Search

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.

This Afterword begins with Andrew Shankman's question at the Philadelphia Carey conference, "Why should anyone have listened to Mathew Carey?" as a point of departure. Three major areas of research where "listening" to Carey and his career are of relevance to present-day scholarship are presented: the history of the book, the history of political economy, and the history of the Irish in America. The contributions to this special issue are situated within these contexts. They stand as the most recent, sophisticated work on the worlds of Mathew Carey. [ABSTRACT FROM AUTHOR]

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]

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 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.