Search

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 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 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 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 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.