This article provides the first ever consideration of the ways in which the principal publishers of Fulcher’s Ladies’ Memorandum Book and Poetical Miscellany devised a marketable identity defined by topographical illustrative matter. It examines how they adapted the formats of illustration and the design aesthetic of the title over time. The article charts how reviewers characterized the publication and helped to create a reputation for it, as well as what innovations the publishers introduced in order to continuously make their print product appealing. It also studies how Fulcher capitalized on existing plates he had commissioned by reusing them in separately issued collections that assembled the poetry published in his pocket book. Finally, it provides, in the form of an appendix, a listing of the subjects of the illustrations included in Fulcher’s title, as well as the names of the artists and engravers responsible for the production of the plates.
{"title":"<i>Fulcher’s Ladies’ Memorandum Book and Poetical Miscellany</i>, Illustrations, and the Mapping of Format Change","authors":"Sandro Jung","doi":"10.1086/726327","DOIUrl":"https://doi.org/10.1086/726327","url":null,"abstract":"This article provides the first ever consideration of the ways in which the principal publishers of Fulcher’s Ladies’ Memorandum Book and Poetical Miscellany devised a marketable identity defined by topographical illustrative matter. It examines how they adapted the formats of illustration and the design aesthetic of the title over time. The article charts how reviewers characterized the publication and helped to create a reputation for it, as well as what innovations the publishers introduced in order to continuously make their print product appealing. It also studies how Fulcher capitalized on existing plates he had commissioned by reusing them in separately issued collections that assembled the poetry published in his pocket book. Finally, it provides, in the form of an appendix, a listing of the subjects of the illustrations included in Fulcher’s title, as well as the names of the artists and engravers responsible for the production of the plates.","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134994303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There has been debate about the claim that Henry James’s first American edition of Daisy Miller sold twenty thousand copies in a matter of weeks. This note aims to settle that debate by providing evidence in favor of the work’s popularity through an analysis of Harper and Sons’ printing and royalty records, James’s letters, contemporary printing practices, and copies of the books themselves. I identify seven separate distinct impressions of this title printed in the period between its initial publication on September 9, 1878, and October 1881, and I conclude that because of a seven-month gap in the Harper records after the initial print order, there were undoubtedly one or more impressions printed in this period, copies of which have not yet been found. In addition, I show that a $200 check from Harpers to James (a check that has clouded the conversation over the novel’s popularity) was not a royalty payment on Daisy Miller, but payment for the purchase by Harpers of the copyright of James’s story An International Episode. Attached as appendices are details of each of the seven impressions and abstracts from the royalty records.
{"title":"The Printing History of, and Other Matters Related to, Henry James’s First American Edition of <i>Daisy Miller</i>","authors":"David J. Supino","doi":"10.1086/726337","DOIUrl":"https://doi.org/10.1086/726337","url":null,"abstract":"There has been debate about the claim that Henry James’s first American edition of Daisy Miller sold twenty thousand copies in a matter of weeks. This note aims to settle that debate by providing evidence in favor of the work’s popularity through an analysis of Harper and Sons’ printing and royalty records, James’s letters, contemporary printing practices, and copies of the books themselves. I identify seven separate distinct impressions of this title printed in the period between its initial publication on September 9, 1878, and October 1881, and I conclude that because of a seven-month gap in the Harper records after the initial print order, there were undoubtedly one or more impressions printed in this period, copies of which have not yet been found. In addition, I show that a $200 check from Harpers to James (a check that has clouded the conversation over the novel’s popularity) was not a royalty payment on Daisy Miller, but payment for the purchase by Harpers of the copyright of James’s story An International Episode. Attached as appendices are details of each of the seven impressions and abstracts from the royalty records.","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134995476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":<i>Hanji Unfurled: One Journey into Korean Papermaking</i>","authors":"Hwisang Cho","doi":"10.1086/726473","DOIUrl":"https://doi.org/10.1086/726473","url":null,"abstract":"","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134994437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front Matter","authors":"","doi":"10.1086/727964","DOIUrl":"https://doi.org/10.1086/727964","url":null,"abstract":"","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134994442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":<i>Inessential Colors: Architecture on Paper in Early Modern Europe</i>","authors":"Claudia Funke","doi":"10.1086/726465","DOIUrl":"https://doi.org/10.1086/726465","url":null,"abstract":"","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"109 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134994454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous articleNext article No AccessReviewsDouglas Fordham. Aquatint Worlds: Travel, Print, and Empire 1770–1820. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2019. xi + 315 pp. Illus. $60.00. Hardcover (ISBN 9781913107048).Joan M. FriedmanJoan M. Friedman Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 117, Number 3September 2023 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/726470 For permission to reuse, please contact [email protected].PDF download Crossref reports no articles citing this article.
上一篇文章下一篇文章没有访问评论道格拉斯·福特汉姆。水上印刷世界:旅行、印刷和帝国(1770-1820)纽黑文:耶鲁大学出版社，保罗·梅隆英国艺术研究中心，2019。xi + 315页。60.00美元。精装本(ISBN 9781913107048)。Joan M. Friedman搜索本文作者的更多文章PDFPDF +全文添加到收藏列表下载CitationTrack citationspermissions转载分享在facebook twitter linkedinredditemailprint sectionsmoredetailsfigures参考文献引用于The Papers of The Bibliographical Society of America卷117，编号3September 2023出版于美国书目学会文章DOIhttps://doi.org/10.1086/726470请联系[email protected]. pdf下载Crossref报告没有引用本文的文章。
{"title":":<i>Aquatint Worlds: Travel, Print, and Empire 1770–1820</i>","authors":"Joan M. Friedman","doi":"10.1086/726470","DOIUrl":"https://doi.org/10.1086/726470","url":null,"abstract":"Previous articleNext article No AccessReviewsDouglas Fordham. Aquatint Worlds: Travel, Print, and Empire 1770–1820. New Haven: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2019. xi + 315 pp. Illus. $60.00. Hardcover (ISBN 9781913107048).Joan M. FriedmanJoan M. Friedman Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 117, Number 3September 2023 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/726470 For permission to reuse, please contact [email protected].PDF download Crossref reports no articles citing this article.","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134995470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":":<i>The Printing and the Printers of the “Book of Common Prayer,” 1549–1561</i>","authors":"Cyndia Susan Clegg","doi":"10.1086/726466","DOIUrl":"https://doi.org/10.1086/726466","url":null,"abstract":"","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"130 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134994280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the printed texts of early modern plays, scholars have observed a number of lines bracketed by a set of duplicate lines. In 1918, J. Dover Wilson called this type of textual error a “repetition bracket” and argued that it is evidence for the insertion of additional text. In 1930, W. W. Greg adduced pieces of evidence in early modern playhouse manuscripts in support of Wilson’s addition (or “plus”) hypothesis, but he also proposed an omission (or “minus”) hypothesis. However, Greg’s footnoted reference to a single instance in The Second Maiden’s Tragedy was his sole empirical evidence for the latter hypothesis. In this article, I examine Greg’s evidence and review fifty-one extant early modern playhouse manuscripts to argue that Greg’s omission hypothesis is untenable. Duplications in manuscripts are associated with false starts, marginal additions, or text on addition leaves. Based on thorough study of these manuscripts, I conclude that repetition brackets in early printings are a strong sign of revision and not omission. Included in an appendix is a list of all omission and addition markings in extant manuscripts.
{"title":"Revision and Duplication in Early Modern Plays: A Reevaluation of the “Minus” Hypothesis","authors":"Heejin Kim","doi":"10.1086/726387","DOIUrl":"https://doi.org/10.1086/726387","url":null,"abstract":"In the printed texts of early modern plays, scholars have observed a number of lines bracketed by a set of duplicate lines. In 1918, J. Dover Wilson called this type of textual error a “repetition bracket” and argued that it is evidence for the insertion of additional text. In 1930, W. W. Greg adduced pieces of evidence in early modern playhouse manuscripts in support of Wilson’s addition (or “plus”) hypothesis, but he also proposed an omission (or “minus”) hypothesis. However, Greg’s footnoted reference to a single instance in The Second Maiden’s Tragedy was his sole empirical evidence for the latter hypothesis. In this article, I examine Greg’s evidence and review fifty-one extant early modern playhouse manuscripts to argue that Greg’s omission hypothesis is untenable. Duplications in manuscripts are associated with false starts, marginal additions, or text on addition leaves. Based on thorough study of these manuscripts, I conclude that repetition brackets in early printings are a strong sign of revision and not omission. Included in an appendix is a list of all omission and addition markings in extant manuscripts.","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134995462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1912, the John Carter Brown Library (JCB) of Providence, Rhode Island, acquired a machine that would have an “unexpected influence” on library operations. The Photostat was a copying camera that could be used to take and print photographs easily and on site. For the first time, libraries could replicate not just select pages, but entire books. The introduction of this technology to special collections would have, in the words of one user, a revolutionary effect on research and bibliography.Through the lens of the photostat, this article illuminates how librarians in the United States established standards of accuracy for textual copies at the beginning of the twentieth century. It centers on the case of early Americana collections, such as the JCB, which were among the first libraries in the US to photostat historical documents. Motivated by the needs of individual researchers as well as by a national interest in standardizing American history and preserving Indigenous knowledge, these libraries began experimenting with the photostat through the replication of Spanish-, French-, and Indigenous-language documents. As a result, the standards they developed for large scale replication originated in efforts to preserve Indigenous knowledge and to control the international circulation of information. As this article will show, these standards cannot be disentangled from the imperial and post-colonial power structures out of which they emerged.
{"title":"An Unexpected Influence: Photostats in Special Collections Libraries","authors":"Hannah Alpert-Abrams","doi":"10.1086/726468","DOIUrl":"https://doi.org/10.1086/726468","url":null,"abstract":"In 1912, the John Carter Brown Library (JCB) of Providence, Rhode Island, acquired a machine that would have an “unexpected influence” on library operations. The Photostat was a copying camera that could be used to take and print photographs easily and on site. For the first time, libraries could replicate not just select pages, but entire books. The introduction of this technology to special collections would have, in the words of one user, a revolutionary effect on research and bibliography.Through the lens of the photostat, this article illuminates how librarians in the United States established standards of accuracy for textual copies at the beginning of the twentieth century. It centers on the case of early Americana collections, such as the JCB, which were among the first libraries in the US to photostat historical documents. Motivated by the needs of individual researchers as well as by a national interest in standardizing American history and preserving Indigenous knowledge, these libraries began experimenting with the photostat through the replication of Spanish-, French-, and Indigenous-language documents. As a result, the standards they developed for large scale replication originated in efforts to preserve Indigenous knowledge and to control the international circulation of information. As this article will show, these standards cannot be disentangled from the imperial and post-colonial power structures out of which they emerged.","PeriodicalId":22928,"journal":{"name":"The Papers of the Bibliographical Society of America","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134995301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Previous articleNext article No AccessReviewsZachary Lesser. Ghosts, Holes, Rips and Scrapes: Shakespeare in 1619, Bibliography in the Longue Durée. Philadelphia: University of Pennsylvania Press, 2019. 232 pp. $49.95. Hardcover (ISBN 9780812252941).Brandi K. AdamsBrandi K. Adams Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 117, Number 3September 2023 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/726464 For permission to reuse, please contact [email protected].PDF download Crossref reports no articles citing this article.
上一篇文章下一篇文章无AccessReviewsZachary Lesser。鬼、洞、裂口和刮痕:1619年的莎士比亚，《Longue dur参考书目》。费城:宾夕法尼亚大学出版社，2019。232页，49.95美元。精装(ISBN 9780812252941)。Brandi K. Adams搜索本文作者的更多文章PDFPDF plus全文添加到收藏列表下载CitationTrack citationspermissions转载分享在facebook twitter linkedinredditemailprint sectionsmoredetailsfigures参考文献引用于The Papers of The Bibliographical Society of America卷117，编号3September 2023出版于美国书目学会文章DOIhttps://doi.org/10.1086/726464请联系[email protected]. pdf下载Crossref报告没有引用本文的文章。
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