Erin Blake
How (not) to mend a tear
Going through a box of early 19th-century playbills recently, I was puzzled to see something paper-clipped to an area of loss on the right-hand edge of a bill, as if someone had attached a little note to it: Playbill for…
Learning to "read" old paper
Have you ever wished there were a summer camp for bookish grown-ups? A retreat where we can spend a week amongst our own and not worry about being teased for loving libraries or getting hit in the glasses by a…
Colored print or color print?
Consider the following physical description in Hamnet, the Folger’s online catalog (it’s for an edition of Anna Jameson’s Characteristics of women, also published as Shakespeare’s heroines): xl, 340 p., leaves of plates : col. ill. ; 28 cm. The first…
News of St. Bartholomew's Day, 1572
When the Swann Auction Gallery catalog for the March 15 sale crossed my desk, I flipped through as usual, looking for things that might fit the Folger’s collection development policy. I wasn’t paying too much attention, since it was primarily…
Fore-edge paintings
Following up on Sarah’s What’s that? post from last week, full marks to everyone who said “fore-edge painting” (also acceptable, though less to the point, “1631 x 401 pixel digital image” and “Wilton House”). Here’s the same image, not cropped…
The road to Acquisitions Night 2012
This Thursday is Acquisitions Night, the annual benefit to support Folger collections. It’s something of a three-ring circus: buffet dinner in the Great Hall, conservation demonstrations at one end of the Paster Reading Room, and—in the center ring—dozens of newly-acquired…
Woodcut, engraving, or what?
When a reader needs to verify the printmaking technique behind an early modern book illustration, I’m always happy to grab my favorite 10x loupe and head up to the Reading Room to have a closer look. By popular request, here…
Wagner and Shakespeare meet in Bayreuth
Back in August, I posted about a unique artists’ book from 1995. Today, I’d like to showcase an example from the other end of the twentieth century, an artists’ book created in 1908 by American painter Pinckney Marcius-Simons (1867–1909). In…
A Trip to the Fair
Every November, the International Fine Print Dealers’ Association (IFPDA) holds a fair at the Park Avenue Armory in Manhattan. Colloquially known as the New York Print Fair, almost 100 dealers from the US, Canada, and Europe bring a selection from…
A ghost for Halloween
I’d like to say that I cleverly scheduled the installation of Benjamin Wilson’s William Powell as Hamlet encountering the Ghost for last Friday so that the Founders’ Room would have a ghost in time for Halloween. Unfortunately, there were witnesses…
Copperplate illustrations and the question of quality
While looking at early modern book illustration in the undergraduate seminar on Friday, we got to talking about the false assumption that copperplate illustrations always indicate better-quality publications, while woodcuts are inherently lowly. True, the raw material is more expensive:…
Sue Doggett's The Tempest, a unique artists' book
Conventional wisdom sets up two distinct experiences of Shakespeare’s plays: readers encountering a text, and audiences encountering a performance. The Folger recently acquired a 1995 version of The Tempest by London book artist Sue Doggett that complicates the distinction. Readers…