Category Archives: 17c printed books

G is for Gilt and Gold

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Gilt and gold-tooled (or tooled in gold) are terms used to describe the techniques of applying gold decoration to a book’s page edges and its binding.

In gold-tooling, individual engraved metal hand tools are heated and applied through gold leaf to impress the design on the book’s spine and covers. Larger designs use an engraved metal block in a blocking or arming press, for example a centrepiece block or corner blocks.The design is then described as blocked in gold rather than tooled in gold.

If the binder’s tools or blocks are used straight onto the bookbinding material the decoration is described as blind-tooled (tooled in blind), or blocked in blind. A panel-stamp is a single large block used to impress a design onto the book cover; the term is used particularly of ‘blind-stamped’ 16th-century bindings, but the pretty cover designs of 19th-century literary annuals or gift books use essentially the same technique.

Fisher’s Drawing Room Scrapbook for 1852
SPEC Annuals 1c.F333

Whether the material is leather, vellum, or cloth, and the design is tooled or blocked, these techniques have produced some of the most stunning bookbindings from all periods.

Two 18th centiry religious works in a red morocco binding of ‘cottage’ design, inlaid with black, with the leather book-label of Ann Aingel, 1769.

SPEC H85.9 booklabel

Design blocked in gold on cover of Moore’s Irish melodies, 1851
SPEC L8.5

W. B. Yeats, Poems 1895
SPEC J18.15

 

 

 

 

 

 

 

 

 

 

Gilding describes the process of applying gold leaf or gold powder to the trimmed edges of the pages of a book. As well as giving the volume a more luxurious appearance, the smooth shiny surface serves the practical function of resisting dust. Gilt edges may be made more ornate by tooling a design onto the gilded surface, to produce gauffered edges.

Bible ( 1831). In a very elaborate Victorian leather binding; all edges gilt and gauffered.

Resources and further reading:

The Language of Bindings glossary at Ligatus.

The British Library Database of Bookbindings

The British Armorial Bindings database at the University of Toronto

F is for Format

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Anyone who has carefully studied one of our catalogue records may have spotted that the “Description” field contains a symbol that looks something like this – 2°, 4°, 8°, 12°. This number indicates what is called the “format” of the book – a term which refers to the manner in which the sheets of paper (or vellum) of which the book is comprised have been printed and folded.

As indicated in the first post in this series, books produced during the hand-press era (roughly up until early in the ninteenth century) were formed from large sheets of paper, on which several pages were printed in one go. The page would then be turned, and the corresponding pages printed on the other side of the sheet.

Unfolded sheet of printing

Books produced of sheets printed as in the example above, and folded and cut so as to give gatherings of eight leaves, sixteen pages which are then sewn together to create the full text, are called “octavo”, which is represented in the catalogue as 8° (or sometimes 8vo).

When just two pages are printed side-by-side on both sides of a sheet which is later folded once, and then cut, resulting is two leaves, four pages, the book comprised of gatherings of these leaves is called a “folio” (which is written as 2° for short, or sometimes as “fo”). In this instance, each page of the book will be half the size of the sheets used in printing. And where sheets have been printed with the text of four pages per side, and then folded twice, a book has the format “quarto”, 4to or 4°. This sheet, folded one extra time, results in four leaves a quarter of the size of the original sheet.

These are the most common book formats you are likely to encounter; but occasionally you might come across a book composed of leaves made from sheets that have been folded four or more times (duodecimo, 12°, 12mo,16°, 24°, 32°, up to 128°!).

Evidently a folio book is likely to be larger than a quarto, which is likely to be bigger than an octavo, and so on – but beware, the size of the finished product will depend upon the size of the original sheet. During the hand-press period this varied, and there can be quite a bit of variation in size within any single format as a result (we normally say folio books range between about 30.5 cm and 48 cm, for example).

From left to right, a folio, quarto, octavo and sextodecimo.

The format – and therefore size – of a book can provide a clue as to whether the printer was treating the book as a luxury good, or a commercial venture for less-wealthy readers. Smaller format books can be printed more quickly and use less paper and less binding material, so they can be sold more cheaply.

Similarly, the format of a book can provide an indication of its use – a book intended to be shown-off, or read by many people at once, is more likely to be produced in a large format; whereas a book intended to be carried on one’s person would need to be small and portable. To take two examples from SC&A: Inc.CSJ.D13/OS is a two-volume Bible printed in Nuremberg in 1475, which stands nearly half a metre tall, whereas 2017.a.028 is a copy of John Barnes’  The new London chemical pocket-book (1844) “adapted to the daily use of the student” is 17 cm.

Our smallest book, “The Bible in Miniature, or A Concise History of the Old and New Testaments” is a 64mo.

Cataloguers use marks within the paper to help determine how many times a single sheet has been folded, a process we’ll cover in greater detail in later posts – so watch this space!

C is for Cancel

Image

Robin Hood, 1820: Oldham 177

A cancel, as the name suggests, is part of a printed book (often a single leaf, or double-sided page) that cancels and replaces what has already been printed, to correct an error in the printing.

A cancel leaf (or cancellans, Latin for the thing that cancels) can often be detected from the stub of the original leaf, the cancelland (or cancellandum, Latin for the thing to be cancelled), which is left in place when the offending leaf is cut away from its partner, or  conjugate, leaf (as illustrated in A is for Alphabet). The corrected single leaf is pasted onto this stub.

Finding a stub, and therefore a cancel, brings out the detective in cataloguers: what was there before, and why did it have to be removed? If the collection contains two copies – before and after – that certainly helps answer the question, as shown in these images.

Dedication leaf: Oldham 177

Dedication leaf: SPEC Y82.3.1056

Spot the difference? The clue – apart from the stub – is in the signature a3 (see A is for Alphabet) and the number of lines, which have been increased from 12 to 13 to accommodate the full splendour of the aristocratic dedicatee’s name.

One of the commonest reasons for printing a cancel leaf was to make a change to the title page: to update unsold copies of a book, or for a new publisher to put their imprint on copies of a title taken over from its previous publisher.

Binding of the Brontës’ first published work

 

A famous example of the latter is the first publication of the Brontës’ poems in 1846. Despite the ruse of disguising their gender to counter anti-female prejudice, the first edition sold only two copies. In 1848, following the success of Jane Eyre, and Anne and Emily’s novels, the publisher Smith, Elder & Co. republished the poems with a new title page (but with the original date). The newly issued books had a leaf added before the new title page advertising ‘Prose fictions by Currer, Ellis, and Acton Bell’ and Smith, Elder, & Co’s May 1848 ‘List of new books by popular authors’ is bound in at the end of the volume.

First edition of the Brontës’ poems 1846

 

Second edition of the Brontës’ poems 1848

 

B is for Bookplate

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For almost as long as there have been printed books, there has existed a practice of marking ownership of those books through the use of an engraved or printed paper label. Bookplates typically contain an engraved or etched armorial or pictorial design, with the owner’s name or initials and perhaps a motto, address, occupation or degree. The term ‘book label’ has tended to be used for smaller and simpler labels, with a characteristic design comprised of an owner’s name within a relatively plain decorative border.

Liverpool Library bookplate

Liverpool Library bookplate.

 

Book label of Hannah Mary Reynolds.

It is not uncommon to find more than one bookplate or book label within a book, helping to build a picture of the life of an object by revealing the various individuals that have come into contact with it, and the various locations to which it has travelled. Often a later owner may have pasted a bookplate over the top of a previous owner’s bookplate, or made some attempt to erase a previous bookplate, presumably to ensure the avoidance of doubt as to who is the righful owner of the book now!

The name of the owner of this bookplate has been removed by a later owner of the book.

 

Here, Thomas Glazebrook Rylands has inserted his bookplate beneath the armorial bookplate of the book’s previous owner, John Lee. Both bookplates are from the 19th cnetury.

The design of bookplates has been subject to different fashions over time, and it is often possible to date a bookplate according to a recognisable trend in style. Some great artists – including Hans Holbein, Albrecht Durer, Kate Greenaway and Walter Crane – have designed bookplates. They offer interest not just to those concerned with the history of books and book ownership, then, but also from an art-historical viewpoint.

Bookplate of John. T. Beer.

On the front paste-down, the bookplate of antiquary Richard Duncan Radcliffe (1844-1925). On the first free endpaper, the bookplate of the physician Sir Robert Alexander Chermside (1792-1860).

Bookplate of the 10th Earl of Derby.

Bookplate of the 10th Earl of Derby.

If you are interested in learning more about the history and study of bookplates and book labels, a good place to start is with David Pearson’s Provenance research in book history: a handbook which is available to consult in the Special Collections and Archives reading room.

A is for Alphabet

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Early printed books – from the start of printing in the fifteenth century up to the early nineteenth century – were produced very differently from modern, machine-printed books. They were printed by hand on large sheets of paper, with several pages on each side, as shown by this sermon preached to the House of Commons in 1707.

Unfolded sheet of printing: SPEC LGP 167 1st copy

The sheets were folded into gatherings – quires – and sewn together by the binder to make the book ready for binding, as in our second copy of the same sermon in the form of a stitched pamphlet.

SPEC LGP 167 2nd copy showing stitching

 

 

 

 

 

 

 

Before being folded into quires, as the individual sheets were being printed, the first page on each sheet was marked (‘signed’) with a letter of the alphabet. That way, when the quires came to be sewn together to make up the full book, the binder had a guide to help him retain the correct order – putting quire A, before B and so on.

A register of all the letters used by the printers was often included, as shown in an edition of Euclid printed in Paris in 1516.  Only 23 letters were used – leaving out I or J, U or V, and W. This printer’s alphabet – like many aspects of the earliest printed books – used the system developed by manuscript scribes, in this case to avoid confusion between similar looking letterforms in the Latin alphabet.

Remember, remember, the 5th of November: Guy Fawkes and gunpowder in the collections, from 1679 to 1990

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This weekend sees the British tradition of Bonfire Night (or, Guy Fawkes Night) taking place across the country, marking 407 years since the plot to destroy Parliament and assassinate James I was foiled. Although the plot was concocted by 13 members, the name synonymous with the event is Guy Fawkes (or Guido Fawkes); most likely as he was the individual discovered by authorities guarding the gunpowder. The event holds much traditional cultural interest to this day – for instance, The Houses of Parliament are still ceremoniously searched by the Yeomen of the Guard for before the State Opening. To celebrate, we have selected some of the best BANGing works from the collections here at Liverpool University relating to Fawkes and Fireworks.

The Gunpowder-treason … its discovery; and … the proceedings against those horrid conspirators… (1679)

Parliament declared the 5th of November as a day of commemoration and thanksgiving (this was enforced until 1859). For many years to come pamphlets were published on the anniversary date of the event, to remind readers of the consequences of disloyalty to the king and parliament. This pamphlet (SPEC Knowsley 118), published in 1679, printed the confessions of the conspirators and the speech of James I.

The art of making fireworks… (c. 1810)

Although bonfires were a common sight, fireworks were not a popular mode of celebration on the 5th of November until the 1650s onward. This locally printed pamphlet (SPEC G35.14(3)) from the early nineteenth century demonstrated how to make fireworks using gun powder and various other household objects with detailed instructions and colour diagrams (a health and safety nightmare by modern standards).

Guy Fawkes; or, The fifth of November (c. 1840)

This small Protestant chapbook (SPEC Oldham 157(17)) produced in the mid nineteenth century was aimed at retelling the story of Guy Fawkes for children. Chapbooks became a popular method to disseminate tales with a moral meaning to children. The main characters in this particular publication build a guy for a bonfire, and the narrator uses the opportunity to provide a religiously-driven message – the conspirators of 5th of November are presented as Catholic sinners, who acted against the authority of the King.

V for Vendetta (1990)

Skipping forward around 150 years: although still synonymous with celebration, fireworks displays, and bonfires, the anti-establishment sentiments of the 5th of November hold much cultural weight in modern literature and media. V for Vendetta is a DC Comics series by Alan Moore and artist David Lloyd (also developed into a 2006 movie). The series follows V, an Guy Fawkes mask wearing anarchist, who rebels against the dystopian United Kingdom setting of the fascist dictatorship Norsefire. In the Science Fiction Foundation Collections held here, we have a 1990 copy, the first edition printed in the U.K. (PN6737.M66.V46 1990).

As usual, the items featured in this post are available to consult in the reading room here at Special Collections and Archives. Please email scastaff@liverpool.ac.uk for more information. However, our reading room is silent study; please leave all fireworks at home.

2015 in retrospect

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Burns Night is a suitably celebratory prompt to look back on the Auld Lang Syne of 2015 in Special Collections & Archives and remember some of its highlights – the enthusiasm of students, staff, and visitors; new accessions and new discoveries in the collections; and collaborations with colleagues around the University, throughout Liverpool and further afield.

  • January – our first external visitors were the North West branch of CILIP, visiting the Science Fiction collections.
  • February – SC&A hosted a visit for volunteers from the National Trust’s Jacobean Speke Hall.
  • March – the grandaughters of Basque nationalist Manuel Irujo de Ollo visited the Irujo collections after attending a seminar in the Department of Modern Languages and Cultures. The great-nephew of Irujo’s contemporary, Professor of Spanish Edgar Allison Peers, visited with a current Liverpool Spanish student who worked at his publishing company on her year abroad.

Basque-2

Other visitors in March included authors Neil Gaiman and Cheryl Morgan, who explored the worlds of fantasy and comics with Science Fiction Librarian Andy Sawyer, and volunteers at the George Garrett archive.

neilgaimanvisit-2sm

IMG_0917At the University’s School of the Arts, Jenny Higham, SC&A Manager, introduced SC&A’s Renaissance resources at the Department of English seminar ‘Making Knowledge in the Renaissance.’

Inc. Ryl. 63.OS Claudius Ptolemaeus Cosmographia

  • April – Preparations for 2015’s Cunard 175 celebrations got underway in April with the BBC Inside Out team filming material from the official Cunard Archive; SC&A’s new exhibition cases were installed and our copy of Robert Hooke’s Micrographia was measured up for exhibition at the Victoria Gallery and Museum, to celebrate its 350th birthday.

SPEC Y81 3 1637

  • May – Liverpool’s annual Light Night on 15 May launched the LOOK/15 International Photography festival including Gypsy portraits from the Fred Shaw photograph collection. Cunard 175 culminated in the Three Queens choreographed sailing on the Mersey over the Bank Holiday weekend, with news items and interviews with Jenny Higham on the BBC North West Tonight and Granada News.

P015CEzlApjWIAAmTRa

 

 

 

 

 

 

  • June – the Cunard theme continued with a creative writing workshop inspired by the Cunard Archive, and both the Fairbridge Archive and the Science Fiction collection hosted external visitors.
  • July – LIHG, CILIP’s specialist Library history group took advantage of the CILIP conference at Liverpool’s St George’s Hall to include a visit to SC&A, visiting the Cunard exhibition and seeing highlights from the early printed book collection chosen for their provenance history.
  • August – the family of Sir Harold Cohen, eponymous founder of the Harold Cohen Library saw his Library, his archive, and the pen that made it all possible.

Phil Sykes with Mrs Penny Gluckstein and Amanda Graves in the Library Special Collections and Archives

  • September – the ships have sailed, but the posters on display in the Victoria Gallery & Museum keep the Cunard glamour alive.

CunardPoster-1w

  • October – more well-travelled visitors included Stanisław Krawczyk from the University of Warsaw, to give a talk on fantastic fiction in Poland, and Eric Flounders, Cunard’s former Public Relations Manager, spoke to a packed Leggate theatre audience on his 27 years of experience of Cunard.
  • November – as part of Being Human 2015, Will Slocombe (English Department) and Andy Sawyer presented Being Posthuman at FACT, and the Knowledge is Power exhibition opened at the VGM.

Knowledge is Power

  • December – SC&A hosted a thank you visit for the Friends of the University, who generously funded a programme to clean and box the incunable collection

Sydney Jones incunables 1

New accessions and newly catalogued collections, now available for research and teaching use, include: University Archive EXT – 70 years of papers from the Extension Studies Dept. 1935-2005 and D1042 (1968-2013) papers of the Academic Institution Management Service; CNDA – Cunard memorabilia from the Cunard Associated Deposits; D709/6 – new additions to the David Owen Archive; LUL MSS and LUL Albums – listings of scrapbooks, commonplace books and other individual volumes previously donated to the University Library; foreign language science fiction; 17th-century pamphlets from Knowsley Hall and 19th-century pharmacological books. Find all these and more by searching the Archive and Library catalogues on the SCA website

 

Fleas, flies and fire: Micrographia350

Aside

Robert Hooke’s Micrographia, published in 1665 is now 350 years old. To celebrate this anniversary of the world’s first illustrated book of microscropy, and the way it changed the way people understood the world, SC&A’s copy is on display in the Victoria Gallery & Museum from today. The exhibition sets it in the context of the contemporary disasters of the Great Fire of London and the plague, and brings the illustrations to life with surprising additions from the Museum’s scientific collections.