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Georgia Brady Barnhill's book, "Gems of Art on Paper: Illustrated American Fiction and Poetry, 1765–1885," provides a comprehensive and detailed account of the growth of illustrated American fiction and poetry. Barnhill explores the development of the illustration industry, from early experiments to technological advancements, and the evolution of illustrators and craftspeople. The book focuses on a neglected period of book illustration and offers a holistic view of mainstream literary illustration, discussing specific editions, illustration technologies, and important creators. Barnhill's work is a valuable resource for scholars and researchers interested in the history of book illustration in America. [Extracted from the article]

Da Rold likewise addresses the preference for parchment among the Italian humanists, who used paper as a disposable surface suitable for copying texts I in situ i , ultimately to be committed to parchment. In keeping with the interdisciplinary nature of her subject, Da Rold brings to bear a wide range of approaches, paleographical, codicological, as well as economic and literary analysis, and the result will be of interest to medievalists and media historians as well as curators and manuscript catalogers. In the epilogue, Da Rold states that the reception of paper in Medieval England depended on its multiple and diverse "affordances, not its affordability" (210), and that phrase neatly summarizes the central intervention of the book. [Extracted from the article]

The book "Women's Labour and the History of the Book in Early Modern England" edited by Valerie Wayne explores the question of whether women have a book history in early modern England. The book utilizes a range of new original sources and analysis to provide a resounding answer that women did indeed have a significant role in the book trade and cultural life during this period. The book is praised for its successes but also acknowledges its limitations, particularly in terms of its focus on English borders and its definition of "woman." Despite these constraints, the book is considered an essential piece of women's history and book history for future scholars and students. [Extracted from the article]

There were "affective" swings against color's allure, with the great architect-printmaker Giovanni Battista Piranesi achieving dramatic compositions in black and white, as did the French architect Étienne-Louis Boullée in his monochromatic wash drawings. No substantial work on color in architectural drawing existed until his own, and architectural drawings were notably absent from general studies of color and artworks. The conclusion, "The Anxiety of the Architect", summarizes the book's ideas, underscoring architecture's assertion of a professional identity through drawing, caught as architects were between science and art. [Extracted from the article]

New Light on the Early Tudor Book Trade", 409-81 New Bibliography: Taylor, Gary, "Play Manuscripts, Vectors of Transmission, and Shakespeare's I Henry the fifth i ", 343-78 I Nineteenth Century Collections Online i : Spires, Derrick R., "Order and Access: Dorothy Porter and the Mission of Black Bibliography", 255-75 Nishikawa, Kinohi, " I Mumbo Jumbo i 's Paratextual Condition", 215-54 Notary, Julian: Gwara, Joseph J., "Who Printed I Huon i ? New Light on the Early Tudor Book Trade", 409-81 Black Bibliography Project: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?" 161-89; Lee, Jeong Yeon, "Compiling 'A Selected Bibliography of Bibliographies of African American Writing,'" 305-07; Spires, Derrick R., "On Liberation Bibliography: The 2021 BSA Annual Meeting Keynote", 1-20; "Order and Access: Dorothy Porter and the Mission of Black Bibliography", 255-75 Black Book Interactive Project: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?" I Morris & Company: Essays on Fine Printing i , 142-45 20th century: Goldsby, Jacqueline, and Meredith L. McGill, "What is "Black" about Black Bibliography?". [Extracted from the article]

Most research about paper used in printing has centered on the watermark, although consideration of the entire sheet will produce more reliable results. Paper used in London, England, from the early 17th century can be categorized by assessing variations in rib location, chainlines, watermarks, and collating these data with computer programs.

IX & X, Plays 2 & 3 i , 248-51 wilde, oscar: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , 248-51 I Early English Books Online i , reviewed, 114-17 edgar, eleazar: Mansky, Joseph, "The Case of Eleazar Edgar: I Leicester's Commonwealth i and the Book Trade in 1604", 233-41 editing: Bouchard, Mathieu D. S., "A Revised Account of the 1714 I Works of Mr. William Shakespear i ", 419-461; Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , reviewed, 248-51 drama: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. [Extracted from the article]

It is well established that there exists large and small copies of the first folio edition of John Dryden's 'The Works of Virgil' which was published by Jacob Tonson in 1697. However, there is no mention of the small paper copies in the contract signed between Dryden and Tonson for the subscription translation. Consequently, Dryden and Tonson had a disagreement on this issue. Instead of being detrimental to the publication, this did not prevent the success of the book which commanded a wide audience.

Analyses of Ben Jonson's 'Sejanus' confirm that conclusions regarding copies I, 6, 10, 11, 12, 19 and 22 of the quarto, the 1605 printing and its value compared to the 1616 folio are dubious as the hypothesis involved is invalid. Jonson was less interested in the procedure of printing and proofing than he was with his manuscript annotations and textual revisions. George Elld and Thomas Thorpe tried to set and print the play quickly while allowing for problems with Jonson's manuscript. Jonson used English paper with royal watermarks to make 'Sejanus' seem to have royal approval.

Just as we can hardly find references on how traditional I hanji i making has weathered the transformation of South Korea into a hypermodern society during the last century, Lee had to start from scratch to identify artisans who continued handmade papermaking using authentic old methods. However, Lee's engagement in traditional papermaking led her to immerse herself in the exciting versatility of I hanji i and the community of artisan-teachers using I hanji i for various crafts. [Extracted from the article]

The article discusses the publication of the book "Hortus Eystettensis," by Basilius Besler. The price of the book at the time of its initial printing, the development of a trade and a deluxe version of the work, and the types of paper on which the books were printed are examined. Explanations for the appearance of deluxe issues printed on inferior paper, trade issues lacking text verso, and patronage during the early 17th century are also discussed.

The history of newspapers and its appeal to people over time is discussed. Famous illustrations from American newspapers are depicted.

Queer history and queer bibliography have taught us that names matter. This paper uses queer history and methodology to rethink nomenclature related to the early modern conception of the family printing dynasty and to show how heteronormative assumptions manifest in metadata and other forms of bibliographic description. It asserts that classification and the creation of metadata have never been neutral acts. Drawing on radical challenges to systems of knowledge organization made by librarians from the 1970s onwards, it suggests that such systems can and should restructure around new ideas of family that take into account queer lives, histories, and language. For the early modern period, this means acknowledging dynastic structures that were frequently nonnormative, deviating from the traditional business inheritance from father to son. To demonstrate the shortcomings of current metadata practices and the potential for reassessment, this paper utilizes three case studies related to the vague use of the terms "widow" and "heir" in seventeenth- and eighteenth-century French, Flemish, and Dutch imprints. It presents practical solutions in making metadata more accurate, including a new perspective on the print workshop as a space of collaboration, an expansion in roles expressed within a record, and increased emphasis on interoperability and open linked data. Rethinking systems of power—and acknowledging the labor that cataloging and metadata creation entail—allow for a queer bibliography that acknowledges the messiness of identity and legacy but is also precise and accurate. [ABSTRACT FROM AUTHOR]