Shining a spotlight on Hidden Collections

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At “hands in the air” in the style of MasterChef at the end of her own arduous MasterSurvey, Dana Gee marks the finish of our own six-month endurance test.

Our Hidden Collections Grant to explore strange new worlds of backlog, to seek out new sheet music, to boldly go where no one has gone before, officially came to an end on June 3. While the grant was not fully funded, I’m pleased to announce that during the survey we were able to locate and accession almost 60,000 scores on-site in Houghton and the Theatre Collection, as well as add access to many other already-accessioned collections.

By the side of the Zuyder Zee (more…)

William King Richardson, Part III: Mischievous Billy Richardson

It is good to see good work being done by colleagues on a great collection.  But let’s not be too solemn about the collector and the collected, no matter his degrees and trophies.  After all, he wasn’t. “Billy” traveled in certain social circles and had a lot of fun in doing so.  Edith Wharton, the important American novelist and an authority on interior decoration across all periods, was part of his world.  In fact, WKR is the source (take that word as you will) of an amusing anecdote about EW, one that makes us like them both the more.

From R.W.B. Lewis’s Edith Wharton: A Biography (1975), p. 148:

And [among frequent guests to EW’s palatial summer “cottage” in the Berkshires, The Mount] there was William King (“Billy”) Richardson, a Boston lawyer specializing in patents and trademarks; something of a dandy, with a handlebar moustache and deep mournful eyes. Though he was well traveled, his literary qualifications were nonexistent; but his appeal to Edith is suggested by one of the apocryphal stories he mischievously spread about her.  An opulent woman in the Berkshires neighborhood, while showing Edith through her house, remarked at one point (so Richardson claimed):  “And this I call my Louis Quinze room.”  To this Edith, staring about through her lorgnette, replied, “Why, my dear?”

Our Billy collected more than books and manuscripts, and he was the cause of collecting in others.  Visit the Dutch Collection at the MFA and see two full-length portraits by Rembrandt of Rev. and Mrs. Seven deTeenth Century Gotbux.  The modest, almost miniature, labels beside them tell us, “William King Richardson Fund.”

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Dennis C. Marnon, Administrative Officer, contributed this post. It is the third in a series on William King Richardson. For earlier posts, click on the “Early” category below.

Poster Swank

This post is part of an ongoing series featuring items recently cataloged from the Julio Mario Santo Domingo Collection.

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For some 40 years, Poster Auctions International has been holding auctions at Rennert’s Gallery in New York City for their collection of rare vintage posters. This collection spans art noveau, art deco, and modern pieces of poster art. Each auction is accompanied by a beautifully crafted auction book, with a hardbound cover and glossy color pages featuring images and details about available posters.

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Poster collecting emerged as a popular and expensive endeavor sometime in the 1960s and 1970s, with focus being placed on the work of a handful of 19th century French artists such as Lautrec, Alphonse Mucha, and Jules Cheret. As the market and demand for posters has expanded, new collector categories have developed: Mid-Century Modern reflected in post-WWII designs, war propaganda posters from the first half of the 20th century, and travel posters from around the world. Along with those in the Art Nouveau style, war propaganda posters are particularly popular. During the First World War, the United States produced some 2,500 poster designs, with 20 million posters printed, in the span of two years. The power of the poster was recognized and reimagined by the Bolsheviks, and became a staple of war efforts around the world. Other poster styles evolved throughout the 20th century, including Art Deco influenced by the sleek aesthetic of the jazz age, the ‘50s Style using whimsicle design to appeal to broad audiences, and International Typographic Style (or Swiss Style) which was highly structured, orderly, and corporate. Read more about the history of the poster here.

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Many of the posters crafted between 1880 and 1930 were printed through a method called lithography, which was replaced by photo offset and silkscreen processes after the Second World War. Printing processes can account for the value of certain posters, along with their connection to the original artist, the popularity of said artist, the subject depicted, along with the rarity and condition of the poster itself. The auctions held by Poster Auctions International include posters from nearly all of the eras discussed here. The auction and Rennert’s Gallery are a staple of New York City, demonstrated by an auction they held two months after the 9/11 terrorist attacks where proceeds went to benefit the American Red Cross Disaster Relief Fund.

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To learn more, poster catalogs published by Poster Auctions International can be found in the Fine Arts Library collection.

Thanks to Irina Rogova, Santo Domingo Library Assistant, for contributing this post.

Son of The heroism of King George

It has already been a busy summer. I had the great good fortune last week to take another Rare Book School course, The Stationers’ Company to 1775, taught by the extraordinary Ian Gadd. Now, you may ask, what the heck is The Stationers’ Company? Basically, it is what today we would call a guild, which oversaw the book trade from the beginnings of printing in London. Among other fascinating archives, the Company kept a “Register” of most books (and some music) printed, entering the date and identifying the alleged “copy” [copyright or privilege] holder.

This is all very well I hear you cry, but what does this have to do with The heroism of King George? As part of my research project, I read through the entire Register microfilm from 1799 to 1804, just to get a flavor of what kind of music might be entered there, if any. Imagine my surprise when I ran across this entry.

Sheridan Stationers Company entry (more…)

William King Richardson, Part II: “One of the most remarkable specimens of XVth century binding I have ever seen.”

In April the library began a three month project entering provenance information from Houghton incunabula into the Manuscript Evidence in Incunabula database (MEI). Maintained by the Consortium of European Research Libraries, MEI enables scholars to research and compare copy-specific features in incunabula across an international multitude of repositories.

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These two sets of image show the same book at different times:  above, as it appears now, and below, the same book as at it appeared in the catalogue of a prominent European bookseller in the late 1920’s.

So what happened here?

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