When I see a very large book covered in silver metallic paper sitting on our shelves, of course I have to pull it down and take a look. This recently acquired catalog of prints from the Sumo Museum collection has some really wonderful images, but this one is definitely my favorite (more about the artist).
The Rubenstein Library’s History of Medicine Collection always seems to provide the most unusual examples of illustration. This text (catalog record here) by English physician Robert Fludd, published by Johann Theodor de Bry in 1623, is no exception. The anatomical specimen is both comical and gruesome…but also strangely familiar.
Johann Theodor’s father, Theodor de Bry, was also prominent publisher and engraver, and many of his works on exploration of the New World can be found in Duke’s collection. Theordor’s 1590 engraving, The Trvve Picture of One Picte from the second edition of Thomas Hariot’s book A Briefe and True Report of the New Found Land of Virginia, appears in the same pose.
While these two books look very different, they are actually the exact same edition. They were both printed with the same setting of type and on the same paper. The book on the left is in a later binding than the one on the right, with some added edge gilding. But why the difference in textblock thickness? The one on the left was pressed very hard by the binder. It’s pretty incredible how compact a textblock can become with enough pressure -and pressing is not without its downsides. These books were letterpress printed and the dimensional impression of the type, which is an artifact of the printing process, has been completely pressed out of the thinner copy.
We are getting the first large collections that have been selected for freezing into our freezer. We are following the National Park Service’s guidelines for packaging photographic materials for freezing.
Lucy Vanderkamp worked with us to wrap these boxes of negatives. We got better and faster at wrapping as we went along. By about box ten we felt like experts.
If you are unfamiliar with the NPS “Conserve-O-Gram” series, there is an awesome amount of information there. Check them out.
Today we hosted a delightful group of grad students from a class that Liz Milewicz, Head of Digital Scholarship Services, is working with. They declared Conservation to be “The Best Tour Ever.” We kind of agree. Here we are looking at Kenneth Arrow’s Nobel Prize medal. 
We recently had the preparators from the Nasher Museum here to fit the Nobel medal for a custom display mount. We know this medal will get a lot of use so we are having a special display mount made for it. The Nobel Prize is something almost everyone has heard about but rarely do you get a chance to see one up close. It’s a special object to have in the lab for show-and-tell.
Today, as I was examining some items from the Lisa Unger Baskin Collection, I came across one of the longest armed manicules I’ve ever seen. This mark, whose name derives from the Latin meaning literally “little hand”, is a common annotation meant to draw the readers attention, like a highlight. This one just looks like it belongs to Mister Fantastic. If you’d like to read more about this mark and see other examples, these recent articles from Slate and Atlas Obscura may be of interest.
Now that the clones have matured and finished their training, my productivity in the lab has tripled!
Beth is on her way to Chicago for the ALA Annual Meeting, armed with some light reading. You can find a review of Kurlansky’s book here.
I’m always amazed at what our library collections hold. This absolute gem of a book came to the lab for repair from the general collections, Watermarks In Paper in Holland, England, France, etc., by William Algernon Churchill (reprint of 1st edition; 1967).
Aren’t these watermarks terrific? I love the elephants with their trunks coming out of the top of their heads.
Today is Good Friday and we happen to have our three-volume octavo edition of Audubon‘s Quadrupeds of North America in the lab to get some stabilizing repairs and enclosures. The first volume of the set is absolutely teeming with prints of hares and rabbits and this seems like an auspicious day to share them. Audubon’s Quadrupeds first appeared in three folio volumes (under the title “The Vivaparous Quadrupeds of North America”) between 1845 and 1848. The first octavo edition was published by John James Audubon’s sons (John W. and Victor) following his death in 1851. Initially both editions were issued in parts. You can view full a full digitized version of this book here.
