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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.

The article describes the significance of the cover image selected for the January 2008 issue, analyzing the iconography of a 16th century engraving by Francesco de Franceschi. Details concerning the artistic symbols utilized in the anthropomorphic depiction of the feminine figure "pax," or Peace are explained. An overview is provided of de Franceschi's career and his historical context within Renaissance art and highlighting his connection to the book engraving and publishing industry of the era.

The article discusses the contribution of the Società Tipografica Bolognese through its printing devices in promoting the spread of humanism in Italy during the sixteenth century. The Society was built in July 1572 by twelve aristocratic scholars of Bologna which was devoted to publishing the works of local writers and sticking to high printing standards. With this, the Society's publications are being highly considered for their high print-making quality. The printing device of the Society reflected the devotion and connection of its members to the culture and history of their city. However, having experienced a financial crisis, the Society was limited only to operate for 10 years and although it finally closed in 1581, it left some of the best examples of printing.

Provides information on Daniel-Henry Kahnweiler, one of the earliest art dealers of the Cubist painters. Contribution of Kahnweiler to book history; Career of Kahnweiler as an art dealer; Concepts adopted by Kahnweiler in the publication of books.

The article discusses book, manuscript, and print collector Philip Hofer, founder of the Department of Printing and Graphic Arts at Harvard University in Cambridge, Massachusetts. His relationships with curator and art critic William M. Ivins as well as with wood engraver Rudolph Ruzicka are detailed. Topics include the history of printmaking, especially the use of woodblocks; the curator roles of Hofer and Ivins; and Hofer's relationship with the Cygnet Press.