verse 85, Dante's Paradiso. Illuminated; 11th-
century ornament. All letters raised gold leaf. Framed.
14½ x 18.
BANK, ARNOLD. Associate Professor, Dept. of Graphic
Arts, Carnegie Institute of Technology, Pittsburgh, Pa.
Professional
122. Original drawings for the inscription to be placed in the
Dayton and Montgomery County Public Library,
Ohio. Letters in black & gold. Brick red paper. 21 x 13.
DM
123. Lecture alphabets at the Royal College of Art in Lon-
don. Flat pen forms; Summary of repertoire, upright
and sloped hands. 10′ x 3′ ILLUSTRATED RC
Although he is also a designer, letterer, calligrapher, and ty-
pographer, Arnold Bank is best known as a teacher and lec-
turer. After twenty years of instructing at Columbia Univer-
sity and at the Art Students League and other art schools in
his native New York, he spent three years as a Senior Ful-
bright Fellow and Visiting Lecturer at the Royal College of
Art in London, and is now Associate Professor of Graphic
Arts at Carnegie Institute of Technology. He transmits his
enthusiasm for the alphabet to his students, and fascinates
them, while talking about the letters and their history, by
writing--rapidly and competently--any one of a score of an-
cient scripts on enormous sheets of paper.His work in lettering and design has been shown in five
one-man shows, as well as many group exhibitions. In the last
three years he has designed architectural inscriptions for the
new Institute of Fine Arts at New York University, the en-
trance to the Public Library of Dayton, Ohio, and the
"Credo" monument in Rockefeller Center, New York.
BIEMILLER, REYNARD. Assistant Director, The
Rockefeller Institute Press, New York, N. Y. Profes-
sional
124. Rainer Maria Rilke--First Poems. Black & red. Crown
& Sceptre English handmade paper. 8 x 13.
BOWMAN, ROBERT. Owatonna, Minn. Professional
125. Letterheads, bulletin headings.* 8½ x 11.
BUCHOLZ, ROBERT J. Cleveland, Ohio
126. St. Matthew, Chapter VI. Humanistic Italian, decorative
initial, floral tailpiece. Mounted. 11 x 16.
127. Poem. Francesco Redi. Italic. Decorations and initials in
color. Mounted. 15 x 20.
BUCKLEY, AMELIA KING. Lexington, Ky.
128. Prayer by an unknown Confederate Soldier. Red & black.
Framed. 14 x 12.
129. Latin inscription. Red & black. Vellum. 5 x 2½.
CARTER, JOSEPH. Chicago, Ill. Professional
130. Manuscript of a quotation from Kant. * 12 x 9.
131. Letterhead for Bronze Incorporated.*
132. Letterhead for John Wilber.*
CATICH, FATHER EDWARD M. St. Ambrose College,
Davenport, Iowa. Professional
133. The theory of development and lineage for the Roman alpha-
bet.* 14 x 20.
134. Religious pieces, invitations, letterheads.*
135. Trajan column sheets from The Trajan Inscription in
Rome.* Mounted in three panels. Each 5 x 7½.
136. Roman writing charts.* 17 x 11½.
137. Two lithographic stones. Imperial letters, written with
flat brush, minutely refined in the chiseling. The model
for the letters is the Trajan inscription. 26 x 19½.
ILLUSTRATED
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Publication Information: Book Title: Calligraphy & Handwriting in America, 1710-1962. Contributors: P. W. Filby - compiler. Publisher: Italimuse. Place of Publication: Caledonia, NY. Publication Year: 1963. Page Number: *.
    
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