Book Collecting: Personal Rewards and Public Benefits. a Lecture
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Lost Incunable Editions: Closing in on an Estimate
chapter 3 Lost Incunable Editions: Closing in on an Estimate Jonathan Green and Frank McIntyre Imagine, if you will, that you are a lepidopterist stationed in the butterfly-rich environment of a tropical Malaysian island. You hope to determine the number of butterfly species that live on the island, and so you resolve to survey an acre- sized patch of it for a month and record the number of individuals of each spe- cies that you find. At the end of the month, you find that a few species of butterfly are represented by a large number of specimens, while many species are repre- sented by only one or a few specimens. These results lead you to suspect that there remain many species of butterfly on the island that your survey has missed, but how many? And how many more species can you expect to discover with additional months of observation? As your opportunity to spend additional months on a tropical island depends on your presenting a convincing argument to your funding agency, these questions are of some urgency for you. This is a brief statement of what is known as the unseen species problem, which has been an area of intense study both within and well outside of the field of ecology for several decades. The example above concerning Malaysian butterflies is drawn from a pathbreaking article published in 1943 by Ronald Fisher, one of the founders of modern biology and statistics, who proposed statistical methods for estimating the number of unseen butterfly species.1 Since then, the development and implementation of these methods has con- tinued, so that several current statistical software packages can provide both an estimate of the number of missing species and determine the confidence interval of that estimation, that is, the range within which one is reasonably certain the actual number lies.2 In an ideal situation, the number of observed butterfly species will rise with each additional month of observation, but the estimate of total species will change only modestly as the confidence interval 1 R.A. -
Librarytrendsv27i4 Opt.Pdf
ILLINOIS UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scaleDigitization Project, 2007. ra S VOLUME 27 NUMBER 4 SPRING 1979 ~~ ~~~~ University of Illinois Graduate School of Library Science This Page Intentionally Left Blank The Study and Collecting of Historical Children's Books SELMA K. RICHARDSON Issue Editor CONTENTS Selma K. Richardson 42 1 INTRODUCTION RESEARCH COLLECTIONS Margaret N. Coughlan 431 INDIVIDUAL COLLECTIONS Barbara Maxwell 443 PUBLIC LIBRARIES Margaret Hodges 453 COLLEGE AND UNIVERSITY LIBRARIES Helen S. Canfield 467 HISTORICAL SOCIETIES, PRIVATE LIBRARIES AND MUSEUMS Motoko F. Iluthwaite 473 THE LIBRARY OF CONGRESS Virginia Haviland 485 SUMMARY AND PROPOSALS FOR THE FUTURE Milton Reissman 489 TRENDS IN COLLECTING AND PRICES Joyce I. Whalley 503 SECONDARY SOURCES FOR THE STUDY OF HISTORICAL CHILDREN'S BOORS Ina Robertson 513 FACSIMILES OF HISTORICAL Agnes Stahlschmidt CHILDREN'S BOOKS Sara Innis Fenwick 529 SCHOLARLY RESEARCH ABOUT HISTORICAL CHILDREN'S BOOKS Anne Scott MacLeod 55 1 ENCOURAGING SCHOLARSHIP: COURSES, CONFERENCES AND EXHIBITS 568 LIST OF ACRONYMS i INDEX TO VOLUME 27 This Page Intentionally Left Blank Introduction SELMA K. RICHARDSON THELAST DECADE OF THE nineteenth century and the first decade of this century witnessed some activity in the collecting of historical children’s books, but that flurry did not extend much beyond New England generally, and the Connecticut Historical Society and the American Antiquarian Society specifica1ly.l A resurgence of interest in collecting occurred in the 1920s and 1930s. In 1938 six articles appeared in Library Journal under the title “Collections of Rare Children’s Books: A Symposium.” The series had been prepared under the auspices of the Publicity Committee of the American Library Association (ALA) Section for Library Work with Children. -
A Book Lover's Journey: Literary Archaeology and Bibliophilia in Tim
Verbeia Número 1 ISSN 2444-1333 Leonor María Martínez Serrano A Book Lover’s Journey: Literary Archaeology and Bibliophilia in Tim Bowling’s In the Suicide’s Library Leonor María Martínez Serrano Universidad de Córdoba [email protected] Resumen Nativo de la costa occidental de Canadá, Tim Bowling es uno de los autores canadienses más aclamados. Su obra In the Suicide’s Library. A Book Lover’s Journey (2010) explora cómo un solo objeto —un ejemplar gastado ya por el tiempo de Ideas of Order de Wallace Stevens que se encuentra en una biblioteca universitaria— es capaz de hacer el pasado visible y tangible en su pura materialidad. En la solapa delantera del libro de Stevens, Bowling descubre la elegante firma de su anterior dueño, Weldon Kees, un oscuro poeta norteamericano que puso fin a su vida saltando al vacío desde el Golden Gate Bridge. El hallazgo de este ejemplar autografiado de la obra maestra de Stevens marca el comienzo de una meditación lírica por parte de Bowling sobre los libros como objetos de arte, sobre el suicidio, la relación entre padres e hijas, la historia de la imprenta y la bibliofilia, a la par que lleva a cabo una suerte de arqueología del pasado literario de los Estados Unidos con una gran pericia literaria y poética vehemencia. Palabras clave: Tim Bowling, bibliofilia, narrativa, arqueología del saber, vestigio. Abstract A native of the Canadian West Coast, Tim Bowling is widely acclaimed as one of the best living Canadian authors. His creative work entitled In the Suicide’s Library. A Book Lover’s Journey (2010) explores how a single object —a tattered copy of Wallace Stevens’s Ideas of Order that he finds in a university library— can render the past visible and tangible in its pure materiality. -
Library of Birmingham Archives & Collections
Library of Birmingham Archives & Collections John Baskerville of Birmingham, printer 1706 John Baskerville born 1737 Kept a school in the Bull Ring where he taught writing and book-keeping, and carved monumental inscriptions at Birmingham 1740 Started business at Moor Street as a japanner 1750 Began to occupy himself with type-founding 1757 After experimenting for several years, he produced a type with which he was satisfied 1758 Produced his Milton Elected printer to Cambridge University for ten years 1760 First printed his edition of the Prayer Book 1763 Printed his edition of the Bible 1770 A Quarto Horace 1772-3 A famous series of quarto editions of Latin authors 1775 John Baskerville died 1779 His printing plant purchased by Beaumarchaise “He had the reputation of being the finest printer of modern times, though the opinion of contemporary experts was somewhat unfavourable to his type.” The Concise Dictionary of National Biography, from earliest times to 1985, Volume I: A-F, Oxford University Press, 1992. “His principal trade was in japanned goods. An immigrant from Worcestershire, starting with very little capital, he began in Birmingham as a stone-cutter, was then a writing master and set up as a manufacturer of japanned goods in Moor Street in 1740. From 1745 his home was a fine house on what was then the fringe of the town, at Easy Hill [i.e. Baskerville House], and from there he directed his factory for japanned ‘tea tables, waiters, and trays’ and his printing business. Among his innovations was the introduction of papier-mâché into this country. -
(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. -
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. -
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. -
Kuenzig Books
. SPRING 2020 VOLUME XXIV NUMBER 1 journal of Th e Fe llow shi p of Amer ican BIB LIO PHI LIC SOC IETIE S Contents Letter from the Chair 3 Contributions Sought: Robert H. Jackson Endowment 5 A Tribute to John Carson by Arthur Cheslock 6 How My Library was Assembled by Leonid Chertkov, Part I 7 CLUB NEWS 19 The Fellowship of American Bibliophilic Societies OFFICERS William E. Butler, Chair The Grolier Club: [email protected] Alexander Ames, Vice-Chair Philobiblon Club: [email protected] Jennifer Larson, Treasurer Miniature Book Society: [email protected] Ronald K. Smeltzer, Secretary The Grolier Club: [email protected] Arthur S. Cheslock, Membership Chair The Baltimore Bibliophiles: [email protected] William E. Butler, International Affiliates Chair The Grolier Club: [email protected] JOURNAL Annie Rowlenson, Editor [email protected] Scott Ellwood, Assistant Editor [email protected] Scott Vile, Production Designer [email protected] Copyright ©2020 by The Fellowship of American Bibliophilic Societies. The FABS Newsletter is published twice annually and 6,000 copies distributed during the spring and fall to our North American Member Clubs and International Affiliates. LETTER FROM THE CHAIR he officers and trustees of FABS met on 5 March 2020 at The Grolier TClub for their annual meeting. There are several matters to report. The Officers replaced Susan Hanes as Vice Chairman, who has had to resign for family reasons, with Alex Ames, of The Philobiblon Club, and also having found a Treasurer, Professor Jennifer Larson, the Officers relieved our Sec - retary, Ronald Smeltzer, of his double duties – with our gratitude to all for having served in their respective positions. -
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. -
History of Moveable Type
History of Moveable Type Johannes Gutenberg invented Moveable Type and the Printing Press in Germany in 1440. Moveable Type was first made of wood and replaced by metal. Example of moveable type being set. Fonts were Type set on a printing press. organized in wooden “job cases” by Typeface, Caps and Lower Case, and Point Size. Typography Terms Glyphs – letters (A,a,B,b,C,c) Typeface – The aesthetic design of an alphabet. Helvetica, Didot, Times New Roman Type Family – The range of variations and point size available within one Typeface. Font (Font Face) – The traditional term for the complete set of a typeface as it relates to one point size (Font Face: Helvetica, 10 pt). This would include upper and lower case glyphs, small capitals, bold and italic. After the introduction of the computer, the word Font is now used synonymously with the word Typeface, i.e. “What font are you using? Helvetica!” Weight – the weight of a typeface is determined by the thickness of the character outlines relative to their height (Hairline, Thin, Ultra-light, Extra-light, Light, Book, Regular, Roman, Medium, Demi-bold, Semi-bold, Bold, Extra-bold, Heavy, Black, Extra-black, Ultra-black). Point Size – the size of the typeface (12pt, 14pt, 18pt). Points are the standard until of typographic measurement. 12 points = 1 pica, 6 picas = 72 points = 1 inch. (Example right) A general rule is that body copy should never go below 10pt and captions should never be less than 8pt. Leading – or line spacing is the spacing between lines of type. In metal type composition, actual pieces of lead were inserted between lines of type on the printing press to create line spacing. -
Economics, Book Collecting, and Kipling
DAVID ALAN RICHARDS: ECONOMICS, BOOK COLLECTING, AND KIPLING Economics, Book Collecting, and Kipling DAVID ALAN RICHARDS hile the theme of the day is “Books In Hard Times,” the composition of the W three panels makes it clear that we have heard and are hearing the story in subsets: “Rare Book Dealers in Hard Times,” “Institutional Librarians in Hard Times,” and “Rare Book Collectors in Hard Times.” In other words, three teams are on the field, in the Great Game of Rare Books. These are the three essential components of our world: vendors to organize the consigners of the product we consume, institutional repositories to provide both home for collectors’ and vendors’ research, and perhaps a final, one hopes permanent, home for assembled collections, such as mine at Yale, and collectors buying from auction houses and dealer catalogs, and (with those auction houses and dealers) using the great libraries (including, not least, the one we sit in) and their on-line data bases to research present holdings and to war-game future acquisitions. Not coincidentally, this “iron triangle” is well described in lines on the parallel subject of author bibliographies from the noted American book collector A. Edward Newton, who in his 1936 Rosenbach Fellowship lectures, said: “Bibliographies are indeed not intended for average readers, be they gentle or simple. They are intended as tools for the scholar, weapons for the bookseller, and armor for the collector.” So, are these “Hard Times” for book collectors? Are we, in Newton’s words, “armored” for these difficult days, not just in funds but with attitude? Today’s poser, of course, is not about bibliographies, as it was for Newton’s address, but economics—cash or credit, the “readies”—when that ineffable object of your desire (a presentation copy of Hardy for Mark Samuels Lasner, an elusive Shelley for Bill Buice, an undiscovered pirated Kipling first edition for me)— mysteriously but gloriously appears in a Sotheby’s auction catalog to be knocked down by David Redden, or in a literature catalog from the house of Bill Reese. -
Ken Sanders Rare Books Kicks Off 10Th Anniversary Celebration
The ABN E WSLETTEA AR VOLUME EIGHTEEN, NUMBER 4 ANTIQUARIAN BOOKSELLERS' ASSOCIATION OF AMERICA FALL 2007 INSIDE: MAC Chapter hosts Digital Photo Seminar................................................PAGE 3 A Collector’s Primer to the Wonders of Fore-edge Painting By Jeff Weber One of the most unusual types of book decoration is fore-edge paintings. These are books which have one or more of the top, fore or bottom edge painted – usu- ally with watercolors. The typical form is a book with a single fanned fore-edge painting. In the twentieth century other forms have developed, including the Ken Sanders (center) celebrates with friends at the kick-off of several days of double fore-edge or even the remarkable events feting the anniversary of his shop in Salt Lake City. six-way painting where all three sides of the book have a double. Other forms include the side-by-side painting (two scenes on the single edge), and the split- Ken Sanders Rare Books kicks off double (splits the book in half and shows a scene on each fanned side half-way 10th Anniversary Celebration up the book edge). There is the vertical painting which is found on occasion. The by Annie Mazes first editions and comic books as well as fanned single edge painting is the most Ken Sanders, a long-time active member working on and off at Sam Weller’s, a common form. When the book is closed of the ABAA, and his daughter Melissa, well established independent bookstore in the painting disappears! This is because celebrated the 10th anniversary of their Salt Lake City.