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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.

During the American Revolutionary era, immigrant printers and their North American--born counterparts faced many struggles to secure sufficient business to remain solvent and simultaneously navigated complex political situations. Immigrant printers also faced the challenges of integrating themselves into extant commercial and political networks. They formed a substantial minority within the trade, making up nearly one-fourth of the master printers between 1756 and 1796. This essay examines the experiences of this group of printers, including Mathew Carey, and it focuses on their individual efforts to succeed in founding and furthering the publishing industry in the United States. In so doing, it explains how immigrant printers integrated themselves into American political and commercial information networks and highlights the vital role of their social capital and skills in achieving these printers' goals during this era. [ABSTRACT FROM AUTHOR]

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]

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]

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]

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.

The article examines the fictitious printer Théophile le Roi of La Rochelle, France, with the author arguing that the anti-Jesuit publications allegedly printed by le Roi in the 1570s and 1580s were actually printed by four different presses in Geneva, Switzerland. This is done through the author's comparison of printer's marks on these works. Focus is given to the work "Doctrinae Iesuiticae" and its various volumes along with the use of fleurons in the printer's marks for each volume and the volumes' headpieces. The actual publishers of the works include Antoine Chuppin and Eustache Vignon.

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.