Tag Archives: IJ

The Cadbury Bequest

Thanks to a generous bequest from Sir Adrian Cadbury (1929-2015), King’s College Library has been able to continue the process of cataloguing its collection of rare books. Sir Adrian was great-grandson of John Cadbury, a tea and coffee merchant in Birmingham who later manufactured cocoa powder. John’s sons developed a chocolate recipe in 1866 and went on to build the famous Bournville model village near Birmingham, introducing the Dairy Milk brand in 1905. Sir Adrian came up to King’s in 1949 to read economics. He joined the family business straight from university and became a director of Cadbury Bros in 1958. He retired from his position at Cadbury in 1989, and in his distinguished career was also a director of the Bank of England (1970-94) and of IBM (1975-94).

The Cadbury bequest has so far enabled us to catalogue over 200 incunabula, i.e. books printed before 1501. Some of these, such as a few statutes passed during the reign of King Henry VII and printed between 1496 and 1501, are not preserved in any other library. Other rare highlights include two copies of the 1470 editio princeps of Petrarch’s Canzoniere, one of the most important works in Italian literature of which only about 30 copies survive in public libraries worldwide:

“Voi ch’ascoltate in rime sparse il suono”: the opening of Petrarch’s Canzoniere, first printed in Venice by Vindelino da Spira in 1470 (Bryant.XV.2.11)

There are only three known copies of this 1495 edition of John Mirk’s Liber festivalis (Book of Festivals), a collection of homilies for the liturgical festivals as they were celebrated in Mirk’s native Shropshire at the time. The woodcut title page depicts the Annunciation and the Tree of Jesse:

Title page of John Mirk’s Liber festivalis (Rouen: James Ravynell, 1495) (Bryant.XV.3.24)

The book belonged to the noted Anglo-Saxon scholar Elizabeth Elstob (1683-1756), whose signature is visible on the right. On the title page verso is another woodcut featuring the Crucifixion and, at the foot of the page, Christ carrying the cross:

Title page verso of John Mirk’s Liber festivalis (Bryant.XV.3.24)

Happy Easter from all of us at King’s College Library and Archives; we hope you enjoy some Cadbury chocolate this Easter!

IJ

Theology Books from George Thackeray’s Library: An Online Exhibition

The last exhibition as part of our HLF-funded project was mounted in the beautiful setting of King’s College Chapel in May and June 2018, and it featured books from the theology section of George Thackeray’s library. When he died in 1850, he left his black-letter divinity books, mostly printed between 1530 and 1580, to King’s in his will (some 165 volumes). His daughter Mary Ann Elizabeth bequeathed the rest of her father’s library to the College in 1879. Over 22,000 people visited the Chapel in May and June, but for those who did not have the opportunity to see the exhibition, we provide here some selected highlights.

Two exhibition cases were set up in the Ante-chapel

If you look closely at the next two images, you’ll be able to see the reflection of the chapel wall and the stained glass windows on the cases. This is volume I of the first edition of Martin Luther’s collected works. The title within a historiated woodcut border shows Martin Luther and Frederick III of Saxony kneeling in front of Christ on the Cross:

Martin Luther, Tomus primus omnium operum reuerendi domini Martini Lutheri
Wittenberg: Hans Lufft, 1545
(Thackeray.A.37.5)

This devotional work, first printed in 1574, was likely not authored by St Augustine. Each page has elaborate woodcut borders depicting Biblical figures:

Certaine select prayers: gathered out of S. Augustines meditations
London: Printed by John Wolfe, for the assignes of Richard Day, 1586
(Thackeray.207)

One of the most prolific and influential of Germany’s early printers, Anton Koberger (ca. 1440-1513) printed fifteen editions of the Latin Bible at Nuremberg between 1475 and 1513. Dated 10 November 1478, Koberger’s fourth Latin edition contained several pointers for readers, for example the first table of contents indicating the folio number on which each book of the Bible begins:

Biblia latina
Nuremberg: Anton Koberger, 10 November 1478
(Thackeray.XV.1.10)

The grammarian Robert Whittington was best known for his elementary Latin school books. This 1517 edition of Declinationes nominum [The Declension of Nouns] was produced by the celebrated printer Wynkyn de Worde (died ca. 1534), who collaborated with William Caxton and took over his print shop in 1495. The title page has one of Caxton’s distinctive printer’s devices incorporating the words “wynkyn .de. worde”:

Robert Whittington, Editio roberti whittintoni … Declinationes no[m]i[nu]m ta[m] latinoru[m] [quam] grecoru[m]
London: Wynkyn de Worde, 1517
(Thackeray.41)

This second edition of Sir Thomas More’s Dialogue concerning Heresies, in which he asserts the Catholic Church as the one true church, contains a contemporary 16th-century inscription on the title page (uncertain reading): “lone to amende and fayne for to plese lothe to a[?]f”:

Sir Thomas More, A dyaloge of syr Thomas More knyghte
[London: William Rastell], 1531
(Thackeray.70)

The exhibition also included a selection of books remarkable because of their bindings. This copy of Philipp Melanchthon’s Orationum (1572) features a characteristic 16th-century German blind-stamped alum-tawed pigskin binding over wooden boards. On the front board is a portrait of Melanchthon, with the lines: “Forma Philippe tua est sed mens tua nescia pingi nota est ante bonis et tua [scripta docent]” [Philipp, this is your likeness, but your mind remains unknown to good men without the teaching of your writings]:

Philipp Melanchthon, Orationum
Wittenberg: Clemens Schleich and Anton Schöne, 1572
(Thackeray.J.49.5)

This small volume is bound in a parchment wrapper with manuscript writing on both sides and initials illuminated in red and blue. Recycling of manuscripts in book binding was a common practice. Thanks to the HLF grant, the binding has been repaired as shown in these images, before (left) and after (right) conservation:

William Fulke, A confutation of a popishe, and sclaunderous libelle
London: Printed by John Kingston, for William Jones, 1571
(Thackeray.182)

We would like to take this opportunity to thank the HLF for their generous support over the past two years, which enabled us to catalogue almost 2,000 books from the Thackeray Bequest, repair the volumes that required conservation, create a digital library, organise school visits, and mount numerous exhibitions which attracted thousands of visitors.

IJ

Video: Conserving Rare Books at King’s College, Cambridge

As part of our HLF-supported Thackeray Project, we have produced a video that looks at rare book conservation generally, before moving on to a case study of the repairs performed on a single book from the Thackeray Collection (Le rime di Francesco Petrarca, Thackeray.L.3.40).

Enjoy!

 

GB/JC/IJ

John Sturt (1658-1730): Engraver, Illustrator, Calligrapher

One of the most extensive sections of the Thackeray Bequest is a collection of theology books, ranging from the Koberger Latin Bible printed in Nuremberg in 1478 to around 160 books in Gothic script published between 1530 and 1580 by such notable figures as John Calvin, Hugh Latimer, Philip Melanchthon, Sir Thomas More, William Tyndale, Luther and Erasmus. In this eclectic collection are two visually impressive books engraved by John Sturt (1658-1730), best known as the illustrator of Bunyan’s The Pilgrim’s Progress (1728).

Title page of The Book of Common Prayer (London: John Baskett; sold by John Sturt, 1717) with engraved royal device (Thackeray.C.67.12)

One of Sturt’s most notable works is The Book of Common Prayer (1717), executed on 188 silver plates which include more than 100 illustrations depicting scenes from the New Testament:

Engraved vignette depicting one of the Stations of the Cross

as well as portraits of Queen Elizabeth I, James I, Charles I, Charles II, and George I, among others:

Portrait of Queen Elizabeth I. Each page is set within an ornamental border

A remarkable feature of this book is the frontispiece portrait of King George I, on which Sturt inscribed in minuscule letters the Creed, the Lord’s Prayer, the Ten Commandments, a prayer for the King and the Royal Family, and Psalm 21:

Frontispiece portrait of King George I. Sturt’s skills as a calligrapher were such that he managed to engrave the Lord’s Prayer on a silver halfpenny

The book took three years to complete and was financed by subscribers, whose names appear in the volume. Sturt’s next project, providing the illustrations for Laurence Howell’s The Orthodox Communicant (1721), was published four years later and also features a list of subscribers at the end.

Title page of Laurence Howell’s The Orthodox Communicant (London: Sold by John Sturt, 1721); Thackeray.C.75.28

This volume further illustrates Sturt’s skills in miniature work. Each page has an engraved border enclosing engraved text with a vignette at the top of the page. The text and the borders were separately imposed, which means that copies may not always have the same border surrounding a particular page of text:

The Sermon on the Mount

The Flagellation

The Resurrection

Sturt was a very prolific engraver, and his work as a book illustrator includes Francis Bragge’s Passion of our Saviour (1694), Samuel Wesley’s History of the Old and New Testament in Verse (1704), Charles Perrault’s Treatise on the Five Orders of Architecture (1708) and Hamond’s Historical Narrative of the Whole Bible (1727). Though he died in poverty in 1730, John Sturt remains one of the most skilled and accomplished engravers and calligraphers of his generation.

Happy Easter from everyone at King’s College Library and Archives!

IJ

 

Jane Austen Open Day: An Online Exhibition – Part 2

On 18 July 2017, the 200th anniversary of Jane Austen’s death, King’s College Library mounted an exhibition featuring first editions of all of Austen’s novels, the autograph manuscript of her unfinished novel Sanditon, a manuscript letter to her publisher, a book from her library, early translations of her novels, and other rare treasures. The event was a great success and was attended by over 1,000 people. Some of this material was used in our Open Cambridge exhibition which attracted over 1,400 visitors during the weekend of 8-9 September. We present below some highlights from the second part of the exhibition for those who could not visit in person.

Persuasion was first printed in French in 1821. This copy of the second French edition (1828), freely translated by the Swiss novelist and translator Isabelle de Montolieu (1751–1832), belonged to Sir Geoffrey Keynes, the younger brother of John Maynard Keynes.

Jane Austen, La Famille Elliot ou l’Ancienne Inclination
(Paris: Arthus Bertrand, 1828)
Gilson.A.PeF.1828/1

Routledge’s Railway Library, intended for ‘amusement while travelling’, began in 1849 as a shameless imitation of Simms and McIntyre’s Parlour Library. The inclusion of Pride and Prejudice in the series in 1850 is a testament to the popularity of the novel at the time.

Pride and Prejudice. By Miss Austen, ‘The Railway Library’
(London: Routledge, 1850)
Gilson.A.Pr.1850a

Chapman and Hall’s series ‘Select Library of Fiction’ was closely associated with W.H. Smith, who carefully sought out copyrights, or reprint rights, of popular novels in order to publish yellowback editions for sale on his railway bookstalls. The series, which ran from 1854 until it was taken over by Ward, Lock in 1881, included at least thirty novels by Anthony Trollope, who had strong views on the poor quality of much railway literature. This is one of the few known copies of Sense and Sensibility in yellowback.

Jane Austen, Sense and Sensibility
(London: Chapman and Hall, 1870)
Warren.A.Se.1870

Lady Catherine is fully aware of her station in life and had no qualms in making others aware of this. This edition of Pride and Prejudice is illustrated by the Cambridge-based artist Charles Edmund Brock.

Jane Austen, Pride & Prejudice
with twenty-four coloured illustrations by C. E. Brock
(London: Dent, 1907)
Gilson.A.Pr.1907b

In this scene from A. A. Milne’s stage adaptation, Jane and Mr Bennet discuss Lydia’s elopement with Mr Wickham, fully aware of the social implications and prospects for the family as a result.

A. A. Milne, Miss Elizabeth Bennet: A Play from “Pride and Prejudice”
(London: Chatto & Windus, 1936)
Gilson.A.Pr.Z.Mil

The 1940 film adaptation of Pride and Prejudice, starring Greer Garson and Laurence Olivier, is notorious for drastically diverging from the novel and being excessively ‘Hollywoodized’ — and for putting the women in clothes based on the styles of the late 1820s and 30s. This publication, which coincides with the release of the film, bears the subtitle: ‘The complete text of the famous romantic love story from which the M-G-M movie starring Laurence Olivier and Greer Garson was made’.

Jane Austen, Pride and Prejudice (New York: Triangle, 1940)
Gilson.A.Pr.1940

This Victorian edition of Mansfield Park was presented to E. M. Forster’s mother by his father, and was later inherited by Forster himself.

Jane Austen, Mansfield Park
(London: Routledge, 18—)
Forster.AUS.Man

One of the highlights in the exhibition was Jane Austen’s copy of Orlando furioso, signed by her on the fly-leaf, sold by the Austen-Leigh family, bought by Virginia Woolf, and inscribed by Woolf to John Maynard Keynes at Christmas 1936.

Ludovico Ariosto, Orlando furioso (trans. by John Hoole)
(London: Charles Bathurst, 1783)
Keynes.E.4.1

King’s College owns the manuscript of Jane Austen’s unfinished novel Sanditon, the last one on which she was working before she died on 18 July 1817. It is a rare surviving autograph manuscript of her fiction. It was given to King’s in 1930 by Jane’s great-great niece (Mary) Isabella Lefroy in memory of her sister Florence and Florence’s husband, the late Provost Augustus Austen Leigh who was a great-nephew of Jane. The booklets were made by Austen herself. The last writing is dated 18 March 1817. She died four months later.

The beginning of Sanditon

Sanditon, chapters 4-5

IJ/Harriet Alder/JC

Public Lecture on Jane Austen’s First Editions

Our series of events marking the bicentenary of Jane Austen’s death culminates in a public lecture on the publication of the first and early editions of Austen’s novels by a leading expert, Dr Linda Bree (Cambridge University Press), editor of Jane Austen’s Persuasion (1998) and the Cambridge Edition of Austen’s Later Manuscripts (2008). The lecture will be held in the Audit Room at King’s College, Cambridge on Tuesday 24th October 2017 at 6pm.

Front cover of Austen’s Persuasion (Peterborough, Ontario: Broadview Press, 1998), edited by Linda Bree

Dr Bree’s lecture, entitled “Jane Austen in Print”, will focus on the appearance in print of all the first editions: how they were first published, what they looked like and how they were received, her relationship with her publishers, and the posthumous editions of Northanger Abbey and Persuasion.

The event is free and open to all, but as spaces are limited, you will need to reserve your place by going to the following website and clicking on “Register” before printing your ticket:

https://www.eventbrite.co.uk/e/jane-austen-in-print-public-lecture-by-dr-linda-bree-cup-tickets-38630831858

Those attending the lecture are invited to visit King’s College Library to view first editions of all six novels on 24th October between 5pm and 6pm and after the talk. We look forward to seeing you there!

IJ

 

 

Jane Austen Open Day: An Online Exhibition – Part 1

On 18 July 2017, the 200th anniversary of Jane Austen’s death, King’s College Library mounted an exhibition featuring first editions of all of Austen’s novels, the autograph manuscript of her unfinished novel Sanditon, a manuscript letter to her publisher, a book from her library, early translations of her novels, and other rare treasures. The event was a great success and was attended by over 1,000 people. We present below some highlights from the first part of the exhibition for those who could not visit in person.

Jane was born in Steventon parsonage in Hampshire, and lived the first 25 years of her life there. She drafted Sense and Sensibility, Pride and Prejudice and Northanger Abbey in Steventon. She was so distraught when she was told the news in December 1800 that the family would be moving to Bath that she fainted.

J. E. Austen-Leigh, A Memoir of Jane Austen by her Nephew (London: Bentley, 1870), Gilson.B.96.AusJ.1870b

Sense and Sensibility, Austen’s first novel to be published, was written in epistolary form around 1795 in Steventon under the title Elinor and Marianne. It was begun in its present form in autumn 1797 and revised and prepared for publication in 1809-1811 when Jane was living in Chawton.

Jane Austen, Sense and Sensibility (London: Egerton, 1811), First edition
Warren.A.Se.1811/1-3

Pride and Prejudice, originally titled First Impressions, was offered for publication to the London bookseller Thomas Cadell, but the offer was declined by return post. The novel was subsequently published by Thomas Egerton under the revised title Pride and Prejudice. Upon receiving her copy of the first edition from the publisher, Jane wrote: ‘I have got my darling child from London’ (27 Jan 1813).

Jane Austen, Pride and Prejudice (London: Egerton, 1813), First edition
Warren.A.Pr.1813a/1-3

The Austen family lived in Bath between 1801 and 1806. Jane was familiar with the Pump Room, which is used as a setting in her novels Northanger Abbey and Persuasion. This image, from The New Bath Guide (1807), shows the Pump Room, a venue for fashionable people, as it would have looked during Jane Austen’s time there.

Christopher Anstey, The New Bath Guide; or, Memoirs
of the B.N.R.D. Family in a Series of Poetical Epistles (Bath, 1807)
Warren.B.97.New.1807

Austen’s novels Persuasion (written 1815-16) and Northanger Abbey (written 1798-99) both appeared posthumously in a four-volume set in December 1817, although the title page states 1818. They are prefaced by a ‘biographical notice’ written by Jane’s brother Henry Austen in which Jane’s identity is revealed for the first time. She appears to have intended to publish Persuasion in 1818 but did not live long enough to do so.

The beginning of chapter 3 of Persuasion mentions Bath and the Pump Room. Northanger Abbey, and Persuasion (London: Murray, 1818), First edition
Thackeray.J.57.12-15

In 1809 Austen’s brother Edward offered his mother and sisters a more settled life – the use of a large cottage in Chawton, near Alton in Hampshire. Whilst living in Chawton Jane published her first four novels. She also wrote Mansfield Park there between 1811 and 1813. It was first published by Egerton in 1814 and a second edition was published in 1816 by John Murray, still within Austen’s lifetime. It did not receive any critical attention when it first appeared.

Jane Austen, Mansfield Park (London: Egerton, 1814), First edition
Warren.A.Ma.1814/1-3

When Henry Austen was taken ill in London in October 1815, he was attended by his sister Jane and by one of the Prince Regent’s doctors who identified her as the author of Pride and Prejudice. The doctor reported that the Prince (later George IV) was a great admirer of her novels and she was invited to dedicate one of her future works to the Prince. Emma was the lucky work. Jane disapproved of the Prince’s treatment of his wife, but felt she couldn’t refuse, so she settled for a title page reading simply ‘Emma, Dedicated by Permission to HRH The Prince Regent’, though her publisher (John Murray) thought it ought to be more elaborate.

This copy of the first edition of Emma belonged to King’s Provost George Thackeray (1777–1850).

Jane Austen, Emma (London: Murray, 1816), First edition
Thackeray.J.57.9-11

Several months after the dedication of Emma, Jane wrote to John Murray and reported that the Prince had thanked her for the copy of Emma. In the same letter she notes that in a recent review of the novel, the anonymous reviewer (later established as Sir Walter Scott) completely fails to mention Mansfield Park, remarking with regret that ‘so clever a man as the reviewer of Emma, should consider it as unworthy of being noticed’.

Jane Austen’s letter to John Murray, 1 April 1816 (NM/Austen/1)

In his review of Emma, Sir Walter Scott fails to mention Mansfield Park:

The Quarterly Review, Vol. XIV (London: Murray, 1816)
Gilson.C.Gif.1816

Jane Austen was seemingly unaware that one of her novels was published in America during her lifetime. This is one of only four known copies of the first American edition of Emma. The rest of her novels were not published in the US until the early 1830s. As well as the expected differences in spelling and punctuation, the text has also been bowdlerized.

Jane Austen, Emma (Philadelphia: M. Carey, 1816), First US edition
Gilson.A.Em.1816b/1-2

Due to popular demand, an expanded version of this exhibition will be presented as part of the Open Cambridge weekend on 8 and 9 September 2017. So if you couldn’t make it this time, or would like to see the exhibition again, please put these dates in your diary! More details will follow here in due course.

IJ/Harriet Alder/JC