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The article the life of the late priest Martin Luther in relation to author Andrew Pettegree's book "Brand Luther: How an Unheralded Monk Turned His Small Town into a Center of Publishing, Made Himself the Most Famous Man in Europe--And Started the Protestant Reformation" and Luther's impact on the printing industry in Germany. Printers in Wittenberg, Germany in 1502-1517 are addressed, along with Luther's ability to communicate clearly with the public.

The article discusses and presents images of printers’ devices, or designs or trademarks of printers, depicted in library architecture, noting their use in windows, ceilings, and exteriors. It comments on the American Craftsman architectural style that flourished in the U.S. between 1910 and 1925. Specific examples pictured include the device of printer Luca-Antonio Giunta of Venice, Italy at the Mansueto Library at the University of Chicago, the device of printer Ottaviano Scotto of Venice at Allen Hall at the University of Oregon, and the device of printer William Caxton on a window in the Paster Reading Room at the Folger Shakespeare Library.

A John Day is perhaps best known as the printer of John Foxe's Actes and Monuments, usually referred to as Foxe's Book of Martyrs. Other lucrative Elizabethan patents held by John Day, such as those for the Metrical Psalms, the ABC, and the Catechism, ensured considerable financial return and a revered, if not envied, status among Elizabethan printers. Only the Queen's Printer, Christopher Barker, could compare with Day's volume of output; each man printed in excess of 350 works. Scholarship has primarily focused upon Day's Edwardian and Elizabethan activities. Day's whereabouts and activities have been debated and it has been assumed that any information about Day during Mary's reign has been lost. However, by examining new evidence, new light may be cast not only on Day's Marian activities, but also on clandestine printing in Tudor England and on William Cecil. [ABSTRACT FROM AUTHOR]

The article discusses printing in Mondovi, Italy during the 16th century with a particular focus on the printers Leonardo Torrentino and his father Lorenzo Torrentino. A brief profile is provided of Lorenzo Torrentino, including printing shop and his son Leonardo's publication of over thirty titles, is provided. The role that the Savoy government played in printing, including Duke Emanuel-Philibert of Savoy's (which was a region of southeastern France and northwestern Italy's) request for Lorenzo Torrentino to start a printing shop in Mondovi, is discussed.

A biography is presented of Venetian publisher Bernardino Giolito de Ferrari, also known as Bernardino Stagnino. The author discusses the works he printed from 1483 to 1538, explores how he impacted the history of book publishing by selecting works that would be interesting to buyers and by developing deluxe versions of texts, and analyzes the design of his signature mark known as a printer device.

The article discusses the cover illustration of a fox, a reproduction of a printer's mark from the 18th-century Italian publishing firm Lelio dalla Volpe. The history of the firm is then discussed, from its founding in Bologna, Italy by Lelio dalla Volpe in 1720, to its demise in 1794. The company businesses are discussed, including a print shop, book shop, and paper store, as is its rise to prominence as a regional publisher. Firm best-sellers such as "Bertoldo e Bertoldino" are also discussed.

The article discusses the device used by publisher Charlotte Guillard, which appeared on the cover of the journal. It notes that it is a combination of the devices used by her husbands and that it includes two lions, a cross, a shield, and a sun. Biographical information on Guillard, one of the first female printers to distinguish herself, is presented. Her success as an entrepreneur and the respect granted her by her staff and by the printing community is also explored. The article notes that much of Gullard's business involved the academics living in the Latin Quarter of Paris, France, monasteries, and religious libraries.

The Genevan printer and bookseller Jean-Louis Dufour (1656-89) had a brief career, interrupted abruptly by a bankruptcy. He succeeded nevertheless during the first three years of his activity in finding his place in the world of the Geneva book trade. By adopting an original policy in the management of his activity, Dufour published various Latin translations, which at the time was the lingua franca of scholars and intellectuals in Europe. Among these translations we find the famous masterpiece of Nicolas Malebranche, De la Recherche de la vérité. The present study explores the history of this printer, his business strategies and his intellectual preferences through two main documents: a book sale catalogue of 1683 and the inventory of vacant goods established after his bankruptcy. In addition, this study devotes special attention to Dufour’s translation of De la Recherche de la vérité to show how this initiative contributed to the spread of Malebranche’s philosophy. [ABSTRACT FROM AUTHOR]

The article discusses whether the manuscript of Brut's Chronicle, MS HM I36, is the printer's copy of publisher-printer William Caxton's first edition of the book "The Chronicles of the Land of England of 1480." Topics discussed include the relationship between the manuscript and the printed book, the production of Caxton's book by setting and printing by formes, and the modernization of Caxton's printing house.

The article discusses the dating of a Geneva Bible discovered at Lewis & Clark College. Topics include differences between the 1599 and 1638 editions of the Geneva Bible, characteristics of Bibles by printer Jan Fredericksz Stam, and exports of Bibles to England from printers in the Netherlands such as Stam.

The article discusses the pre-history of the printing industry in Cuba which included the earliest printers of Cuba Juan Carlos Habré and Francisco José de Paula. Topics include the economic conditions and social status of Paula and Habré, documents related to both printers which show that they were not penniless, and the reasons behind the setting up of the printing industry in Havana, Cuba.

The article discusses the printing work and the collaboration between the Elizabethan printers John Danter and Edward Allde. Topics include the books and manuscripts that these printers produced including the printing of poet William Shakespeare's "Romeo and Juliet", the irregular printing activities of Danter, and bibliographical evidences on the printing of books to identify their printers.

The article offers information on the Consortium of European Research Libraries (CERL) workshop “Signa vides – Researching and recording printers‘ devices: current activities and new perspectives” held from March 17-18, 2015, organized by scholars such as Anja Wolkenhauer, Michaela Scheibe, and Andreas Fingernagel. Topics discussed include the history of European printers' marks, databases on the history of Italian printing, and a networked web resource on Dutch printers' devices.

Charles Estienne is the most versatile member of the French humanist dynasty of printers, the Estiennes, yet he has suffered from an unfavourable comparison with his father and brothers. This article accords him, at last, the respect he deserves. He authored a series of short compilations for young students between 1536 and 1540, printed in Paris and Lyon. These booklets, organized like beginners' dictionaries, propose a system of bridges between languages: Greek, Latin, and French. Presented as summaries, they can be read as attempts to structure and circulate knowledge according to a new 'printed' model, and they were reprinted and rearranged by Estienne in the 1550s, after he himself became a printer. His anatomical treatise, first published in Latin (1545) then in French (1546), also appears like a system of names and languages. As the translator of texts representing a wide variety of genres, Estienne plays on the different registers of the annotated edition, summary, compilation, and translation to effectuate the same trope: vulgarization, meaning accessibility for a great number of readers as well as translation into the vernacular. Similarly, the printing press addresses a great number of potential readers. The study enquires whether the technology of this first form of vulgarization calls for a second one, a 'vernacularization', whether printing also implies editing, and whether annotations and editions turn into translations. Taking Charles Estienne, the one-man printer, editor, translator and annotator as a case study, I explore the meaning of 'vulgarization' in the typographical workshop. [ABSTRACT FROM AUTHOR]

The madrilenian printer Andrés García de la Iglesia has, among his works, some important books for the study of the 17th century theatre. Considering his whole production, we may find the Once entremeses, a specially relevant volume held in the Biblioteca Nacional de España (R/31254), which collects factitiously several entremeses. We propose a literary and a bibliographical examination of these pieces, printed in broadsheets in 1659, in order to compare them with the dramatic scene of the 17th century. Once analyzed physically and textually, we will try to reach some conclusions about the printed reception of drama in the specific case of Andrés García de la Iglesia's books. [ABSTRACT FROM AUTHOR]

The article discusses the books published at the Dicey-Marshall presses by printers William Dicey and Richard Marshall in 18th century England, focusing on the role of the men in the book trade. Other topics include misconceptions about Dicey and Marshall including where and when they started printing, the printing of chapbooks by the presses, and the different printing methods used including intaglio, relief, and woodcut along with traditional letterpress printing.

This paper concerns the identification of the hitherto unknown printers of the works of Benedictus de Spinoza (1632-77). For centuries the identity of these printers has remained a mystery. The publisher Jan Rieuwertsz, or the printer Christoffel Cunradus, were often mistakenly mentioned as printer of the works of the seventeenth-century Dutch philosopher. These assumptions are incorrect. Despite several studies published in the last decades, the true identity of the printer was still unknown. In this paper we will describe how we were able to identify Spinoza's anonymous printers by means of analytical bibliography. The identity of printers can be established by their usage of unique printing types, initials and ornaments. By comparing printing materials of known printers to unidentified samples, anonymous works can be ascribed to a certain printer. In seventeenth-century books a decorated initial is often used to start the text This initial belongs to a certain printer and by comparing different prints of similar initials in detail, small differences may be found. These differences can be caused by damages of the initial concerned, such as small cracks. If these differences are consistent over different prints, one can ascribe certain works to the same printer. By such research the Amsterdam-based printers Daniel Bakkamude and Herman Aeltsz can be identified as the printers of the two earliest published works of Spinoza. His most famous works, Tractatus Theologico-politicus and Opera Posthuma (including the Ethica), were printed by another Amsterdam-based printer. Israël de Paull (1632-80). [ABSTRACT FROM AUTHOR]

Although Gerrit Harmansz, Israël de Pauli and their successors are almost unknown in the history of the book and only 20 known publications bear their names, they operated an important Amsterdam printing office for about fifty years. This article provides a detailed account of the masters of the printing office, its workmen as far as we can identify them, the addresses where it operated and the books and other printed matter that can be attributed to the printing office based at least partly on internal or external documentary evidence. It also illustrates all printing types, fleurons, woodcut or duplicated woodcut ornaments and initials in these publications, and gives further information about the origins of the printing types. This provides a basis for identifying the printing office's extensive and in many cases controversial undocumented work. [ABSTRACT FROM AUTHOR]

On 19 April 1684, Pedro Disses, former servant of the house of don Juan José of Austria, presented a report to the Diputación General del Reino de Castilla in which he offered the series of punches he had made, and could continue making, for the cutting of typographical molds. In doing so, he hoped to receive an official commission to continue his work; something which, given the difficulties encountered in printing at the time due to the absence of such instruments, he considered vital. The present article, accompanied by the relevant documentation, analyses the successive steps in the relationship between Pedro Disses and various Castilian institutions up to the 14 January 1690 when, following the concession of royal approval for Disses’ project, the Cámara de Castilla requested that the king order on-going assistance for Disses in the light of the importance of his work. Amongst the documentation analysed here, of particular importance is the the report of the Madrid printer Luis Antonio de Bedmar on the official meeting with the printers and Disses in October 1685. Bedmar reports on, and praises, the examples of letrerías presented by Disses and describes in somewhat exaggerated fashion, the critical situation of printing in Madrid, referring to the lack of punches and molds which would allow the printers to renew their typographies. [ABSTRACT FROM PUBLISHER]

The three generations of the Cromberger family were printers, publishers and booksellers largely in Seville. They were enterprising businessmen and women who ran the most important printing office in Spain during the first half of the sixteenth century, a period when Seville was the principal centre for book production and distribution in the Iberian Peninsula. This was before the centre of gravity of Spanish printing shifted to Salamanca and of the trade to Medina del Campo. This article records and describes twenty extremely rare Seville editions printed, or possibly printed, by the Cromberger press and nowadays conserved in a wide variety of collections spanning two continents. The books described testify to the diversity of the Crombergers’ production (primarily of religious works, but also of practical manuals, books of entertainment, etc.); such diversity tells us much about the state of the printing industry in sixteenth-century Spain and the strategies used by leading and innovative printers there to stimulate and satisfy demand. It transpires from the study of the editions described in this article that when the press was in the hands of Brígida Maldonado, who had married into the Cromberger dynasty, it was particularly active and entrepreneurial. [ABSTRACT FROM PUBLISHER]

A.-J. Guibert's Bibliographie des oeuvres de Jean Racine publiées au XVIIe siècle et oeuvres posthumes (Paris 1968) lists a collected 'Oeuvres de Racine. Nouvelle édition' in two volumes 12° with imprint 'A Brusselles, chez George de Backer', 1700, of which Guibert was unable to trace any copies. The preceding entry in the bibliography is for another 'Nouvelle édition' with imprint 'A Paris, chez Jean Pralart', 1699-1700, also in two volumes 12°, and Guibert describes the copy at Versailles. A few copies of De Backer's edition exist in libraries in the UK. This article demonstrates that the Paris imprint is fictitious and that these two 'editions' are in fact two issues of the same edition, printed by George de Backer in Brussels. Both issues exist in different states, and the article attempts to define their relationships. The sole rights to print Racine's works in the Habsburg jurisdiction were awarded to De Backer in 1694 for nine years. The article suggests reasons for the long delay in starting the work and considers the problems faced by the relatively young and inexperienced De Backer and the measures he took which may have led to the different states. [ABSTRACT FROM AUTHOR]

This article examines the evidence regarding the printing of John Milton's Tetrachordon (1645), the third in the author's series of divorce tracts. This work appeared without a printer's name, thus contravening the 1643 Licensing Order. While it has long been understood that Tetrachordon was printed collaboratively, this article questions the common attribution to the printers Samuel Simmons and Thomas Paine, who had printed The Doctrine and Discipline of Divorce (1643), and introduces the possibility that Francis Neile had a hand in the work, and that printing likely involved a network of printers working together. Exploring the forensic evidence of type, the complex printing contexts of Milton's divorce writings, and examining the unstable political identities of printers also brings to light Milton's long association with news-men. Further, the reappearance of Tetrachordon in John Starkey's book catalogues from the 1670s is addressed. [ABSTRACT FROM PUBLISHER]

This paper identifies John Darby of Bartholomew Close as the printer of the 1715 Tonson edition of the Works of Edmund Spenser, and the third edition of Edward Young's A Poem on the Last Day. The identifications are based on the evidence of printers' flowers. It is shown that composed arrangements of printers' flowers were sometimes kept as standing type and used in the printing of multiple works; the fact that this can allow unknown printers to be identified is explained and demonstrated for the first time. The collation of arrangements of printers' flowers, it is suggested, could be used more extensively in the future to gain a fuller picture of John Darby's career, and could potentially be applied to the works of other printers. [ABSTRACT FROM PUBLISHER]

The article discusses 1793 to 1795 litigation between eighteenth-century printer John Marshall and his employee John Evans. It reports that the printing business of John Marshall and Company operated after the death of founder Richard Marshall at No. 4 Aldermary Churchyard in London, England, and specialized in children's literature in addition to opening a second location featuring street literature such as ballads, chapbooks, and popular prints. The publication of the popular book "Cheap Repository Tracts," by Hannah More is also considered.

This article examines the multiple resonances of the Lucretia narrative in the 1538 romance penned by Hélisenne de Crenne, the Angoysses douloureuses qui procedent d'amours. Although the work is famous for its representation of female love as sensual, irrational and tragic (qualities shared by the example of Dido) the references to Lucretia enabled readers to activate moralizing and sententious discourses that supplemented and in some cases modified the meaning of the text. Whilst certain comparisons between the protagonist and Lucretia seek to foreground the differences between sinful desire and exemplary conduct, other references to the exemplar extend beyond authorial intention, demonstrating the mulitple extra-textual agents which create meaning in early modern books. This is true of a woodcut of Lucretia possibly reused from an unrelated work, which explicitly represents the exemplar's suicide where the text itself avoids this aspect of her story that was not recommended to the contemporary female readership. Although their primary function may have been to act as a 'moral yardstick' by which the reader judged the actions of the female protagonist, the inclusions of Lucretia ultimately permit alternative readings of the work as a celebration rather than a condemnation of adulterous love. [ABSTRACT FROM AUTHOR]

This project aims at studying various aspects of print culture present in the realm of books and reading in Argentina since the may revolution until the mid twentieth century, especially from the point of view of the new History of culture and its relationship with Library Science and Publishing. Documents that characteristically belong to the fields of Institutional History and Micro-history will be analyzed. These include: edicts and announcements, advertisements, newspapers and magazines, typographic fonts and impositions, the bibliographic materials that influenced the political thought of the time, printers' records and their relationship with the world of publishing as found in publishers' archives, among other "lesser printed matter" that Political History has ignored so far. A series of disciplines and their convergence are involved: literary studies, gender studies, library science studies, historic studies, and political science studies. The analysis and intercrossing of these domains, typical of the Humanities and the Social Sciences, will frame the object of study within a wider discipline: the History of Publishing and Reading in Argentina since 1810 until 1950. The methodology of apprehending the diverse cultural records, without leaving aside quantitative approaches, will allow a qualitative study of these facts, and, in some occasions, the application of the so-called "trace method", in the reconstruction of textual representations and practices. In the same way, this research will focus on citizens' participation, especially in the public and institutional spheres in urban settings, where the polysemantic structure of print culture is manifested more intensely. Within this context, the project aims at giving wider visibility the extraordinary richness of print culture of the period being studied, and, on the other hand, at linking the world of publishing with the world of reading and its main actors: readers and their abilities to apprehend print discourse. [ABSTRACT FROM AUTHOR]

The article discusses nine manuscript copies of printed books produced between the sixteenth and twentieth centuries. Each case is examined with a view to determining why the copy was made. Two of the examples discussed are manuals for engravers and printers. [ABSTRACT FROM AUTHOR]

The article discusses English Royal printer Richard Pynson (c.1449-1529/30), author Alexander Barclay (c. 1484-1552), and printer Robert Redman (d. 1540). Pynson was primarily a printer of royal statutes and proclamations, notable for the high quality of his work. He had a longstanding relationship with author and translator Barclay which resulted in the printing of several Latin texts with Barclay's translations or adaptations printed alongside. Pynson's relationship with rival printer Redman is explored and examples of Redman's use of Pynson's printing devices indicate Redman purchased part of Pynson's business after his death.

The article discusses the print history of the poem "Buik of the most noble and valiant Conquerour Alexander the grit," a partial translation of the poem "Roman D'Alexandre" by Alexandre de Paris, printed by Alexander Arbuthnet in 1580. Particular focus is given to Arbuthnet's career and to evidence surrounding the volume's readers. Details are presented related to Arbuthnet's business partnership with printer and bookseller Thomas Bassandyne in printing an edition of the Geneva Bible and a later possible partnership with printer Henry Charteris. Also discussed are subscription book publishing, marginalia found in the 1580 edition, and the possible ownership of the book by the Ramsay family.

The article, an appendix to the author's article "Printers' Instructions to Binders" published in the first 2010 issue of the journal, discusses instructions from printers to binders regarding the replacement (cancellation) of pages in the late 18th-century German periodical "Allgemeine Deutsche Bibliothek."

One of the most significant German-language printers in Transylvania was Nicolaus Muller. He published mainly religious literature, hymnals, etc., for the Saxon population of the region. Most of the writings came directly from Germany; others were written by local clergy or Muller. He also published at least one English puritan work in German translation (Lewis Bayly: Praxis pietatis).

The article discusses illustrations of the novels of Sir Walter Scott, with particular focus given to published collections of the author's work. Illustrations inspired by the "Waverly" series of novels by Scott, Scott's concern that illustrations representing his work contain Scottish characteristics, and illustrations produced in Scotland and in London, England are examined. The use of illustrations created to accompany Scott's work but used to illustrate texts by other authors is discussed, and conflicts between Scottish printers and printers based in London are explored.

The article focuses on the will of English printer Wynkyn de Worde of Saint Bride's parish in London, England. The will only exists in the form of five summaries written between 1812 and 1925, the original copy can no longer found. Witnesses to de Worde's will included attorney John Studde, a wealthy neighbor of the same parish; Thomas Cooke, possibly a haberdasher; and stationer John Tourner. It considers bequests to apprentices, servants, and the local parish and analyzes the will's wording in comparison with contemporary wills regarding de Worde's state of mind, church donations, and guild bequests.

The article reports on a handwriting sample uncovered for Thomas Cotes, seventeenth-century stationer of London, England. He was notable for his printings of plays, as well as for serving as parish clerk for his local church of St Giles Cripplegate. In October 1627, an entry was made in the church burial records for Cotes' wife Margret, which notes the wedding date of October 1606 and was written by Thomas.

The article presents an exploration into the historical evidence pertaining to the exact death date of the English printer Henry Woodfall. The literary historical significance of determining the exact date of Woodfall's death is explained. An overview of documents outlining his final days is given and it is suggested that March 4, 1769 is the exact date.