Lost Incunable Editions: Closing in on an Estimate
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Locating Boccaccio in 2013
Locating Boccaccio in 2013 Locating Boccaccio in 2013 11 July to 20 December 2013 Mon 12.00 – 5.00 Tue – Sat 10.00 – 5.00 Sun 12.00 – 5.00 The John Rylands Library The University of Manchester 150 Deansgate, Manchester, M3 3EH Designed by Epigram 0161 237 9660 1 2 Contents Locating Boccaccio in 2013 2 The Life of Giovanni Boccaccio (1313-1375) 3 Tales through Time 4 Boccaccio and Women 6 Boccaccio as Mediator 8 Transmissions and Transformations 10 Innovations in Print 12 Censorship and Erotica 14 Aesthetics of the Historic Book 16 Boccaccio in Manchester 18 Boccaccio and the Artists’ Book 20 Further Reading and Resources 28 Acknowledgements 29 1 Locating Boccaccio Te Life of Giovanni in 2013 Boccaccio (1313-1375) 2013 is the 700th anniversary of Boccaccio’s twenty-first century? His status as one of the Giovanni Boccaccio was born in 1313, either Author portrait, birth, and this occasion offers us the tre corone (three crowns) of Italian medieval in Florence or nearby Certaldo, the son of Decameron (Venice: 1546), opportunity not only to commemorate this literature, alongside Dante and Petrarch is a merchant who worked for the famous fol. *3v great author and his works, but also to reflect unchallenged, yet he is often perceived as Bardi company. In 1327 the young Boccaccio upon his legacy and meanings today. The the lesser figure of the three. Rather than moved to Naples to join his father who exhibition forms part of a series of events simply defining Boccaccio in automatic was posted there. As a trainee merchant around the world celebrating Boccaccio in relation to the other great men in his life, Boccaccio learnt the basic skills of arithmetic 2013 and is accompanied by an international then, we seek to re-present him as a central and accounting before commencing training conference held at the historic Manchester figure in the classical revival, and innovator as a canon lawyer. -
(1604) In/As Print
Early Theatre 20.1 (2017), 43–76 http://dx.doi.org/10.12745/et.20.1.2830 Heather C. Easterling Reading the Royal Entry (1604) in/as Print King James I’s March 1604 entry into London, many recognize, departs from previ- ous royal entry pageants through its use of triumphal arches, employment of profes- sional dramatists, and emphasis on dialogue. But the 1604 entry also was notable for its essential print identity. Print records of royal entries were common by the time of Elizabeth’s accession, and the 1559 text commemorated the event mainly for the queen and court, listing no author. By contrast, James’s entry, staged and performed over one day, generated four different printed texts, each with a declared author or authors. This article considers how all four entry texts together produce a highly contested portrait of ideas about print, authorship, and authority at the outset of the Jacobean period. Oxford’s monumental Thomas Middleton: The Complete Works, dense not only with plays but also with lord mayor’s shows and essays on the spectacles they scripted, offers vivid evidence of new interest in early modern pageantry. Schol- arly reassessments of long neglected public pageantry have newly considered the significance, in their own time and in ours, of such performances, including royal entries.1 As Richard Dutton has argued: To ignore the civic pageants of the Tudor and Stuart period is to ignore the one form of drama which we know must have been familiar to all the citizens of London, and thus an important key to our understanding of those times and of the place of dramatic spectacle in early modern negotiations of national, civic, and personal identity.2 Dutton signals a critical investment that Tracey Hill further enunciates, arguing that we must assess early modern lord mayor’s shows precisely for their public and complexly collaborative nature as spectacles. -
Selection of Items Presented at the 2018 Pasadena Antiquarian Book Fair (Full Descriptions Available on Request)
Selection of items presented at the 2018 Pasadena Antiquarian Book Fair (Full descriptions available on request) 1- The transit of Venus recorded by 18th century Mexico´s most significant scientist, one of three known copies of this rare engraving Alzate y Ramirez, Jose Antonio; Bartolache, Jose Ignacio. Suplemento a la famosa observacion del transito de Venus por el disco del Sol. 1769. Mexico. Jose Mariano Navarro. 24,000 $ First edition of Mexico´s most significant scientific contributions to astronomy in the 18th century, the study of transit of Venus across the Sun of 1769 made by Alzate and Bartolache in Mexico City; the astronomical phenomena would be also recorded in Tahiti by Cook, Russia, the United States (the results published in the American Philosophical Society), and other parts of Mexico by Chappe d´Auteroche. 2- Herrera’s copy of the first edition of Argensola; extensively annotated throughout A milestone in the history of Spanish exploration Argensola, Bartolomé Leonardo de. Conquista de las Islas Malucas. 1609. Madrid. Alonso Martin. Eighteenth-century stiff parchment; ex-libris of José Nicolás de Azara (1730–1804). 145,000 $ First edition; an exceptional and unique copy of the celebrated account of the European discoveries in the Pacific, previously unknown, extensively annotated and critiqued –the annotations to-date unpublished- by Spain’s foremost historiographer of the East and West Indies and opponent of Argensola, Antonio de Herrera y Tordesillas. THIS EXTRAORDINARY COPY OF ARGENSOLA’S CONQUISTA DE LAS ISLAS MOLUCCAS ANNOTATED THROUGHOUT BY ANTONIO DE HERRERA IS REVEALING OF THE DEBATES WHICH OCCURRED CONTEMPORARY TO THE INITIAL YEARS OF EUROPEAN EXPLORATION AND CONQUEST IN THE WESTERN PACIFIC. -
Global Print and Publishing Service Solutions for International Publishers
GLOBAL PRINT AND PUBLISHING SERVICE SOLUTIONS FOR INTERNATIONAL PUBLISHERS If you ship inventory to a common distribution facility in the United States, it’s time you considered partnering with a U.S. printer that can place your publications in the hands of your readers quickly and economically. The companies of CJK Group, Inc. offer a complete range of services including web, sheetfed, inkjet, and toner printing (all the way down to a single copy), as well as warehousing and fulfillment. CJK Group, Inc., headquartered in Brainerd, MN, is a national portfolio of print and publishing-related BANG PRINTING services, and technologies serving book, magazine, catalog, and journal publishers. All CJK Group companies operate independently, while sharing best practices HESS PRINT SOLUTIONS and core values across the organization. CJK Group is comprised of six companies with 11 production locations across the United States. Those companies are: Bang SENTINEL PRINTING COMPANY Printing, Hess Print Solutions, Sentinel Printing Company, Sheridan, Sinclair Printing Company, and Webcrafters, Inc. SHERIDAN When you partner with a CJK Group Company, you will find that our experienced employees are not only committed to delivering a high quality product on time, they ensure SINCLAIR PRINTING COMPANY that you understand the processes too – including the terminology used in the United States – so the product you receive matches your expectations. WEBCRAFTERS, INC Here is a handy guide to understanding printing terms, trim sizes, and text weights in the U.S. -
FOLIOS DE UN INCUNABLE DESCONOCIDO Y SU IDENTIFICACIÓN CON EL ANÓNIMO VOCABULARIO EN ROMANCE Y EN LATÍN DEL ESCORIAL (F.II.10) H
FOLIOS DE UN INCUNABLE DESCONOCIDO Y SU IDENTIFICACIÓN CON EL ANÓNIMO VOCABULARIO EN ROMANCE Y EN LATÍN DEL ESCORIAL (F.II.10) h Cinthia María Hamlin Juan Héctor Fuentes SECRIT—CONICET/Universidad de Buenos Aires El volumen del primer tomo del Universal Vocabulario en latín y en romance (UV) de Alfonso Fernández de Palencia (1490) que se encuentra en Fires- tone Library, Princeton University (EXI Oversize 2530.693q), cuenta con dos hojas impresas insertas al principio y al fi nal que no pertenecen al ejemplar.1 Ambas presentan la misma tipografía gótica: Ungut & Polonus (Sevilla), Type 3:95G, datada entre 1491 y 1493.2 La primera, ubicada en el lugar del folio 1, transmite en su verso —el recto está en blanco— un Agradecemos al Prof. Charles Faulhaber, quien tuvo la generosidad de leer diversas versiones de este trabajo, corregirlo y hacer observaciones muy valiosas. Asimismo, agradecemos al Prof. Ottavio di Camillo por su lectura, siempre atenta e iluminadora, y a la Dra. Mercedes Rodríguez Temperley, por sus observaciones y la bibliografía fa- cilitada. Una mención especial merece la generosidad del curador de Rare Books en la Princeton University Library, el Dr. Eric White, quien mencionó el caso de estos folios y los ofreció para analizar. Agradecemos también al Dr. White el haber puesto a nues- tra disposición las descripciones materiales del tomo y los folios, los datos sobre su pro- cedencia, así como sus avances sobra la identifi cación de la tipografía. Es de agradecer también la cordialidad con la que el P. José Luis del Valle Merino recibió a Cinthia Hamlin en la Biblioteca del Escorial, así como las copias digitales del manuscrito que nos ha facilitado tan generosamente. -
Quarto Publishing Group USA and Arcadia Publishing Announce a US Distribution Agreement
Quarto Publishing Group USA and Arcadia Publishing announce a US distribution agreement Beverly, MA—Quarto Publishing Group USA, part of The Quarto Group, the leading global illustrated book publisher, and Arcadia Publishing, the largest US publisher of local and regional books, are pleased to announce a US distribution agreement for select Quarto imprints. Arcadia Publishing will be distributing Quarto’s Voyageur Press and Cool Springs Press titles into specialty garden, home improvement and hardware accounts. “I’ve long admired Arcadia’s reach into local markets across the US. Arcadia Publishing has been the shining example of successful distribution into specialty markets. With thousands of active accounts, there is no town too small or too far that their team doesn’t reach,” explained Tara Catogge, VP Sales Director at Quarto Publishing Group USA. “We see a lot of growth opportunity by combining Arcadia’s exceptional field sales force and focused market strategy with Quarto’s expansive regional title list and bestselling garden and branded home- improvement titles.” “As part of our rapid expansion into specialty markets we were looking for a partner to help us reach those small and often remote retailers that are the core market for our garden and home- improvement lists,” said Ken Fund, President and CEO of Quarto Publishing Group, “and we found it in Arcadia. Their publishing and sales team is uniquely skilled at reaching and serving the needs of small business owners in micro markets. Their business model is about immediacy and the art of hand-selling which they do exceptionally well.” Richard Joseph, owner and CEO of Arcadia Publishing, commented, “Arcadia is committed to increasing the availability, depth and breadth of local books, and this distribution partnership with Quarto Publishing Group is a perfect fit with our publishing program. -
Octavo Digital Imaging Laboratory
O® Announcing a turnkey digitization system for libraries and museums to help preserve and provide access to rare books and manuscripts. Octavo Digital Imaging Laboratory Digital preservation systems for rare materials and collections The Imaging Laboratory Library and museum vaults are home to collections containing some of the most significant and Many of the books selected for beautiful material ever produced. Earlier efforts to republish these books and manuscripts have digitization are priceless cultural artifacts. Octavo has developed resulted in modern paper editions or plain text on the Internet—versions that are limited in techniques for treating these books their ability to convey the essence of the complex originals. No previous publisher, institution, or with the respect and care they technology has been able to unlock the beauty or history of these materials. deserve during our imaging process. The Octavo Digital Imaging Laboratory (ODIL) represents a revolutionary new approach to Every title that Octavo images undergoes a systematic evaluation the preservation and presentation of archival materials. By combining a system that brings state- by a professional book conser- of-the-art digital imaging technology to institutional users with an acclaimed publishing program, vator, both before and after ODIL promises to expand on Octavo’s ongoing participatory activities with partner libraries, shooting. Individual cradles are hand-constructed for each book so archives, museums, and consortia. Key features include: that no damage occurs during han- dling. The lights in the Octavo Digi- Scope: A license to use the ODIL system to convert rare library content into digital form. tal Imaging Laboratory (ODIL) are Publication: Octavo will publish for the licensee; fees & terms for publication. -
Johannes Gyllenmun – En Senmedeltida Ikonografisk Förvirring
Johannes Gyllenmun – en senmedeltida ikonografisk förvirring Eva Lindqvist Sandgren Title Saint John, the Golden-mouthed – a Late Mediaeval Iconographical Confusion Abstract The pictorial program in Thott 113, an illuminated French book of hours from c. 1400 in the Royal Library, Copenhagen, is fairly conventional. But instead of the usual evangelist portrait at the beginning of the gospel, St. John is placed on the island of Patmos, where his writing is inter- rupted by a devil who steals his ink. This motif became popular around the middle of the 15th cen- tury in northern France and Flanders, a fact previously noticed by scholars. In this article, however, the motif is connected to Parisian book illumination from a slightly earlier period, i.e. the late 14th or early 15th century, and to some of the illuminators working for Duke Jean de Berry (d. 1416). The motif originated through a confusion of John the evangelist with John Chrysostom. It can be con- nected to a Miracle play, performed annually by the goldsmiths’ guild in Paris during the 14th cen- tury. The book illuminators who used the scene included, for example, the Vergil Master, although the painter of the Thott hours in Copenhagen, the Ravenelle Master, seems to have used it even more frequently. Keywords Miniatures, late medieval book illumination, John the evangelist, John of Patmos, John Chrysostom, Jean bouche d’or, devil, ink horn, Miracle play, Parisian book illumination, Bible his- toriale, book of hours, gold smiths’ guild Author Associate prof./senior lecturer, Dept. of Art History, Uppsala University Email [email protected] Iconographisk Post Nordisk tidskrift för bildtolkning • Nordic Review of Iconography Nr 1, 2015, pp. -
Cataloguing Incunabula
Cataloguing Incunabula Introduction Incunabula or incunables are Western books printed before 1501, in the first half- century of the history of printing with movable type. They have been an area of special interest to scholars and collectors since at least the late eighteenth century, and a considerable literature has been produced over the last two hundred years discussing, listing and describing them. Dating from a period when the majority of books were written by hand, incunabula have as much in common in terms of design and content with medieval manuscripts as with later printed books. In particular, they often lack those conventions of presentation on which library cataloguers tend to rely: title pages, imprints, and numbered pages. This makes cataloguing rules largely designed for post-1500 printed books difficult to apply, and scholarly catalogues of incunabula generally follow their own descriptive conventions, using normalised forms of titles and imprints, and relying greatly on reference to pre-existing bibliographic descriptions. Unless your library is planning a dedicated catalogue of incunabula, you will be cataloguing your fifteenth-century holdings on the same system as your more recent books. Some degree of compromise between scholarly standards for incunabula and those for post-1500 printed books will therefore be necessary. A useful exercise before beginning might be to look at what information is already available about your incunabula and to ask yourself what gaps you can fill with your catalogue. In all but a very few cases there is little point in making detailed bibliographic descriptions which duplicate information already available elsewhere. Information about the specific copies in your library may however be lacking, and scholarly interest in material evidence relating to a book's early owners and how they used their books has greatly increased in recent years. -
Two Unrecorded Incunables: Rouen, Circa 1497, and Lyons, Circa 1500
TWO UNRECORDED INCUNABLES: ROUEN, CIRCA 1497, AND LYONS, CIRCA 1500 DAVID J.SHAW FOR a number of years, I have been re-examining the British Library's books printed in France between 1501 and 1520 for a typographical catalogue of the Library's French post-incunables. This catalogue is a revision of the unpublished manuscript of Col. Frank Isaac's Index to the British [Museum] Library's books printed in France between 1501 and 1520 which remained incomplete at his death in 1943. The Indexes of books printed between 1501 and 1520 were started by Robert Proctor, who pubUshed the volume for Germany in 1903 as an outgrowth from his incunable catalogue, and were continued by Isaac for Italy (published in 1938)^ and for France (unpublished).^ As with the incunable catalogues, these Indexes are arranged according to Proctor's methodology - by place of printing, then by printer, and for each printer the books are hsted in chronological order. The main function of the work is to attribute unsigned books to their printer when possible and to order the production of each workshop chronologically, assigning dates where necessary. As with the incunable catalogues, a large part of this task involves the identification and classification of each printer's typographical material. I have tried to extend this aspect of the work, so that the finished catalogue should present important new evidence on the supply of type in France in the early sixteenth century and on its use in the printing-houses of the time. The undated books pose problems at both ends of the chronological span. -
Antiquarian and MODERN BOOKS Blackwell’S Rare Books 48-51 Broad Street, Oxford, OX1 3BQ
Blackwell’S rare books Antiquarian AND MODERN BOOKS Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell’s bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale). -
EARLY BOOK ILLUSTRATION in SPAIN Only Five Hundred Copies of This Work Have Been Printed for Sale in Europe and America
23ii40 EARLY BOOK ILLUSTRATION IN SPAIN Only five hundred copies of this work have been printed for sale in Europe and America. This copy is NO.^É£1. f m mutotm : uiit kMmn mire t ños otroa fcõarfcgií la oiúí (m ftefta?. Pedro de la Vega. Flos Sanctorum. Zaragoza, G. Coei, c. 1521 23U40 Carly Book TMation in Spain BY JAMES P. R. LYELL AUTHOR OF "CARDINAL XrMBNES," BTC. WITH AN INTRODUCTION BY DR. RONRAD HAEBLER UlUSTRATEn WITS IfVMEROUS XEPRODUCTIONS LONDON, W.C. 1 GRAFTON & CO. COPTIC HOUSE 1926 (From Histoviay Milagros de mestra Señora de Montserrat, 1550) Printed in Great Britain EGREGIO • DOCTORI • CONRADO • HAEBLER PIETATIS • ERGO HOC • OPUSCULUM MAGISTRO • DISCIPULUS D. D. D. OI i 5 PREFACE. As far as I am aware, no book has ever been written in any lan• guage dealing with the special subject of early book decoration and illustration in Spain in the fifteenth and sixteenth centuries. The attempt made in these pages, to give a brief outline of the subject, suffers from all the disadvantages and limita• tions which are associated with pioneer work of this kind. I am fully conscious of the inadequate qualifications I possess for any critical and technical study of early woodcuts, and can therefore only crave the indulgence of experts, while respect• fully venturing to hope that a perusal of these pages may lead some recognised authority on the art of the early woodcutter to turn his attention to a branch of the subject which hitherto has been neglected in a manner, at once remarkable and much to be regretted.