The Bodleian Libraries are pleased to announce that Emily Martin will take up a one-month residency at the Bodleian Bibliographical Press in autumn 2018. Martin, who teaches at the University of Iowa Center for the Book, will bring her exceptional talents to the Bodleian’s working presses housed in the Old Bodleian Library and in the Weston Library beginning on 29 October 2018. As Printer-in-Residence at the Bodleian Libraries, she will creatively engage with Bodleian collections especially around her interest in moveable books and optical toys.
On 21 November, Emily Martin will deliver a public lecture, ‘Visual Metre and Rhythm: the Function of Movable Devices in Books‘. Movable devices, sometimes referred to as novelties, in books are not new. From anatomical lift flap books, to astrolabes and other volvelles in the early modern science texts, from carousel and pop-up children’s books to contemporary artists’ books. These devices allow for the ultimate means of emphasis within the pages of a book.
The Bodleian’s Bibliographical Press is housed in a workshop located in the Old Bodleian Library. Five iron hand-presses, one modern proofing press (‘Western’) and a complement of type make up the materials that have been used since the mid-20th century to teach typesetting and printing to generations of Oxford students, and members of the public, as part of the Bodleian’s contribution to learning about the material history of the book. These presses, and a replica wooden press in the Weston Library for Special Collections, also enable outreach to the public and schools, through demonstrations and courses. Information about the Bibliographical Press workshop is available here: www.bodleian.ox.ac.uk/csb/bibpress
In 1978, the Bodleian Library was given a curious piece of parchment (Broxb. 97.40). It is dotted with rectangular cut-outs, and eight thick, red rectangles and an astonishing amount of dirt and fibres cover one side. As Andrew Honey noted in his blog post about its conservation in 2011, its holes and ‘muck’ obscure the words, but they reveal that this object is actually three texts in one:
First, the parchment sheet was taken from a manuscript of Gregory IX’s Decretals written in Bologna around 1300, which was separated by c.1530.
Then, the skin was used by a printer, probably in France (François Regnault (d.1540–41) or Jean Mallard (fl. 1534–53)?). The red rectangles indicate that it was used as a frisket sheet, a mask inserted into the printing press to keep the paper in place and protect unprinted areas, for printing text and initials in red. There are eight rectangles, so the printed book was in octavo. The arrangement of the cut-outs (i.e., the red texts and initials) suggests that the book was liturgical. The thick layer of red printing ink shows how the frisket sheet blocked the rest of the type from printing on the paper in the many copies of the edition. (The red elements were removed, and the rest was printed separately in black.) The thickness of the ink film, from the ‘black’ text, hints at the number of copies printed. The text is illegible, but the indents of some letters can be seen.
Once cut up for a certain arrangement of red initials and passages, a frisket sheet could be used for only one project. Finally, this one was used by a bookbinder, who put in the pasteboard of a binding around a book. The ‘muck’ is from the binding paste.
It’s an extremely rare and important artefact of the history of the book. But it isn’t complete. Frisket sheets were often made of parchment pasted to paper, the better to resist the wetness of a print run (paper is dampened before printing). In an article in Printing History tracing the movements of the Bodleian skin layer and five others from the same manuscript/print job/binding, I tried to trace this paper layer. But I lost sight of it for the last 500 years, after c.1540.
That paper layer and an undescribed parchment layer from the same group has been discovered at Columbia University in the library of the American Type Founders Company, which Columbia purchased in 1942. Very few frisket sheet fragments are known, and each has much to reveal.
If the paper layer remained paired the Bodleian layer, it would have been in a group of sheets from this manuscript/print job/binding that was owned by the bibliographer E. Gordon Duff (1862–1924) and acquired after his death by the master printer George W. Jones (1860–1942). One of his skin layers was sold by Sotheby’s to Albert Ehrman (1890–1969) and donated to the Bodleian in 1978 as the Broxbourne Collection.
The paper layers described in Jones’ collection and sale catalogues can all be accounted for, so the Columbia paper layer was presumably separated sometime in the 500 years between c.1540 and Duff’s acquisition of his group before 1924. But Jones’ tallies of his frisket sheets’ skin and paper layers varied. Could the layers at Columbia and the Bodleian have remained together for centuries, before the paper layer was sold privately by Jones before his death in 1942? And could the newly discovered skin layer at Columbia have accompanied it? Research continues.
This blog post may be the first time the two halves of this frisket sheet have been reunited in over 500 years. Together, they illustrate the history of the book, from medieval manuscript to renaissance printshop to modern collecting. Much remains unknown, but digital research tools of the future may reveal where and how they were used over the centuries.
With thanks to Jane Rodgers Siegel (Rare Book Librarian, Rare Book and Manuscript Library, Columbia University).
On the night of 22 February 1797, 1,400 French soldiers under the command of Irish-American Colonel William Tate disembarked from their ships and landed on the shores of Carregwastad Head in Pembrokeshire. This bold and audacious invasion was actually intended as a diversion to draw British forces away from a much larger planned French landing in Ireland in support of the Society of United Irishmen. It was also hoped that it would cause an uprising against the British government amongst the Welsh population.
Having successfully landed and taken up defensive positions, Colonel Tate and his force now faced John Campbell, 1st Baron Cawdor, and about 600 men from the local militias and yeomanry. Cawdor set up headquarters at the town of Fishguard with intentions to eventually attack the French. Despite outnumbering Cawdor’s forces by over two to one, French indiscipline resulted in the desertion of a large portion of the invasion force, and Tate believed that Cawdor had more men than he actually did. This may have been due to sightings of large groups of women in Welsh national dress, which from a distance could resemble the red uniforms of British soldiers.
In the course of these events one local woman became a Welsh folk hero. Jemima Nicholas, a local cobbler, is alleged to have approached twelve French soldiers armed only with a pitchfork, forcing them to surrender and marching them to Fishguard. While there is little contemporary evidence to support this, her deeds were recorded on her tombstone and she was referred to as ‘Jemima the Great’ in her burial record.
With his situation quickly deteriorating, Colonel Tate quickly attempted to negotiate terms for surrender ‘upon the principles of humanity’. Cawdor replied that due to the ‘superiority of the forces under [his] command which is hourly increasing’, he would only accept a full, unconditional surrender. Unaware that Cawdor was actually bluffing, Tate accepted on 24 February and was taken prisoner with his remaining troops.
‘The Battle of Fishguard’ as it came to be known, never really materialised to be a battle at all, and casualties were very light on both sides. The landings in Ireland were called off due to bad weather and the hope of a Welsh uprising proved to be unfounded. 22 February 1797 was to be the last time that mainland Britain was invaded.
The letters and print below come from the Lord Curzon collection of Napoleonic ephemera.
“Ligatus is proud to announce the launch of the Language of Binding online thesaurus of
bookbinding terms, which was celebrated with a one-day event in the Chelsea College of Arts (University of the Arts London) in collaboration with CERL on 23 June, 2015.
Ligatus is a research centre of the University of the Arts London with projects in libraries and archives and with a particular interest in historic bookbinding. The Language of Binding thesaurus is the result of our long experience with historic bookbindings, but has been greatly assisted by contributions from an international group of bookbinding experts and book conservators. This work was made possible by a Networking Grant from the Arts and Humanities Research Council in the UK.
The aim of the thesaurus is to present a consistent vocabulary for the use of all those who work with early bindings, built wherever possible on existing resources, but adapted for use in an on-line hierarchical environment that will allow terms that are not known to a user to be found.”
As inspiration, consider a volume which was part of two different collections formed over a century apart. Edmund Malone (1741-1812) developed from the 1770s onwards a fine collection of early imprints of Shakespeare’s works. Several of Malone’s books and notebooks contain handwritten remarks about the early editions he had already secured, or hoped to buy, and estimations of how his collection outshone others. This was not just trophy-hunting. Malone’s collection supported him in a lifetime of scholarship and literary disputation on the subject of Shakespeare. Some time before 1805, Malone wrote that he was still hunting the first (1593) edition of Shakespeare’s poem, Venus and Adonis. It must have been with great satisfaction — and, yes, the trophy-hunting does shine through here — that he was able to add a note when he paid ‘the enormous price of twenty-five pounds’ to acquire the unique surviving copy from a Manchester bookseller.
This particular book had previously belonged in the collection owned by Frances Wolfreston (1607-1677), and kept at her home, Statfold Hall, Staffordshire. She wrote her name on the title page, ‘frances wolfreston, hor bouk’. In her will, Wolfreston left her ‘phisike’ books and ‘godly’ books to her third son, and specified that all the rest, including a rich collection of Elizabethan and 17th-century poetry and drama, could be loaned to any of her sons or daughters to read, but that her son should ensure they were returned, and he ‘shall carefully keepe them together’.* Aided by the inscriptions, her children would remember that these were her books. The Venus and Adonis was not the only unique survival preserved in this collection. See the ‘Wynken de Worde’ blogpost on Frances Wolfreston as a collector, here.
The spirit of the Colin Franklin Prize recognizes that book collections fulfil personal aims and express intellectual journeys for readers, and that collections are also for the future; the current rarity, age, or monetary value are not relevant criteria in the judging of the prize.
*See the article by Paul Morgan, “Frances Wolfreston and ‘Hor Bouks’: A Seventeenth-Century Woman Book-Collector”, The Library, Sixth series, Vol. XI, No. 3, September 1989.
My research at the Bodleian focused on printed books held in the Savilian Library, a collection of works on mathematics, astronomy, geometry and applied sciences collected by the early Savilian Professors, including Henry Savile, Christopher Wren and John Wallis. I was especially interested in annotations inscribed in the collection’s books for information they provide into the scholarly practices of early modern mathematical reading. Some features of this reading observed in the Savilian books include summarizing an author’s argument, correcting errors, following along with mathematical proofs, and redrawing and/ or modifying diagrams while reading. Because the Savilian collection contains the printed books shared by a community of early modern mathematicians, the annotations in the books provide information as to how a scholarly community shared practices amongst its members and how these practices changed over time.
For more on Renee’s research and time at the Bodleian Libraries, watch this video.
For news on Visiting Scholars at the Bodleian, click here.
On Monday 14 June, Dr. Alexandra Franklin calmly peeled back layers of a ‘human head’ in the Pitt Rivers lecture room. The ‘head’ in question was an instructive illustration from Bartisch’s rare Opthalmodouleia, a sixteenth century treatise on diseases of the eye from the Bodleian Libraries’ special collections. As she pulled back layers of paper under the document camera, Franklin challenged her audience to imagine the challenge of describing and digitizing the page. These were the questions at the centre of Franklin’s presentation, which was part of a weeklong Digital Humanities training program.
Running from 14 – 18 July, the Digital Humanities at Oxford Summer School is an annual weeklong program exploring the history and future of the digital humanities. In addition to interaction with the University’s experts through lectures, demonstrations, and workshops, participants interact with the Bodleian Libraries’ extensive collection. Not despite but because of the program’s focus on the digital humanities, the chance to interface with the material collection was an important one.
As we increasingly move towards the digitization of physical collections, the material objects themselves shape the way we think about the process of description and digitization. Franklin demonstrated this on Monday afternoon in her discussion of eight unusual objects from the Bodleian’s collection.
Each of the objects posed a unique challenge. How, Franklin asked, do we catalogue a religious manuscript illumination that has been nearly effaced by devotional rubbing? What is the effect of describing it simply as ‘damaged’? Or: How do we photograph a page onto which a miniature has been sewn? Franklin posed these questions and more as she invited participants to examine the objects below.
On Friday 20 June, Dr. Marie-Claude Felton stood in front of a type case, composing stick in hand. She was selecting metal type to complete a line that read ‘Oxford, Printed at the Bodleian Printing Office by the Author.’ The ‘Bodleian Printing Office,’ officially known as the Bodleian Hand-Printing Workshop, houses several hand-printing presses, in a temporary home at the Story Museum on Pembroke Street.
What brought Dr. Felton to the printing press on a Friday afternoon? She was there to compose and print a handbill memorializing her recent lecture at the Bodleian. For a historian of publishing practices, this opportunity to work with antique printing technologies was perfectly suited.
Self-Publishing, past and present
Dr. Marie-Claude Felton, one of the Bodleian’s two 2013-4 Royal Bank of Canada Fellows, recently published a book, Maitres de Leurs Ouvrages, focusing on self-publishing in late-eighteenth-century Paris. Her research at the Bodleian expands on this, focusing on self-publishing in Paris, Leipzig, and London –the three main European publishing centres – between 1750 and 1850.
Dr. Felton gave an overview of her past and current research at the Convocation House on 3 June in a lecture titled ‘Masters of Their Own Work.’ She began with an observation about the current state of publishing:
With the growing online book market, especially with the advent of digital publishing and the popular e-readers, one of the more dramatic changes to impact publishing today has been the ability of a growing number of authors to bypass traditional publishers to produce and sell their own books. In fact, for a few years now, self-publishing has been producing more books each year than traditional publishing. This phenomenon naturally raises a number of questions regarding, among other things, the place and role of authors, and the relevance of the booksellers and publishers as cultural mediators and promoters of literature.
These questions, suggested Dr. Felton are not new ones. In her talk, she defined self-publishing before answering the crucial questions ‘who, what, and how?’ Self-publishing was not confined to any one subject or type of author, she said. Interestingly, authors who self-published often sold the books from their homes, which resulted in more direct interaction with their readers. Divided as the artistic enterprise of writing and the professional pursuit of publishing and selling may seem to us now, Dr. Felton suggests that the two were not irreconcilable – that, in fact, many authors fused the two in a variety of ways in the eighteenth century.
Fresh off this lecture, and still immersed in her current research, Dr. Felton tried her hand at ‘self-publishing.’ With the assistance of Dr. Paul Nash, the printing tutor at the Bodleian Hand-Printing Workshop, she composed, set, and printed the sheet below.
As you can see, the first draft is rarely the final draft. Indeed, early proofs almost always contain errors. While some are due to mistakes on the part of the compositor, others result when letters are mistakenly returned to the wrong tray. This often occurs with letters that have similar shapes, which might explain the confusions between h, n, and u, seen here.
‘Book collecting is a growing addiction for me,’ writes Sophie Ridley, the first winner of the Colin Franklin Book Collecting Prize. Funded by Anthony Davis, the award is offered in honour of author, bibliophile, and book collector Colin Franklin, who shared his love for collecting with Oxford’s students, fostering a new generation of collectors. Sophie’s entry was chosen on the basis of the ‘interest, originality, thoughtfulness and creativity’ of her collection and her persistence as a collector.
Sophie began collecting books at age 16, hunting through the book corners of charity shops. Sophie writes of the joy of finding a 1911 copy of the Edwardian ‘Girl’s Own Annual’: ‘It had nothing to do with hairdressing, it was the time travelling that excited.’ Though she began with no particular criteria for collection, her interests soon focused, and she began to collect craft-themed books. Her collection currently has two major themes: ‘The first is the collecting of advice and expertise in lost craft skills. The other, the social history of radical change in attitude towards the crafts, spurred by the Arts and Crafts Movement.’
Sophie has donated several books with the balance of the prize. Those already received are:
Donald Gair and Ian D. Stewart, Courses in Handiwork (London: The Grant Educational Co., 1932), and
Handicraft in the School, vol. I (London, Gresham Publishing Co; Printed at the Villafield Press, Glasgow, by Blackie & Son, undated)