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Panel Discussion on 'Beautiful Books'

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The Wheeler Centre has uploaded video of the 2013 Melbourne Rare Book Week opening night panel discussion 'Beautiful Books':

http://wheelercentre.com/videos/video/beautiful-books/

'Passionate bibliophiles – including a collector, a designer and a twenty-first-century book-maker – will explore changing perspectives on what makes a book beautiful … and what makes us treasure it long after its shelf life.

With Des Cowley, Rare Printed Collections Manager at the State Library of Victoria, designer W. H. Chong, and booki.sh founder Virginia Murdoch. Hosted by Steve Grimwade.

In the midst of the e-revolution, where we’re as likely to download as to leaf through a book, the idea of the book as an object of beauty is being lost. Or is it?'

Melbourne Rare Book Week ran from 18 to 28 July.

Eyewitness Letter to the Capture of Ned Kelly Surfaces After 133 Years

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The Victorian bushranger Edward 'Ned' Kelly is one of nineteenth-century Australia's most well known and controversial figures. His exploits in Victoria and southern New South Wales, which culminated in the siege at Glenrowan (late June 1880) where Kelly and members of his gang donned make-shift body armour to deflect police bullets, have seen Kelly labelled an outlaw and murderer by some and folk hero by others.

Now, after 133 years, a letter containing an eyewitness account of Kelly's dramatic capture during the siege has been donated to the State Library of Victoria by the descendants of its author – Scotsman, Donald Gray Sutherland.

What makes this letter particularly interesting is that it offers a new perspective. According to the historian Alex McDermott, unlike previous accounts, which were written either by government officials or Kelly sympathisers, Sutherland was 'an everyday bank teller from Oxley, a little town near Glenrowan, and [was] not on the side of the Kellys and ... not on the side of the police'.

[From the State Library of Victoria website]

The letter addressed to Sutherland’s family on 8 July 1880 proclaims ‘… the Kelly’s are annihilated. The gang is completely destroyed…’. It continues describing Kelly’s famous armour and the gunshot wounds that finally brought him down.

‘He was wounded in 5 or 6 places, only in the arms and legs – His body and head being encased in armour made from the moule (sic) boards of a lot of ploughs. Now the farmers about here, have been getting their moule boards taken off their ploughs at night for a long time but who ever dreamed it was the Kellys and that they would be used for such a purpose. Ned’s armour alone weighed 97 pounds. The police thought he was a fiend seeing their rifle bullets mere sliding off him like hail. They were firing into him at about 10 yards in the grim light of the morning without the slightest effect. The force of the rifle bullets made him stagger when hit but it was only when they got him in the legs and arms that he reluctantly fell exclaiming as he did so I am done I am done.’

Sutherland enclosed a lock of hair from Kelly’s horse with the letter, noting in the postscript, ‘The hair enclosed is from the tail of Ned Kelly the famous murderer and bushranger’s mare. His favourite mare who followed him all around the trees during the firing. He said he wouldn’t care for himself if he thought his mare safe.’

Sue Roberts, CEO and State Librarian described the donation of the letter as extremely generous and a significant addition to the Kelly story.

‘This letter is a very personal account of events that have become part of Australia’s folklore. We are delighted that Mr Sutherland’s family chose the State Library of Victoria as caretaker for this remarkable document. It will join Ned's armour, Jerilderie Letter and other important items in our Kelly collection – one of the largest and most significant in the world.’

The letter will be on display in the State Library’s Changing Face of Victoriaexhibition from Monday (14 October). It is also available online with a full transcript via the State Library website.

Preserving Blaeu's 'Archipelagus Orientalis'

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[A look at the conservation work being done on the National Library of Australia's copy of Joan Blaeu's map, the Archipelagus Orientalis, sive Asiaticus (1663), acquired by the NLA earlier this year. The map, as noted in the post below, is just one of four surviving copies known.]
[Reposted from the NLA's Behind the Scenes blog]
Opening on 7 November, our summer blockbuster Mapping Our World: Terra Incognita to Australia features one of the Library’s recent major map acquisitions – Archipelagus Orientalis, sive Asiaticus (Eastern and Asian archipelago), 1663 by Dutch master cartographer Joan Blaeu (1596-1673).
This remarkable wall chart – one of only four surviving copies in the world, is in an exceedingly fragile state, but conservators from the Library’s Preservation Branch have embarked on a meticulous and time-consuming preservation treatment to stabilise it for display. Fortunately, the areas of greatest interest, illuminating the story of the Dutch discovery of Australia – the mention of the first sighting of Tasmania and the text naming the continent – are intact and clearly visible.
We produced this video to highlight the significant preservation work that is underway:

If you would like to make a financial contribution to the preservation of the Blaeu map, you can make a tax-deductible  donation online or download and return the donation form. You can learn more about the preservation effort on our webpage dedicated to the map.
We are pleased to release this video under a Creative Commons licence that makes it available for everyone to share and re-use. Because of that, we have been able to upload the video to Wikimedia Commons which allows it to be used directly within Wikipedia articles – notably on the biography of Blaeu himself. We would like to especially acknowledge the Wikipedian in Residence at the National Library of the Netherlands for translating the captions to this video into Dutch.
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University of Melbourne Acquires Germaine Greer's Archive

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News broke a few hours ago that the University of Melbourne has acquired the archive of one of its leading alumni, the notable academic and feminist, Germaine Greer.

According to the write-up in The Guardian:

'The archive, including manuscripts of Greer's books, her diaries and correspondence with some of the most significant intellectuals and politicians of the past century, fills more than 150 filing cabinets and spans the years from her student life in Melbourne, Sydney and Cambridge to the present day. It includes early notes for and a synopsis of her groundbreaking bestseller The Female Eunuch, as well as diaries and letters to her lovers, family and friends ... The correspondence files include letters from the novelist Margaret Atwood, activist Abbie Hoffman, film director and actor Warren Beatty (who was at one time Greer's lover), art critic John Berger, former Pakistan prime minister Benazir Bhutto, film director Federico Fellini, former Indian prime minister Indira Gandhi, writer and television personality Clive James, feminist writer Dale Spender and many more'.

The University of Melbourne Vice-Chancellor Professor Glyn Davis said the university will ship, catalogue and digitise the archive, which will be exhibited at the university.

The archive is expected to arrive in Melbourne in July 2014. Proceeds from the $3m purchase will go to the Friends of Gondwana Rainforest.

Announcement and 'About the Archive'on the University of Melbourne, University Library, website.

Update: Australian & New Zealand Rare Book Summer School

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The application form/ flyer for the 2014 Australian & New Zealand Rare Book Summer School is now available. There is also an online application form.

Classes will run from 10 to 14 February. Please see my earlier post for course descriptions.

The sessions on architectural books and natural history illustration will be held in the State Library of Victoria. Caren Florance's class on hand-press printing will be taught at the Ancora Press studio, Monash University (Caulfield campus). 

Applications will close on Friday 16 December 2013. Courses will proceed if sufficient applications have been received by Friday 6 December 2013. 

For further information, please email: rbss[@]slv.vic.gov.au.


Pacific Voyages: A Book That Sailed with Cook

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[First, a bit of shameless promotion. This post was published earlier today on the revived Library Collections blog of the Baillieu Library, University of Melbourne. This is where all my work related blog posts will first go up, along with posts by other library collection departments. Although I will also post them here in an effort to reach as wide an audience as possible, I would ask anyone so inclined to please subscribe to Library Collections and share the link with friends. For readers on Twitter, University of Melbourne Special Collections has established an account @UniMelbSpC where you can stay up to date on events, blog posts, and other news. We will also be launching a Facebook page and a Flickr account, which I'll announce on Antipodean Footnotes. Stay tuned!] 

Among the volumes held by University of Melbourne Special Collections concerning British exploration of the Pacific, the book with the greatest link to the subject has nothing at all to do with it at least in terms of its topic. It is a medical text called An Introduction to Physiology (London, 1759), a compilation of lectures for students by the Scottish physiologist and instructor Malcolm Flemyng (ca. 1700–1764).

The book’s importance as an object relative to Pacific exploration is evident in a contemporary note written on the front pastedown:

'This Book went round the World in the Endeavour in 1768 /69 /70 &71 ~'


The note is in the hand of William Perry, who carried the book with him when he signed on as surgeon’s mate aboard HMB Endeavour for the first of Capt. James Cook’s three Pacific voyages. Perry was later appointed to the position of surgeon upon the death of William Brougham Monkhouse on 5 November 1770, and is recorded in Cook’s journal for 7 November as being ‘equally well if not better skilled in his profession’.[1]

Title-page with Perry's ownership inscription

Flemyng’s Physiology would have served Perry well in dealing with the array of illnesses and injuries that befell the crew. Needing to access information quickly, Perry’s marginal notes amount to a running index of the first 179-pages, with the occasional commentary thereafter elucidating certain concepts and citing works that by the late 1760s had superseded aspects of Flemyng’s text. One such annotation includes an anatomical rendering of the human eye:

Annotations by Perry with drawing of human eye

Books would not have been an uncommon sight on the Endeavour. Cook had his atlases and travel narratives; Joseph Banks’s library is well attested; and some officers or literate crewmen surely had personal bibles or prayer books.[2]

While much is known about some of the titles consulted by Cook and the accompanying gentlemen scientists who sailed with the Endeavour, actual physical copies that have survived are extremely scarce. According to Matthew Fishburn of Hordern House, this scarcity is likely due to ‘hard usage, and the fact that with the probable exception of some of the grander atlases/ maps and natural history books, many of the books on board would have been quite utilitarian. It is little more than chance survival’.

‘Exceptionally scarce’ and ‘chance survival’ are apt phrases. Fishburn continued by noting that Perry’s copy of Flemyng’s Physiology is the only book from the Endeavour voyage ever sold by Hordern House in its twenty-eight year history. In fact, with the exception of John Hawkesworth’s account of the first voyage carried by Cook from Cape Town to St. Helena during the second voyage (1772–1775), the firm knows of no other books surviving from any of Cook’s voyages that have come onto the market.[3]

Such scarcity, when coupled with the book’s direct association with one of the most famed voyages of the eighteenth century, makes this copy of Flemyng’s Physiology one of the most important and treasured items held by Special Collections.

What became of Perry?

According to W. E. Snell’s article ‘Captain Cook’s Surgeons’, Perry served as surgeon aboard four other ships before retiring in 1782 to his native Chiswick, where it is presumed he continued to practice medicine.[4] He enjoyed a long life, dying in Hillingdon, Middlesex, at the age of 80 on 25 April 1827.

Perry’s copy of Flemyng’s Physiology was purchased by Special Collections from Hordern House in 2005 with funds from the Library Endowment Trust. It was previously in the collection of the American collector David Parsons.[5]

References
[1] J. C. Beaglehole (ed.). The Journals of Captain James Cook on His Voyage of Discovery, 4 vols. in 5 (Cambridge: Published for the Hakluyt Society at the University Press, 1955–1974), 1:437.

[2] For more about some of the titles consulted by Cook, Banks and the artist Sydney Parkinson, see D. J. Carr’s ‘The Books That Sailed with the Endeavour’, Endeavour, new series, 7:4 (1983): 194–201. Perry’s copy of Flemyng’s Physiology was unknown to Carr and therefore went unaccounted. Banks’s books that travelled with him were incorporated into his personal library upon his return to England, and are held by the British Library.

[3] The Parsons Collection: Rare Pacific Voyage Books from the Collection of David Parsons; Part I: Dampier to Cook. (Sydney: Hordern House, 2005), no. 86.

[4] W. E. Snell. ‘Captain Cook’s Surgeons’. Medical History 7:1 (January 1963): 46–47.

[5] For more on the formation of Parsons’ collection, see his article ‘The Pleasures of Collecting Books on Cook and Pacific Exploration’, published in Cook’s Log 30:2 (2007): 7–9.

Covered in Silk & Satin: Embroidered Bookbindings

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Among the decorative and fine bindings held by Melbourne UL Special Collections are two examples of fabric/ textile bindings with embroidered decorations.

Embroidered book covers were popular during the sixteenth and seventeenth centuries, though earlier examples, such as the fourteenth-century embroidered binding on the British Library’s Felbrigge Psalter (Sloane MS 2400), do survive.

Textile bindings were produced primarily by professional embroiderers, but were also made by individual female owners. They were very much in vogue in England during the first half of the seventeenth century, particularly as covers for small devotional books, such as this copy of The Book of Common Prayer (London, 1629) that measures just eleven centimetres in height. The cover is made of white satin over blue silk, with birds and flowers embroidered with different coloured silk set within frames of gold thread, with gold thread borders on the spine and both sides.




Along with silk and satin, velvet was another popular textile for book covers. The Special Collections copy of L’Office de la Vierge Marie pour tous les temps de l’anee (Paris, [1636?]), bound with Pierre Coton’s Dévotes oraisons pour tous chrestiens et catholiques (Paris, 1637), is in a contemporary green velvet binding, heavily embroidered with floral motifs in silver thread and sequins, bordered on three sides by silver wire.



Resources
Much has been written on embroidered bindings. The British Library’s English Embroidered Bookbindings webpage provides a brief history of the subject and includes a select bibliography for further reading. One of the texts listed, Cyril Davenport’s English Embroidered Bookbindings (London, 1899), can be read on-line.

In addition to the resources noted by the BL, one can add the relevant sections in Bernard Middleton’s A History of English Craft Bookbinding Techniques (London, 1978; pp. 121–124), David Pearson’s English Bookbinding Styles, 1450–1800 (New Castle [DE], 2004; pp. 20–22), and Marianne Tidcombe’s Women Bookbinders, 1880–1920 (New Castle [DE], 1996; pp. 77–90).

Embroidered bindings can also be found throughout social media. They have been blogged about elsewhere (e.g. The Collation, Echoes from the Vault); there are pages in Pinterest (page 1 and page 2) and on Flickr (University of Glasgow Library); and one binding has even made its way onto YouTubecompliments of the Bridwell Library, Southern Methodist University.

Further examples can be seen on the Princeton University Hand Bookbinding website, and over 120 specimens can be found in the British Library’s Database of Bookbindings.



The Booke of Common Prayer (London: Imprinted by Bonham Norton and John Bill, 1629), bound with The Whole Booke of Psalmes (London: Imprinted [by Felix Kingston] for the Company of Stationers, 1630)

L’Office de la Vierge Marie pour tous les temps de l’anee (Paris: Robert Denain, [1636?]), bound with Pierre Coton’s Dévotes oraisons pour tous chrestiens et catholiques (Paris: Marin Vaugon, 1637)

Революция! Russian Satirical Journals from the 1905 Revolution

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In 1977 the University of Melbourne Library acquired a large collection of Russian material from a private collector.[1] Included among the boxes of books, pamphlets and serials was a collection of satirical journals consisting of 53 titles in 149 issues dating to the first Russian Revolution (1905–1907).

Voron (The Raven), no. 1, [1905?]

The revolution was sparked on 22 January [9 January Old Style] 1905, when members of the Russian military and paramilitary opened fire on crowds of people gathering throughout St Petersburg and converging on the Winter Palace to petition Tsar Nicholas II for better working conditions and civil rights. Hundreds of men, women and children were killed or wounded. The brutal action led to national strikes, peasant uprisings, and attacks on figures of authority by revolutionaries and anarchists.

In an attempt to stem the upheaval, the tsar enacted a series of political and social reforms in the October Manifesto (1905), which led to the creation of the Duma and included a loosening of restrictions on the press and freedom of expression. By late November/ early December many revolutionary satirical journals began to appear on the streets of Moscow, St. Petersburg, and eventually in other major cities across the empire.[2]

Vampir (The Vampire), no. 2, 1906
 These journals, with such evocative titles as Adskaia pochta (Hellish Post), Bich (The Scourge), Krasnyi smekh (Red Laughter), Pulemet (The Machine Gun), Sekira (The Pole-Axe), and Zabiaka (The Trouble-maker), are filled with prose, verse, and illustrations and cartoons, either lampooning the tsar and his ministers, or offering a sometimes visceral commentary on the repressive and brutal tactics of the imperial government. Many journals were collaborative efforts that brought together some of Russia’s best writers and artists of the time, such as Leonid Andreev, Leon Bakst, Alexander Benois, Ivan Bilibin, Ivan Bunin, Korney Chukovsky, Mstislav Dobuzhinsky, Maksim Gorky, Boris Kustodiev, Yevgeny Lansere, and Leonid Pasternak.

Pulemet (The Machine Gun), no. 1, [13 December] 1905

Most of these periodicals had very short runs. Some of them appeared in only one issue before the authorities intervened to prevent further publication. Various editors attempted to circumvent the censors by changing a publication’s title. Burelom (Storm-Wood), for example, was shutdown in 1905 after four issues, but resurfaced as Burya (The Storm) early the following year. Burya reached a fourth issue, too, before being closed. It was later resurrected as the aptly titled Bureval (Storm Debris).[3]

Burelom (Storm-Wood), Christmas issue, 25 December 1905

In addition to journals, propagandist postcards were also produced. Some of the 39 examples in the collection were printed by chromolithography. Others were hand drawn and then reproduced either by hand or mimeographed in outline and then hand-coloured.

Russian Satirical Postcards, 1905 Revolution, nos. 29-34


According to Tobie Mathew, who has been collecting and researching these cards for a number of years:

'Leftist postcards were published by both revolutionary activists and legally registered publishers, many of whom were motivated as much by commerce as they were ideology. Some were used and displayed with subversive aims in mind, but most were bought for private consumption; these were objects that in reflecting political beliefs also served to amuse and divert.'

Regarding their rarity, Mathew commented that such cards:

'Don't come onto the market very often … The postcards were avidly collected at the time but being more ephemeral objects they are far less likely to have survived the various upheavals’.

Collections of Russian satirical journals are found in institutions across the northern hemisphere. My suspicion, however, is that the journals (and especially the postcards) held by Special Collections is the only one of its kind in Australia, making it a unique resource ripe for research by local and regional scholars and students.

Readers can view the often striking (and sometimes lurid) journal cover illustrations and postcards on the University of Melbourne Special Collections Flickr page:

http://www.flickr.com/photos/uomspecialcollections/sets

[My sincere thanks to Simon Beattie and Tobie Mathew for offering their expertise so freely]

References
[1] See Leena Siegelbaum’s ‘The O’Flaherty Collection’ published in Australian Academic and Research Libraries (Sept. 1980): 189–194.

[2] The first journal was Zritel (Spectator), which appeared in June 1905. The University of Southern California's 'Russian Satirical Journals' website notes journals were published in Armenian, Estonian, Georgian, Polish, Ukrainian and Yiddish.

[3] David King and Cathy Porter. Blood & Laughter: Caricatures from the 1905 Revolution (London: Jonathan Cape, 1983), 42.

Bound for a Russian Princess

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Towards the end of last year I highlighted a collection of Russian satirical journals and postcards from the 1905 Revolution. Today’s post continues the Russian theme by examining the provenance of an early twentieth-century set of the complete works of Tolstoy.


Frontispiece and title-page, Complete Works of Tolstoy (1913)


The set was published in St. Petersburg by P. V. Lukovnikov in 1913 and 1914. It consists of four volumes bound in two. The first two volumes are from the twenty-first edition and volumes three and four from the twenty-sixth and forty-sixth editions respectively. The attractive binding is three-quarter green morocco with marbled boards and pastedowns. In the upper-left corner of the front board on both volumes is a gilt-stamped ownership mark: the Cyrillic letters ‘Λ Β’ (‘L V’) with a crown above:

Binding with Vasilchikova stamp

Through a colleague of the antiquarian book dealer Simon Beattie, the ownership stamp has been identified as belonging to Princess Lydia Leonidovna Vyazemsky Vasilchikova (1886–1948). The set is from Vasilchikova’s private library in St. Petersburg and was likely bound by A. A. Schnell, a master bookbinder working for the Russian Imperial Court.


Portrait of Princess Lydia Leonidovna Vyazemsky Vasilchikova (www.genealogics.org)


The Family
Lydia’s father was Prince Leonid Dmitrievitch Vyazemsky (1848–1909), a general in the Russian cavalry, Governor of Astrakhan, and member of the Council of the Empire. On 12 May 1909, Lydia married PrinceIllarion Sergeyevich Vasilchikov(1881–1969), who belonged to one of Russia’s oldest aristocratic families and served as a member of the Fourth Duma under Tsar Nicholas II.

Lydia, however, was not a stereotypical staid wife of a politician. According to Beattie’s contact, she studied English at Oxford, was fluent in several European languages, and was fond of horse riding and photography. She served as a Red Cross nurse close to the Eastern Front during the First World War, and was awarded four medals, including two St George medals for bravery.

In 1919, the Vasilchikovs fled the upheaval and violence of the 1917 Revolution aboard the SS Princess Ena, sent to Russia by Britain's George V to rescue his aunt the Empress Marie Feodorovna. Destitute, the Vasilchikovs travelled across Europe as refugees to the family's Lithuanian estates. During the Second World War, two of their children, Tatiana and Marie, moved to Berlin in 1940 to find work and were employed by the Foreign Ministry’s Information Office. The sisters later published books about their experiences: Tatiana: Five Passports in a Shifting Europe (1976) and Marie’s Berlin Diaries: 1940–1945 (1988).

The Library
Unfortunately, little information exists regarding the Vasilchikov family libraries, except that they owned several collections in St. Petersburg, Moscow, and throughout their numerous estates. It was learnt through Beattie’s contact that many family members were killed after the 1917 Revolution, and their books sold or intentionally destroyed during the 1920s and 1930s; a sad fate that befell many of Russia’s aristocratic families and their collections during those turbulent early decades of the Soviet Union.

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Polnoe sobranīe sochinenīĭ gr. A.K. Tolstogo (St. Petersburg: [P. V. Lukovnikov], 1913-1914); from the personal library of Princess Lydia Leonidovna Vyazemsky Vasilchikova; donated to the Melbourne University Library by Mrs. O. P. Hohlov in 1968.

Sixteenth-Century Manuscript Could Rewrite Australian History [Updated]

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[Update, 18.01.14: 'That's No Kangaroo on the Manuscript' from livescience.com]

Story from today's The Age reported by Charli Newton:

Image of what is thought to be a kangaroo on a 16th century processional could lend weight to the theory that the Portuguese were the first explorers to set foot in Australian soil, before the Dutch or English.
Image of what is thought to be a kangaroo on a 16th-century processional could lend weight to the theory that the Portuguese were the first explorers to set foot on Australian soil, before the Dutch or English.
A tiny drawing of a kangaroo curled in the letters of a 16th-century Portuguese manuscript could rewrite Australian history.

The document, acquired by Les Enluminures Gallery in New York, shows a sketch of an apparent kangaroo (''canguru'' in Portuguese) nestled in its text and is dated between 1580 and 1620. It has led researchers to believe images of the marsupial were already being circulated by the time the Dutch ship Duyfken - long thought to have been the first European vessel to visit Australia - landed in 1606.

The pocket-sized manuscript, known as a processional, contains text and music for a liturgical procession and is inscribed with the name Caterina de Carvalho, believed to be a nun from Caldas da Rainha in western Portugal.

The manuscript may precede what is believed to be the first European docking in Australia.
The manuscript may precede what is believed to be the first European docking in Australia.
The European discovery of Australia has officially been credited to the Dutch voyage headed by Willen Janszoon in 1606, but historians have suggested the country may already have been explored by other western Europeans.

''A kangaroo or a wallaby in a manuscript dated this early is proof that the artist of this manuscript had either been in Australia, or even more interestingly, that travellers' reports and drawings of the interesting animals found in this new world were already available in Portugal,'' Les Enluminures researcher Laura Light said.

''Portugal was extremely secretive about her trade routes during this period, explaining why their presence there wasn't widely known.''

Peter Trickett, an award-winning historian and author of Beyond Capricorn, has long argued that a Portuguese maritime expedition first mapped the coast of Australia in 1521-22, nearly a century before the Dutch landing.

''It is not surprising at all that an image of a kangaroo would have turned up in Portugal at some point in the latter part of the 16th century. It could be that someone in the Portuguese exhibition had this manuscript in their possession,'' Mr Trickett said.

National Library of Australia curator of maps Martin Woods said that while the image looked like a kangaroo or a wallaby, it alone was not proof enough to alter Australia's history books.

''The likeness of the animal to a kangaroo or wallaby is clear enough, but then it could be another animal in south-east Asia, like any number of deer species, some of which stand on their hind legs to feed off high branches,'' Dr Woods said.

''For now, unfortunately the appearance of a long-eared big-footed animal in a manuscript doesn't really add much.''

Les Enluminures Gallery, which lists the manuscript's value at $US15,000 ($16,600), acquired the processional from a rare book dealer in Portugal and will exhibit the piece as part of an exhibition.

Also entwined in letters of the text are two male figures adorned in tribal dress, baring naked torsos and crowns of leaves, which Ms Light said could be Aborigines.

Fellow of the Australian Academy of the Humanities, John Gascoigne, said proving that the Portuguese were the first Europeans to arrive in Australia would be ''forever difficult to document because of their secrecy and because so many of the records were destroyed in the Lisbon earthquake of 1755''.

''The possible date span for the manuscript goes up to 1620, which would accommodate the arrival of Willen Janszoon in the Duyfken in northern Australia in 1606,'' Professor Gascoigne said.

He speculated the images could come from a 1526 trip to Papua.

''Looking at it from a European perspective, it is surely evocative to wonder what these exotic images must have meant to the Portuguese nun gazing at them from within the confines of her convent's walls,'' Ms Light said.

Hypnerotomachia Poliphili: Woodcuts in the Italian and French Editions

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First published by Aldus Manutius in 1499 and praised for its typographical design and early Renaissance woodcut illustrations, the Hypnerotomachia Poliphili is one of the most famous books to come from a fifteenth-century press.

A second Aldine edition appeared in 1545, followed by the first French edition in 1546. Titled Hypnerotomachie, ou, Discours du Songe Poliphile, the translation was printed in Paris by Jacques Kerver. Its woodcuts in the Mannerist style were based on the Aldine editions, but adapted to suit French tastes and included an additional 14 illustrations.

The identity of the artists who executed the woodcuts in the Italian and French editions remains a subject of debate amongst academic circles. The designs in the 1499 edition have been associated with Benedetto Bordon, Andrea Mantegna, Gentile Bellini, and even a young Raphael.[1] The illustrations in the 1546 French edition exhibit evidence of more than one artist at work, with the painter Jean Cousin and the architect and sculptor Jean Goujon considered likely candidates for the best woodcuts.

University of Melbourne Special Collections is fortunate to count the first Italian and French editions of the Hypnerotomachia amongst its holdings of early printed material, allowing for the following comparison of illustrations in two of the hand-press period’s most beautifully illustrated books.
Anthony Tedeschi (Deputy Curator, Special Collections)


Poliphilo enters a pathless forest (1499)
Poliphilo enters a pathless forest (1499)


Poliphilo enters a pathless forest (1546)
Poliphilo enters a pathless forest (1546)


Poliphilo encounters a wolf in his dreamscape (1499)
Poliphilo encounters a wolf in his dreamscape (1499)


Poliphilo encounters a wolf in his dreamscape (1546)
Poliphilo encounters a wolf in his dreamscape (1546)


The pyramid with obelisk (1499)
The pyramid with obelisk (1499)


The pyramid with obelisk (1546)
The pyramid with obelisk (1546)


Dancers carved on the base of a statue (1499)
Dancers carved on the base of a statue (1499)


Dancers carved on the base of a statue (1546)
Dancers carved on the base of a statue (1546)


Poliphilo chased by a dragon (1499)
Poliphilo flees from a dragon (1499)


Poliphilo chased by a dragon (1546)
Poliphilo flees from a dragon (1546)


Poliphilo meets Theude and her servants (1499)
Poliphilo meets Theude and her servants (1499)


Poliphilo meets Theude and her servants (1546)
Poliphilo meets Theude and her servants (1546)


From the second triumph (1499)
From the second triumph (1499)


From the second triumph (1546)
From the second triumph (1546)


The bridge over the frozen lake; where are the souls? (1499)
The bridge over the frozen lake; where are the souls? (1499)


The bridge over the frozen lake; complete with souls (1546)
The bridge over the frozen lake; complete with souls (1546)

State Library of Victoria Medieval Manuscripts Online

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The Ascension of Christ, historiated initial ‘C’, Italy, 15C
(State Library of Victoria, RARES 096 IL I)
The State Library of Victoria in Melbourne holds 27 medieval and renaissance manuscripts. Last year the SLV finished digitising nearly all of its manuscripts along with five manuscripts held by the Ballarat Fine Art Gallery.

The digitisation scheme stemmed from an Australian Research Council (ARC) funded project, which involved a number of activities, including the digitisation of the manuscripts in the State Library of Victoria and select manuscripts from the Ballarat Fine Art Gallery, together with the development of on-line links with other manuscript collections in Australia and New Zealand and the contribution of research findings to manuscripts in these collections as appropriate. The project is spearheaded by Professor Margaret Manion, whose team is creating detailed entries on each manuscript which are being uploaded into the catalogue records. A full list of participating individuals and institutions is provided in each of the detailed entries.

The project followed on from the SLV's highly successful 2008 exhibition 'The Medieval Imagination', which brought together manuscripts from collections in Australia, New Zealand and Cambridge, UK, and saw over 100,000 people pass through its doors. Some of the notable SLV manuscripts displayed and now digitised include: an early thirteenth-century copy of Ptolemy's Almagest with astronomical diagrams and translated from the Arabic by Gerard of Cremona; a mid-eleventh-century manuscript of Boethius's De musica (the oldest known book in Australia); a fifteenth-century illustrated copy in English vernacular prose of Guillaume de Deguileville's The pilgrymage of the Lyfe of Manhoode and The pilgrymage of the Sowle; and a lavish fifteenth-century manuscript comprising three works (including the Scriptores historiae Augustae)commissioned for Lorenzo de Medici and still in its original binding.

As a way of promoting these manuscripts, I have listed them below with links to the digitised versions (title hyperlinks), catalogue records, many of which include provenance information, and the detailed descriptions completed to date. References cited in the records refer to:

Margaret Manion and Vera F. Vines, Medieval and Renaissance Illuminated Manuscripts in Australian Collections (Melbourne: Thames and Hudson, 1984)

K. V. Sinclair, Descriptive Catalogue of Medieval and Renaissance Western Manuscripts in Australia (Sydney: Sydney University Press, 1969)

Bronwyn Stocks and Nigel Morgan (eds.), The Medieval Imagination: Illuminated Manuscripts from Cambridge, Australia and New Zealand (South Yarra, Vic: MacMillan Art Pub., 2008)

And now the manuscripts!

State Library of Victoria
1. Boethius; Anon. [sometimes called Pseudo-Hucbaldus], De musica; Musica enchiriadis [and] De organo, Northern Italy, eleventh century
Catalogue record
Description

2. Petrus Comestor; Stephen Langton, Historia scholastica; Expositio litteralis in historiam scholasticam [and] Exposito moralis in historiam scholasticam, 1200
Catalogue record

3. Epistles of St. Paul with the Glossa ordinaria by Anselm of Laon, Central Italy (Gaeta), ca. 1200
Catalogue record
Description

4. Ptolemy, Almagest, translated from the Arabic by Gerard of Cremona, Northern Italy (the Veneto?), ca. 12001225
Catalogue record
Description

5. Psalter-Hours, Use of Liège, Latin and French, Southern Netherlands (Liège), ca. 12701279
Catalogue record

6. Vulgate Bible (Leviticus) with the Glossa ordinaria of Walafrid Strabo, France (Paris), perhaps first quarter of the thirteenth century
Catalogue record
Description

7.Antiphonal (fragment), Central or Northern Italy, late thirteenth or early fourteenth century
Catalogue record
Description

8. Statutes and treatises on medieval English law, Latin and Law French, ca. 1300
Catalogue record
Description

9. Antiphonal-Hymnal, Dominican use, with excerpt of De musica of Jerome of Moravia, France (Paris), 13351345
Catalogue record

10. John of Gaddesden, Rosa Anglica, England, fourteenth century
Catalogue record

11. Flavius Josephus, De bello judaico libri VII: Latin translation attributed to Rufinus of Aquileia, Spain (Catalonia), 1400
Catalogue record

12. Forty-nine illuminated and historiated initials from Italian manuscripts (cuttings), Italy, fourteenth and fifteenth century
Catalogue record
Description

13. Giles of Rome, Archbishop of Bourges, De regimine principum, France, 1429
Catalogue record

14. Guillaume de Deguileville, The pilgrimage of the lyfe of the manhode; and, The pilgrimage of the sowle, England (Lincolnshire), ca. 1430
Catalogue record 
Description

15. Book of Hours (fragmentary), France (Besancon), ca. 14301440
Catalogue record

16. Eutropius; Paul the Deacon, Scriptores historiae Augustae and Breviarium ab urbe condita; translations and additions by Paul the Deacon; Historia Romana by Paul the Deacon, Italy (Florence), ca. 1479
Catalogue record

17. Book of Hours, Use of York, Flanders (Bruges), ca. 1470ca. 1490
Catalogue record
Description

18. Book of Hours, Use of Paris, France (Paris), ca. 1490
Catalogue record
Description

19. Book of Hours, Use of Rome, Southern Netherlands, ca. 1490
Catalogue record

20. St. Jerome, Commentaries on Isaiah, Netherlands (Roermond, Limburg), 1497
Catalogue record

21. 16. St. Augustine, Bishop of Hippo, Augustini opera, fifteenth century
Catalogue record
Description

22. Liber Obsequialis, Use of Constance, and Breviary (fragment), Latin and German, Southern(?) Germany, (1) fifteenth and (2) early twelfth century
Catalogue record
Description

23. Pontifical, for the Bishop of Mirepoix, France, ca. 1500ca. 1520
Catalogue record

24. Liber antiphonarius Romanus, 1566
Catalogue record


Ballarat Fine Art Gallery
1. Eadmer (d. 1124?); Bede, Life of St Wilfrid and extracts from Bede's Historia ecclesiastica, Northern England, 1150
Catalogue record

2. Pontifical, with excerpts from the Summa theologia of St Thomas Aquinas and the Regula ad inveniendum principium lunae (added 1451), Italy (Veneto or Emilia-Romagna), ca. 13501380
Catalogue record

3. Calendar and medical diagrams, Northeast England (Durham?), ca. 14001420
Catalogue record

4. Book of Hours, Use of Rome, Italy (Florence), 1450
Catalogue record

5. Prayer Book, Southern Netherlands, ca. 1544
Catalogue record

De Doctrina Christiana Receives Shawcross Award

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Librarians are always pleased to hear about successes stemming from a user's research. Special collections librarians in particular are especially pleased when that research demonstrates the importance of the physical book.

I was very excited to learn that the 2012 edition of Milton's De Doctrina Christiana, edited by John K. Hale and J. Donald Cullington and part of Oxford University's The Complete Works of John Milton series, recently received the John T. Shawcross Award from the Milton Society of America. 

The award is specified as being for: "A distinguished edition of Milton’s works, a distinguished bibliography (of his works or of studies of his life and works), a distinguished reference work, or a distinguished chapter on Milton in a monograph that concerns other authors or engages topics that bear on 17th-century England".


John and Donald are both resident in Dunedin, New Zealand, and flew to Chicago last month to receive the award. Their edition of Milton's De Doctrina Christiana was many years in the making and drew heavily on the Alfred and Isabel Reed Collection of the Dunedin City Library, where I was Rare Books Librarian from 2007 to 2013, and in which capacity I frequently saw Donald or John in the reading room, pencils, paper and magnifying glass on either side, and a folio-sized volume before them. 

The book in question was the Dunedin copy of a Latin Bible printed in Hanau, Germany, by the Wechel printing firm in 1624 (OT, Apocrypha) and 1623 (NT), paid for by Daniel and David Aubry and Clemens Schleich.





In my congratulatory e-mail, I asked Donald about the importance of the collection, and the 1623/4 Bible in particular, to their work on Milton's De Doctrina:

"The holdings of Dunedin Public Library were extremely useful to John and me throughout the nine years of our collaboration, especially since so much of this huge Milton work uses the Latin Bible of Junius-Tremellius-Beza, an excellent copy of which is permanently available in the Reed Collection.

For the Old Testament and Apocrypha, the Latin wording of the 1623/4 Hanau [Bible] ... corresponds most closely with that of Milton’s citations, but in editing De Doctrina Christiana it was important to see where for reasons of his own he saw fit to change what Junius and Tremellius had written.

Also, for the New Testament the same [Bible] contains two Latin translations: Beza’s from the Greek and Tremellius’s from the Syriac. Although here Milton relied mainly on Beza’s own final version of 1598, he did occasionally prefer something in the posthumous ‘Beza’ edition of 1623; in some places, too, he opted for the quite different translation of Tremellius. And again, he sometimes decided to go his own way.


In all these respects the availability of the 1623/4 Bible helped John and me to produce a scholarly edition that showed in detail how Milton went about the task of dealing with the thousands of biblical passages included in his largest work". 

For more, you can read John Hale's reflections on his experience co-editing Milton's De Doctrina on the OSEO blog (posted 30.07.13).

---

Testamenti Veteris Biblia Sacra ... (Hanoviae: Typis Wecheliansis, sumptibus Danielis ac Davidis Aubriorum, ac Clementis Schleichii, 1623/4); with the armorial stamp and bookplate of David Lindsay, 1st Lord Balcarres (1587-1642). Purchased from the Export Book Co., Preston, Lancashire, by the Dunedin Public Library with support from A. H. Reed in 1966.

Nullius in Verba: The Royal Society's Two Earliest Books

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[First posted on the University of Melbourne Library Collections blog]

Earlier this week the Royal Society announced the launch later this year of Royal Society Open Science, an open access peer-reviewed journal publishing scholarly research in all fields scientific and mathematical. The move is seen by the Society’s president, Sir Paul Nurse, as a necessary step to keep pace with the changing face of publishing in the twenty-first century.

Changes in the publishing field is something the Royal Society has seen a lot of throughout its long history. The august body received a Royal Charter to publish relevant works in 1662 (two years after its official founding in November 1660), and will observe the 350th anniversary of its journal Philosophical Transactions in March 2015.

With the recent open access announcement and next year’s anniversary of Philosophical Transactions in mind, this week’s post highlights the Royal Society’s two earliest books: John Evelyn’s Sylva and Robert Hooke’s Micrographia; first editions of each are held by University of Melbourne Special Collections.[1]

Sylva
First printed in 1664, Sylva, or a Discourse of Forest-Trees and the Propagation of Timber was the first work sponsored officially by the Royal Society and the first treatise in English dedicated entirely to forestry.[2] Its author, John Evelyn (1620–1706), writer, intellectual and founding member of the Royal Society, is perhaps best known for his long-running diary kept from 1640 to 1706.

Evelyn initially presented Sylva as a paper to the Royal Society in 1662. The published text sought to encourage tree-planting after the destruction wrought by the Civil War and, it has been argued, to ensure a supply of timber for England’s developing navy and add a further boost to the economy. Evelyn’s bookproved highly popular with its intended audience, namely the gentry and aristocracy, who took from it the idea of gardening as an aesthetic pursuit, and his discourse was positively received on the Continent where it stimulated new methods of forest management.[3] Today Sylva is recognised as one of the most influential works on the subject of tree conservation.


First ed. title-page with the arms of the Royal Society.
First ed. title-page with the arms of the Royal Society


The first edition of Sylva contained two appendixes: Pomona: or, an Appendix Concerning Fruit-Trees in Relation to Cider, one of the earliest English essays on cider, and the Kalendarium Hortense: or, Gard’ners Almanac: Directing What He is To Do Monethly [sic] Throughout the Year, which was often reprinted separately and proved to be Evelyn’s most popular work.[4]

Title-page of Evelyn's 'Kalendarium Hortense'.
Title-page of Evelyn’s Kalendarium Hortense


Micrographia
The second text printed for the Royal Society was Robert Hooke’s groundbreaking Micrographia, or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses, published in 1665. Hooke (1635–1703), a natural philosopher and polymath, perfected the compound microscope and put the instrument to good use. His observations touched on a number of subjects, from combustion and diffraction of light, to fossils and artificial silk, and his description of the honeycomb-like structure of a cork gave us the word ‘cell’ to describe the basic biological unit of living organisms. 

Micrographia is perhaps most widely known today for its illustrations. The book includes 57 microscopic and 3 telescopic observations, describing for the first time ‘a polyzoon, the minute markings of fish scales, the structure of the bee’s sting [and wings], the compound eyes of the fly, the gnat and its larvae, the structure of feathers, the flea and the louse’.[5] These enlarged images of such minute creatures (Hooke’s louse measures 45.7 cm in length) are as startling today as they must have been for Hooke’s contemporaries over 300 years ago.


Compound eye of the fly (Scheme 24)
Compound eye of the fly (Schema 24)


A flea (Schema 34)
A flea (Schema 34)


A louse (Schema 35)
A louse (Schema 35)


Like Sylva, Hooke’s Micrographia was an immediate success. It was read by Samuel Pepys, who mentioned the book three times in his diary for January 1664/5 and called it ‘the most ingenious book I have ever read in my life’ (Pepys was also a member of the Royal Society).[6] The text, particularly Hooke’s observations on light and the spectrum, was also studied by Isaac Newton who drew inspiration from it for his Opticks: or, a Treatise of the Reflexions, Refractions, Inflexions and Colours of Light (London, 1704).

[1] John Evelyn, Sylva, or a Discourse of Forest-Trees and the Propagation of Timber (London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, [1664]); purchased by the Friends of the Baillieu Library
 
Robert Hooke, Micrographia, or Some Physiological Descriptions of Minute Bodies Made by Magnifying Glasses with Observations and Inquiries Thereupon(London: Printed by Jo. Martyn and Ja. Allestry, Printers to the Royal Society, [1665])

[2] Special Collections also holds copies of the 1670 second edition and 1679 third edition of Sylva, both of which were printed for the Royal Society

[3] http://royalsociety.org/events/2013/sustainability/ [Accessed 19.2.2014]

[4] Diana H. Hook and Jeremy Norman, The Haskell F. Norman Library of Science and Medicine, 2 vols. (San Francisco: Jeremy Norman & Co., Inc, 1991), i:271

[5] John Carter and Percy H. Muir, eds., Printing and the Mind of Man … (London: Cassell and Company Ltd., 1967 ed.), 88 (no. 147)

[6] Robert Latham and William Matthews, eds., The Diary of Samuel Pepys … 11 vols. (London: G. Bell and Sons Ltd, 1970-1976), vi:2, 17, 18

ANZAAB Conference and Melbourne Rare Book Week

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The following was posted on the ANZAAB website.

Conference in May
'The most agreeable servants of civilization' Booksellers and Librarians in a Changing World

A Joint Conference of the Australian and New Zealand Association of Antiquarian Booksellers (ANZAAB) and the National Library of Australia.

Discussions and presentations on how the rare book trade operates, how libraries and booksellers can work together more effectively, a 'pop up' rare book fair, a display of some National Library of Australia treasures and tailored behind the scenes tours make for two unmissable days for anyone working with and with an interest in rare books, manuscripts and photographs.

This is the first time a conference such as this has been held in Australia. This conference will give participants the chance to meet others working with or interested in rare materials on paper while at the same time hearing from some foremost scholars, librarians and antiquarian booksellers. Not to be missed!

Monday 19 May, 8.30 am - 5.30 pm & Tuesday 20 May, 9 am - 4.30 pm
Conference Room, Level 4
National Library of Australia

Complete Programme

Bookings now open


For more information contact Sally Burdon at Asia Bookroom.

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Third Annual Melbourne Rare Book Week

ANZAAB has also recently announced the 2014 Melbourne Rare Book Week from 17 to 27 July, incorporating the 42nd ANZAAB Australian Antiquarian Book Fair from 25 to 27 July at Wilson Hall, University of Melbourne.

The following was posted on the ILAB website:

The Melbourne Rare Book Week is now well established in the City of Melbourne’s event calendar. It is a major attraction for book collectors, librarians and all who have a love of words, print on paper and heritage, and the 2014 programme promises another outstanding event.

Kay Craddock on behalf of the Melbourne Rare Book Week Committee:

"To date, we have attracted six new event partners from Melbourne’s literary community and all of the 2013 partners have rejoined the programme, making a total of 25. New partners are: The Library at the Dock (due to open in Docklands in May), Grainger Museum, The Johnson Society of Australia, Royal Australasian College of Surgeons (Cowlishaw Library), Royal United Services Institute of Victoria Library and the Victorian College of the Arts.

The City of Melbourne has pledged increased sponsorship funding and will work with us to promote our events at its new Docklands Library. We have been extraordinarily fortunate to engage the support of leading Consumer, Industry and Market Research company, Roy Morgan Research. In addition to hosting several individual events, Roy Morgan Research will be promoting the entire programme through its extensive network of marketing, media, corporate, institutional and government customers. On Monday March 17, Gary Morgan and his CEO, Michele Levine, are hosting a media/sponsorship launch of Melbourne Rare Book Week. This will be an opportunity for event partners to promote the programme and to network with prospective sponsors and journalists."

As part of the Melbourne Rare Book Week, the 42nd ANZAAB Australian Antiquarian Book Fair will be held at the University of Melbourne's historic Wilson Hall, with free admission to all visitors. The 2014 Book Fair will again be held in partnership with the biennial University of Melbourne Cultural Treasures Festival — a programme of free exhibitions, thematic walks, talks, seminars, demonstrations, displays and guided tours which showcase the University's rich array of museums and collections.

[I will post this year's events when announced. Needless to say, I cannot wait!]

Vive le Roi! Richer-Sérisy's Journal L'Accusateur Public

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[First posted on the University of Melbourne Library Collections blog]

University of Melbourne Special Collections recently acquired a complete set of one of the most influential French counter-revolutionary journals: L’Accusateur public. Only a few issues are available on-line through Gallica (the digital library of the Bibliothèque nationale de France), and the only other recorded set in the country is held by the National Library of Australia, making the Melbourne copy a valuable resource for students and scholars, and a fine addition to our holdings of material on the French Revolution.


First issue, p. 1

L'Accusateur public was founded by the Jean Thomas Élisabeth Richer-Sérisy (1759–1803) shortly after his release from prison on 27 September 1794. Printed in Paris by Mathieu Migneret, the journal ran for thirty-five numbered issues until 1797 and brought Richer-Sérisy considerable popularity as a public writer.[1]

Such notoriety of course did not go unnoticed by Revolutionary factions, nor did the fact that Richer-Sérisy's energetic and vehement writing barely hid his Royalist opinions. His L'Accusateur public even outsold some of the pro-revolutionary periodicals, such as the Journaluniversal.[2]The year after The Directory seized power in the Coup of 18 Fructidor an V (4 September 1797), Richer-Sérisy was sentenced to deportation to Cayenne, French Guiana. He escaped and eventually made his way to England where he spent his remaining years. The last issue he edited (No. 35), dated 1 Frimaire an VII (21 November 1798), was seized by the police.


  Cartoon of the pro-Directory 'Constitutional Circle' known as the Club de Salm

The acquisition also included the two unnumbered issues that appeared after No. 35.[3] The first is dated 6 Thermidor an VII (24 July 1799). Unlike the numbered series, Richer-Sérisy's name is nowhere to be found, since he had already fled from France. According to Brunet's Manuel du libraire ... (Paris, 1860-1865 ed.), the issue was instead edited by the pro-royalist general Louis Michel Auguste Thévenet Danican (1764-1848).[4] 

Perhaps without Richer-Sérisy's name the issue failed to sell widely, for when a single issue of a second series appeared, possibly edited by Danican, it closed with a reprinted letter by Richer-Sérisy dated 'Berlin, 10 Mai 1799'. Richer-Sérisy, however, upon reading or hearing about the issue, declared it a forgery.[5] Its editor(s) presumably used his name as an attempt to give the new series credibility and popular appeal.


The supposed Richer-Serisy letter, 10 May 1799

A final point about the Melbourne copy not mentioned in the sale catalogue. On the recto of the first issue half-title is a rather worn ownership stamp, that of the Comte Joseph-François de Kergariou (1779-1849), bibliophile, prefect of Indre-et-Loire, and Napoleon's chamberlain.

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[1] Although the final issue is numbered '35' there are actually thirty-four volumes in total. Issue No. 13, which was to contain an account of the battle between Revolutionary and Royalist forces in the streets of Paris on 13 Vendémiaire an IV (5 October 1795), was never published (perhaps not even Richer-Sérisy could spin the Royalist's defeat). For more on its printer, Migneret, see Carla Hesse's Publishing and Cultural Politics in Revolutionary Paris, 1789-1810(Berkeley: University of California Press, 1991) available on-line through the UC Press E-Books Collection (accessed 13.3.2014)

[2] Kenneth Margerison, 'P.-L. Roederer: Political Thought and Practice During the French Revolution' in Transactions of the American Philosophical Society 1:1 (1983): 117

[3] The two unnumbered issues appear to be quite scarce. I was able to locate just three copies worldwide of the issue dated 6 Thermidor an VII and only two copies of the second series issue. No other copies are recorded in other Australian institutions.

[4] Charles Brunet, Manuel du libraire et de l'amateur de livres ... 6 vols. (Paris: Firmin Didot frères, fils et Cie, 1860-1865), 6:1869-1870

[5] University of Pennsylvania Libraries catalogue: http://www.franklin.library.upenn.edu/record.html?id=FRANKLIN_13561[No citation given regarding the forgery comment]

Altering Shakespeare: An Interleaved Copy of Antony and Cleopatra

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[First posted on the University of Melbourne Library Collections blog]

On 23 February 1855, the steamship Pacific docked in Melbourne harbour. Descending the gangway for his first tour of Australia was the Irish actor Gustavus Brooke, along with his wife Marianne, Brooke’s leading lady Fanny Cathcart, and his stage manager Richard W. Younge.

How Younge worked up a play for performance can been seen in his interleaved copy of Antony and Cleopatra, A Tragedy ([London?], ca. 1800), highlighted in this week’s post, along with some commentary on its provenance and use.



Half-title signed by R. W. Younge
Half-title inscribed by Richard W. Younge


The inscription shown above reads ‘R. W. Younge Theatre Royal Melbourne Feby 1856′. By ‘Theatre Royal’, Younge is most likely referring to Queen’s Theatre, also known as Queen’s Theatre Royal, where Brooke’s company opened with Othello to wide acclaim, and not the Theatre Royal owned by John Black. At the time of Younge’s February 1856 inscription, Black was in direct competition with the man responsible for Brooke’s Australian tour: the entrepreneurial actor-manager George Coppin, lessee of Queen’s Theatre and owner of the prefabricated Olympic. It was not until June 1856 that Coppin took over the Theatre Royal from his then insolvent rival, and so it is highly doubtful that Younge would have infringed upon his contractual obligations by being in the Theatre Royal before then.[1]

Potential confusion about the inscription aside, what makes this copy particularly interesting are Younge’s notes and textual edits.


Opening scene of play with annotations and notes.
Opening scene of play with annotations, notes, and a second inscription by Younge (p. [1])

 
Not a single page of printed text escaped his pen. Younge crossed out text, jotted down stage notes, cut entire scenes, changed characters, such as Demetrius and Philo being replaced by Enobarbus and Eros at the opening of Act 1, Scene 1 (see above image), and made numerous smaller alternations throughout the play in order to adapt the text to suit the production.


Younge's changes to Act 2, Scene 2, with a further inscription
Younge’s changes to Act 2, Scene 2, with a further inscription (p. 26)



Younge clearly made good use of the interleaving. His notes range from single lines to full pages of text, including many explanations and interpretation of phrases, definitions of words, musical accompaniment and stage directions, and even the occasional sketch of the set.


Sketch of set with stage notes.
Sketch of set with stage notes (p. 50)


Further stage notes (p. 51)
Further stage notes (p. 51)


Despite the amount of editing and annotation, no evidence could be found that Brooke and his company ever performed Antony and Cleopatra in Australia. Contemporary newspapers record the group performing scenes from Othello, Hamlet, Richard III, Macbeth, and Merchant of Venice. According to the Dictionary of the Australian Theatre, 1788-1914, Antony and Cleopatra was not performed at Melbourne’s Theatre Royal until 1867, six years after the actors returned to England.[2] 


Final page with notes.
Final pages (p. 141).


Perhaps Brooke and Younge found the existing repertoire sufficiently successful and did not feel the need to introduce scenes from another play.[3] Regardless of the reasons why Antony and Cleopatra was not used, this copy, with its copious notes and amendments, offers a fascinating study in nineteenth-century stage production and a fine connection with a booming Melbourne during Victoria’s early gold rush years.


Antony and Cleopatra; A Tragedy by William Shakespeare; Accurately Printed from the Text of Mr Steeven’s Last Edition ([London?], ca. 1800); from the library of Dr John Chapman with his bookplate; purchased by the University of Melbourne from the Chapman sale, Melbourne, 24-25 February 2004 (lot 340)

[1] According to Brooke’s entry in the Australian Dictionary ofBiography, when the juvenile lead Robert James Heir married Fanny Cathcart the pair left Brooke’s company for an engagement at Black’s Theatre Royal. They were brought back by a court injunction. SeeH. L. Oppenheim, ‘Brooke, Gustavus Vaughan (1818–1866)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/brooke-gustavus-vaughan-3064/text4519, published in hardcopy 1969, accessed online 26 March 2014.

[2] Eric Irvin, Dictionary of the Australian Theatre, 1788-1914 (Sydney: Hale & Iremonger, 1985), 28.

[3] Along with the inscription, the fact the play went unused suggests Younge bought the book in Melbourne where he had it interleaved and bound. His working up of the text for a potential addition of Antony and Cleopatra to an already full programme seems more probable after the company’s arrival in Australia than having such plans in place at the start of the tour and then dropping them (My thanks to Ian Morrison, who was Curator of Special Collections at the University of Melbourne when this book was acquired, for discussing its provenance and history with me).

Australia's First Banknote Sells for $334,000

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[The following is from Auction Central News]

SYDNEY (AFP) – The only surviving example of Australia's first official banknote exceeded expectations when it was auctioned for AUD $334,000 (USD $310,000), officials said Thursday.
The 10 shilling note – one of 100 issued in 1817 by the Bank of New South Wales (now called Westpac) on the day it opened – attracted bids from around the world, said Jim Noble of Noble Numismatics, which handled the sale.
"It's a record for a colonial banknote," he told AFP. "It will stay in Australia (but) I've no idea what the gentleman who bought it plans to do; he's a high up executive in a big organization.”
The auction price easily exceeded its Aus$250,000 estimate, with Noble attributing the interest to its unique historical value.
"It's the only one of its kind, even Westpac does not have one," Noble said.

Australia's first banknote. Image courtesy of Noble Numismatics.


Noble said the note was discovered in a private collection in Scotland in 2005, with Scots-born former New South Wales governor Lachlan Macquarie or one of his staff thought to have taken it there.
It was later bought by a private collector who sold it at Wednesday night's auction.
Macquarie arrived in Sydney at the end of 1809 to be confronted by a colony in crisis with no stable monetary system since the First Fleet landed in 1788.
As the new governor, he was given extensive powers to reshape the colony, but despite this his first request to London to establish a bank was rejected.
In 1812, to alleviate the shortage of currency, he imported Ł10,000 in Spanish coins from India and in 1813 manufactured and issued the "Holey Dollar"– one of which sold at auction for a world-record Aus$495,000 last year.
But it was not sufficient and in 1816 he revived his plan for a bank, this time getting London's approval, and on April 8, 1817 the Bank of New South Wales opened for business.

Original Les Miserables Manuscript on Its Way to Melbourne

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[The following is from the Herald Sun website]

The original 1862 manuscript of Les Miserables— considered one of the greatest novels of the 19th century — is on its way to Melbourne.

Victor Hugo’s 945-page handwritten document will leave the Bibliotheque nationale de France for the first time to be exhibited exclusively at the State Library of Victoria.

Arts Minister Heidi Victoria said the loan to Melbourne was an act of enormous trust and generosity by the French people.

“It is also significant that the State Library of Victoria is the first institution that France has entrusted this great work to,” she said.

Victor Hugo’s handwritten manuscript. Source: Supplied

[Exhibition] curator Tim Fisher said the “talismanic object” would be the centrepiece of the library’s forthcoming exhibition 'Victor Hugo: Les Miserables From Page to Stage', which coincides with a new production of Les Miserables premiering at Her Majesty’s Theatre.

“Victor Hugo had this amazing way of writing, where he would write down one side of the page and then sometimes, years later, go back and make corrections or additions,” Mr Fisher said. “It’s not a neat object; it is full of humanity.”

Victor Hugo started working on Les Miserables in 1845, completing it 17 years later in Guernsey, where he had been living in exile after declaring Napoleon III a traitor to France.

Les Miserables has been translated into 20 languages, reprinted at least 248 times, been adapted for cinema at least 50 times, and is the foundation for three major musical adaptations.

'The Victor Hugo: Les Miserables From Page to Stage' exhibition also features the six quills Hugo used to write the manuscript, portraits of the author, photographs of scenes from various movie, theatre adaptations and comic books.

'Victor Hugo: Les Miserables From Page to Stage' opens at the State Library of Victoria on 17 July. Visit victorhugoexhibition.com.au

Provenance in Pictures: Tracking the Ownership of Three Early Printed Books

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[First posted on University of Melbourne Library Collections blog]

Last week a group of Melbourne bibliophiles were treated to a delightful talk by preeminent bookman Nicolas Barker, editor of The Book Collector since 1965, and whose bibliography records an impressive 1,000+ entries.[1]

Barker examined twenty or so works from Special Collections and talked to the salient points of each book. This post highlights three of the selected items that had multiple signs of ownership, all of which caught Barker’s eye.

1. Johannes Meder, Quadragesimale de filio prodigo et de angeli ipsius ammonitione salubri per sermones diuisum [Basel: Michael Furter, 1495].

Title-page of the Quadragesimale

Judging by the number of inscriptions on the title-page, this copy of Meder’s Quadragesimale certainly travelled, but not very far. All of them can be localised to the province of Limburg in the Netherlands. The earliest is the inscription by Johan van Kessenich, shown above in between two other inscriptions towards the top of the title-page. Kessenich was born ca. 1522, served as steward of the Augustinian cloister of St Elisabeth in Nunhem, and died ca. 1608. The book then passed to a Wilhelm Horst, whose tidy inscription notes that he was a pastor in the town of Haelen (just 1km south of Nunhem), and came into possession of the Quadragesimale the same year as Kessenich’s approximate date of death. The last two pieces of evidence recorded on the title-page puts the book in the library of the Augustijnenkerk (Church of the Augustinians) in Maastricht, about 55km southwest of Haelen.

Quadragesimale binding

The book was bound in a contemporary style by the twentieth-century French binder Roger Devauchelle (1915-1993), who preserved the original clasp catches, the paper spine label, and presumably the pastedowns: two fragments from a thirteenth-century Breviary.

Manuscript pastedown

Affixed to the front pastedown is the book label of ‘B. Couissinier’, and Devauchelle’s stamp can be found in the upper-left corner.[2]

Purchased by the Friends of the Baillieu Library with funds from the George Shaw Trust.

2. Eusebius Pamphilus[Greek title:] Evangelicae praeparatio lib. XV … [with] Evangelicae demonstrationis lib. X. Paris: Robert Estienne, 1544-1545.

Signature of Rudolf Gwalther

The earliest sign of ownership on Estienne’s 1544 edition of Eusebius is an inscription dated just five years after its publication. It reads: ‘Sum Rodolphi Gualtheri Tigurini 1549′. The owner, Rudolf Gwalther (1519-1586), was a Reformed Protestant pastor in Zurich (‘Tigurum’) who married the daughter of Huldrych Zwingli (1484-1531), one of the leaders of the Reformation in Switzerland. He became head of the Zurich church upon the death of Zwingli’s successor Heinrich Bullinger (1504-1575).

Heidegger collection inscription

The book can next be placed in another Zurich collection, the ‘Bibliothecae Heideggeriana’. This collection was formed by Hans Heinrich Heidegger (1711-1763), whose son, Johann Heinrich (1738-1823), continued to expand the library. A slip pasted on the front free endpaper with the date ’1783′ written upon it suggests the Eusebius was acquired by the younger Heidegger that year. The Heideggeriana collection was sold in 1810 when Johann moved to Geneva.[3]

Stamp of Hachette and Co.

Sometime after the Heidegger sale, the Eusebius made its way to France and into the stock of the great bookshop and publishing house L. Hachette et Compagnie, whose acquisition stamp on the title-page dates to 1918.

E. Doheny book label

The volume next appeared in the library of Estelle Doheny (1875-1958), who amassed one of the great twentieth-century book collections in America. Doheny left her library, which included a volume of the Gutenberg Bible, to St John’s Seminary in Camarillo, California.[4] In her bequest, Doheny stipulated that the collection must be kept together for 25 years after her death. In 1986, the Archdiocese of Los Angeles and the Seminary Board of Directors made the controversial decision to sell the Doheny collection. The books were auctioned by Christie’s, New York, in six sales held between 1987 and 1989. The Eusebius was sold to Parsons Books in the 1 February 1988 sale (lot 559).[5]

Purchased by the Ivy M. Pendlebury bequest in memory of Gerald Frederic Pendlebury.

3. De recta pronunciatione Latinae linguae dialogus. Antwerp:  Christophe Plantin, 1586.

Stamp of Anton Fugger dated 1586

This copy of Plantin’s 1586 edition of Lipsius has a long connection to families that wielded financial power. The first being the stamp of Anton Fugger dated 1586. He was a member of a wealthy German banking and merchant family, their financial prospects secured by his namesake, Anton Fugger (1493-1560), whose trade empire extended to the Americas and the West Indies, and who also held mining interests in Scandinavia.

Bookplate of Zacharias Geizkofler von Gailenbach

This beautifully engraved bookplate is the most physically impressive piece of provenance evidence found among these three books. Measuring 17 x 14 cm, the ex libris belonged to Zacharias Geizkofler von Gailenbach (1560-1617), who had his name and that of his wife, Maria (nee von Rehelingen), along with her date of birth, engraved along the central oval frame. From 1597, Geizkofler served as Reichspfennigmeister (treasurer) of the Holy Roman Empire, and as an adviser to the emperors Rudolf II (1552-1612) and Matthias (1557-1619).

Lipsius title page

The Lipsius eventually travelled to what was Austria-Hungary. There it came into the possession of the noble Magyar family, Zichy, though which family member has yet to be confirmed. The title-page is stamped with the arms and name of Count Ödön Zichy. This may refer to Count Ödön (1809-1848), a governmental administrator who was executed as a result of a court martial, or Count Ödön (1811-1894), founder of the Oriental Museum in Vienna and a great patron of art and industry.

Bookplate of Jan Szasz

The second Hungarian collector to own this book was Jan Szasz, about whom I have been able to find very little.[6] It appears, however, that Szasz immigrated to the Antipodes, for a number of books with his bookplate are found in Australian institutional and private libraries.

Purchased by the Ivy M. Pendlebury bequest in memory of Gerald Frederic Pendlebury.

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[1] See A.S.G. Edwards, Nicolas Barker at Eighty: A List of His Publications to Mark His 80th Birthday (New Castle, DE; London: Oak Knoll Press; Bernard Quaritch Ltd., 2013).

[2] Do you recognise the ‘B. Couissinier’ bookplate? If you know who he or she was, please leave a comment or email me at Special Collections.

[3] Selecta artis typographicae monumenta e bibliotheca Heideggeriana sive Catalogus librorum seculo XV impressorum … qui pro adjectis in margine pretiis publica auctionis lege divenduntur d. 18. Jun…(Zurich, 1810)

[4] The Gutenberg Bible volume was purchased by the Maruzen Co. of Tokyo for USD $5.3m (with premium) in the 22 October 1987 sale (lot 1). It was acquired by Keio University Library in March 1996.

[5] The Estelle Doheny Collection … Part III: Printed Books and Manuscripts including Western Americana (New York: Christie, Manson & Woods, 1988) 173 (lot 559)

[6] As with the book label of M. or Mme Couissinier, I would welcome any information on this collector named Szasz.
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