Turning over the pages in a ballad volume, 4o Rawl. 566

The Bodleian volume 4º Rawl. 566 is a bound set of 217 broadside ballads printed in the seventeenth century. The broadsides, half-folio sheets typical of ballad publications at the time, are attached by their left-hand edges and thus form an oblong book with the ballads reading on the recto of each leaf.

Full colour scans of each ballad in the volume can be seen on the Bodleian Ballads database, link here. http://ballads.bodleian.ox.ac.uk/collection/rawlinson

A vellum binding, damaged at the spine, encloses the volume, with Rawlinson’s bookplate inside the front cover.

The source of the volume before it came into Richard Rawlinson’s possession has not yet been discovered. The ballads themselves are in a fragile state. Several are torn or damaged, and some are repaired.

Inscriptions on the reverse of some ballads in the volume appear to show that, wherever it was held at the time, it was used on Sept. 23, 1720, by Benjamin Osborne and Elizabeth Townsen [Townsend?] to practice writing.

The image gallery below gives access to the full-resolution images of inscriptions in this volume.

 

Anthony Wood’s annotations in Bodleian Wood 401

The antiquary, author and bibliophile Anthony Wood (1632-1695) left, among other collections, several volumes of broadside ballads to the University of Oxford. These were bequeathed to the Ashmolean Museum and transferred in 1858 to the Bodleian Library.

Some of the broadside ballads in this collection bear manuscript annotations of various kinds, from childish pen trials to reference notes. The annotations are described and mostly transcribed in Nicolas Kiessling’s catalogue, The Library of Anthony Wood (Oxford: Oxford Bibliographical Society, 2002), in which Ballads are items 367-843.

What follows is a list of annotations found on the reverse of ballads in one volume, shelfmarked Wood 401. References are given to the entries in Kiessling’s catalogue in which the annotations are transcribed. An image gallery at the end of this post gives access to the full-resolution images.

Most of the ballads in the volume have been attached in the middle of the sheet, and thus occupy two numbered leaves of the volume, with the printed ballad visible on the verso of the first leaf and the recto of the following leaf.  Annotations relating to each ballad are usually on the recto of the first leaf, i.e. on the blank page (in this volume) before the printed ballad.

Wood 401(1)
The shepherd and the king, and of Gillian the shepherds wife
MS note on reverse: vide Malmsburiens. de Reg. Angl. lib. 2 – fol. 23. see ye 2d part of R. Parsons his conversions cap. 6. p. 418-419. [i.e. William of Malmesbury, Chronicle of the kings of England, and Persons, Robert, A treatise of three conversions of England … (1603)].
Kiessling, 752

Wood 401(9)
Robin Hood and the tanner; or, Robin Hood met with his match
With a page attached in Wood’s handwriting, citing historical and poetical references to Robin Hood by John Major and Michael Drayton
Kiessling, 547

Wood 401 fol. 9 recto_detail

Wood 401 fol. 9 recto_detail

Wood 401(45)
The wofull lamentation of Mistris Jane Shore, a Goldsmiths wife in London, sometimes King Edward the seconds Concubine, who for her wantan life came to a miserable end. Set forth for the example of all lewd women.
Woodcut pasted to recto of fol. 45
Kiessling, 756

Wood 401(47)
A memoriable [sic] song on the unhappy hunting in Chevy Chase between Earle Piercy of England and Earle Dowglas of Scoland [sic]
Annotations on a slip attached between fols. 46 and 47, and on recto of fol. 47
Kiessling, 406

Wood 401 fol. 46 slip attached, recto

Wood 401 fol. 46 slip attached, recto

Wood 401 fol. 46 slip attached, verso

Wood 401 fol. 46 slip attached, verso

Wood 401 fol. 47 recto_detail

Wood 401 fol. 47 recto_detail

Wood 401(55)
A true relation of the life and death of sir Andrew Barton, a pyrate and rover on the seas
Annotations on recto of fol. 55
Kiessling, 536

Wood 401 fol. 55 recto_detail

Wood 401 fol. 55 recto_detail

Wood 401(57)
The most rare and excellent history of the duchesse of Suffolks calamity
Annotations on recto of fol. 57
Kiessling, 442

Wood 401 fol. 57 recto_detail

Wood 401 fol. 57 recto_detail

Wood 401(60)
The dolefull dance and song of death; intituled, Dance after my pipe
Annotations on recto of fol. 60
Kiessling, 536

Wood 401 fol. 60 verso_detail

Wood 401 fol. 60 verso_detail

Wood 401(67)
Lord Willoughby; or, A true relation of a famous and bloody battel fought in Flanders
Annotations on recto of fol. 67
“The story of the Ld Willoughby following, is to be und[er]stood as done by Peregrine Bertie Lord Willoughby of Eresby, about 29. Reg. Elizab.\”
Kiessling, 380

Wood 401(71)
The life and death of famous Thomas Stukelie an English gallant in the time of Queen Elizabeth
Kiessling, 769

Wood 401 fol. 71 recto_detail

Wood 401 fol. 71 recto_detail

Wood 401(91)
The lamentable ditty of the little Mousgrove, and the Lady Barnet
Kiessling, 636

Wood 401 fol. 91 recto_detail

Wood 401 fol. 91 recto_detail

Wood 401(93)
Iohn Arm-strongs last good night
Kiessling, 716

Wood 401 fol. 93 recto_detail

Wood 401(129)
Murder upon murder, committed by Thomas Sherwood, alias, countrey Tom: and Elizabeth Evans, alias, Canbrye Besse
The initials A W in MS below the woodcut on the right side of the sheet; on the reverse of the backing paper is a MS note by Anthony Wood, showing descent of Holt family.
Kiessling, 754

Wood 401 fol. 129 recto_detail

Wood 401 fol. 129 recto_detail

Wood 401(131)
Britaines honour. In the two valiant Welchmen, who fought against fifteene thousand Scots, at their now comming to England
Pen-trials by Wood on the front of the ballad. On the reverse (fols 131 recto and 132 verso) are verses, drawings, and pen trials. A Bodleian note states that these were uncovered in 1881.
Kiessling, 675

Wood 401 fol. 131 recto_detail

Wood 401 fol. 131 recto_detail

Wood 401 fol. 132 verso_detailA

Wood 401 fol. 132 verso_detailA

Wood 401 fol. 132 verso_detailB

Wood 401 fol. 132 verso_detailB

Wood 401(137)
A new Spanish tragedy. Or, More strange newes from the narrow seas
Date “1640- or 41” on the front of the ballad. On the reverse (fols 137 recto and 138 verso) are verses, drawings, and pen trials, and one signature of Anthony Wood.
Kiessling, 703

Wood 401 fol. 137 recto_detail

Wood 401 fol. 137 recto_detail

Wood 401 fol. 138 verso_detailA

Wood 401 fol. 138 verso_detailA

Wood 401 fol. 138 verso_detailB

Wood 401 fol. 138 verso_detailB

Images of the printed sides of these broadside ballads can be viewed via the Bodleian ballads database. A link directly to a list of ballad items in the Wood collection is here.

Images of most of the pages described, which are either the direct versos of the printed ballads, or the reverse of the blank papers onto which the ballads were pasted, are in the gallery included here.

Printed books belonging to Anthony Wood are found by the shelfmark ‘Wood’ in the online catalogue.

Wood’s manuscripts kept in the Bodleian are described here:

http://www.bodley.ox.ac.uk/dept/scwmss/wmss/online/medieval/wood/wood.html

Transformations in print

The Bodleian’s Bibliographical Press continues experimenting with techniques from the hand-press period. This transformation print  [see pictures of the original] held at Bodleian MS Wood E 25(10) is one of several from the 17th and 18th centuries containing the same general theme under the title, ‘The beginning, progress, and end of man’.  The Bodleian’s copy has the imprint, ‘Printed for J. Deacon, at the Angel in Guilt-spur Street‘.  The same images appear in an edition at Harvard with the imprint, ‘London: Printed by E. Alsop for T. Dunster, 1654‘; another version, ‘Printed by B. Alsop for T. Dunster, 1650‘, is in the Thomason collection at the British Library. Several other versions exist, and the Bodleian also holds a manuscript version from the 18th century.

At Broadside Day 2017, in the Weston Library, Jacqui Reid-Walsh will speak about ‘The beginning, progress, and end of man’ as an interactive text.

Meanwhile, Richard Lawrence at the Bodleian’s Bibliographical Press is experimenting with printing transformations using two blocks; here using reproductions in zinc based on the Bodleian’s copy. From this experiment it appears that the transformation could be achieved using two blocks, ‘Adam’ and the ‘mermaid’; one printed on the centre of the sheet, and the other printed over this on the outside, after the upper and lower edges were folded to meet in the middle. As further evidence for this hypothesis, the Bodleian’s copy shows blocks printed over the deckled edges of the paper.  We still wonder why, in these 17th-century editions at least, the title (on the outer side) and imprint (on the inner side) are interrupted by large gaps at the latitude of the join.

Thanks to Kim Vousden for graphic design to prepare the images for reproduction as printing blocks.

Collections containing over 30,000 ballads in Bodleian collections are accessible online at http://ballads.bodleian.ox.ac.uk/

Register for Broadside Day 2017, to hear more about broadsides and street literature.

Shakespeare’s Sonnet 99, printed in 2016

Peter Rukavina, in Charlottetown, Prince Edward Island, Canada, printed Sonnet 99 for the Bodleian’s appeal for Shakespeare’s sonnets printed by any means of relief printing in 2016, the 400th anniversary of the poet’s death. The images below, supplied by Peter Rukavina, indicate the process. The finished product can be seen in this animation, by Adam Koszary.  https://youtu.be/2LHpc0kFzss

Sonnet 99, Peter Rukavina, Reinvented Press, Charlottetown, Prince Edward Island, Canada. Letterpress printed on a Golding Jobber No. 8 Press.

Preparation for printing part of Sonnet 99. Photo: Peter Rukavina

Preparation for printing part of Sonnet 99. Photo: Peter Rukavina

Printer's copy for Sonnet 99, printed by Peter Rukavina

Printer’s copy for Sonnet 99, printed by Peter Rukavina

Shakespeare’s Sonnets 78 to 98

This series is called, ‘Figures of delight,’ after the title given to Sonnet 98 by Ken Burnley, Silver Birch Press. NOTE – missing sonnets will be supplied in the correct place as soon as photos are made!

Shakespeare’s Sonnets 58 to 77, printed in 2016

Shakespeare’s Sonnets 37 to 56, printed in 2016

NOTE: Sonnet 38, printed by Armina Ghazarian, in Ghent, will be pictured in an update of this post.

Shakespeare’s Sonnets 19 to 36, printed in 2016

At the ceremony formally welco

 

Sonnets printed in 2016 welcomed to the Bodleian Libraries

The Bodleian Libraries welcomed two unique sets of sonnets into the Libraries’ collections at a special event on 10 November, 2016.

Close up image of a letterpress printed sonnet

One was a set of sonnets written by Oxford schoolchildren as part of a series of workshops led by the Poet of Oxford Kate Clanchy. The other was a unique collection of Shakespearean sonnets that have been hand-printed by printers around the world as part of the Bodleian’s Sonnets 2016 project.

Read more of this story on the Bodleian Libraries news page….

Catriona Cannon and Miles Wigfield

Deputy Librarian Catriona Cannon thanks Miles Wigfield, President of the Oxford Guild of Printers, who presented the collection on behalf of all the sonnet printers.

Richard Lawrence examining the replica press in Blackwell Hall, Weston Library

Professor of Poetry Simon Armitage and Richard Lawrence examining the replica press in Blackwell Hall, Weston Library

Images of the sonnets received are shown in other posts on The Conveyor