Christine Macgregor's Illustrated Private Press Books
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Kemble Z3 Ephemera Collection
http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research. -
SA Australiana Study Group
SA Australiana Study Group 48th Meeting, 5th September 2019 We recommend readers to the Australiana Society website https://www.australiana.org.au/ and encourage membership. Attendance: 14 Portrait miniature of Robert Barr Smith (1824-1915), C 1904? Unsigned. 71.5 x 56 mm. Photographic portrait of Robert Barr Smith, 1904. Image B-7749, courtesy Collection of the State Library of South Australia Comparison with the State Library image suggests that the portrait miniature may have been painted from a photograph, rather than life. The painting on an ivory slip is unsigned, but is possibly by one of Adelaide’s Hambidge sisters, probably Alice (1869-1947), who was the best known of the three for painting in this format. Her sister Milly (Millicent 1872-1938) produced a large pastel of Robert’s son Tom in 1908. This miniature appears to have been held by descendants of Robert Barr Smith until recently. Robert Barr Smith was born in Renfrewshire, Scotland, educated at the University of Glasgow, and migrated to Australia in 1854. In Adelaide he married Joanna Elder in 1856, sister of Thomas (later Sir Thomas) Elder, with whom in 1863 Robert became sole partner in the firm of Elder Smith & Co. Between them they forged a vast empire of pastoral, mining, shipping and commercial interests. Both of the partners had a common interest in sports, particularly horse racing, and many trophies still remain carrying their names as either donors or winners. Similarly, both men were philanthropists, to the great benefit of Adelaide’s cultural, educational and religious life. 1 Silver dressing table box by Brunkhorst, Adelaide, c1894. -
Emily Finer Dombey in Zhitomir for MLR Sept 2018
Emily Finer, University of St Andrews Dombey in Zhitomir, Pip in Taganrog: Reading Dickens ‘as if for life’ in Russia Abstract Many Russian writers have been eager to demonstrate their intense childhood attachment to the novels of Charles Dickens. This essay focuses on the narrative strategies used by Vladimir Korolenko (1853-1921) and Nelli Morozova (1924-2015) in their autobiographies to convey the importance of reading Dickens in their formation as writers. It argues that David Copperfield offers a useful model for understanding how Korolenko and Morozova write about reading, and that, rather than distancing Dickens and his characters from their global readership, translations increase proximity and facilitate empathetic readings. Dombey in Zhitomir, Pip in Taganrog: Reading Dickens ‘as if for life’ in Russia It is not surprising that authors describe their early immersion in fictional worlds as positive and even therapeutic in their autobiographies. This essay examines three autobiographical texts, from England, the Russian Empire, and the Soviet Union, focusing on the narrative strategies used to write about childhood reading. In David Copperfield (1850), Charles Dickens describes Davey’s early interaction with novels as an experience both escapist and comforting.1 Vladimir Korolenko’s short autobiographical story, ‘My First Acquaintance with Dickens’ (1912), portrays his first encounter with a translation of Dombey and Son as a catalyst in his development as a reader.2 Nelli Morozova structures her entire 1 Charles Dickens, David Copperfield (London: Nonesuch Press, 1937), p. 54. 2 V. Korolenko, Moe pervoe znakomstvo s Dikkensom (1912) in Sobranie sochinenii v 6 tomakh (Moscow: Emily Finer Page 1 autobiography, My Passion for Dickens: A Family Chronicle (1990), around readings and re- readings of Dickens’s novels in Russian.3 All represent their relationships with characters or authors to be as valuable as actual friendships, to have the potential to be sustained over a lifetime. -
View Dec 1993 Newsletter
Jjilurnsibe j!}istoricnl ~ocietp 3Jnc. NEWSLETTER DECEMBER, 1993 Volume 13, No. 4 \ ( -: -~ l .. ·'~ -·, ;_, . ,_ [ _:-::y-~ " -~- ~ BURNSIDE IDSTORICAL SOCIETY INC. P.O. Box 152 GLENSIDE, S.A. 5065 PROGRAM - 1994 OBJECTIVES 17 January The Mu"ays ofMagill The objectives of the Society shall be: Monday Venue: Murray Bouse, St Bernards Road, Magill Time: 7.00 p.m. 2.1 to arouse interest in and to promote the study and discussion of Australian and South Australian history and in particular, the history of the City of The Murray family -- early settler Alexander Borthwick Burnside; Murray and his son Sir George Murray lived at Murray Park, 2.2 to promote the collection, recording, preservation and classification of Magill, from 1862 to 1942. After Sir George's death in 1942, works, source material and artifacts of all kinds relating to Burnside the property was sold to Mrs Elinor Doris Bush who trained history, and bred race horses. In 1968 it was bought by the SA 2.3 to assist in the protection and preservation of buildings, works and sites of Government to establish a College of Advanced Education, historical significance in the City of Burnside; and is now part of The Magill Campus of The University of 2.4 to co-operate with similar societies and other lxxlies throughout Australia; South Australia. 2.5 to do all such other things as are conducive or incidental to the attainment of any of the above objectives. At 7.00 p.m. Mrs Elinor Bush's three daughters Anne Bush, Jane Bush and Mrs Chibnal will act as guides through the OFFICE BEARERS FOR 1993 - 1994 house and surrounds, and share some of their memories. -
Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Fantin-Latour in Australia
Ann Elias Fantin-Latour in Australia Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Citation: Ann Elias, “Fantin-Latour in Australia,” Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009), http://www.19thc-artworldwide.org/autumn09/fantin-latour-in-australia. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Elias: Fantin-Latour in Australia Nineteenth-Century Art Worldwide 8, no. 2 (Autumn 2009) Fantin-Latour in Australia by Ann Elias Introduction Australia is described as "a country of immigration"[1] and its non-indigenous people as "a cutting from some foreign soil."[2] This is an apt metaphor for a postcolonial population cut from British stock, then transplanted to the Antipodes in the eighteenth century, and augmented, changed, and challenged throughout the nineteenth century by migrations of European (British and other) and Asian nationals. The floral metaphor can be extended by speaking of migration and settlement in terms of grafting, hybridizing, and acclimatizing. In the early part of the nineteenth century, settlers viewed the landscape of Australia— including all flora and fauna—as "wild and uncivilised, almost indistinguishable from the Indigenous inhabitants."[3] The introduction, therefore, of flora and fauna from Britain was an attempt "to induce an emotional bond between Australian colonies and the mother country." [4] So too was the importation of art and artifacts from Britain, France, and other European countries, which was a further effort to maintain ties with the Old World. -
The Poet, Rene Elmhurst Poet, Blanche
Elmhurst Public Library Imhll irof^\ 125 S. Prospect Ave. • Elmhurst, IL 60126-3298 11 I 11 1 U I O I ^ phone (630) 279-8696 • fax (630) 516-1364 PUBLIC LIBRARY www.elmhurstpubliclibrary.org Explore • Learn • Grow , /-\ i i_ ± [email protected] This document came from a binder of notable Elmhurst, IL citizens that was kept by librarians for many years. No further information is available about where the information came from. 2010 The Poet, Rene Elmhurst poet, Blanche Rene is the author of two volumes of poetry. A PONY CART OF VERSE, was published in 1949, by Trovillton Private Press, Herrin, Illinois. The TrovilHons printed this volume not only for children, but for private, press collectors of beautifully made books. It was published in a limited edition, on Fabriano hand-made paper, bound in red, silverflaked boards. Henrietta Hartke Houy of Villa Park created the cover-design. The second volume, BOOK OF THE REBORN, is a book of revelation. Based on a profound personal experience, Miss Rene expresses here, her own metamorphosis. Re flecting this changed consciousness, the former Blanche Grant then assumed the nom-de-plume of Blanche Rene. In BOOK'-<OF THE REBORN, this new identity is ex pressed in the poem entitled "Rebirth and a Name", page 10. BOOK OF THE REBORN, published in 1953, by the For tune Press of London, England, contains illustrations by Herman Graff, an instructor of design at the Art Insti tute of Chicago. He illustrated the spiritual message of . (~*\ Rene's poems which speak of a Better Self, a Better Day v S to come. -
The Heart of London: Charles Dickens and Social Reform
The Heart of London Charles Dickens and Social Reform HEART OF LONDON, THERE IS A MORAL IN THY EVERY STROKE! as I look on at thy indomitable working, which neither death, nor press of life, nor grief, nor gladness out of doors will influence one jot, I seem to hear a voice within thee which sinks into my heart, bidding me, as I elbow my way among the crowd, have some thought for the meanest wretch that passes, and, being a man, to turn away with scorn and pride from none that bear the human shape. Master Humphrey's Clock (1840) THE LIFE of Charles Dickens (1812-1870) spanned much of the century transformed by the Industrial Revolution, and he witnessed the results, both positive and negative, that impacted England and especially his beloved London. Thousands of people who migrated from rural areas to the capital found a city almost entirely without social infrastructure and lacking the central organization needed to manage such urban necessities as police, fire control, water and sewage, and roads and bridges. The traditional parish oversight was quickly overwhelmed, and it would be the end of the century before many of these problems were properly addressed. The atmosphere, however, was one of progress and the possibilities of reform. Education and therefore literacy were seen as the means to improve the lives of the masses, and the mechanization of printing provided the means to distribute an increasing amount of reading material. The periodical press boomed, generating dailies, weeklies and monthlies that distributed fiction and non-fiction to a voracious reading public. -
8 Elder Smith and Company Head Office Deposit 1 Download List
8 Elder Smith and Company Head Office deposit 1 Download list NOEL BUTLIN ARCHIVES CENTRE THE AUSTRALIAN NATIONAL UNIVERSITY DEPOSIT 8: ELDER SMITH & CO LTD Inclusive dates: 1825-1953 Quantity: 108 shelf metres Note: This firm carries on the business of Wool & Produce Brokers, General Merchants, Stock & Station, Travel and Insurance Agents and, since 1962 has amalgamated with Goldsbrough Mort & Co. to form Elder Smith Goldsbrough Mort Ltd with its Head Office in Adelaide. Alexander Elder founded a firm of trading and commission agents in 1840, in Adelaide, South Australia. in 1853 it became the partnership of Elder & Co. and, in 1855, Elder Stirling & Co. (Thos. Elder, brother of Alexander, Edward Stirling, John Taylor and Robert Barr Smith). After 1863, the firm became Elder Smith & Co. (Thos. Elder & Robert Barr Smith). In 1882, Elders Wool and Produce Co. Ltd was established to acquire the auctioneering business of the firm but this was again merged in 1888 to form Elder Smith & Co. Ltd with a capital of £1,000,000. In 1903 Elder Shenton & Co. Ltd were formed in Perth, Western Australia and this was merged with the main Co. in 1918. In 1910, Elders Trustee & Executor Co. Ltd was formed as a subsidiary and remained a separate Co. until March 1963 when it also was merged with the parent Co. In 1913 Elder's Metal & Mercantile Pty Ltd was formed in conjunction with a number of associated companies to take over the metal section of the business and to carry on operations as general merchants. The parent Co. took it over in the following year. -
Uni International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Private Press Tradition in Lexington, Kentucky
The Kentucky Review Volume 11 | Number 3 Article 2 Fall 1992 The rP ivate Press Tradition in Lexington, Kentucky Burton Milward Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the United States History Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Milward, Burton (1992) "The rP ivate Press Tradition in Lexington, Kentucky," The Kentucky Review: Vol. 11 : No. 3 , Article 2. Available at: https://uknowledge.uky.edu/kentucky-review/vol11/iss3/2 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. The Private Press Tradition in Lexington, Kentucky Burton Milward The history of printing extends far into Lexington's past, beginning on 11 August 1787 when John Bradford, a versatile man with no previous printing experience, produced the first issue of The Kentucke Gazette.1 Kentucky then was a part of Virginia and would not become a state for five years. The town of Lexington was but eight years old, and it had fewer than 500 residents. Nevertheless, the people of Lexington and of Kentucky were hungry for news and for books. In January of the next year, 1788, Bradford advertised books for sale at the Gazette office-"Spelling books, ABC, books with the shorter catechism," and Poor Will's Almanac for 1788. In the fall and winter of that year, a half-dozen Lexington merchants advertised for sale extensive stocks of books, imported from Philadelphia, as were practically all the goods they sold. -
An Exhibition of American Printers' and Special Presses Devices
An Exhibition of American Printers’ and Special Presses Devices by Bronwyn Hannon, Hofstra University Axinn Library Special Collections The printers’ and special presses devices in this exhibition reflect certain times in the history of printing when concern for the integrity of book arts in the machine age is most acute. These presses devices can be seen as graphic stamps or markers indicating to the reader of a book that its types, layout, papers, illustrations and bindings have aspired to a higher level of excellence. The printers’ and presses devices featured here are among others in the collections held in Hofstra University Library Special Collections. Printers’ and Presses Devices ‐ A Definition Printers’ and special presses devices are small graphic logos, which operate in the same way as hallmarks in silver production, or china marks in porcelain production, or the signature marks of painters on their canvasses. Devices are usually found in the “colophon” at the end of printed books before 1500, and thereafter more frequently on the title‐page, which displayed other bibliographic details originally placed in the colophon. Colophons (from the Greek kolophon meaning “summit”) are essentially notes at the end of the book, often embellished with a printer’s device, and variously detailing title, author, printer, place of printing, date, edition and materials used. The words “device” and “mark” are used synonymously. American Printers’ and Presses Devices The prolific revival of the special presses movement in America followed closely from exemplar presses in Nineteenth and early Twentieth Century England. Often the design of printers’ and presses devices recalled eminent printers of the past.