tag:blogger.com,1999:blog-2573425309788199492024-03-13T16:22:22.151+13:00Antipodean FootnotesA Blog About Rare Books and Special Collections in AustralasiaAnthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.comBlogger122125tag:blogger.com,1999:blog-257342530978819949.post-15109902057552164692015-06-20T18:21:00.002+12:002015-06-21T18:20:01.620+12:00Apologies...Sorry for the lack of content recently and for letting what was once a rather active blog go fallow. One post (often rehashed) every so many months simply will not do, nor is it fair to anyone who has kindly enjoyed reading what I've written in the past!<br />
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There are changes afoot that I hope will remedy this. In a week's time I am returning to New Zealand where I will take up the role of Curator of Rare Books and Fine Printing with the <a href="https://natlib.govt.nz/collections/a-z/alexander-turnbull-library-collections" style="color: blue;" target="_blank">Alexander Turnbull Library</a> as of 13 July.</div>
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Those who know me know I prefer to keep this blog professional rather than personal, so I will not go into the reasons why I feel a return to New Zealand will see a return of regular posts to Antipodean Footnotes. I do, however, feel I owed those who read and follow my blog an apology for being completely off my game lately. I very much appreciate your interest in what I have to write about books and book history, and do hope you will bear with me as I turn the page on a new chapter in my life and career.</div>
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Will write again once settled into my new position. Until then, sincere thanks for reading this, and take care!</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-39527459703311458902015-04-11T10:17:00.002+12:002015-04-12T08:50:47.693+12:00Publication Announcement: 'Hocken. Prince of Collectors'<div style="margin: 0px;">
<span style="color: #221e1f;"><span style="font-family: inherit;">Delighted to hear Donald Kerr's book on one of New Zealand's greatest book collectors, Dr Thomas Morland Hocken, will be available in just a </span>couple<span style="font-family: inherit;"> of months. I'm certainly not alone in </span>saying<span style="font-family: inherit;"> how much I am looking forward to reading it. Congratulations, Donald!</span></span></div>
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<span style="color: #221e1f;">From the University of Otago Press website:</span></div>
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<span style="color: #221e1f;"><span style="font-family: inherit;">Dr Thomas Morland Hocken (1836–1910) arrived in Dunedin in 1862, aged 26. Throughout his busy life as a medical practitioner he amassed books, manuscripts, sketches, maps and photographs of early New Zealand. Much of his initial collecting focused on the early discovery narratives of James Cook; along with the writings of Rev. Samuel Marsden and his contemporaries; Edward Gibbon Wakefield and the New Zealand Company; and Maori, especially in the south. He gifted his collection to the University of Otago in 1910. </span></span></div>
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<span style="color: #221e1f; font-family: inherit; font-size: small;">Hocken was a contemporary of New Zealand’s other two notable early book collectors, Sir George Grey and Alexander Turnbull. In this magnificent piece of research, a companion volume to his </span><span style="color: #221e1f; font-family: inherit; font-size: small;"><i>Amassing Treasures for All Times: Sir George Grey, colonial bookman and collector </i></span><span style="color: #221e1f; font-family: inherit; font-size: small;">(2006), Donald Kerr examines Hocken’s collecting activities and his vital contribution to preserving the history of New Zealand’s early post-contact period.</span></div>
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<span style="color: #283471; font-family: inherit; font-size: small;"><b>PUBLICATION DETAILS: </b></span><span style="color: #221e1f; font-family: inherit; font-size: small;"><i>Hocken. Prince of Collectors</i></span><span style="color: #221e1f; font-family: inherit; font-size: small;"> by Donald Kerr </span></div>
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<span style="font-family: inherit;"><span style="color: #221e1f; font-size: small;">Otago University Press </span><a href="https://owa.unimelb.edu.au/owa/redir.aspx?SURL=wPCXf-1ZBJmTJMs-wixfo5UjpZBd97CK7tc4s-HVh1Zq6jY_8EHSCGgAdAB0AHAAOgAvAC8AdwB3AHcALgBvAHQAYQBnAG8ALgBhAGMALgBuAHoALwBwAHIAZQBzAHMA&URL=http%3a%2f%2fwww.otago.ac.nz%2fpress" target="_blank"><span style="color: blue; font-size: small;">http://www.otago.ac.nz/press</span></a></span></div>
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<span style="color: #221e1f; font-family: inherit; font-size: small;">Jacketed hardback, 155 x 240 mm </span></div>
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<span style="color: #221e1f; font-family: inherit; font-size: small;">424 pp & 40 pp photos </span></div>
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<span style="color: #221e1f; font-family: inherit; font-size: small;">ISBN 978-1-877578-66-3, $60.00</span></div>
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<span style="color: #283471; font-family: inherit; font-size: small;"><b>IN-STORE: JUNE 2015</b></span></div>
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For more on Hocken and his collection, see the Hocken Library website:</div>
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<a href="http://www.otago.ac.nz/library/hocken/" target="_blank"><span style="color: blue;">http://www.otago.ac.nz/library/hocken/</span></a></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-80088034113196378222015-03-05T11:18:00.000+13:002015-03-05T11:19:40.684+13:00'The Book Beautiful' at the Alexander Turnbull Library[Guest post by Ruth Lightbourne, Curator of Rare Books and Fine Printing, Alexander Turnbull Library]<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1qI6hChldnEZnRatCxOTT2rMSXY8PMguouJG88L8egxh-vF5ZLKdQR5_qqF5PTRwDRAyHtktmq-EaFCpQmu6X0apuHiyQSBj2jHw3FRlMnNpZVMTPyOAHAriDrrRGHEgMwOBElqIUt9b6/s1600/unnamed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1qI6hChldnEZnRatCxOTT2rMSXY8PMguouJG88L8egxh-vF5ZLKdQR5_qqF5PTRwDRAyHtktmq-EaFCpQmu6X0apuHiyQSBj2jHw3FRlMnNpZVMTPyOAHAriDrrRGHEgMwOBElqIUt9b6/s1600/unnamed.jpg" /></a></div>
A new exhibition 'The Book Beautiful' opens in the Turnbull Gallery
on Monday 2nd March. This promises to be a feast for the eyes and is
something not to be missed: <a href="http://natlib.govt.nz/visiting/wellington/the-turnbull-gallery" target="_blank"><span style="color: blue;">http://natlib.govt.nz/visiting/wellington/the-turnbull-gallery</span></a>.<br />
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A number of events are hosted in conjunction with the exhibition.<br />
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<b>The first related events</b>:<br />
On Tuesday 3rd March 5.30-6.30pm in the Te Ahumairangi rooms on the
Ground Floor at the National Library, Dr Claire Bolton will give a talk
'Imperfect impressions: clues to 15th century printing practices'. Her
talk will be accompanied
by colourful slides. All are welcome. Dr Bolton, who teaches printing
and this year tutored a course on 15th century books at the London Rare
Book School, also ran the Alembric Press in Oxford, England, for over 45
years. For more information, see <a href="http://natlib.govt.nz/events/imperfect-impressions" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events/imperfect-impressions</span></a>.<br />
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On Saturday 7th March 2-3pm, Alison Furminger will be giving a class
in beginners calligraphy in the Te Ahumairangi rooms on the Ground Floor
at the National Library. This event is limited to 20 participants, and
booking is required.
See the National Library website for details on how to book <a href="http://natlib.govt.nz/events/beginners-calligraphy-mar-7" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events/beginners-calligraphy-mar-7</span></a>. The class will be repeated on Saturday 21 March.<b> </b><br />
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<b>Other events:</b><br />
~ Visit to the Waiteata Press (a working hand press) <a href="http://natlib.govt.nz/events/letterpress-rules-mar-13" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events/letterpress-rules-mar-13</span></a><br />
~ Trip to the printing department at Massey to observe printmaking <br />
~ A
visit to the National Library conservation lab to watch the Library's
conservators at work <a href="http://natlib.govt.nz/events/conservation-and-the-book-beautiful" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events/conservation-and-the-book-beautiful</span></a><br />
~ Readings from old and middle English by Emeritus Professor Robert Easting <a href="http://natlib.govt.nz/events/some-changes-in-the-english-language-chaucer-in-the-middle" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events/some-changes-in-the-english-language-chaucer-in-the-middle</span></a><span style="color: red;"></span><br />
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Several talks on the arts of the book will be held over the
course of the next few months. Some of these events are limited in
numbers and booking will be required. Keep an eye out for new additions
as there are other events still being finalised <a href="http://natlib.govt.nz/events" target="_blank"><span style="color: blue;">http://natlib.govt.nz/events</span></a>.<br />
<br />Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-38128614320278783242015-02-28T11:20:00.001+13:002015-03-02T20:45:28.026+13:00ILAB Pop Up Book Fair + Shakespeare FoliosWill you be in Sydney on 23 April 2015?<br />
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If so, be sure to stop by the wonderful State Library of New South Wales for what will be the first in a series of world-wide pop up book fairs organised by the International League of Antiquarian Booksellers celebrating UNESCO World Book and Copyright Day.</div>
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Visitors will not only have the chance to browse and buy from some of Australia's leading antiquarian booksellers, but also have the opportunity to make a donation to help raise money for the UNESCO literacy programme.</div>
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For the event, which coincides with William Shakespeare's birthday, the library will be displaying all four of its Shakespeare Folios, which includes the only known copy of the 1623 First Folio in Australia.</div>
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An antiquarian book fair. The Shakespeare Folios. Advancing literacy. Really, what could be better?</div>
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Further details can be found on the ILAB website (<a href="http://goo.gl/2x4Lso" target="_blank"><span style="color: blue;">http://goo.gl/2x4Lso</span></a>) and the ANZAAB homepage (<a href="http://www.anzaab.com/index.cfm" target="_blank"><span style="color: blue;">http://www.anzaab.com/index.cfm</span></a>), which notes two other Australian pop up fairs being held in Dunkeld and Hamilton (both in the state of Victoria).</div>
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The fairs and exhibition are free and open to the public.</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-20480500937879910722015-01-13T11:16:00.000+13:002015-01-13T17:59:08.351+13:00The Bibliographical Society of Australia and New Zealand Inc. Annual Conference 2015<!--[if gte mso 9]><xml>
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<![endif]--><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirKFc_2k01OPFgbjOmYP72HshrB_V35ErxmxqFuAXHMl3bVEth3Jf3omQiBE2wA7fAJMZ1cg5tAz9AvaBiaK6PIsoYGsb_DQL6DyWFYA_N5gGzriWeqfKDUYVvO406QB7-FDtKC7nB8sx/s1600/Aldus-Greek-resized.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirKFc_2k01OPFgbjOmYP72HshrB_V35ErxmxqFuAXHMl3bVEth3Jf3omQiBE2wA7fAJMZ1cg5tAz9AvaBiaK6PIsoYGsb_DQL6DyWFYA_N5gGzriWeqfKDUYVvO406QB7-FDtKC7nB8sx/s1600/Aldus-Greek-resized.jpg" height="150" width="200" /></a><b>Turning the Page: Bibliographical Innovation and the Legacy of Aldus Manutius</b> <br />
<br />
<br />
The University of Melbourne, Australia<br />
Date: 26 and 27 November 2015<br />
<br />
<br />
<br />
<br />
2015 marks the quincentenary of the death of the great printer and publisher Aldus Manutius (c. 1451–1515). Aldus was an innovator in a number of ways, from his development and use of the first italic typeface and publishing of small octavo editions, to printing many first editions of classical Greek authors and the production of one of the most beautifully designed and illustrated books of the fifteenth century, the <i>Hypnerotomachia Poliphili</i>.<br />
<br />
To honour Aldus’s life and afterlife, the Society invites papers exploring innovation or design in the printed book in any period from the time of Aldus to the modern day. Possible topics can cover any aspect of the history of the book, from bibliography and publishing, to the reading experience and the transition from print to digital format.<br />
<br />
Enquiries and proposals of 250 words for papers of 20 to 25 minutes should be sent to Anthony Tedeschi (<a href="mailto:atedeschi@unimelb.edu.au">atedeschi[@]unimelb.edu.au</a>), Special Collections, Baillieu Library, The University of Melbourne. The deadline for paper proposals is Monday 29 June 2015. Students undertaking higher degree research are encouraged to submit offers of ‘work in progress’ papers; some travel bursaries will be available.<br />
<br />
Further information and the full conference programme will be posted on the BSANZ Inc. website:<br />
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<span style="color: blue;"><span style="color: black;"><a href="http://www.bsanz.org/conferences"><span style="color: blue;">http://www.bsanz.org/conferences</span></a> </span></span></div>
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Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-75258164063175510412014-12-02T16:08:00.002+13:002014-12-06T19:35:02.796+13:00Dunedin, NZ : UNESCO City of LiteratureWhile not rare book specific, I could not resist posting the fantastic news that my previous home for six and a half years has been designated a UNESCO City of Literature!<br />
<br />
Here is the write-up by Eileen Goodwin in today's <i>Otago Daily Times</i>:<br />
<br />
Dunedin has stepped on to the international literary
stage, late last night being named a Unesco Creative City of
Literature.<br />
<br />
The designation puts the city on the world map as a
first-class literary centre, Dunedin Mayor Dave Cull said.It would help the city attract cultural tourism, tertiary
students and new residents, he said.<br />
<br />
One of Dunedin's first steps as a City of Literature will be
to organise an international conference related to literary
culture.<br />
<br />
Dunedin was one of four newly designated Cities of Literature
- the others were Granada, in Spain, Heidelberg, in Germany,
and Prague, in the Czech Republic.<br />
<br />
They join existing Cities of Literature Edinburgh, Melbourne,
Iowa City, Dublin, Reykjavik, Norwich and Krakow. A country
can only have one Unesco City of Literature.<br />
<br />
The designation showed the city was ''up there'' with other
culturally significant cities, and was not a ''colonial
outpost'', Mr Cull said.<br />
<br />
Coming soon after the city was named the first Gigatown, the
designation was further evidence that Dunedin was moving
forward, he said.<br />
<br />
Dunedin's application highlighted its literary heritage,
literary events, institutions and organisations, and its
community or writers, playwrights and lyricists.<br />
<br />
''It gives us another point of difference,'' Mr Cull said.<br />
<br />
''At a local and national level, this announcement will have
cultural and economic benefits.<br />
<br />
''The value of having a rich culture is evidenced by events
such as this year's inaugural Dunedin Writers and Readers
Festival, which had an unexpected number of soldout events,
and attracted authors with an international profile.<br />
<br />
''Being a City of Literature is a great brand and a very
fitting one, given that Robbie Burns' statue presides over
our central city.''<br />
<br />
Dunedin City Council arts and culture group manager Bernie
Hawke said six of the existing Cities of Literature backed
the bid, and Dunedin was particularly grateful for the
support of its sister city, Edinburgh.<br />
<br />
''We have been wonderfully supported internationally and
locally by writers' groups and trusts, and national writing
and publishing associations, as well as the University of
Otago.''<br />
<br />
---<br />
<br />
For more on Dunedin's efforts and literary city profile, see its City of Literature website and Facebook page:<br />
<br />
<a href="http://www.cityofliterature.co.nz/" target="_blank"><span style="color: blue;">http://www.cityofliterature.co.nz</span></a><br />
<br />
<a href="https://www.facebook.com/cityofliteraturenz" target="_blank"><span style="color: blue;">https://www.facebook.com/cityofliteraturenz</span></a><br />
<br />
Hats off to the steering committee - Liz Knowles, Noel Waite, Bernie Hawke and Annie Villiers - for all their hard work and a job well done!Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-67451649062691234152014-11-10T21:52:00.000+13:002014-11-11T09:16:41.770+13:00Turnbull Library Rare Books on TumblrThe <a href="https://natlib.govt.nz/collections/a-z/alexander-turnbull-library-collections" target="_blank"><span style="color: blue;">Alexander Turnbull Library</span></a> in Wellington, New Zealand, has launched a Tumblr page for its <a href="https://natlib.govt.nz/collections/a-z/rare-books-and-fine-printing" target="_blank"><span style="color: blue;">Rare Books & Fine Printing Collection</span></a>:<br />
<br />
<a href="http://turnbullrarebooks.tumblr.com/" target="_blank"><span style="color: blue;">http://turnbullrarebooks.tumblr.com</span></a><br />
<br />
The page is off to a fun start, with topics ranging from medieval manuscripts and an eighteenth-century geometric binding, to decorative endpapers and the title-page of one of the Turnbull's copies of <i>Aurora Australis</i>, the first book published in Antarctica created by Ernest Shackleton.<br />
<br />
<span style="font-family: inherit;">A personal favourite is a closeup image of the pigments used on the illuminated title-page of a Persian manuscript:</span><br />
<span style="font-family: inherit;"><span style="background-color: white; color: #333333; line-height: 25px;"><br /></span></span>
<br />
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<span style="font-family: inherit;"><span style="background-color: white; color: #333333; line-height: 25px;"><br /></span></span>
If you like what you see and have a Tumblr account, do consider following and help build the library's follower base. Enjoy!Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-12212987223604467892014-09-24T16:21:00.000+12:002014-10-21T17:35:02.481+13:00Memorialised in Manuscript: A Unique First World War Honour Roll[First posted on University of Melbourne <a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/" target="_blank"><span style="color: blue;">Library Collections blog</span></a><span style="color: blue;"><span style="color: black;">]</span></span><br />
<br />
<div class="entry-content">
Memorial lists recording the names of people who have died in
service to their country or local community are a tragic, but important,
part of library and institutional collections worldwide. For the First
World War alone, Special Collections holds seventeen separate registers
published between 1919 and 1926. There is, however, one further register
in the collection that was neither printed nor published, but
artfully crafted by a member of university staff.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-UM1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Opening page." class="size-medium wp-image-1793 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-UM1-212x300.jpg" height="300" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening page.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-HR1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Title-page." class="size-medium wp-image-1803 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-HR1-208x300.jpg" height="300" width="208" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title-page.</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1803" style="width: 218px;">
<div class="wp-caption-text">
<br /></div>
</div>
This manuscript Honour Roll was created by Vincent J. Hearnes, who
was chief mechanic in the Department of Metallurgy workshop during the
early 1930s.<span style="color: red;">[1]</span>
According to an index card enclosed in the book, one of Hearnes’
hobbies was the production of books and decorative texts using coloured
inks he prepared. This Honour Roll is one surviving example of his work.<br />
<br />
The book consists of 34 hand-decorated leaves recording in a
calligraphic script the names of 102 graduates killed on active service
between 1914 and 1918.<span style="color: red;">[2]</span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/#_ftn2" title=""></a>
Hearnes was clearly influenced by medieval manuscript decoration and
Celtic art, but added an Australian touch by using eccentrically
stylised kangaroos and emus to form his knotwork patterns as exemplified
in the previous images.<br />
<br />
Rather than design decorated initials for each individual name,
Hearnes instead used either one large initial for all the names on a
given page, such as in the first and third of the following three examples, or
incorporated multiple initials into a single design element, e.g. the
combination of ‘E’, ‘F’ and ‘G’ in the middle image.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-C1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Surnames Corbett and Creswell." class="size-medium wp-image-1794 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-C1-216x300.jpg" height="300" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surnames Corbett and Creswell.</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1794" style="width: 226px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-EFG1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Surnames Elliott to Garnett." class="size-medium wp-image-1795 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-EFG1-217x300.jpg" height="300" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surnames Elliott to Garnett.</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1795" style="width: 227px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-M1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Surnames Mathison to Miller." class="size-medium wp-image-1796 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/MS-M1-217x300.jpg" height="300" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Surnames Mathison to Miller.</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1796" style="width: 227px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Scott-letter.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Introduction by Professor Earnest Scott, 25.3.1932." class="size-medium wp-image-1797 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Scott-letter-218x300.jpg" height="300" width="218" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Professor Scott’s Introduction, 25.3.1932.</td></tr>
</tbody></table>
<div class="wp-caption alignleft" id="attachment_1797" style="width: 228px;">
<div class="wp-caption-text">
</div>
</div>
The work was also a collaborative production. The book was tastefully
bound in blue (the university colour) pebble-grained morocco with
ornamental gilt turn-ins and marbled endpapers by the prominent
Melbourne binder Harry Green. There are brief contributions by
Professors L. J. Wrigley (Department of Education) and J. Neill
Greenwood (Department of Metallurgy), and an Introduction was provided
by noted historian Professor (Sir) Ernest Scott.<span style="color: red;">[3]</span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/#_ftn3" title=""></a><br />
<br />
When and why did Hearnes compile the manuscript? Thanks to the
colophon, we know he completed the Honour Roll in March 1932. The year
is significant for two reasons. First, the twentieth anniversary of the
outbreak of World War I was just two years away. Second, Melbourne’s war
memorial, the Shrine of Remembrance, was under construction and
scheduled to open in time with the anniversary in 1934.<br />
<br />
To create a record of the Victorians who served overseas between 1914
and 1918, the committee tasked with founding and constructing the
Shrine opted to have the names inscribed in a series of Books of
Remembrance.<span style="color: red;">[4] </span>To ensure the longevity of the books, they sought the advice of the
Victorian Arts and Crafts Society, which specified: ‘The books will be
made of the best Roman Vellum, and hand bound in Levant Morocco … The
binding would be done by Mr Harry Green, one of the best craftsmen in
Australia in the production of Edition de Luxe. The lettering would be
done by [Jason] S. Forman and assistants’.<span style="color: red;">[5]</span><br />
<br />
Although Hearnes’ Honour Roll was also bound by Green, he was not
among Forman’s assistants, though it seems evident that their work
inspired Hearnes to create a similar Book of Remembrance focused on
graduates of the university.<span style="color: red;">[6]</span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/#_ftn6" title=""></a><br />
<br />
The Honour Roll was not the only calligraphic work Hearnes wished to
present to the library. In a letter to the Registrar dated 5 April 1933,
he wrote: ‘As I mentioned some months ago, I intended having another
manuscript book finished for presentation … this year, but owing to
illness … I have been unable to do any considerable amount of drawing’.<span style="color: red;">[7]</span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/#_ftn7" title=""></a>
The letter closed with an offer of a third manuscript, one comprised of
prayers written alternately in Irish and Latin. Neither book mentioned,
however, is held by Special Collections.<br />
<br />
Eight months after writing to the Registrar, Hearnes was dismissed
from the university due to conflict with other staff, which, it is safe to presume, also ended any
inclination on his part to donate further books.<span style="color: red;">[8]</span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/24/memorialised-in-manuscript-a-unique-first-world-war-honour-roll/#_ftn8" title=""></a>
This makes the Honour Roll the sole example of his calligraphic work
held by the library, and a fitting object to write about, as we enter
the final months of the centennial year marking the start of the First
World War and prepare to commemorate the centenary of the costly
Gallipoli Campaign in 2015.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Colophon.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Colophon dated 28.3.1932." class=" wp-image-1798 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Colophon-270x300.jpg" height="240" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Colophon dated 28.3.1932.</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1798" style="width: 226px;">
<div class="wp-caption-text">
<br /></div>
</div>
<div align="right">
<br /></div>
<hr align="left" size="1" width="33%" />
<div>
<span style="color: red;">[1]</span> Essington Lewis, <i>Development and Activities of the Metallurgy School … </i>Melbourne: Melbourne University Press, 1935, p. 7.<br />
<br /></div>
<div>
<span style="color: red;">[2]</span> For the official university Roll of Honour, see <i>The Melbourne University Magazine: War Memorial Number … Compiled by Graduates and Undergraduates of the University</i><i> … </i>Melbourne: [Printed by Ford & Son for Melbourne University Magazine],<i> </i>1920.<br />
<br /></div>
<div>
<span style="color: red;">[3]</span> Scott was knighted in 1939. The School of Historical and Philosophical
Studies maintains a chair in his honour, and the university awards an
annual prize in Scott’s name, which was established by his widow, Lady
Emily Scott (1882–1957).<br />
<br /></div>
<div>
<span style="color: red;">[4]</span> The books, which number forty in total, are housed in individual bronze caskets <span style="color: blue;"><a href="http://www.shrine.org.au/Exhibitions/Permanent-Exhibitions/Books-of-Remembrance" target="_blank">displayed in the Ambulatory</a><span style="color: black;">.</span></span><br />
<br /></div>
<div>
<span style="color: red;">[5]</span> J.B. Forman to Philip Hudson, 10 October 1929; quoted in Bruce Scates, <i>A Place to Remember: A History of the Shrine of Remembrance</i>.
Melbourne: Cambridge University Press, 2009, p. 129. Fine vellum proved
cost prohibitive, so parchment, cheaper but no less durable, was used.<br />
<br /></div>
<div>
<span style="color: red;">[6]</span> My thanks to Leigh Gilburt at the Shrine of Remembrance for confirming Hearnes was not among the calligraphers.<br />
<br /></div>
<div>
<span style="color: red;">[7]</span> V. J. Hearnes to the University Registrar, 5 April 1933; the letter is enclosed with the Honour Roll.<br />
<br /></div>
<div>
<span style="color: red;">[8]</span> File ‘H. V. [sic] Hearnes Termination of Employment’; University of
Melbourne Archives, Office of the Registrar Collection, UM 312, 1933/
206.</div>
</div>
<span style="color: blue;"><span style="color: black;"> </span></span> Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-5158504201584039652014-09-15T13:42:00.001+12:002014-09-15T16:13:18.659+12:00An Apothecary’s Annotations: Eighteenth-Century Medical Notes in a Seventeenth-Century Text[First posted on University of Melbourne <a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/15/an-apothecarys-annotations-eighteenth-century-medical-notes-in-a-seventeenth-century-text/" target="_blank"><span style="color: blue;">Library Collections blog</span></a><span style="color: blue;"><a href="http://blogs.unimelb.edu.au/librarycollections/2014/09/15/an-apothecarys-annotations-eighteenth-century-medical-notes-in-a-seventeenth-century-text/" target="_blank"></a><span style="color: black;">]</span></span> <br />
<br />
Since 2009, the rare books collection of the Brownless Medical
Library has been housed by Special Collections in the Baillieu Library, University of Melbourne.
This collection, which numbers 1,850 volumes, is strongest in eighteenth
and nineteenth-century material. Some earlier texts are also held, such
as sixteenth-century editions of the <i>Galeni librorum quarta classis </i>and <i>La farmacopea o’antidotario dell’eccellentissimo Collegio de’ signori medici di Bergomo </i>(both published in Venice, 1597) and a copy of the 1698 edition of John Browne’s <i>Myographia nova, or, a graphical description of all the muscles in the humane body</i>.<span style="color: red;">[1]</span><br />
<div class="mceTemp">
<dl class="wp-caption alignleft" data-mce-style="width: 199px;" id="attachment_1742" style="width: 199px;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a data-mce-href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Skeleton-hour-glass.jpg" href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Skeleton-hour-glass.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img alt="Plate 87. Engraving of a human skeleton in an allegorical pose, likely influenced by Vesalius's De humani corporis fabrica (1543)." class="size-medium wp-image-1742 " data-mce-src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Skeleton-hour-glass-189x300.jpg" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Skeleton-hour-glass-189x300.jpg" height="300" width="189" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Plate 87. Engraving of a human skeleton in an allegorical pose, influenced by Vesalius's De humani corporis fabrica (1543).</td></tr>
</tbody></table>
<dd class="wp-caption-dd"></dd></dl>
</div>
Another seventeenth-century anatomical text in the collection is William Cowper’s <i>The anatomy of humane bodies</i>,<i> </i>printed
in Oxford for Samuel Smith and Benjamin Walford, printers to the Royal
Society, and published the same year as Browne’s 1698 <i>Myographia nova</i>.<span style="color: red;">[2]</span><a data-mce-href="#_ftn1" href="https://blogs.unimelb.edu.au/librarycollections/wp-admin/post.php?post=1737&action=edit#_ftn1" title=""></a> Cowper’s book is known for its folio-sized anatomical plates by Gérard de Lairesse previously published in Govard Bidloo's <i>Anatomia humani corporis </i>(Amsterdam, 1685), which caused a vitriolic exchange between the two anatomists after Bidloo accused Cowper of plagiarism.<span style="color: red;">[3]</span><a data-mce-href="#_ftn2" href="https://blogs.unimelb.edu.au/librarycollections/wp-admin/post.php?post=1737&action=edit#_ftn2" title=""></a><br />
<br />
What makes the Melbourne copy of Cowper’s <i>Anatomy </i>particularly
interesting are the copious notes written between 1724 and 1740 by an
English apothecary, who compiled a combination pharmacopeia and
prescription book on the blank versos of sixty-two plates.<br />
<br />
The
notes refer to
treatments for thirty-four diseases or groups of diseases, such as
rheumatism, asthma, dysentery, pulmonary tuberculosis, and cancer. In
her 2008 study of the book, Dorothea Rowse (Honorary Fellow of the
School of Historical and Philosophical Studies and former Sciences
Librarian) described the notes as consisting of ‘a comprehensive list of
available remedies, evidence of remedies that had been used for named
patients, a guide to the physicians recommended for particular medical
conditions … and a record of patients who had been treated for serious
medical illnesses’.<span style="color: red;">[4]</span><br />
<div class="mceTemp">
<dl class="wp-caption alignright" data-mce-style="width: 226px;" id="attachment_1749" style="width: 226px;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a data-mce-href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Cancer-resized.jpg" href="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Cancer-resized.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img alt="Notes on breast cancer (verso of plate 19)." class="size-medium wp-image-1749 " data-mce-src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Cancer-resized-216x300.jpg" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/09/Cancer-resized-216x300.jpg" height="300" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Notes on breast cancer treatment (verso of plate 19).</td></tr>
</tbody></table>
<dd class="wp-caption-dd"></dd></dl>
</div>
The
inclusion of named physicians and patients, some of whom were children,
add a very real, very human element. Rowse counted fifteen physicians
whose names appear in the notes, along with the names of ninety-three
identifiable patients who lived in the vicinity of the village of
Hambledon in the county of Hampshire.<span style="color: red;">[5]</span><a data-mce-href="#_ftn4" href="https://blogs.unimelb.edu.au/librarycollections/wp-admin/post.php?post=1737&action=edit#_ftn4" title=""></a>
Her research suggests the author of the notes was Edward Hale, an
apothecary and barber surgeon, resident in Hambledon from 1720, whose
son (also Edward) continued the practice.<span style="color: red;">[6]</span><a data-mce-href="#_ftn5" href="https://blogs.unimelb.edu.au/librarycollections/wp-admin/post.php?post=1737&action=edit#_ftn5" title=""></a><br />
<br />
All of the notes are available on the Special Collections Flickr page:<span style="color: red;">[7]</span><br />
<br />
<a href="https://www.flickr.com/photos/uomspecialcollections/sets/72157647386329921" target="_blank"><span style="color: blue;">https://www.flickr.com/photos/uomspecialcollections/sets/72157647386329921</span></a><br />
<br />
Unfortunately,
due to the book being rebound, some of the notes run into the inner
margin. Anyone consulting them is welcome to contact Special
Collections at special-collections[@]unimelb.edu.au for assistance.<br />
<br />
Dorothea Rowse’s full account is available on-line as a PDF at the following URL:<br />
<br />
<b> </b><a href="https://www.unimelb.edu.au/culturalcollections/research/collections3/rowse.pdf" target="_blank"><span style="color: blue;">https://www.unimelb.edu.au/culturalcollections/research/collections3/rowse.pdf</span></a><b></b><br />
<div align="right">
<br /></div>
<div>
<hr align="left" size="1" width="33%" />
<div>
<span style="color: red;">[1]</span> The Melbourne copy of Browne’s <i>Myographia nova </i>is
from the Chatsworth House library of William Cavendish, 1st Duke of
Devonshire (1640–1707). The text was first published in 1681.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[2]</span> Cowper's <i>The amatomy of humane bodies </i>(London, 1698) purchased with funds from the estate of F. M. Meyer.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[3]</span> Cowper mentioned neither Bidloo nor de Lairesse in his text. According
to Cowper’s ODNB entry, Bidloo 'published a complaint in 1700 addressed
to the Royal Society accusing Cowper of plagiarism … which included
copies of letters to Cowper, most of which had gone unanswered,
correspondence with his publishers, and a list of errors. The Royal
Society, with some discomfort, declined to adjudicate on the matter’.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[4]</span> Dorothea Rowse, ‘The Hampshire Apothecary’s Book: An 18th Century Medical Manuscript in the Baillieu Library’. <i>University of Melbourne Collections</i> issue 3 (Dec. 2008), p. 13.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[5]</span> Ibid, p. 15.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[6]</span> Ibid, pp. 16-17.<span style="color: red;"> </span><br />
<br />
<span style="color: red;">[7]</span> To view the original or larger-sized images, single click on the
‘Download this photo’ icon towards the lower right, then select ‘View
all sizes’ (‘Large 2048’ file size option is recommended).</div>
</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-82745014854479277962014-09-08T12:26:00.002+12:002014-09-09T10:58:25.288+12:00The Rothschild Prayerbook Comes to Australia<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetprwqCdWEinDby-2qre7gl76oMwCC30-gMWnnxeZK31O2cy8JfZZv2ZCcDlm-jKTog2KyKWFPI-m3f3jAQdgFSlz8GpfImLmHWfPBA1qiemygG2fTZRbwHiNCK16TuLY9WdvB2RDL66S/s1600/Rothschild_Prayerbook_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgetprwqCdWEinDby-2qre7gl76oMwCC30-gMWnnxeZK31O2cy8JfZZv2ZCcDlm-jKTog2KyKWFPI-m3f3jAQdgFSlz8GpfImLmHWfPBA1qiemygG2fTZRbwHiNCK16TuLY9WdvB2RDL66S/s1600/Rothschild_Prayerbook_2.jpg" height="229" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Virgin and Child on a Crescent Moon</i>, f.197v.</td></tr>
</tbody></table>
<br />
News is circulating that the exquisite Rothschild Prayerbook (ca. 1505-1510), sold earlier this year by Christie's, New York, for USD $13.6m, was purchased by Australian businessman Kerry Stokes.<br />
<br />
Mr Stokes, who also collects works of art and printed books in addition to medieval manuscripts, made his fortune in a variety of industries. His acquisition of the Rothschild Prayerbook featured yesterday on the Channel 7 'Sunday Night' programme. The segment can be viewed here:<br />
<br />
<a href="https://au.news.yahoo.com/sunday-night/features/a/24909678/mystery-australian-buys-15m-ancient-book/" target="_blank"><span style="color: blue;">https://au.news.yahoo.com/sunday-night/features/a/24909678/mystery-australian-buys-15m-ancient-book/</span></a><br />
<br />
According to the programme, the manuscript will go on tour next year, with public exhibitions planned for Canberra and Melbourne.<br />
<br />
For a description of the Prayerbook, including a number of images, see its entry in Wikipedia, or visit the Christie's on-line catalogue at the following URLs:<br />
<br />
<a href="http://en.wikipedia.org/wiki/Rothschild_Prayerbook" target="_blank"><span style="color: blue;">http://en.wikipedia.org/wiki/Rothschild_Prayerbook</span></a> <br />
<br />
<a href="http://www.christies.com/lotfinder/books-manuscripts/the-rothschild-prayerbook-a-book-of-hours-5766082-details.aspx" target="_blank"><span style="color: blue;">http://www.christies.com/lotfinder/books-manuscripts/the-rothschild-prayerbook-a-book-of-hours-5766082-details.aspx</span></a>Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-46584835541706165262014-07-10T15:54:00.000+12:002014-07-10T16:04:44.161+12:00The Gutenberg Bible on Exhibit in Melbourne<div class="entry-content">
Next week sees the launch of the third annual <a href="http://www.rarebookweek.com/" target="_blank"><span style="color: blue;">Melbourne Rare Book Week</span></a> (17 to 27 July). Bibliophiles from across Australasia and beyond will
descend upon the city and enjoy an array of talks, demonstrations and
exhibitions, ending with the <a href="http://www.rarebookfair.com/" target="_blank"><span style="color: blue;">Melbourne Rare Book Fair</span></a> (25 to 27 July). Visitors to this year’s Rare Book Week will also be
able to attend a range of events in the university’s biennial <a href="http://www.unimelb.edu.au/culturalcollections/treasuresfestival/" target="_blank"><span style="color: blue;">Cultural Treasures Festival</span></a> (26 and 27 July).<br />
<br />
The university will once again host the fair in Wilson Hall, but also
add something very special to the 2014 Rare Book Week programme: A 10-day exhibition of the Gutenberg Bible.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieAbDj4dhOiFdJ3lVGLLJULt-StDcVDWS94grmJWdV3dpO0AdmMOq8VqK1mBq8iu7C-A5wLEYXFr4AxfH2NI1AqiOOdBXKDVJ6JveKcJOlUl4-WD76JjINbNlNrISiS3dyQ94AD6lJS7mV/s1600/02_Gut_RSVP-online+image-v2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieAbDj4dhOiFdJ3lVGLLJULt-StDcVDWS94grmJWdV3dpO0AdmMOq8VqK1mBq8iu7C-A5wLEYXFr4AxfH2NI1AqiOOdBXKDVJ6JveKcJOlUl4-WD76JjINbNlNrISiS3dyQ94AD6lJS7mV/s1600/02_Gut_RSVP-online+image-v2.jpg" height="158" width="400" /></a></div>
<br />
<br />
The Bible, on loan courtesy of The University of Manchester’s John
Rylands Library, will be displayed from 18 to 27 July in the Dulcie
Hollyock Room located on the ground floor of the <a href="http://maps.unimelb.edu.au/parkville/building/177#.U74N9hAXKN2" target="_blank"><span style="color: blue;">Baillieu Library</span></a>.<br />
<br />
Like all Rare Book Week events, the exhibition is free and open to
the public. Viewing hours are 11.00am to 5.00pm daily. Bookings not
required.<br />
<br />
A series of floor talks connected with the exhibition are also taking place. Details and how to book can be found on the <a href="http://library.unimelb.edu.au/gutenberg" target="_blank"><span style="color: blue;">Gutenberg Bible exhibition</span></a> and <a href="http://www.unimelb.edu.au/culturalcollections/treasuresfestival/talks.html" target="_blank"><span style="color: blue;">Cultural Treasures Festival</span></a> webpages.<br />
<br />
A selection of incunabula and later religious texts from Baillieu
Special Collections is also on display on the ground floor of the
library in support of the Gutenberg Bible exhibit.<br />
<br />
Whether you are local to Melbourne or just visiting, a chance to see a
copy of the first substantial book printed in the Western world is
not to be missed!</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-76462639960087987202014-06-21T20:44:00.000+12:002014-06-21T20:45:11.069+12:00Warburg Institute: library saved from Nazis awaits its fate[Originally posted on the <a href="http://www.english.cam.ac.uk/cmt/?p=4136" target="_blank"><span style="color: blue;">Centre for Material Texts</span></a> bog]<br />
<br />
<div style="font-family: Cambria, Times, serif; font-size: 16px; padding: 0px 0px 15px;">
<span style="background-color: white;">The <span style="color: blue; text-decoration: none;"><a href="http://www.timeshighereducation.co.uk/news/warburg-institute-library-saved-from-nazis-awaits-its-fate/2014023.article" style="text-decoration: none;" target="_blank"><span style="color: blue;">Times Higher Education Supplement</span></a> </span>reports that the Warburg Institute library is under threat again, as the University of London heads off to court to contest the terms of a deed of trust made in 1944.</span></div>
<div style="font-family: Cambria, Times, serif; font-size: 16px; padding: 0px 0px 15px;">
<span style="background-color: white;">Anyone who has worked in the library, based in the Institute’s building in Woburn Square, will know how special it is. With vast amounts of material, much of it available nowhere else in the UK, and instantly accessible on open shelves, it’s a goldmine for scholar working on the history of European art and literature.</span></div>
<div style="font-family: Cambria, Times, serif; font-size: 16px; padding: 0px 0px 15px;">
<span style="background-color: white;">The Warburg apparently runs a £500,000 annual deficit–which is presumably small change for an institution of the size of the University of London. Let’s hope that the administrators can be made to see sense.</span></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-72911634275291595232014-06-09T09:49:00.001+12:002014-06-14T21:04:12.636+12:00Australasian Rare Books Summer School 2015<span style="font-family: inherit;">The 10th anniversary Australasian Rare Books Summer School will be held 26-30 January 2015 in Wellington, New Zealand. The event is hosted by Victoria University of Wellington and the Alexander Turnbull Library, National Library of New Zealand.</span><br />
<div>
<span style="font-family: inherit;"><br />Three exciting courses are on offer, each of which runs for five full days:<br /><br /><a href="http://wtap.vuw.ac.nz/wordpress/digital-history/events/rare-books-summer-school/history-of-cartography/"><span style="color: blue;"><b>History of Cartography/Maps</b></span></a><br />Tutor: Julie-Sweetkind Singer, Stanford University, USA<br /><br /><a href="http://wtap.vuw.ac.nz/wordpress/digital-history/events/rare-books-summer-school/gis-digital-humanities/"><span style="color: blue;"><b>Geographic Information Systems for Digital Humanities</b></span></a><br />Tutor: Ian Gregory, Lancaster University, UK<br /><br /><a href="http://wtap.vuw.ac.nz/wordpress/digital-history/events/rare-books-summer-school/artistic-printing/"><b><span style="color: blue;">Artistic Printing</span></b></a><br />Tutors: Marty Vreede, Quay School of the Arts, Whanganui and Sydney Shep, Wai-te-ata Press, Victoria University of Wellington<br /><br />Follow the links above for full course descriptions and instructor bios. <br /><br />The cost of each course is NZD $800 + gst per person. Places are strictly limited.<br /><br />For more details about RBSS 2015 visit: <a href="http://wtap.vuw.ac.nz/wordpress/digital-history/events/rare-books-summer-school/"><span style="color: blue;">http://wtap.vuw.ac.nz/wordpress/digital-history/events/rare-books-summer-school/</span></a><br /><br />If you would like to attend, please use the <a href="http://bit.ly/rbss2015"><span style="color: blue;">Expression of Interest on-line form</span></a>, and a member of the RBSS team will contact you with more information.</span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">Hope to see you there!</span></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-1557163067331253062014-05-23T20:06:00.001+12:002014-05-25T10:08:08.911+12:00Provenance in Pictures: Tracking the Ownership of Three Early Printed Books<div style="background-color: white; font-family: 'Trebuchet MS', Arial, Helvetica, Geneva, sans-serif; font-size: 14px; line-height: 21px;">
<span style="color: #333333;">[First posted on University of Melbourne </span><a href="http://blogs.unimelb.edu.au/librarycollections/2014/05/23/provenance-in-pictures-tracking-the-ownership-of-three-early-printed-books/" style="color: blue;" target="_blank">Library Collections blog</a>]</div>
<div style="background-color: white; font-family: 'Trebuchet MS', Arial, Helvetica, Geneva, sans-serif; font-size: 14px; line-height: 21px;">
<span style="color: #333333;"><br /></span></div>
<div style="background-color: white; font-family: 'Trebuchet MS', Arial, Helvetica, Geneva, sans-serif; font-size: 14px; line-height: 21px;">
<span style="color: #333333;">Last week a group of Melbourne bibliophiles were treated to a delightful talk by preeminent bookman Nicolas Barker, editor of </span><em style="color: #333333;">The Book Collector </em><span style="color: #333333;">since 1965, and whose bibliography records an impressive 1,000+ entries.</span><strong><span style="color: red;">[1]</span></strong></div>
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<span style="color: #333333;">Barker examined twenty or so works from Special Collections and talked to the salient points of each book. This post highlights three of the selected items that had multiple signs of ownership, all of which caught Barker’s eye.</span></div>
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<span style="color: #333333;">1. </span><strong style="color: #333333;">Johannes Meder, <em>Quadragesimale de filio prodigo et de angeli ipsius ammonitione salubri per sermones diuisum </em>[Basel: Michael Furter, 1495].</strong></div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-tp.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Title-page of the Quadragesimale" class="aligncenter size-medium wp-image-1627" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-tp-192x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="192" /></a></div>
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Judging by the number of inscriptions on the title-page, this copy of Meder’s <em>Quadragesimale </em>certainly travelled, but not very far. All of them can be localised to the province of Limburg in the Netherlands. The earliest is the inscription by Johan van Kessenich, shown above in between two other inscriptions towards the top of the title-page. Kessenich was born ca. 1522, served as steward of the Augustinian cloister of St Elisabeth in Nunhem, and died ca. 1608. The book then passed to a Wilhelm Horst, whose tidy inscription notes that he was a pastor in the town of Haelen (just 1km south of Nunhem), and came into possession of the <em>Quadragesimale</em> the same year as Kessenich’s approximate date of death. The last two pieces of evidence recorded on the title-page puts the book in the library of the Augustijnenkerk (Church of the Augustinians) in Maastricht, about 55km southwest of Haelen<em></em>.</div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-binding.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Quadragesimale binding" class="aligncenter size-medium wp-image-1628" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-binding-211x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="211" /></a></div>
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The book was bound in a contemporary style by the twentieth-century French binder Roger Devauchelle (1915-1993), who preserved the original clasp catches, the paper spine label, and presumably the pastedowns: two fragments from a thirteenth-century Breviary.</div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-pastedown.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Manuscript pastedown" class="aligncenter size-medium wp-image-1629" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/Inc-5-pastedown-208x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="208" /></a></div>
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<span style="color: #333333;">Affixed to the front pastedown is the book label of ‘B. Couissinier’, and Devauchelle’s stamp can be found in the upper-left corner.</span><strong><span style="color: red;">[2]</span></strong></div>
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Purchased by the Friends of the Baillieu Library with funds from the George Shaw Trust.</div>
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2. <strong>Eusebius Pamphilus</strong>, <strong>[Greek title:] <em>Evangelicae praeparatio lib. XV </em></strong><em><strong>… </strong></em><strong>[with] <em>Evangelicae demonstrationis lib. X. </em>Paris: </strong><strong>Robert Estienne, 1544-1545.</strong></div>
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The earliest sign of ownership on Estienne’s 1544 edition of Eusebius is an inscription dated just five years after its publication. It reads: ‘Sum Rodolphi Gualtheri Tigurini 1549′. The owner, Rudolf Gwalther (1519-1586), was a Reformed Protestant pastor in Zurich (‘Tigurum’) who married the daughter of Huldrych Zwingli (1484-1531), one of the leaders of the Reformation in Switzerland. He became head of the Zurich church upon the death of Zwingli’s successor Heinrich Bullinger (1504-1575).</div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/7B-6-Heideger.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Heidegger collection inscription" class="aligncenter wp-image-1635" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/7B-6-Heideger-1024x267.jpg" height="103" style="border: none; display: block; margin: auto;" width="400" /></a></div>
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<span style="color: #333333;">The book can next be placed in another Zurich collection, the ‘Bibliothecae Heideggeriana’. This collection was formed by Hans Heinrich Heidegger (1711-1763), whose son, Johann Heinrich (1738-1823), continued to expand the library. A slip pasted on the front free endpaper with the date ’1783′ written upon it suggests the Eusebius was acquired by the younger Heidegger that year. The Heideggeriana collection was sold in 1810 when Johann moved to Geneva.</span><strong><span style="color: red;">[3]</span></strong></div>
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Sometime after the Heidegger sale, the Eusebius made its way to France and into the stock of the great bookshop and publishing house L. Hachette et Compagnie, whose acquisition stamp on the title-page dates to 1918.</div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/7B-6-Doheny.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="E. Doheny book label" class="aligncenter size-medium wp-image-1637" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/7B-6-Doheny-251x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="251" /></a></div>
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<span style="color: #333333;">The volume next appeared in the library of Estelle Doheny (1875-1958), who amassed one of the great twentieth-century book collections in America. Doheny left her library, which included a volume of the Gutenberg Bible, to St John’s Seminary in Camarillo, California.</span><strong><span style="color: red;">[4]</span></strong><span style="color: #333333;"> In her bequest, Doheny stipulated that the collection must be kept together for 25 years after her death. In 1986, the Archdiocese of Los Angeles and the Seminary Board of Directors made the controversial decision to sell the Doheny collection. The books were auctioned by Christie’s, New York, in six sales held between 1987 and 1989. The Eusebius was sold to Parsons Books in the 1 February 1988 sale (lot 559).</span><strong><span style="color: red;">[5]</span></strong></div>
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<span style="color: #333333;">Purchased by the Ivy M. Pendlebury bequest in memory of Gerald Frederic Pendlebury.</span></div>
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<strong>3. <em>De recta pronunciatione Latinae linguae dialogus. </em>Antwerp: Christophe Plantin, 1586.</strong></div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/5E-14-bindingstamp.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Stamp of Anton Fugger dated 1586" class="aligncenter size-medium wp-image-1638" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/5E-14-bindingstamp-225x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="225" /></a></div>
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This copy of Plantin’s 1586 edition of Lipsius has a long connection to families that wielded financial power. The first being the stamp of Anton Fugger dated 1586. He was a member of a wealthy German banking and merchant family, their financial prospects secured by his namesake, Anton Fugger (1493-1560), whose trade empire extended to the Americas and the West Indies, and who also held mining interests in Scandinavia.</div>
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This beautifully engraved bookplate is the most physically impressive piece of provenance evidence found among these three books. Measuring 17 x 14 cm, the ex libris belonged to Zacharias Geizkofler von Gailenbach (1560-1617), who had his name and that of his wife, Maria (nee von Rehelingen), along with her date of birth, engraved along the central oval frame. From 1597, Geizkofler served as <em>Reichspfennigmeister </em>(treasurer) <em></em>of the Holy Roman Empire, and as an adviser to the emperors Rudolf II (1552-1612) and Matthias (1557-1619).</div>
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<a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/5E-14-tp.jpg" style="color: #660066; text-decoration: none;" target="_blank"><img alt="Lipsius title page" class="aligncenter size-medium wp-image-1641" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/05/5E-14-tp-210x300.jpg" height="300" style="border: none; display: block; margin: auto;" width="210" /></a></div>
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The Lipsius eventually travelled to what was Austria-Hungary. There it came into the possession of the noble Magyar family, Zichy, though which family member has yet to be confirmed. The title-page is stamped with the arms and name of Count Ödön Zichy. This may refer to Count Ödön (1809-1848), a governmental administrator who was executed as a result of a court martial, or Count Ödön (1811-1894), founder of the Oriental Museum in Vienna and a great patron of art and industry.</div>
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<span style="color: #333333;">The second Hungarian collector to own this book was Jan Szasz, about whom I have been able to find very little.</span><strong><span style="color: red;">[6]</span></strong><span style="color: #333333;"> It appears, however, that Szasz immigrated to the Antipodes, for a number of books with his bookplate are found in Australian institutional and private libraries.</span></div>
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Purchased by the Ivy M. Pendlebury bequest in memory of Gerald Frederic Pendlebury.<br />
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<strong><span style="color: red;">[1]</span><span style="color: #333333;"> </span></strong><span style="color: #333333;">See A.S.G. Edwards, </span><em style="color: #333333;">Nicolas Barker at Eighty: A List of His Publications to Mark His 80th Birthday</em><span style="color: #333333;"> (New Castle, DE; London: Oak Knoll Press; Bernard Quaritch Ltd., 2013).</span></div>
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<strong><span style="color: red;">[2]</span></strong><span style="color: #333333;"> Do you recognise the ‘B. Couissinier’ bookplate? If you know who he or she was, please leave a comment or email me at </span><a href="http://www.lib.unimelb.edu.au/collections/special/about/staff.html" style="text-decoration: none;" target="_blank"><span style="color: blue;">Special Collections</span></a><span style="color: #333333;">.</span></div>
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<strong><span style="color: red;">[3]</span><span style="color: #333333;"> </span></strong><em style="color: #333333;">Selecta artis typographicae monumenta e bibliotheca Heideggeriana sive Catalogus librorum seculo XV impressorum … qui pro adjectis in margine pretiis publica auctionis lege divenduntur d. 18. Jun…</em><span style="color: #333333;">(Zurich, 1810)</span></div>
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<strong><span style="color: red;">[4]</span><span style="color: #333333;"> </span></strong><span style="color: #333333;">The Gutenberg Bible volume was purchased by the Maruzen Co. of Tokyo for USD $5.3m (with premium) in the 22 October 1987 sale (lot 1). It was acquired by Keio University Library in March 1996.</span></div>
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<strong><span style="color: red;">[5]</span><span style="color: #333333;"> </span></strong><em style="color: #333333;">The Estelle Doheny Collection … Part III: Printed Books and Manuscripts including Western Americana </em><span style="color: #333333;">(New York: Christie, Manson & Woods, 1988) 173 (lot 559)</span></div>
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<strong><span style="color: red;">[6]</span><span style="color: #333333;"> </span></strong><span style="color: #333333;">As with the book label of M. or Mme Couissinier, I would welcome any information on this collector named Szasz.</span></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-34782784669517308902014-05-04T21:51:00.002+12:002014-05-05T14:32:02.383+12:00Original Les Miserables Manuscript on Its Way to Melbourne[The following is from the Herald Sun <a href="http://www.heraldsun.com.au/entertainment/arts/original-les-miserables-manuscript-on-its-way-to-melbourne/story-fni0fcgk-1226903686897" target="_blank"><span style="color: blue;">website</span></a>]<br />
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The original 1862 manuscript of <i>Les Miserables</i> — considered one of the greatest novels of the 19th century — is on its way to Melbourne.<br />
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Victor Hugo’s 945-page handwritten document will leave the Bibliotheque nationale de France for the first time to be exhibited exclusively at the State Library of Victoria.</div>
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Arts Minister Heidi Victoria said the loan to Melbourne was an act of enormous trust and generosity by the French people.</div>
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“It is also significant that the State Library of Victoria is the first institution that France has entrusted this great work to,” she said.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4wIFYjxLcjIARq-sTBTtUTYGlgFVwSqGNtdfKgUIz0CxMSBJq7fqWrXFK76fyZBzTbuZcb9JF3ZIe5R69SWcRIH2q9c1qBQmPCzAEJPr5f4LP8mxbJXDIuBf3hQEvI5Uw1N0KCz_kKT_/s1600/686817-0800a906-d1af-11e3-8fb0-f8d7f99ee21f.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX4wIFYjxLcjIARq-sTBTtUTYGlgFVwSqGNtdfKgUIz0CxMSBJq7fqWrXFK76fyZBzTbuZcb9JF3ZIe5R69SWcRIH2q9c1qBQmPCzAEJPr5f4LP8mxbJXDIuBf3hQEvI5Uw1N0KCz_kKT_/s1600/686817-0800a906-d1af-11e3-8fb0-f8d7f99ee21f.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption">Victor Hugo’s handwritten manuscript. Source: Supplied</td></tr>
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[Exhibition] curator Tim Fisher said the “talismanic object” would be the centrepiece of the library’s forthcoming exhibition 'Victor Hugo: Les Miserables From Page to Stage', which coincides with a new production of <i>Les Miserables</i> premiering at Her Majesty’s Theatre.<br />
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“Victor Hugo had this amazing way of writing, where he would write down one side of the page and then sometimes, years later, go back and make corrections or additions,” Mr Fisher said. “It’s not a neat object; it is full of humanity.”</div>
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Victor Hugo started working on <i>Les Miserables</i> in 1845, completing it 17 years later in Guernsey, where he had been living in exile after declaring Napoleon III a traitor to France.</div>
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<i>Les Miserables </i>has been translated into 20 languages, reprinted at least 248 times, been adapted for cinema at least 50 times, and is the foundation for three major musical adaptations.</div>
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'The Victor Hugo: Les Miserables From Page to Stage' exhibition also features the six quills Hugo used to write the manuscript, portraits of the author, photographs of scenes from various movie, theatre adaptations and comic books.</div>
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'Victor Hugo: Les Miserables From Page to Stage' opens at the State Library of Victoria on 17 July. Visit <a href="http://victorhugoexhibition.com.au/" target="_blank"><span style="color: blue;">victorhugoexhibition.com.au</span></a></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-47476275692602849412014-03-29T09:37:00.001+13:002014-03-29T09:37:58.864+13:00Australia's First Banknote Sells for $334,000<span style="font-family: inherit;">[The following is from <a href="http://www.auctioncentralnews.com/" target="_blank"><span style="color: blue;">Auction Central News</span></a>]</span><br />
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<span style="background-color: white; line-height: 16px;"><span style="font-family: inherit;">SYDNEY (AFP) – The only surviving example of Australia's first official banknote exceeded expectations when it was auctioned for AUD $334,000 (USD $310,000), officials said Thursday.</span></span><br />
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<span style="font-family: inherit;">The 10 shilling note – one of 100 issued in 1817 by the Bank of New South Wales (now called Westpac) on the day it opened – attracted bids from around the world, said Jim Noble of Noble Numismatics, which handled the sale.</span></div>
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<span style="font-family: inherit;">"It's a record for a colonial banknote," he told AFP. "It will stay in Australia (but) I've no idea what the gentleman who bought it plans to do; he's a high up executive in a big organization.”</span></div>
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<span style="font-family: inherit;">The auction price easily exceeded its Aus$250,000 estimate, with Noble attributing the interest to its unique historical value.</span></div>
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<span style="font-family: inherit;">"It's the only one of its kind, even Westpac does not have one," Noble said.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIilBEGJZ77SO5V4gXgEd78EvMnTl38pzqro_NaYlMucVn9Kn9sIvg54zUUxZDIboYxHFBb94Uy_kaXi0Q-Sv4bD3y13nKHbL3YcKzpM34L97XcQL77weaEAefIW65UFraKgSMjabR8-y/s1600/2014_0327_1603a_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIilBEGJZ77SO5V4gXgEd78EvMnTl38pzqro_NaYlMucVn9Kn9sIvg54zUUxZDIboYxHFBb94Uy_kaXi0Q-Sv4bD3y13nKHbL3YcKzpM34L97XcQL77weaEAefIW65UFraKgSMjabR8-y/s1600/2014_0327_1603a_large.jpg" height="228" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, 'Times New Roman', Times, serif; font-size: 12px; line-height: 16px; text-align: left;">Australia's first banknote. Image courtesy of Noble Numismatics.</span><span style="font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, 'Times New Roman', Times, serif; font-size: 12px; line-height: 16px; text-align: left;"><br /><br /></span></td></tr>
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<span style="font-family: inherit;">Noble said the note was discovered in a private collection in Scotland in 2005, with Scots-born former New South Wales governor Lachlan Macquarie or one of his staff thought to have taken it there.</span></div>
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<span style="font-family: inherit;">It was later bought by a private collector who sold it at Wednesday night's auction.</span></div>
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<span style="font-family: inherit;">Macquarie arrived in Sydney at the end of 1809 to be confronted by a colony in crisis with no stable monetary system since the First Fleet landed in 1788.</span></div>
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<span style="font-family: inherit;">As the new governor, he was given extensive powers to reshape the colony, but despite this his first request to London to establish a bank was rejected.</span></div>
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<span style="font-family: inherit;">In 1812, to alleviate the shortage of currency, he imported Ł10,000 in Spanish coins from India and in 1813 manufactured and issued the "Holey Dollar" – one of which sold at auction for a world-record Aus$495,000 last year.</span></div>
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<span style="font-family: inherit;">But it was not sufficient and in 1816 he revived his plan for a bank, this time getting London's approval, and on April 8, 1817 the Bank of New South Wales opened for business.</span></div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-19325346802963996722014-03-28T14:51:00.001+13:002014-03-28T18:30:58.090+13:00Altering Shakespeare: An Interleaved Copy of Antony and Cleopatra[First posted on the University of Melbourne <a href="http://blogs.unimelb.edu.au/librarycollections/2014/03/28/altering-shakespeare-an-interleaved-copy-of-antony-and-cleopatra/" target="_blank"><span style="color: blue;">Library Collections</span></a> blog]<br />
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On 23 February 1855, the steamship <i>Pacific</i> docked in
Melbourne harbour. Descending the gangway for his first tour of
Australia was the Irish actor Gustavus Brooke, along with his wife
Marianne, Brooke’s leading lady Fanny Cathcart, and his stage manager
Richard W. Younge.<br />
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How Younge worked up a play for performance can been seen in his interleaved copy of <i>Antony and Cleopatra, A Tragedy </i>([London?], ca. 1800), highlighted in this week’s post, along with some commentary on its provenance and use.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/TP.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Half-title signed by R. W. Younge" class="size-medium wp-image-1548 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/TP-300x129.jpg" height="129" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Half-title inscribed by Richard W. Younge</td></tr>
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The inscription shown above reads ‘R. W. Younge Theatre Royal
Melbourne Feby 1856′. By ‘Theatre Royal’, Younge is most likely
referring to Queen’s Theatre, also known as Queen’s Theatre Royal, where
Brooke’s company opened with <i>Othello</i> to wide acclaim, and not <i>the</i>
Theatre Royal owned by John Black. At the time of Younge’s February
1856 inscription, Black was in direct competition with the man
responsible for Brooke’s Australian tour: the entrepreneurial
actor-manager George Coppin, lessee of Queen’s Theatre and owner of the
prefabricated Olympic. It was not until June 1856 that Coppin took over
the Theatre Royal from his then insolvent rival, and so it is highly
doubtful that Younge would have infringed upon his contractual
obligations by being in the Theatre Royal before then.<b>[1]</b><br />
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Potential confusion about the inscription aside, what makes this copy
particularly interesting are Younge’s notes and textual edits.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Act-1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Opening scene of play with annotations and notes." class="size-medium wp-image-1549 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Act-1-300x259.jpg" height="259" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opening scene of play with annotations, notes, and a second inscription by Younge (p. [1])</td></tr>
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Not a single page of printed text escaped his pen. Younge crossed out
text, jotted down stage notes, cut entire scenes, changed characters,
such as Demetrius and Philo being replaced by Enobarbus and Eros at the
opening of Act 1, Scene 1 (see above image), and made numerous smaller
alternations throughout the play in order to adapt the text to suit the
production.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/p26.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Younge's changes to Act 2, Scene 2, with a further inscription" class="size-medium wp-image-1574 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/p26-300x232.jpg" height="232" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Younge’s changes to Act 2, Scene 2, with a further inscription (p. 26)</td></tr>
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Younge clearly made good use of the interleaving. His notes range
from single lines to full pages of text, including many explanations and
interpretation of phrases, definitions of words, musical accompaniment
and stage directions, and even the occasional sketch of the set.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Stage.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Sketch of set with stage notes." class="size-medium wp-image-1555 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Stage-300x219.jpg" height="219" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sketch of set with stage notes (p. 50)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/51.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Further stage notes (p. 51)" class="size-medium wp-image-1565 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/51-300x228.jpg" height="228" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Further stage notes (p. 51)</td></tr>
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Despite the amount of editing and annotation, no evidence could be found that Brooke and his company ever performed <i>Antony and Cleopatra</i> in Australia. Contemporary newspapers record the group performing scenes from <i>Othello</i>, <i>Hamlet</i>, <i>Richard III</i>, <i>Macbeth</i>, and <i>Merchant of Venice. </i>According to the <i>Dictionary of the Australian Theatre, 1788-1914</i>, <i>Antony and Cleopatra </i>was not performed at Melbourne’s Theatre Royal until 1867, six years after the actors returned to England.<b>[2] </b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Curtain.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Final page with notes." class="size-medium wp-image-1550 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/03/Curtain-300x260.jpg" height="260" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Final pages (p. 141).</td></tr>
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Perhaps Brooke and Younge found the existing repertoire sufficiently
successful and did not feel the need to introduce scenes from another
play.<b>[3]</b> Regardless of the reasons why <i>Antony and Cleopatra</i>
was not used, this copy, with its copious notes and amendments, offers a
fascinating study in nineteenth-century stage production and a fine
connection with a booming Melbourne during Victoria’s early gold rush
years.<br />
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—<br />
<i>Antony and Cleopatra; A Tragedy by William Shakespeare; Accurately Printed from the Text of Mr Steeven’s Last Edition </i>([London?],
ca. 1800); from the library of Dr John Chapman with his bookplate;
purchased by the University of Melbourne from the Chapman sale,
Melbourne, 24-25 February 2004 (lot 340)<br />
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<b>[1] </b>According to Brooke’s entry in the <i>Australian Dictionary of</i> <i>Biography</i>,
when the juvenile lead Robert James Heir married Fanny Cathcart the
pair left Brooke’s company for an engagement at Black’s Theatre Royal.
They were brought back by a court injunction. See<i> </i>H. L.
Oppenheim, ‘Brooke, Gustavus Vaughan (1818–1866)’, Australian Dictionary
of Biography, National Centre of Biography, Australian National
University, <a href="http://adb.anu.edu.au/biography/brooke-gustavus-vaughan-3064/text4519" target="_blank"><span style="color: blue;">http://adb.anu.edu.au/biography/brooke-gustavus-vaughan-3064/text4519</span></a><a href="http://adb.anu.edu.au/biography/brooke-gustavus-vaughan-3064" target="_blank"></a>, published in hardcopy 1969, accessed online 26 March 2014.<br />
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<b>[2]</b> Eric Irvin, <i>Dictionary of the Australian Theatre, 1788-1914 </i>(Sydney: Hale & Iremonger, 1985), 28.<br />
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<b>[3] </b>Along with the inscription, the fact the play
went unused suggests Younge bought the book in Melbourne where he had it
interleaved and bound. His working up of the text for a potential
addition of <i>Antony and Cleopatra </i>to an already full programme
seems more probable after the company’s arrival in Australia than having
such plans in place at the start of the tour and then dropping them (My thanks to Ian Morrison, who was Curator of Special Collections at the University of Melbourne when this book was acquired, for discussing its provenance and history with me).</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-13980341389392341772014-03-14T12:58:00.000+13:002014-03-14T21:29:07.964+13:00Vive le Roi! Richer-Sérisy's Journal L'Accusateur Public[First posted on the University of Melbourne <a href="http://blogs.unimelb.edu.au/librarycollections/2014/03/13/new-acquisition-laccusateur-public-french-counter-revolutionary-journal/" target="_blank"><span style="color: blue;">Library Collections</span></a> blog]<br />
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University of Melbourne Special Collections recently acquired a complete set of one of the most influential French counter-revolutionary journals: <i>L’Accusateur public</i>.
Only a few issues are available on-line through Gallica (the digital
library of the Bibliothèque nationale de France), and the only other
recorded set in the country is held by the National Library of
Australia, making the Melbourne copy a valuable
resource for students and scholars, and a fine addition to our holdings
of material on the French Revolution.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCtm5eO8NY8zbU_Y8M5Wn9uuhrJAQptvzCMjDJV4vDZeL3qsbmxoFCl7hWszx3X8m8Bl7mAbFtcLSC4S2pWdyFFS-AntC3mtQrk0loEc3pbn_iv_gvPUaFZ7KbT-995DONg1iNSkTlgJH/s1600/No-1-resize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="nw"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCtm5eO8NY8zbU_Y8M5Wn9uuhrJAQptvzCMjDJV4vDZeL3qsbmxoFCl7hWszx3X8m8Bl7mAbFtcLSC4S2pWdyFFS-AntC3mtQrk0loEc3pbn_iv_gvPUaFZ7KbT-995DONg1iNSkTlgJH/s1600/No-1-resize.jpg" height="320" width="189" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First issue, p. 1</td></tr>
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<i>L'Accusateur public</i> was founded by the Jean Thomas Élisabeth
Richer-Sérisy (1759–1803) shortly after his release from prison on 27
September 1794. Printed in Paris by Mathieu Migneret, the journal ran
for thirty-five numbered issues until 1797 and brought Richer-Sérisy
considerable popularity as a public writer.<b>[1]</b><br />
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Such
notoriety of course did not go unnoticed by Revolutionary factions, nor
did the fact that Richer-Sérisy's energetic and vehement writing barely
hid his Royalist opinions<i></i>. His <i>L'Accusateur public </i>even outsold some of the pro-revolutionary periodicals, such as the <i>Journal</i> <i>universal</i>.<b>[2]</b><i> </i>The year after <a href="http://en.wikipedia.org/wiki/French_Directory" target="_blank"><span style="color: blue;">The Directory</span></a> seized power in the Coup of 18 Fructidor an V (4 September
1797), Richer-Sérisy was sentenced to deportation to Cayenne, French
Guiana. He escaped and eventually made his way to England where he spent
his remaining years. The last issue he edited <i></i>(No. 35), dated 1 Frimaire an VII (21 November 1798), was seized by the police.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQDhu3a-Yd6eegMb6DpKubVRu3zv0bvUNN63QY3UsmbrtmbokVy4BRVxgxQKNOQ4GS6hun_Tsx1Jox1e51SflLiQG8Tzm0hFL2D2U3gOmiihA0iVwtOWf5AdG4ZzfyztlG45txc-RFCHO_/s1600/Salm-resize.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="nw"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQDhu3a-Yd6eegMb6DpKubVRu3zv0bvUNN63QY3UsmbrtmbokVy4BRVxgxQKNOQ4GS6hun_Tsx1Jox1e51SflLiQG8Tzm0hFL2D2U3gOmiihA0iVwtOWf5AdG4ZzfyztlG45txc-RFCHO_/s1600/Salm-resize.jpg" height="199" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Cartoon of the pro-Directory 'Constitutional Circle' known as the Club de Salm</td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<br />
The acquisition also included the two unnumbered issues that appeared after No. 35.<b>[3]</b>
The first is dated 6 Thermidor an VII (24 July 1799). Unlike the
numbered series, Richer-Sérisy's name is nowhere to be found, since he
had already fled from France. According to Brunet's <i>Manuel du libraire ...</i>
(Paris, 1860-1865 ed.), the issue was instead edited by the
pro-royalist general Louis Michel Auguste Thévenet Danican (1764-1848).<b>[4] </b><br />
<br />
Perhaps
without Richer-Sérisy's name the issue failed to sell widely, for when a
single issue of a second series appeared, possibly edited by Danican,
it closed with a reprinted letter by Richer-Sérisy dated 'Berlin, 10 Mai
1799'. Richer-Sérisy, however, upon reading or hearing about the issue,
declared it a forgery.<b>[5] </b>Its editor(s) presumably used his name as an attempt to give the new series credibility and popular appeal.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS8gm1tI6wj2gYYXHaoSySwdaHTkyUwwFNv-EPsF1qjfh4mECgX_ZE8YXWNa8q2wEvCRjnEwg2WwmhXhzGsU-oaICijnPLELCcCm2hLwptXYhS581tQh0U-mHh_VOCUKoGbVbU9FRZlj_7/s1600/Letter-resized.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="nw"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS8gm1tI6wj2gYYXHaoSySwdaHTkyUwwFNv-EPsF1qjfh4mECgX_ZE8YXWNa8q2wEvCRjnEwg2WwmhXhzGsU-oaICijnPLELCcCm2hLwptXYhS581tQh0U-mHh_VOCUKoGbVbU9FRZlj_7/s1600/Letter-resized.jpg" height="320" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The supposed Richer-Serisy letter, 10 May 1799</td></tr>
</tbody></table>
<br />
A final point about the Melbourne copy not mentioned in the sale
catalogue. On the recto of the first issue half-title is a rather worn
ownership stamp, that of the Comte Joseph-François de Kergariou
(1779-1849), bibliophile, prefect of Indre-et-Loire, and Napoleon's
chamberlain.<br />
<br />
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<div data-mce-style="text-align: left;" style="text-align: left;">
<br /></div>
<b>[1] </b>Although
the final issue is numbered '35' there are actually thirty-four volumes
in total. Issue No. 13, which was to contain an account of the battle
between Revolutionary and Royalist forces in the streets of Paris on 13
Vendémiaire an IV (5 October 1795), was never published (perhaps not
even Richer-Sérisy could spin the Royalist's defeat). For more on its
printer, Migneret, see Carla Hesse's <a href="http://publishing.cdlib.org/ucpressebooks/view?docId=ft0z09n7hf&chunk.id=d0e10699&toc.depth=1&brand=ucpress" target="_blank"><span style="color: blue;"><i>Publishing and Cultural Politics in Revolutionary Paris, 1789-1810</i></span></a> <a data-mce-href="http://publishing.cdlib.org/ucpressebooks/view?docId=ft0z09n7hf&chunk.id=d0e10699&toc.depth=1&brand=ucpress" href="http://publishing.cdlib.org/ucpressebooks/view?docId=ft0z09n7hf&chunk.id=d0e10699&toc.depth=1&brand=ucpress" target="_blank"><i></i></a>(Berkeley: University of California Press, 1991) available on-line through the UC Press E-Books Collection (accessed 13.3.2014)<br />
<br />
<b>[2] </b>Kenneth Margerison, 'P.-L. Roederer: Political Thought and Practice During the French Revolution' in <i>Transactions of the American Philosophical Society </i>1:1 (1983): 117<br />
<br />
<b>[3] </b>The
two unnumbered issues appear to be quite scarce. I was able to locate
just three copies worldwide of the issue dated 6 Thermidor an VII and
only two copies of the second series issue. No other copies are recorded
in other Australian institutions.<br />
<br />
<b>[4] </b>Charles Brunet, <i>Manuel du libraire et de l'amateur de livres ... </i>6 vols. (Paris: Firmin Didot frères, fils et Cie, 1860-1865), 6:1869-1870<br />
<br />
<b>[5]</b> University of Pennsylvania Libraries catalogue: <a href="http://www.franklin.library.upenn.edu/record.html?id=FRANKLIN_13561" target="_blank"><span style="color: blue;">http://www.franklin.library.upenn.edu/record.html?id=FRANKLIN_13561</span></a><b> </b>[No citation given regarding the forgery comment]<br />
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</div>
Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-78476423709738477712014-02-28T13:02:00.001+13:002014-02-28T13:02:40.164+13:00ANZAAB Conference and Melbourne Rare Book WeekThe following was posted on the <a href="http://www.anzaab.com/" target="_blank"><span style="color: blue;">ANZAAB</span></a> website.<br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<b>Conference in May</b><br />
<b>'The most agreeable servants of civilization' Booksellers and Librarians in a Changing World</b> <br />
<br />
A Joint Conference of the Australian and New Zealand Association of Antiquarian Booksellers (ANZAAB) and the National Library of Australia.<br />
<br />
Discussions and presentations on how the rare book trade operates, how libraries and booksellers can work together more effectively, a 'pop up' rare book fair, a display of some National Library of Australia treasures and tailored behind the scenes tours make for two unmissable days for anyone working with and with an interest in rare books, manuscripts and photographs.<br />
<br />
This is the first time a conference such as this has been held in Australia. This conference will give participants the chance to meet others working with or interested in rare materials on paper while at the same time hearing from some foremost scholars, librarians and antiquarian booksellers. Not to be missed!<br />
<br />
Monday 19 May, 8.30 am - 5.30 pm & Tuesday 20 May, 9 am - 4.30 pm<br />
Conference Room, Level 4<br />
National Library of Australia <br />
<br />
<a href="http://www.anzaab.com/downloads/BmMsg_997263_2014CanberraconferencebrochureMaster.pdf" target="_blank"><span style="color: blue;">Complete Programme</span></a><br />
<br />
<b><a href="https://register.eventarc.com/20850/conference-the-most-agreeable-servants-of-civilization-booksellers-and-librarians-in-a-changing-world" target="_blank"><span style="color: blue;">Bookings now open</span></a></b><br />
<br />
<br />
For more information contact Sally Burdon at <a href="http://www.anzaab.com/search_bookshops.cfm?premises_id=152" target="_blank"><span style="color: blue;">Asia Bookroom</span></a>.<br />
<br />
----<br />
<br />
<b>Third Annual Melbourne Rare Book Week</b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoDuXbdJUelXGEOF4PYKBeHGMWaxbcjbYJ8MEMKl1qbxiaJx4GvX3wl6rzhNWwuxmt2z31Ppk48i5pKwREfWTzO8Ftl09oxIWQEwnz_dz3uvglBRjnNutgpPxn_bBqVvO1tmaCTXKaO85v/s1600/MRBW.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoDuXbdJUelXGEOF4PYKBeHGMWaxbcjbYJ8MEMKl1qbxiaJx4GvX3wl6rzhNWwuxmt2z31Ppk48i5pKwREfWTzO8Ftl09oxIWQEwnz_dz3uvglBRjnNutgpPxn_bBqVvO1tmaCTXKaO85v/s1600/MRBW.jpg" height="320" width="189" /></a></div>
ANZAAB has also recently announced the 2014 Melbourne Rare Book Week from 17 to 27 July,
incorporating the 42nd ANZAAB Australian Antiquarian Book Fair from 25
to 27 July at Wilson Hall, University of Melbourne.<br />
<br />
The following was posted on the ILAB website:<br />
<br />
The Melbourne Rare Book Week is now well established in the City of
Melbourne’s event calendar. It is a major attraction for book
collectors, librarians and all who have a love of words, print on paper
and heritage, and the 2014 programme promises another outstanding event.<br />
<br />
Kay Craddock on behalf of the Melbourne Rare Book Week Committee: <br />
<br />
"To
date, we have attracted six new event partners from Melbourne’s
literary community and all of the 2013 partners have rejoined the
programme, making a total of 25. New partners are: The Library at the Dock
(due to open in Docklands in May), Grainger Museum, The Johnson Society
of Australia, Royal Australasian College of Surgeons (Cowlishaw
Library), Royal United Services Institute of Victoria Library and the
Victorian College of the Arts.<br />
<br />
The City of Melbourne has pledged
increased sponsorship funding and will work with us to promote our
events at its new Docklands Library. We have been extraordinarily
fortunate to engage the support of leading Consumer, Industry and Market
Research company, Roy Morgan Research. In addition to hosting several
individual events, Roy Morgan Research will be promoting the entire
programme through its extensive network of marketing, media, corporate,
institutional and government customers. On Monday March 17, Gary Morgan
and his CEO, Michele Levine, are hosting a media/sponsorship launch of
Melbourne Rare Book Week. This will be an opportunity for event partners
to promote the programme and to network with prospective sponsors and
journalists."<br />
<br />
As part of the Melbourne Rare Book Week, the 42nd ANZAAB Australian
Antiquarian Book Fair will be held at the University of Melbourne's
historic Wilson Hall, with free admission to all visitors. The 2014 Book
Fair will again be held in partnership with the biennial University of
Melbourne Cultural Treasures Festival — a programme of free exhibitions,
thematic walks, talks, seminars, demonstrations, displays and guided
tours which showcase the University's rich array of museums and
collections.<br />
<br />[I will post this year's events when announced. Needless to say, I cannot wait!] Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-73784459997414366782014-02-21T15:21:00.000+13:002014-02-21T16:50:23.426+13:00Nullius in Verba: The Royal Society's Two Earliest Books[First posted on the University of Melbourne <a href="http://blogs.unimelb.edu.au/librarycollections/2014/02/21/nullius-in-verba-the-royal-societys-two-earliest-books/" target="_blank"><span style="color: blue;">Library Collections</span></a> blog]<br />
<br />
Earlier this week the Royal Society announced the launch later this year of <a href="http://royalsocietypublishing.org/royal-society-open-science" target="_blank"><span style="color: blue;"><i>Royal Society Open Science</i></span></a><a href="http://royalsocietypublishing.org/royal-society-open-science" target="_blank"><i></i></a>,
an open access peer-reviewed journal publishing scholarly research in
all fields scientific and mathematical. The move is seen by the
Society’s president, Sir Paul Nurse, as a necessary step to keep pace
with the changing face of publishing in the twenty-first century.<br />
<br />
Changes in the publishing field is something the Royal Society has
seen a lot of throughout its long history. The august body received a
Royal Charter to publish relevant works in 1662 (two years after its
official founding in November 1660), and will observe the 350th
anniversary of its journal <i>Philosophical Transactions</i> in March 2015.<br />
<br />
With the recent open access announcement and next year’s anniversary of <i>Philosophical Transactions </i>in mind, this week’s post highlights the Royal Society’s two earliest books: John Evelyn’s <i>Sylva </i>and Robert Hooke’s <i>Micrographia</i>; first editions of each are held by University of Melbourne Special Collections.<b>[1]</b><br />
<br />
<b>Sylva</b><br />
First printed in 1664, <i>Sylva, or a Discourse of Forest-Trees and the Propagation of Timber </i>was the first work sponsored officially by the Royal Society and the first treatise in English dedicated entirely to forestry.<b>[2]</b>
Its author, John Evelyn (1620–1706), writer, intellectual and founding
member of the Royal Society, is perhaps best known for his long-running
diary kept from 1640 to 1706.<br />
<br />
Evelyn initially presented <i>Sylva </i>as a paper to the Royal
Society in 1662. The published text sought to encourage tree-planting
after the destruction wrought by the Civil War and, it has been argued,
to ensure a supply of timber for England’s developing navy and add a
further boost to the economy. Evelyn’s book<i> </i>proved highly
popular with its intended audience, namely the gentry and aristocracy,
who took from it the idea of gardening as an aesthetic pursuit, and his
discourse was positively received on the Continent where it stimulated
new methods of forest management.<b>[3]</b> Today <i>Sylva</i> is recognised as one of the most influential works on the subject of tree conservation.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Sylva_1.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="First ed. title-page with the arms of the Royal Society." class="size-medium wp-image-1469 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Sylva_1-186x300.jpg" height="300" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">First ed. title-page with the arms of the Royal Society</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1469" style="width: 196px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
The first edition of <i>Sylva </i>contained two appendixes: <i>Pomona: or, an Appendix Concerning Fruit-Trees in Relation to Cider</i>, one of the earliest English essays on cider, and the <i>Kalendarium Hortense: or, Gard’ners Almanac: Directing What He is To Do Monethly</i> [sic] <i>Throughout the Year</i>, which was often reprinted separately and proved to be Evelyn’s most popular work.<b>[4]</b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Sylva_2.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Title-page of Evelyn's 'Kalendarium Hortense'." class="size-medium wp-image-1470 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Sylva_2-174x300.jpg" height="300" width="174" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Title-page of Evelyn’s Kalendarium Hortense</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1470" style="width: 184px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<b>Micrographia</b><br />
The second text printed for the Royal Society was Robert Hooke’s groundbreaking <i>Micrographia, or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses</i>,
published in 1665. Hooke (1635–1703), a natural philosopher and
polymath, perfected the compound microscope and put the instrument to
good use. His observations touched on a number of subjects, from
combustion and diffraction of light, to fossils and artificial silk, and
his description of the honeycomb-like structure of a cork gave us the
word ‘cell’ to describe the basic biological unit of living organisms.<i> </i><br />
<br />
<i>Micrographia </i>is perhaps most widely known today for its
illustrations. The book includes 57 microscopic and 3 telescopic
observations, describing for the first time ‘a polyzoon, the minute
markings of fish scales, the structure of the bee’s sting [and wings],
the compound eyes of the fly, the gnat and its larvae, the structure of
feathers, the flea and the louse’.<b>[5]</b> These enlarged
images of such minute creatures (Hooke’s louse measures 45.7 cm in
length) are as startling today as they must have been for Hooke’s
contemporaries over 300 years ago.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Fly.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="Compound eye of the fly (Scheme 24)" class="size-medium wp-image-1478 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Fly-260x300.jpg" height="300" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Compound eye of the fly (Schema 24)</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1478" style="width: 270px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Flea-2.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img alt="A flea (Schema 34)" class="size-medium wp-image-1479 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Flea-2-300x232.jpg" height="232" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A flea (Schema 34)</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1479" style="width: 310px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Louse-2.jpg" style="margin-left: auto; margin-right: auto;"><img alt="A louse (Schema 35)" class="size-medium wp-image-1484" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/02/Louse-2-177x300.jpg" height="300" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A louse (Schema 35)</td></tr>
</tbody></table>
<div class="wp-caption aligncenter" id="attachment_1484" style="width: 187px;">
<div class="wp-caption-text">
<br /></div>
</div>
<br />
Like <i>Sylva</i>, Hooke’s <i>Micrographia </i>was an immediate
success. It was read by Samuel Pepys, who mentioned the book three times
in his diary for January 1664/5 and called it ‘the most ingenious book I
have ever read in my life’ (Pepys was also a member of the Royal
Society).<b>[6]</b> The text, particularly Hooke’s
observations on light and the spectrum, was also studied by Isaac Newton who
drew inspiration from it for his <i>Opticks: or, a Treatise of the Reflexions, Refractions, Inflexions and Colours of Light </i>(London, 1704).<br />
<div style="text-align: right;">
<br /></div>
<div style="text-align: left;">
—</div>
<b>[1]</b> John Evelyn, <a href="http://cat.lib.unimelb.edu.au/record=b3223085~S6" target="_blank"><span style="color: blue;"><i>Sylva, or a Discourse of Forest-Trees and the Propagation of Timber</i></span></a> <span style="color: blue;"><a href="http://cat.lib.unimelb.edu.au/record=b3223085~S6" target="_blank"><i></i></a><a href="http://cat.lib.unimelb.edu.au/record=b3223085%7ES6" target="_blank"><i></i></a></span>
(London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal
Society, [1664]); purchased by the Friends of the Baillieu Library<br />
<b> </b><br />
Robert Hooke, <a href="http://cat.lib.unimelb.edu.au/record=b4275882~S6" target="_blank"><span style="color: blue;"><i>Micrographia, or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses with Observations and Inquiries Thereupon</i></span></a><a href="http://cat.lib.unimelb.edu.au/record=b4275882%7ES6" target="_blank"><i> </i></a>(London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, [1665])<br />
<br />
<b>[2] </b>Special Collections also holds copies of the 1670 second edition and 1679 third edition of <i>Sylva, </i>both of which were printed for the Royal Society<br />
<br />
<b>[3] </b><a href="http://royalsociety.org/events/2013/sustainability/"><span style="color: blue;">http://royalsociety.org/events/2013/sustainability/</span></a><a href="http://royalsociety.org/events/2013/sustainability/" target="_blank"></a> [Accessed 19.2.2014]<br />
<br />
<b>[4]</b> Diana H. Hook and Jeremy Norman, <i>The Haskell F. Norman Library of Science and Medicine</i>, 2 vols. (San Francisco: Jeremy Norman & Co., Inc, 1991), i:271<br />
<br />
<b>[5] </b>John Carter and Percy H. Muir, eds., <i>Printing and the Mind of Man … </i>(London: Cassell and Company Ltd., 1967 ed.), 88 (no. 147)<br />
<br />
<b>[6] </b>Robert Latham and William Matthews, eds., <i>The Diary of Samuel Pepys … </i>11 vols. (London: G. Bell and Sons Ltd, 1970-1976), vi:2, 17, 18Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-7542355682932288302014-02-09T09:11:00.000+13:002014-02-11T22:11:50.307+13:00De Doctrina Christiana Receives Shawcross Award<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1SUZPRGa7c2AOVCNRPPJrfyyCBXYx5Xs53_H3M0U6lzWOdWl_g3ZQV1pBXhECxR9sF3cfslGd1VTeAAWk9f-9W-OnMwQkEj-eSsS-rAVWhDSRpSWIkOSYKWQ8oJd9KgGjywAvaUI-XhfK/s1600/De_doctrina-cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1SUZPRGa7c2AOVCNRPPJrfyyCBXYx5Xs53_H3M0U6lzWOdWl_g3ZQV1pBXhECxR9sF3cfslGd1VTeAAWk9f-9W-OnMwQkEj-eSsS-rAVWhDSRpSWIkOSYKWQ8oJd9KgGjywAvaUI-XhfK/s1600/De_doctrina-cover.jpg" height="320" width="200" /></a></div>
<div style="background-color: white; color: #222222;">
Librarians are always pleased to hear about successes stemming from a user's research. Special collections librarians in particular are especially pleased when that research demonstrates the importance of the physical book.</div>
<div style="background-color: white; color: #222222;">
<br /></div>
<div style="background-color: white; color: #222222;">
I was very excited to learn that the 2012 edition of Milton's <i>De Doctrina Christiana</i>, edited by John K. Hale and J. Donald Cullington and part of Oxford University's <i>The Complete Works of John Milton </i>series, recently received the John T. Shawcross Award from the Milton Society of America. </div>
<span style="font-family: inherit;"><br />
T<span style="background-color: white; color: #222222;">he award is specified as being for: "A distinguished edition of Milton’s works, a distinguished bibliography (of his works or of studies of his life and works), a distinguished reference work, or a distinguished chapter on Milton in a monograph that concerns other authors or engages topics that bear on 17th-century England".</span></span><br />
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<span style="font-family: inherit;">John and Donald are both resident in Dunedin, New Zealand, and flew to Chicago last month to receive the award. Their edition of Milton's <i>De Doctrina </i><i>Christiana </i>was many years in the making and drew heavily on local collections, including the Alfred and Isabel Reed Collection of the Dunedin City Library, where I was Rare Books Librarian from 2007 to 2013, and in which capacity I frequently saw Donald or John in the reading room, pencils, paper and magnifying glass on either side, and a folio-sized volume before them. </span><br />
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The book in question was the Dunedin copy of a Latin Bible<i> </i>printed in Hanau, Germany, by the Wechel printing firm in 1624 (OT, Apocrypha) and 1623 (NT), paid for by Daniel and David Aubry and Clemens Schleich.</span><br />
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<span style="font-family: inherit;">In my congratulatory e-mail, I asked Donald about the importance of the collection, and the 1623/4 Bible in particular, to their work on Milton's <i>De Doctrina</i>:</span><br />
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<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">"The holdings of Dunedin Public Library were extremely useful to John and me throughout the nine years of our collaboration, especially since so much of this huge Milton work uses the Latin Bible of Junius-Tremellius-Beza, an excellent copy of which is permanently available in the Reed Collection.</span></span><br />
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222;">For the Old Testament and Apocrypha, the Latin wording of the 1623/4 Hanau [Bible] ... corresponds most closely with that of Milton’s citations, but in editing <i>De Doctrina Christiana</i> it was important to see where for reasons of his own he saw fit to change what Junius and Tremellius had written.</span></span><br />
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<span style="font-family: inherit;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">Also, for the New Testament the same [Bible] contains two Latin translations: Beza’s from the Greek and Tremellius’s from the Syriac. Although here Milton relied mainly on Beza’s own final version of 1598, he did occasionally prefer something in the posthumous ‘Beza’ edition of 1623; in some places, too, he opted for the quite different translation of Tremellius. And again, he sometimes decided to go his own way.</span></span><br />
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<span style="font-family: inherit;"><br style="background-color: white; color: #222222;" /></span><span style="font-family: inherit;"><span style="background-color: white; color: #222222;">In all these respects the availability of the 1623/4 Bible helped John and me to produce a scholarly edition that showed in detail how Milton went about the task of dealing with the thousands of biblical passages included in his largest work".</span> </span><br />
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For more, you can read <span style="font-family: inherit;">John Hale's reflections on his experience co-editing Milton's </span><i style="font-family: inherit;">De Doctrina </i><span style="font-family: inherit;">on the</span><span style="font-family: inherit;"> </span><a href="http://www.oxfordscholarlyeditions.com/newsitem/66/john-miltons-largest-manuscript" style="font-family: inherit;" target="_blank"><span style="color: blue;">OSEO blog</span></a><span style="font-family: inherit;"> (posted 30.07.13).</span><br />
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<span style="font-family: inherit;">---</span><br />
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<i style="font-family: inherit;">Testamenti Veteris Biblia Sacra ... </i><span style="font-family: inherit;">(Hanoviae: Typis Wecheliansis, sumptibus Danielis ac Davidis Aubriorum, ac Clementis Schleichii, 1623/4); with the armorial stamp and bookplate of David Lindsay, 1st Lord Balcarres (1587-1642). Purchased from the Export Book Co., Preston, Lancashire, by the Dunedin Public Library with support from A. H. Reed in 1966.</span></div>
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Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-34810128820031262092014-01-24T13:17:00.000+13:002015-01-05T12:42:18.727+13:00State Library of Victoria Medieval Manuscripts Online<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<span style="font-size: x-small;"><span style="font-family: inherit;">The Ascension of Christ, historiated initial
‘C’, Italy, 15C</span></span></div>
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The State Library of Victoria in Melbourne holds 27 medieval and renaissance manuscripts. Last year the SLV finished digitising nearly all of its manuscripts along with five manuscripts held by the <a href="http://www.artgalleryofballarat.com.au/" target="_blank"><span style="color: blue;">Art Gallery of Ballarat</span></a>.<br />
<br />
The digitisation scheme stemmed from an Australian Research Council (ARC) funded project, which involved a number of activities, including the digitisation of the manuscripts in the State Library of Victoria and select manuscripts from the Ballarat Fine Art Gallery, together with the development of on-line links with other manuscript collections in Australia and New Zealand and the contribution of research findings to manuscripts in these collections as appropriate. <span style="font-size: small;"><span style="font-family: inherit;">The project is spearheaded by Professor Margaret Manion, whose team is creating detailed entries on each manuscript which are being uploaded into the catalogue records. A full list of participating individuals and institutions is provided in each of the detailed entries.</span></span><br />
<br />
The project followed on from the SLV's highly successful 2008 exhibition <a href="http://slv.vic.gov.au/event/medieval-imagination" target="_blank"><span style="color: blue;">'The Medieval Imagination'</span></a>, which brought together manuscripts from collections in Australia, New Zealand and Cambridge, UK, and saw over 100,000 people pass through its doors. Some of the notable SLV manuscripts displayed and now digitised include: an early thirteenth-century copy of Ptolemy's <i>Almagest </i>with astronomical diagrams and translated from the Arabic by Gerard of Cremona; a mid-eleventh-century manuscript of Boethius's <i>De musica</i><i> </i>(the oldest known book in Australia); a fifteenth-century illustrated copy in English vernacular prose of Guillaume de Deguileville's <span style="font-family: inherit;"><i>The pilgrymage of the Lyfe of Manhoode </i>and<i> The pilgrymage of the Sowle;</i><span style="color: #1f497d;"> </span></span>and a lavish fifteenth-century manuscript comprising three works (including the <i>Scriptores historiae Augustae</i>)<i> </i>commissioned for Lorenzo de Medici and still in its original binding.<br />
<br />
As a way of promoting these manuscripts, I have listed them below with links to the digitised versions (title hyperlinks), catalogue records, many of which include provenance information, and the detailed descriptions completed to date. References cited in the records refer to:<br />
<br />
Margaret Manion and Vera F. Vines, <i>Medieval and Renaissance Illuminated Manuscripts in Australian Collections </i>(Melbourne: Thames and Hudson, 1984)<br />
<br />
K. V. Sinclair, <i>Descriptive Catalogue of Medieval and Renaissance Western Manuscripts in Australia </i>(Sydney: Sydney University Press, 1969)<br />
<br />
Bronwyn Stocks and Nigel Morgan (eds.), <i>The Medieval Imagination: Illuminated Manuscripts from Cambridge, Australia and New Zealand </i>(South Yarra, Vic: MacMillan Art Pub., 2008)<br />
<br />
And now the manuscripts!<br />
<br />
<b>State Library of Victoria</b><br />
1. Boethius; Anon. [sometimes called Pseudo-Hucbaldus], <a href="http://handle.slv.vic.gov.au/10381/102876" target="_blank"><span style="color: blue;">De musica; Musica enchiriadis [and] De organo</span></a>, Northern Italy, eleventh century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485196" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/260506" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
2.<b> </b>Petrus Comestor; Stephen Langton, <a href="http://handle.slv.vic.gov.au/10381/190106" target="_blank"><span style="color: blue;">Historia scholastica; Expositio litteralis in historiam scholasticam [and] Exposito moralis in historiam scholasticam</span></a>, 1200<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485190" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
3. <a href="http://handle.slv.vic.gov.au/10381/106760" target="_blank"><span style="color: blue;">Epistles of St. Paul with the Glossa ordinaria by Anselm of Laon</span></a>, Central Italy (Gaeta), ca. 1200<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485153" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/260505" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
4. Ptolemy, <a href="http://handle.slv.vic.gov.au/10381/123458" target="_blank"><span style="color: blue;">Almagest, translated from the Arabic by Gerard of Cremona</span></a>, Northern Italy (the Veneto?), ca. 1200<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1225<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485154" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/257984" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
5. <a href="http://handle.slv.vic.gov.au/10381/147694" target="_blank"><span style="color: blue;">Psalter-Hours, Use of</span></a><span style="font-family: inherit;"><a href="http://handle.slv.vic.gov.au/10381/147694" target="_blank"><span style="color: blue;"> </span></a><span style="background-color: white; line-height: 16px;"><a href="http://handle.slv.vic.gov.au/10381/147694" target="_blank"><span style="color: blue;">Liège</span></a>, Latin and French, Southern Netherlands (</span></span><span style="background-color: white; line-height: 16px;">Liège), ca. 1270<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1279</span><br />
<span style="background-color: white; line-height: 16px;"><a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485517" target="_blank"><span style="color: blue;">Catalogue record</span></a></span><br />
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6. <a href="http://handle.slv.vic.gov.au/10381/103910" style="color: blue;" target="_blank">Vulgate Bible (Leviticus) with the Glossa ordinaria of Walafrid Strabo</a>, France (Paris), perhaps first quarter of the thirteenth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485148" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242930" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
<span style="color: blue;"><span style="color: black;">7.</span> </span><a href="http://handle.slv.vic.gov.au/10381/106415" target="_blank"><span style="color: blue;">Antiphonal (fragment)</span></a>, Central or Northern Italy, late thirteenth or early fourteenth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485171" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242931" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
8. <a href="http://handle.slv.vic.gov.au/10381/115744" target="_blank"><span style="color: blue;">Statutes and treatises on medieval English law</span></a>, Latin and Law French, ca. 1300<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485193" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/258124" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
9. <a href="http://handle.slv.vic.gov.au/10381/205232" target="_blank"><span style="color: blue;">Antiphonal-Hymnal, Dominican use, with excerpt of De musica of Jerome of Moravia</span></a>, France (Paris), 1335<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1345<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485169" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
10. John of Gaddesden, <a href="http://handle.slv.vic.gov.au/10381/204592" target="_blank"><span style="color: blue;">Rosa Anglica</span></a>, England, fourteenth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2477348" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
11. Flavius Josephus, <a href="http://handle.slv.vic.gov.au/10381/179354" target="_blank"><span style="color: blue;">De bello judaico libri VII: Latin translation attributed to Rufinus of Aquileia</span></a>, Spain (Catalonia), 1400<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485158" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
12. <a href="http://handle.slv.vic.gov.au/10381/104959" target="_blank"><span style="color: blue;">Forty-nine illuminated and historiated initials from Italian manuscripts (cuttings)</span></a>, Italy, fourteenth and fifteenth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485146" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242932" target="_blank"><span style="color: blue;">Description</span></a><br />
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13. Giles of Rome, Archbishop of Bourges, <a href="http://handle.slv.vic.gov.au/10381/180986" target="_blank"><span style="color: blue;">De regimine principum</span></a>, France, 1429<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485163" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
14. <span style="background-color: white; font-family: inherit; line-height: 16px;">Guillaume de Deguileville, <a href="http://handle.slv.vic.gov.au/10381/93606" target="_blank"><span style="color: blue;">The pilgrimage of the lyfe of the manhode; and, The pilgrimage of the sowle</span></a></span><span style="font-family: inherit;">, England (Lincolnshire), ca. 1430</span><br />
<span style="font-family: inherit;"><a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485186" target="_blank"><span style="color: blue;">Catalogue record</span></a> </span><br />
<span style="font-family: inherit;"><a href="http://handle.slv.vic.gov.au/10381/242928" target="_blank"><span style="color: blue;">Description</span></a> </span><br />
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<span style="font-family: inherit;">15. </span><a href="http://handle.slv.vic.gov.au/10381/134155" target="_blank"><span style="color: blue;">Book of Hours (fragmentary)</span></a>, France (Besancon), ca. 1430<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1440<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485181" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
16. Eutropius; Paul the Deacon, <a href="http://handle.slv.vic.gov.au/10381/180358" target="_blank"><span style="color: blue;">Scriptores historiae Augustae and Breviarium ab urbe condita; translations and additions by Paul the Deacon; Historia Romana by Paul the Deacon</span></a>, Italy (Florence), ca. 1479<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485124" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
17. <a href="http://handle.slv.vic.gov.au/10381/100495" target="_blank"><span style="color: blue;">Book of Hours, Use of York</span></a>, Flanders (Bruges), ca. 1470<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>ca. 1490<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485140" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242929" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
18.<span style="color: blue;"> <a href="http://handle.slv.vic.gov.au/10381/117039" target="_blank"><span style="color: blue;">Book of Hours, Use of Paris</span></a></span>, France (Paris), ca. 1490<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485173" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242933" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
19. <a href="http://handle.slv.vic.gov.au/10381/206906" target="_blank"><span style="color: blue;">Book of Hours, Use of Rome</span></a>, Southern Netherlands, ca. 1490<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485185" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
20. St. Jerome, <a href="http://handle.slv.vic.gov.au/10381/249150" target="_blank"><span style="color: blue;">Commentaries on Isaiah</span></a>, Netherlands (Roermond, Limburg), 1497<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER1855963" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
21. 16. St. Augustine, Bishop of Hippo, <a href="http://handle.slv.vic.gov.au/10381/179901" target="_blank"><span style="color: blue;">Augustini opera</span></a>, fifteenth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER485166" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/242934" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
22. <a href="http://handle.slv.vic.gov.au/10381/121844" target="_blank"><span style="color: blue;">Liber Obsequialis, Use of Constance, and Breviary (fragment)</span></a>, Latin and German, Southern(?) Germany, (1) fifteenth and (2) early twelfth century<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2244027" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<a href="http://handle.slv.vic.gov.au/10381/258125" target="_blank"><span style="color: blue;">Description</span></a><br />
<br />
23. <a href="http://handle.slv.vic.gov.au/10381/165728" target="_blank"><span style="color: blue;">Pontifical, for the Bishop of Mirepoix</span></a>, France, ca. 1500<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>ca. 1520<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER1518617" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
24. <a href="http://handle.slv.vic.gov.au/10381/195483" target="_blank"><span style="color: blue;">Liber antiphonarius Romanus</span></a>, 1566<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER480576" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
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<b>Art Gallery of Ballarat</b><br />
1. Eadmer (d. 1124?); Bede, <a href="http://handle.slv.vic.gov.au/10381/168012" target="_blank"><span style="color: blue;">Life of St Wilfrid and extracts from Bede's Historia ecclesiastica</span></a>, Northern England, 1150<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2398343" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
2. <a href="http://handle.slv.vic.gov.au/10381/171203" target="_blank"><span style="color: blue;">Pontifical, with excerpts from the Summa theologia<i> </i>of St Thomas Aquinas and the Regula ad inveniendum principium lunae (added 1451)</span></a>, Italy (Veneto or Emilia-Romagna), ca. 1350<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1380<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2398440" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
3. <a href="http://handle.slv.vic.gov.au/10381/168499" target="_blank"><span style="color: blue;">Calendar and medical diagrams</span></a>, Northeast England (Durham?), ca. 1400<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">–</span>1420<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2398391" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
4. <a href="http://handle.slv.vic.gov.au/10381/168947" target="_blank"><span style="color: blue;">Book of Hours, Use of Rome</span></a>, Italy (Florence), 1450<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2398407" target="_blank"><span style="color: blue;">Catalogue record</span></a><br />
<br />
5. <a href="http://handle.slv.vic.gov.au/10381/171080" target="_blank"><span style="color: blue;">Prayer Book</span></a>, Southern Netherlands, ca. 1544<br />
<a href="http://search.slv.vic.gov.au/primo_library/libweb/action/dlDisplay.do?vid=MAIN&reset_config=true&docId=SLV_VOYAGER2398427" target="_blank"><span style="color: blue;">Catalogue record</span></a>Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-32417812967000173292014-01-21T12:12:00.001+13:002014-01-24T08:32:35.814+13:00Hypnerotomachia Poliphili: Woodcuts in the Italian and French Editions<div style="background-color: white; color: #333333; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 21.12px; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: small;"><span style="font-family: inherit;">First published by Aldus Manutius in 1499 and praised for its typographical design and early Renaissance woodcut illustrations, the <a href="http://en.wikipedia.org/wiki/Hypnerotomachia_Poliphili" target="_blank"><i><span style="color: blue;">Hypnerotomachia Poliphili</span></i></a><span class="Apple-converted-space"> </span>is one of the most famous books to come from a fifteenth-century press.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">A second Aldine edition appeared in 1545, followed by the first French edition in 1546. Titled<i> Hypnerotomachie, ou, Discours du Songe Poliphile</i>, the translation was printed in Paris by Jacques Kerver. Its woodcuts in the Mannerist style were based on the Aldine editions, but adapted to suit French tastes and included an additional 14 illustrations.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">The identity of the artists who executed the woodcuts in the Italian and French editions remains a subject of debate amongst academic circles. The designs in the 1499 edition have been associated with Benedetto Bordon, Andrea Mantegna, Gentile Bellini, and even a young Raphael.<b>[1]</b><span class="Apple-converted-space"> </span>The illustrations in the 1546 French edition exhibit evidence of more than one artist at work, with the painter Jean Cousin and the architect and sculptor Jean Goujon considered likely candidates for the best woodcuts.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">University of Melbourne Special Collections is fortunate to count the first Italian and French editions of the<span class="Apple-converted-space"> </span><i><i>Hypnerotomachia</i></i> amongst its holdings of early printed material, allowing for the following comparison of illustrations in two of the hand-press period’s most beautifully illustrated books.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><b>[1] </b><a href="http://www.metmuseum.org/toah/works-of-art/23.73.1" target="_blank"><span style="color: blue;">http://www.metmuseum.org/toah/works-of-art/23.73.1</span></a></span></span></div>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Forest_14992.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo enters a pathless forest (1499)" class="size-medium wp-image-1385 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Forest_14992-300x251.jpg" height="251" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo enters a pathless forest (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Forest_15461.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo enters a pathless forest (1546)" class="size-medium wp-image-1386 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Forest_15461-300x239.jpg" height="239" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo enters a pathless forest (1546)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Poliphilo encounters a wolf in his dreamscape (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Ruins_15461.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo encounters a wolf in his dreamscape (1546)" class="size-medium wp-image-1391 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Ruins_15461-300x231.jpg" height="231" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo encounters a wolf in his dreamscape (1546)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Tower_14991.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="The pyramid with obelisk (1499) " class="size-medium wp-image-1392 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Tower_14991-186x300.jpg" height="300" style="border: medium none;" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The pyramid with obelisk (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Tower_1546.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="The pyramid with obelisk (1546)" class="size-medium wp-image-1393 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Tower_1546-177x300.jpg" height="300" style="border: medium none;" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The pyramid with obelisk (1546)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Faces_1499.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Dancers carved on the base of a statue (1499) " class="size-medium wp-image-1395 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Faces_1499-300x248.jpg" height="248" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dancers carved on the base of a statue (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Faces_1546.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Dancers carved on the base of a statue (1546)" class="size-medium wp-image-1396 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Faces_1546-300x223.jpg" height="223" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dancers carved on the base of a statue (1546)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Dragon_1499.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo chased by a dragon (1499)" class="size-medium wp-image-1397 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Dragon_1499-300x253.jpg" height="253" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo flees from a dragon (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Dragon_1546.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo chased by a dragon (1546)" class="size-medium wp-image-1398 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Dragon_1546-300x235.jpg" height="235" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo flees from a dragon (1546)</td></tr>
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<div class="wp-caption aligncenter" id="attachment_1398" style="-webkit-text-stroke-width: 0px; background-color: white; color: #333333; display: block; font-family: 'Trebuchet MS', Arial, Helvetica, Geneva, sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 21.119998931884766px; margin: auto; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; width: 310px; word-spacing: 0px;">
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Crone_14991.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo meets Theude and her servants (1499)" class="size-medium wp-image-1399 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Crone_14991-300x248.jpg" height="248" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo meets Theude and her servants (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Crone_15461.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="Poliphilo meets Theude and her servants (1546)" class="size-medium wp-image-1400 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Crone_15461-300x228.jpg" height="228" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Poliphilo meets Theude and her servants (1546)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/TriumphII_1499.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="From the second triumph (1499)" class="size-medium wp-image-1403 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/TriumphII_1499-300x240.jpg" height="240" style="border: medium none;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the second triumph (1499)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">From the second triumph (1546)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The bridge over the frozen lake; where are the souls? (1499)</td></tr>
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<tr><td style="text-align: center;"><a href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Ice_1546.jpg" style="color: #660066; margin-left: auto; margin-right: auto; text-decoration: none;" target="_blank"><img alt="The bridge over the frozen lake; complete with souls (1546)" class=" wp-image-1406 " src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Ice_1546-241x300.jpg" height="300" style="border: medium none;" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bridge over the frozen lake; complete with souls (1546)</td></tr>
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Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-54617660718359902452014-01-16T17:00:00.000+13:002014-01-18T14:49:33.102+13:00Sixteenth-Century Manuscript Could Rewrite Australian History [Updated][Update, 18.01.14: <a href="http://www.livescience.com/42685-thats-no-kangaroo-on-the-manuscript-so-what-is-it.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+Livesciencecom+(LiveScience.com+Science+Headline+Feed)" target="_blank"><span style="color: blue;">'That's No Kangaroo on the Manuscript'</span></a> from livescience.com]<br />
<br />
Story from today's <a href="http://www.theage.com.au/entertainment/books/16thcentury-manuscript-could-rewrite-australian-history-20140115-30vak.html?eid=email:nnn-13omn654-ret_newsl-membereng:nnn-04/11/2013-news_am-dom-news-nnn-age-u&campaign_code=13INO008&promote_channel=edmail&mbnr=MjE1MTc5Ng" target="_blank"><i><span style="color: blue;">The Age</span></i></a> reported by Charli Newton:<br />
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<tr><td style="text-align: center;"><img alt="Image of what is thought to be a kangaroo on a 16th century processional could lend weight to the theory that the Portuguese were the first explorers to set foot in Australian soil, before the Dutch or English." src="http://images.theage.com.au/2014/01/15/5079549/kjroowide_20140115211117266055-620x349.jpg" height="180" itemprop="image" style="border: 0px none; font-family: inherit; font-size: 12px; font-style: inherit; font-weight: inherit; margin: 0px auto; padding: 0px; vertical-align: bottom;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image of what is thought to be a kangaroo on a 16th-century processional
could lend weight to the theory that the Portuguese were the first
explorers to set foot on Australian soil, before the Dutch or English.</td></tr>
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<span style="font-size: small;"><span style="font-family: inherit;">A tiny drawing of a kangaroo curled in the letters of a 16th-century Portuguese manuscript could rewrite Australian history.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">The document, acquired by Les Enluminures Gallery in New York, shows a sketch of an apparent kangaroo (''canguru'' in Portuguese) nestled in its text and is dated between 1580 and 1620. It has led researchers to believe images of the marsupial were already being circulated by the time the Dutch ship Duyfken - long thought to have been the first European vessel to visit Australia - landed in 1606.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">The pocket-sized manuscript, known as a processional, contains text and music for a liturgical procession and is inscribed with the name Caterina de Carvalho, believed to be a nun from Caldas da Rainha in western Portugal.</span></span></div>
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<tr><td style="text-align: center;"><img alt="The manuscript may precede what is believed to be the first European docking in Australia." src="http://images.theage.com.au/2014/01/16/5079869/aw-portuguese-manuscript_20140116030432569922-620x349.jpg" height="180" itemprop="image" style="border: 0px none; font-family: inherit; font-size: 12px; font-style: inherit; font-weight: inherit; margin: 0px auto; padding: 0px; vertical-align: bottom;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The manuscript may precede what is believed to be the first European docking in Australia.</td></tr>
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<span style="font-size: small;"><span style="font-family: inherit;">The European discovery of Australia has officially been credited to the Dutch voyage headed by Willen Janszoon in 1606, but historians have suggested the country may already have been explored by other western Europeans.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''A kangaroo or a wallaby in a manuscript dated this early is proof that the artist of this manuscript had either been in Australia, or even more interestingly, that travellers' reports and drawings of the interesting animals found in this new world were already available in Portugal,'' Les Enluminures researcher Laura Light said.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''Portugal was extremely secretive about her trade routes during this period, explaining why their presence there wasn't widely known.''</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Peter Trickett, an award-winning historian and author of<span class="Apple-converted-space"> </span><em style="border: 0px none; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Beyond Capricorn</em>, has long argued that a Portuguese maritime expedition first mapped the coast of Australia in 1521-22, nearly a century before the Dutch landing.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''It is not surprising at all that an image of a kangaroo would have turned up in Portugal at some point in the latter part of the 16th century. It could be that someone in the Portuguese exhibition had this manuscript in their possession,'' Mr Trickett said.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">National Library of Australia curator of maps Martin Woods said that while the image looked like a kangaroo or a wallaby, it alone was not proof enough to alter Australia's history books.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''The likeness of the animal to a kangaroo or wallaby is clear enough, but then it could be another animal in south-east Asia, like any number of deer species, some of which stand on their hind legs to feed off high branches,'' Dr Woods said.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''For now, unfortunately the appearance of a long-eared big-footed animal in a manuscript doesn't really add much.''</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Les Enluminures Gallery, which lists the manuscript's value at $US15,000 ($16,600), acquired the processional from a rare book dealer in Portugal and will exhibit the piece as part of an exhibition.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Also entwined in letters of the text are two male figures adorned in tribal dress, baring naked torsos and crowns of leaves, which Ms Light said could be Aborigines.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Fellow of the Australian Academy of the Humanities, John Gascoigne, said proving that the Portuguese were the first Europeans to arrive in Australia would be ''forever difficult to document because of their secrecy and because so many of the records were destroyed in the Lisbon earthquake of 1755''.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''The possible date span for the manuscript goes up to 1620, which would accommodate the arrival of Willen Janszoon in the Duyfken in northern Australia in 1606,'' Professor Gascoigne said.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">He speculated the images could come from a 1526 trip to Papua.</span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;">''Looking at it from a European perspective, it is surely evocative to wonder what these exotic images must have meant to the Portuguese nun gazing at them from within the confines of her convent's walls,'' Ms Light said.<span style="font-weight: normal;"></span></span></span></div>
<span style="-webkit-text-stroke-width: 0px; border: 0px; color: black; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 17px; margin: 0px; orphans: auto; padding: 0px; text-align: left; text-indent: 0px; text-transform: none; vertical-align: baseline; white-space: normal; widows: auto; word-spacing: 0px;"></span>Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0tag:blogger.com,1999:blog-257342530978819949.post-27311295562388876222014-01-07T12:35:00.000+13:002014-01-07T17:29:49.372+13:00Bound for a Russian Princess<br />
Towards the end of last year I highlighted a collection of <a href="http://blogs.unimelb.edu.au/librarycollections/2013/12/19/%D1%80%D0%B5%D0%B2%D0%BE%D0%BB%D1%8E%D1%86%D0%B8%D1%8F-russian-satirical-journals-from-the-1905-revolution/" target="_blank"><span style="color: blue;">Russian satirical journals and postcards from the 1905 Revolution</span></a><a data-mce-href="http://blogs.unimelb.edu.au/librarycollections/2013/12/19/%D1%80%D0%B5%D0%B2%D0%BE%D0%BB%D1%8E%D1%86%D0%B8%D1%8F-russian-satirical-journals-from-the-1905-revolution/" href="http://blogs.unimelb.edu.au/librarycollections/2013/12/19/%D1%80%D0%B5%D0%B2%D0%BE%D0%BB%D1%8E%D1%86%D0%B8%D1%8F-russian-satirical-journals-from-the-1905-revolution/" target="_blank"></a>.
Today’s post continues the Russian theme by examining the provenance of
an early twentieth-century set of the complete works of Tolstoy.<br />
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<div data-mce-style="text-align: center;" style="text-align: center;">
<a data-mce-href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/t-p2.jpg" href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/t-p2.jpg" target="_blank"><img alt="Frontispiece and title-page, Complete Works of Tolstoy (1913)" class="aligncenter size-medium wp-image-1339" data-mce-src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/t-p2-300x228.jpg" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/t-p2-300x228.jpg" height="228" width="300" /></a></div>
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<br />
The
set was published in St. Petersburg by P. V. Lukovnikov in 1913 and
1914. It consists of four volumes bound in two. The first two volumes
are from the twenty-first edition and volumes three and four from the
twenty-sixth and forty-sixth editions respectively. The attractive
binding is three-quarter green morocco with marbled boards and
pastedowns. In the upper-left corner of the front board on both volumes
is a gilt-stamped ownership mark: the Cyrillic letters ‘Λ Β’ (‘L V’)
with a crown above:<br />
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<div data-mce-style="text-align: center;" style="text-align: center;">
<a data-mce-href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Binding4.jpg" href="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Binding4.jpg" target="_blank"><img alt="Binding with Vasilchikova stamp" class="aligncenter size-medium wp-image-1340" data-mce-src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Binding4-205x300.jpg" src="http://blogs.unimelb.edu.au/librarycollections/files/2014/01/Binding4-205x300.jpg" height="300" width="205" /></a></div>
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Through
a colleague of the antiquarian book dealer Simon Beattie, the ownership
stamp has been identified as belonging to Princess Lydia Leonidovna
Vyazemsky Vasilchikova (1886–1948). The set is from Vasilchikova’s
private library in St. Petersburg and was likely bound by A. A. Schnell,
a master bookbinder working for the Russian Imperial Court.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdM9PRExEgPeiabVmTeoqwXWMKG6NJhBY1Fms81yupggEKoK88wqZFUjnO8IrXAzrxIe0nQ_LDZ-EeGgB1uPGKdR8SeVpirK-pibLIxzvF-xRL-E2S41F4AoVWYclIGmhKEmCcagZVV8vs/s1600/418426.a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdM9PRExEgPeiabVmTeoqwXWMKG6NJhBY1Fms81yupggEKoK88wqZFUjnO8IrXAzrxIe0nQ_LDZ-EeGgB1uPGKdR8SeVpirK-pibLIxzvF-xRL-E2S41F4AoVWYclIGmhKEmCcagZVV8vs/s1600/418426.a.jpg" height="320" width="293" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Portrait of Princess Lydia Leonidovna Vyazemsky Vasilchikova (www.genealogics.org)</td></tr>
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<br />
<b>The Family</b><br />
Lydia’s
father was Prince Leonid Dmitrievitch Vyazemsky (1848–1909), a general
in the Russian cavalry, Governor of Astrakhan, and member of the Council
of the Empire. On 12 May 1909, Lydia married Prince<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> </span><span style="background-color: white; color: #333333; display: inline ! important; float: none; font-size: 13px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: 17px; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"><span style="color: black;">Illarion Sergeyevich Vasilchikov</span></span><span class="Apple-converted-space"> </span></span></span>(1881–1969), who belonged to one of Russia’s oldest
aristocratic families and served as a member of the Fourth Duma under
Tsar Nicholas II.<br />
<br />
Lydia, however, was not a stereotypical staid
wife of a politician. According to Beattie’s contact, she studied
English at Oxford, was fluent in several European languages, and was
fond of horse riding and photography. She served as a Red Cross nurse
close to the Eastern Front during the First World War, and was awarded
four medals, including two St George medals for bravery.<br />
<br />
In 1919, the Vasilchikovs fled the upheaval and violence of the 1917 Revolution aboard the SS <i>Princess Ena</i>,
sent to Russia by Britain's George V to rescue his aunt the Empress
Marie Feodorovna. Destitute, the Vasilchikovs travelled across Europe as
refugees to the family's Lithuanian estates. During the Second World
War, two of their children, Tatiana and Marie, moved to Berlin in 1940
to find work and were employed by the Foreign Ministry’s Information
Office. The sisters later published books about their experiences: <i>Tatiana: Five Passports in a Shifting Europe </i>(1976) and Marie’s <i>Berlin Diaries: 1940–1945 </i>(1988).<br />
<br />
<b>The Library </b><br />
Unfortunately,
little information exists regarding the Vasilchikov family libraries,
except that they owned several collections in St. Petersburg, Moscow,
and throughout their numerous estates. It was learnt through Beattie’s
contact that many family members were killed after the 1917 Revolution,
and their books sold or intentionally destroyed during the 1920s and
1930s; a sad fate that befell many of Russia’s aristocratic families and
their collections during those turbulent early decades of the Soviet
Union.<br />
<br />
--<br />
<br />
<i>Polnoe sobranīe sochinenīĭ gr. A.K. Tolstogo</i>
(St. Petersburg: [P. V. Lukovnikov], 1913-1914); from the personal
library of Princess Lydia Leonidovna Vyazemsky Vasilchikova; donated to
the Melbourne University Library by Mrs. O. P. Hohlov in 1968.Anthony Tedeschihttp://www.blogger.com/profile/14170041980075387497noreply@blogger.com0