Thys Boke is Myne: Difference between revisions

Latest revision as of 08:52, 8 July 2015

Sir Francis Bacon's wild boar crest, in STC 1163. Folger Bindings Image Collection.

Thys Boke is Myne, part of the Exhibitions at the Folger, opened on November 13, 2002 and closed on March 1, 2003. Major support for this exhibition came from The Winton and Carolyn Blount Exhibition Fund.

Thys Boke Is Myne is about provenance—the relationship between people and their books through five hundred years of printing history. The exhibition explores how bibliophiles, famous and forgotten, have signaled ownership of treasured volumes, revealing something of their character in the process. Books belonging to writers, collectors, royalty, actors, statesmen and women are on display, setting out the interesting and amusing ways people connect with their books. Inscriptions, mottoes, manuscript additions, bookplates, book labels, armorials, and binding stamps link texts to their owners from William Caxton to Langston Hughes. Its title is taken from a line writ large in Henry VIII's schoolboy copy of Cicero, which reads "Thys Boke Is Myne Prynce Henry."

Curation

Thys Boke is Myne was curated by Richard Kuhta. Richard received his B.A. at Swarthmore College in English Literature and completed his graduate studies at the Shakespeare Institute (England) and Trinity College Dublin (Ireland). After receiving a Masters in Library Service from Columbia University, he has worked as a library administrator in academic and research institutions for the past twenty years, with accomplishments in developing and implementing programs in reader services, with initiatives focused on conservation and special collections, and in library automation. Most recently, he has written and lectured on printing history in the Irish Literary Renaissance (Cuala Press), and the paintings of Henry Fuseli, a late-eighteenth century artist of Shakespearean themes, as well as doing consulting work in the field of library automation.

Richard was University Librarian at St. Lawrence University from 1986-1994, where he presented the prestigious Frank P. Piskor Faculty Lecture in 1994. He was appointed Librarian of the Folger Shakespeare Library in February 1994.

A copy of Henry V owned and bound by Edward Gwynn. Folger Bindings Image Collection.

Curator's insights

Writers' Reading

Writers' marks are especially interesting. Authorial inscriptions tell us about personal relationships and document variations in handwriting or signature. Annotations record reactions to the competition, reflect prejudices, or show an author being difficult or vulnerable—in short, human. Reconstructing the contents of a writer's library can reveal source material behind famous works, or produce wonderful stories. Dr. Johnson, "though he loved his books, did not show them respect," says Boswell. He did not hesitate to slice leaves from a book with a greasy knife, or read while he ate, "and one knows how he ate." John Locke's library was a masterpiece of order, while Oliver Goldsmith and John Ruskin mutilated their books, tearing out chapters to avoid transcription, or giving choice pages to friends. It is riveting to see copies we know were owned by John Dryden, Edmund Spenser, or embellished with verse by Langston Hughes. These books exude an extra quality of life, like seeing a love letter.

I am Myles Blomefylde's booke

While it is thrilling to see books owned by Donne, Sidney, and Jonson, "nobodies" owned books in the early modern period, too. In Tudor England, reading and ownership was not limited to the rich and famous. The case "Quiet Lives" tells about the private libraries of people who cannot be found in the Dictionary of National Biography, people whose only evidence of existence is found in the books they left behind. Consider Myles Blomefylde, virtually unknown, who communicated with his books. "I am Myles Blomefylde's booke" they responded—one of the favorite inscriptions on display.

Women's Libraries

Scholarship is revealing much about women and their reading habits, and the exhibition shows you some of the books they owned. Frances Wolfreston (1607-1677) had a library of over 400 volumes and almost all have her signature, Frances Wolfreston, her bouk carefully written with a thick quill pen. Wolfreston's interest in drama and contemporary English literature was probably unusual for her time, but she acquired some the greatest rarities of early English literature. She had no less than ten Shakespeare quartos, a copy of the Rape of Lucrece (1616), and history is indebted to her for the first edition of Venus and Adonis (1593), a unique copy later owned by Edmund Malone and now in the Bodleian. Did any woman collect more Shakespeare in the 17th century?

I must first confess my want of Books.—Sir Walter Raleigh

Thys Boke Is Myne shows you volumes belonging to some of the greatest collectors in the early modern period (John Dee, Edward Dering, Thomas Knyvett, John Lumley), and books from renowned family libraries, like the one at Britwell Court, said to have rivaled or even surpassed the British Museum. The 18th century was an age of great collectors as well as great actors and editors of early drama, roles sometimes played by the same person. David Garrick's library was unsurpassed. John Philip Kemble's was a model of scholarly care. George Steevens and Edmund Malone, known more for being devoted editors of Shakespeare, battled each other in the auction rooms.

Thys Boke was Pope's?

The monetary value of a book may depend on who has owned it, and the evidence of ownership is a subject of the exhibition. Ordinary copies become unique when we know they were annotated by Anne of Cleves, George Eliot, or Walt Whitman. They become treasures when we can trace bindings to the private libraries of William Cecil, Edward de Vere, or King James I. But establishing proof of ownership is not always easy and the exhibition presents some puzzles for viewers to consider. We ask you to decide, for example, whether the Folger owns Alexander Pope's copy of a Third Folio or Sir Walter Raleigh's personal copy of his monumental History of the World, written while he was held captive in the Tower of London.

When ye lok on this remember me.—Anne of Cleves to Henry VIII

Inscriptions in books are full of anecdote and human interest, and the study of provenance brings us closer to people and their history. Behold Anne of Cleves' gentle inscription to her future husband, when ye loke on thys remember me, in sharp contrast to Henry's VIII's pronouncement, Thys Boke Is Myne Prynce Henry. Somehow we know more about these human beings by the way they wrote in their books.

This exhibition is a celebration of the history of private libraries, of people and their books. Petrarch (whose private library provided the nucleus of the future Bibliothèque Nationale) praised his books as "welcome, assiduous companions, always ready…to encourage you, comfort you, advise you, reprove you and take care of you, to teach you the world's secrets…and never bring you…lamentation, jealous murmurs, or deception." That's why we own books and keep them close, that's what Thys Boke Is Myne is about.

This Boke is Myne exhibition material

@@ Line 1: / Line 1: @@
-''Thys Boke is Myne'', part of the [[Exhibitions at the Folger]] opened on November 13, 2002 and closed on March 1, 2003. Major support for this exhibition came from The Winton and Carolyn Blount Exhibition Fund.
+[[File:STC 1163 boar stamp detail.jpg|thumb|right|250px|Sir Francis Bacon's wild boar crest, in STC 1163. Folger Bindings Image [http://luna.folger.edu/luna/servlet/s/w63xd4/ Collection].]]
+''Thys Boke is Myne'', part of the [[Exhibitions at the Folger]], opened on November 13, 2002 and closed on March 1, 2003. Major support for this exhibition came from The Winton and Carolyn Blount Exhibition Fund.
-''Thys Boke Is Myne'' is about provenance—the relationship between people and their books through five hundred years of printing history. The exhibition explores how bibliophiles, famous and forgotten, have signaled ownership of treasured volumes, revealing something of their character in the process. Books belonging to writers, collectors, royalty, actors, statesmen and women are on display, setting out the interesting and amusing ways people connect with their books. Inscriptions, mottoes, manuscript additions, bookplates, book labels, armorials, and binding stamps link texts to their owners from William Caxton to Langston Hughes. Its title is taken from a line writ large in Henry VIII's schoolboy copy of Cicero, ''Thys Boke Is Myne Prynce Henry.''
+''Thys Boke Is Myne'' is about provenance—the relationship between people and their books through five hundred years of printing history. The exhibition explores how bibliophiles, famous and forgotten, have signaled ownership of treasured volumes, revealing something of their character in the process. Books belonging to writers, collectors, royalty, actors, statesmen and women are on display, setting out the interesting and amusing ways people connect with their books. Inscriptions, mottoes, manuscript additions, bookplates, book labels, armorials, and binding stamps link texts to their owners from William Caxton to Langston Hughes. Its title is taken from a line writ large in Henry VIII's schoolboy copy of Cicero, which reads "Thys Boke Is Myne Prynce Henry."
 ==Curation==
-''Thys Boke is Myne'' was curated by Richard Kuhta. Richard received his B.A. at Swarthmore College in English Literature and completed his graduate studies at the Shakespeare Institute (England) and Trinity College Dublin (Ireland). After receiving a Masters in Library Service from Columbia University, he has worked as a library administrator in academic and research institutions for the past twenty years, with accomplishments in developing and implementing programs in reader services, with initiatives focused on conservation and special collections, and in library automation. Most recently, he has written and lectured on printing history in the Irish Literary Renaissance (Cuala Press), and the paintings of Henry Fuseli, a late-eighteenth century artist of Shakespearean themes, as well as doing consulting work in the field of library automation.
-Richard was University Librarian at St. Lawrence University from 1986-1994, where he presented the prestigious Frank P. Piskor Faculty Lecture in 1994. He was appointed Librarian of the Folger Shakespeare Library in February 1994.
+''Thys Boke is Myne'' was curated by [[Richard Kuhta]]. Richard received his B.A. at Swarthmore College in English Literature and completed his graduate studies at the Shakespeare Institute (England) and Trinity College Dublin (Ireland). After receiving a Masters in Library Service from Columbia University, he has worked as a library administrator in academic and research institutions for the past twenty years, with accomplishments in developing and implementing programs in reader services, with initiatives focused on conservation and special collections, and in library automation. Most recently, he has written and lectured on printing history in the Irish Literary Renaissance (Cuala Press), and the paintings of Henry Fuseli, a late-eighteenth century artist of Shakespearean themes, as well as doing consulting work in the field of library automation.
+Richard was University Librarian at St. Lawrence University from 1986-1994, where he presented the prestigious Frank P. Piskor Faculty Lecture in 1994. He was appointed Librarian of the [[Folger Shakespeare Library]] in February 1994.
+[[File:STC 26101 copy 3 binding.jpg|thumb|right|300px|A copy of [[Henry V|''Henry V'']] owned and bound by Edward Gwynn. Folger Bindings Image [http://luna.folger.edu/luna/servlet/s/b53k26/ Collection].]]
 ===Curator's insights===
 ====Writers' Reading====
 Writers' marks are especially interesting. Authorial inscriptions tell us about personal relationships and document variations in handwriting or signature. Annotations record reactions to the competition, reflect prejudices, or show an author being difficult or vulnerable—in short, human. Reconstructing the contents of a writer's library can reveal source material behind famous works, or produce wonderful stories. Dr. Johnson, "though he loved his books, did not show them respect," says Boswell. He did not hesitate to slice leaves from a book with a greasy knife, or read while he ate, "and one knows how he ate." John Locke's library was a masterpiece of order, while Oliver Goldsmith and John Ruskin mutilated their books, tearing out chapters to avoid transcription, or giving choice pages to friends. It is riveting to see copies we know were owned by John Dryden, Edmund Spenser, or embellished with verse by Langston Hughes. These books exude an extra quality of life, like seeing a love letter.
 ====I am Myles Blomefylde's booke====
-While it is thrilling to see books owned by Donne, Sidney, and Jonson, "nobodies" owned books too in the early modern period. In Tudor England reading and ownership was not limited to the rich and famous. The case "Quiet Lives" tells about the private libraries of people who cannot be found in the Dictionary of National Biography, people whose only evidence of existence is found in the books they left behind. Consider Myles Blomefylde, virtually unknown, who communicated with his books. "I am Myles Blomefylde's booke" they responded—one of the favorite inscriptions on display.
+While it is thrilling to see books owned by Donne, Sidney, and Jonson, "nobodies" owned books in the early modern period, too. In Tudor England, reading and ownership was not limited to the rich and famous. The case "Quiet Lives" tells about the private libraries of people who cannot be found in the Dictionary of National Biography, people whose only evidence of existence is found in the books they left behind. Consider Myles Blomefylde, virtually unknown, who communicated with his books. "I am Myles Blomefylde's booke" they responded—one of the favorite inscriptions on display.
 ====Women's Libraries====
-Scholarship is revealing much about women and their reading habits, and the exhibition shows you some of the books they owned. Francis Wolfreston (1607-1677) had a library of over 400 volumes and almost all have her signature, ''Frances Wolfreston, for bouk'' carefully written with a thick quill pen. Wolfreston's interest in drama and contemporary English literature was probably unusual for her time, but she acquired some the greatest rarities of early English literature. She had no less than ten Shakespeare quartos, a copy of the ''Rape of Lucrece'' (1616), and history is indebted to her for the first edition of [[Venus and Adonis|''Venus and Adonis'']] (1593), a unique copy later owned by Edmund Malone and now in the Bodleian. Did any woman collect more Shakespeare in the 17th century?
-====''I must first confess my want of Books.'' Sir Walter Raleigh====
+Scholarship is revealing much about women and their reading habits, and the exhibition shows you some of the books they owned. Frances Wolfreston (1607-1677) had a library of over 400 volumes and almost all have her signature, ''Frances Wolfreston, her bouk'' carefully written with a thick quill pen. Wolfreston's interest in drama and contemporary English literature was probably unusual for her time, but she acquired some the greatest rarities of early English literature. She had no less than ten Shakespeare quartos, a copy of the ''Rape of Lucrece'' (1616), and history is indebted to her for the first edition of [[Venus and Adonis|''Venus and Adonis'']] (1593), a unique copy later owned by Edmund Malone and now in the Bodleian. Did any woman collect more Shakespeare in the 17th century?
-''Thys Boke Is Myne'' shows you volumes belonging to some of the greatest collectors in the early modern period (John Dee, Edward Dering, Thomas Knyvett, John Lumley), and books from renown family libraries, like the one at Britwell Court, said to have rivaled or even surpassed the British Museum. The 18th century was an age of great collectors as well as great actors and editors of early drama, roles sometimes played by the same person. [[David Garrick, 1717-1779: A Theatrical Life|David Garrick's]] library was unsurpassed. John Philip Kemble's was a model of scholarly care. George Steevens and Edmund Malone, known more for being devoted editors of Shakespeare, battled each other in the auction rooms.
-====Thys Boke was Pope's?====
+====''I must first confess my want of Books.''—Sir Walter Raleigh====
-The monetary value of a book may depend on who has owned it, and the evidence of ownership is a subject of the exhibition. Ordinary copies become unique when we know they were annotated by Anne of Cleves, George Eliot, or Walt Whitman. They become treasures when we can trace bindings to the private libraries of William Cecil, Edward de Vere, or King James I. But establishing proof of ownership is not always easy and the exhibition presents some puzzles for viewers to consider. We ask you to decide, for example, whether the Folger owns Alexander Pope's copy of a Third Folio or Sir Walter Raleigh's personal copy of his monumental ''History of the World'', written while captive in the Tower of London.
-====''When ye lok on this remember me.'' Anne of Cleves to Henry VIII====
+''Thys Boke Is Myne'' shows you volumes belonging to some of the greatest collectors in the early modern period (John Dee, Edward Dering, Thomas Knyvett, John Lumley), and books from renowned family libraries, like the one at Britwell Court, said to have rivaled or even surpassed the British Museum. The 18th century was an age of great collectors as well as great actors and editors of early drama, roles sometimes played by the same person. [[David Garrick, 1717–1779: A Theatrical Life|David Garrick's]] library was unsurpassed. John Philip Kemble's was a model of scholarly care. George Steevens and Edmund Malone, known more for being devoted editors of Shakespeare, battled each other in the auction rooms.
-Inscriptions in books are full of anecdote and human interest, and the study of provenance brings us closer to people and their history. Behold Anne of Cleves' gentle inscription to her future husband, ''when ye loke on thys remember me'', in sharp contrast to Henry's VIII's pronouncement, ''Thys Boke Is Myne Prynce Henry''. Somehow we know more about these human beings by the way they wrote in their books.
-This exhibition is a celebration of the history of private libraries, of people and their books. Petrarch (whose private library provided the nucleus of the future Bibliothèque Nationale) praised his books as "welcome, assiduous companions, always ready…to encourage you, comfort you, advise you, reprove you and take care of you, to teach you the world's secrets…and never bring you…lamentation, jealous murmurs, or deception." That's why we own books and keep them close, that's what ''Thys Boke Is Myne'' is about.
+====Thys Boke was Pope's?====
-==Exhibition material==
+The monetary value of a book may depend on who has owned it, and the evidence of ownership is a subject of the exhibition. Ordinary copies become unique when we know they were annotated by Anne of Cleves, George Eliot, or Walt Whitman. They become treasures when we can trace bindings to the private libraries of William Cecil, Edward de Vere, or King James I. But establishing proof of ownership is not always easy and the exhibition presents some puzzles for viewers to consider. We ask you to decide, for example, whether the Folger owns Alexander Pope's copy of a Third Folio or Sir Walter Raleigh's personal copy of his monumental ''History of the World'', written while he was held captive in the Tower of London.
-===Writers' Books===
+====''When ye lok on this remember me.''—Anne of Cleves to Henry VIII====
-Reconstructing the contents of a writer's library often reveals source material behind famous works. Authorial inscriptions in books may tell us about personal relationships and document variations in handwriting or signatures. Annotations may also record reactions to the competition, reflect prejudices, or show an author being difficult or vulnerable—in short, human. Leon Edel, the biographer of Henry James, attached enormous importance to presentation and inscribed copies, and looked to them for clues about relationships, meetings and dates. At the Folger scholars have recently discovered books owned and annotated by Edmund Spenser and George Eliot, thrilling finds for the Library.
-====John Dryden (1631-1700)====
+Inscriptions in books are full of anecdote and human interest, and the study of provenance brings us closer to people and their history. Behold Anne of Cleves' gentle inscription to her future husband, ''when ye loke on thys remember me'', in sharp contrast to Henry's VIII's pronouncement, ''Thys Boke Is Myne Prynce Henry''. Somehow we know more about these human beings by the way they wrote in their books.
-Dryden's copy of Francis Bacon's ''Advancement of Learning'', signed and dated 1677, came to the Folger in 1939 as part of the Percy J. Dobell collection, perhaps the finest Dryden collections ever assembled. Dobell's manuscript catalog, "Books from Dryden's Library" (1939) shows the entry for Advancement of Learning and documents Dobell as a former owner of this famous work.
-A [http://luna.folger.edu/luna/servlet/s/5h428s miniature portrait] of Dryden also came from Dobell. The drawing, by Jonathan Richardson (1665-1745) after a painting by Sir Godfrey Kneller (1697), depicts the former poet laureate without wig or finery, towards the end of his life.
+This exhibition is a celebration of the history of private libraries, of people and their books. Petrarch (whose private library provided the nucleus of the future Bibliothèque Nationale) praised his books as "welcome, assiduous companions, always ready…to encourage you, comfort you, advise you, reprove you and take care of you, to teach you the world's secrets…and never bring you…lamentation, jealous murmurs, or deception." That's why we own books and keep them close, that's what ''Thys Boke Is Myne'' is about.
-====John Donne (1572-1640)====
-Donne's books are easy to recognize because he made a practice of writing his name with a terminal flourish on the lower right corner of the title page and often added a motto at the top, ''Per Rachel ho seruito, & non per Lea'', from Petrarch (''Canz''. Xix, 7.1). Such distinctive markings help to establish authorship of unsigned works and offer the evidence needed to confirm provenance.
-====Ben Jonson (1573?-1637) and John Selden (1584-1654)====
-John Selden and Ben Jonson developed an early and lasting, if unlikely, friendship. Learned and industrious, Selden spent a lifetime combining legal and oriental studies. Along the way, he amassed an incomparable library of 8,000 volumes. The first of Selden's oriental studies, ''De diis Syris Syntagmata''—a treatise that won him fame throughout Europe—is inscribed to the poet and playwright, Ben Jonson, presumably sometime after 1623, the year a fire destroyed Jonson's library. Jonson wrote his name, ''Sui Ben: Jonson Liber'', and motto, ''Tanquam Explorator'' (from Seneca), on the title page. It was a common practice in the early modern period to add one's Latin motto to a favorite volume. Jonson, Donne, Robert Dudley, John Evelyn, Thomas Knyvett, and Sir Walter Raleigh were among those to display their learning in this way, leaving us evidence of ownership.
-====Anthony Trollope (1815-1882)====
-The Folger collection includes a number of volumes from the library of Anthony Trollope, all carefully book plated and annotated. Trollope read widely in early modern drama and his collection included the complete works of Beaumont and Fletcher, Thomas Dekker, John Ford, Robert Greene, Ben Jonson and Christopher Marlowe, among others. His habit was to tick off plays he'd read in the table of contents, then follow his readings with a cranky assessment. Trollope didn't comment; he passed judgment, and did so in the finality of ink. Of Marston's comedy, ''What You Will'', he wrote:
-:''Read Oct. 1867''
-:''"What you will" is a good comedy - with some few fun lines - & much''
-:''humour, but terribly confused, loaded with unnecessary characters, and almost unintelligible in its language… A.T.''
-====Langston Hughes (1902-1967)====
-celebrated the 100th anniversary of the birth of Langston Hughes, whose poetry stretched from the Harlem Renaissance to the civil rights movement. He's been called "a master of black American modernism," and Hughes was the first African-American to make a living as a creative writer through his plays, novels, short stories, essays, translations, journalism, children's books and opera librettos.
-This signed first edition of ''Shakespeare in Harlem'' is inscribed by Hughes across the cover.
-:''The wishbone is broken.''
-:''The dice have thrown a deuce.''
-:''The song's an old familiar tune:''
-:''What's the use?''
-====''items included''====
-*Francis Bacon. ''Of the advancement and proficiencie of learning.'' London, 1674. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=138499 B312 Copy 2].
-*Jonathan Richardson. ''John Dryden''. pencil on vellum, ca. 1730s. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=128738 FPm14] [http://luna.folger.edu/luna/servlet/s/6n4ij5 LUNA Digital Image].
-*Robert Moor. ''Diarium historicopoeticum''. Oxford, 1595. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=164623 STC 18061 Copy 1].
-*John Selden. ''de dIs Syris Syntagmata II''. London, 1617. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=166816 STC 22167.2].
-*''Ben Jonson''. Drawing on ivory. Late eighteenth or early nineteenth century. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=128739 FPm15 (B7a)]
-*John Marston. ''The Works of John Marston''. London, 1856. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=73664 PR2691 .H3 copy 2 As.Col. Cage].
-*LOAN from Emory University's Manuscript, Archives, and Rare Book Library (MARBL). Langston Hughes. ''Shakespeare in Harlem''. New York, Alfred Knopf, 1942.
-===Collectors===
-====Sir Edward Dering (1598-1644): a most compleate gentleman…====
-Sir Edward Dering was "a most compleate gentleman in all respects, and an excellent Antiquarye" according to Sir William Dugdale. He was certainly one of the most important collectors of the 17th century. His library included English and Continental books in many languages and disciplines from both Protestant and Catholic presses. Dering obtained a warrant from the Privy Council in 1627 that permitted him access to public records without the customary fee. Country history and genealogy were among his special interests, going to great lengths to reconstruct a family lineage that, he argued, preceded the battle of Hastings. Dering wasn't above "improving" documents he found in public repositories to make a point regarding his ancestry and coat of arms, or helping himself to manuscripts in Dover Castle, where he was an unhappy Lieutenant for six years. In the cause of advancing Dering's scholarship, it seems more than one public records office unknowingly became a lending institution. John Pym, a pamphleteer, classified Dering's accomplishments as "both innate and acquired."<ref>Nati H. Krivatsy and Laetitia Yeandle, "Sir Edward Dering" in ''Private Libraries in Renaissance England….'' Vol. 1. Robert J. Fehrenbach, gen ed., E.S. Leedham-Green, U.K. ed. (Binghamton, NY: Medieval & Renaissance Texts & Studies; Marlborough, England: Adam Matthew Publications, 1992), 138,139.</ref>
-''A Collection of Speeches'' (1642) may be more important for its binding and association value than its contents. Though the M.P. from Kent in the early years of the Long Parliament, Dering was not a particularly gifted statesman. But Dering preserved his speeches in a handsome [http://luna.folger.edu/luna/servlet/s/77x048 vellum binding] with a galloping Kentish horse on the cover surrounded by fleurs-de-lis and gilt decoration.
-What we know of Dering's 2,000+ volume library comes from an incomplete manuscript catalogue of 18 leaves, his ''Booke of Expences'' for the years 1617, 1619-1628, and a pocket-book of brief entries covering the years 1637-1639. The opening from Dering's manuscript catalogue points to the entry at the bottom of the page for ''Rodolphus Hospinianus…1587'', with the shelfmark (11. 9) and price (5s.) carefully recorded. The Folger acquired the catalogue in the sale of Sir Thomas Phillipps' (1792-1872) manuscripts at Sotheby's in 1965.
-====Archbishop William King====
-William King (1650-1729) amassed one of the finest private libraries in the history of Ireland. "The folly of books," as he called his passion, resulted in a library of over 7,100 volumes.
-''The Project of Peace'' bears King's signature on the title page, a rare example since King did not normally sign his books. He usually identified his books with an elaborate system of shelf marks. Z:285, an early shelfmark, was replaced by his more familiar box and item number notation: Bx 16 No 263. The Cashel Cathedral Library shelfmark follows, Q.2 28, giving us the complete history of the book's shelf marks before it became N113 at the Folger, proving a book is where you find it.
-====John Dee and his ''Bibliotheca Mortlacensis''====
-[http://luna.folger.edu/luna/servlet/s/03k672 John Dee] (1527-1608), renowned scientist, astrologer, and mathematician, had the largest library in Elizabethan England, with nearly 4,000 titles. He was an inspired interpreter of human knowledge and argued that the power of numbers lay behind our understanding of a range of subjects, including architecture, optics, music, astronomy and navigation. His interests were encyclopedic, and included a taste for alchemy, the occult, and magic. Queen Elizabeth I's coronation day in January 1559 was chosen by Dee on astrological grounds, and at his height he was "the reincarnation of Merlin at the Tudor court."<ref>William H. Sherman, ''John Dee: the politics of reading and writing in the English Renaissance'' (Amherst: U. of Massachusetts P, 1995), xii.</ref>
-====''items included''====
-*Edward Dering. ''A collection of speeches made by Sir Edward Dering Knight and Baronet, in matter of religion.'' London, 1642. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=146322 D1104]. [http://luna.folger.edu/luna/servlet/s/h2blge LUNA Digital Image].
-*Edward Dering. ''Catalog of Sir Edward Dering’s books''. Manuscript, 1640-42. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=128895 V.b.297].
-*John Nalson. ''The Project of Peace, or Unity of Faith and Government''. London, 1678. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=154032 N113].
-*John Dee. ''A true & faithful relation of what passed for many yeers between Dr. John Dee (a mathematician of great fame in Q. Eliz. and King James their reignes) and some spirits''. London, 1659. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=133245 D811].
-===Markings: Signs of Ownership and Association===
-The history of a book and its travels is recorded in numerous ways - in signatures and inscriptions, mottoes and markings, blemishes and improvements that leave a trail of evidence for us to ponder. The value of a book may depend entirely on who has owned it, and understanding and evaluating evidence of provenance is fascinating. Autographs, dedications, manuscript notes, bookplates, and bindings can tell us where a book has been and in whose hands it has rested. These markings and examples of bibliographical evidence are full of anecdote and human interest, connecting us to people and their books.
-====George Fallowes and Richard Fallowes====
-''…he that stealth this book he shall be hanged on a nail…''
-In 1920, Mr. Richard Francis Burton discovered a small octavo volume of five works bound together. Three were unique editions by Shakespeare - ''The Passionate Pilgram'' (1599), ''Lucrece'' (1600), and ''Venus and Adonis'' (1599) - and the fourth was Thomas Middleton's, ''The Ghost of Lucrece'' (1600). The volume had formerly belonged to the Fallowes family - otherwise unknown - whose male heirs, George and Richard, claimed ownership in unusual terms:
-:''George fflallowes is the true owner''
-:''of this book and he that stealeth''
-:''this book he shall be hanged on''
-:''a hook and If the hook do fail''
-:''he shall be hanged on a nail…''
-Mr. Folger acquired this delightful association copy on March 23, 1920, a few hours before it was to be auctioned at Sotheby's.
-====Henry Howard, Earl of Northampton/Sir Robert Cotton====
-Perhaps the most beautiful binding in the exhibition, this well-preserved volume was a New Year's gift to Henry Howard, earl of Northampton (1540-1614) from one of his scholarly advisors, Sir Robert Cotton (1571-1631).
-The centerpiece on the cover tells the tragic story of Pyramus, who "kills himself most gallant for love" and the grief-stricken Thisbe, who falls on a sword at the sight of her slain lover.
-====William Caxton/Wynkyn de Worde====
-Printers mark their books too. The leaf on display has William Caxton's bold and unusually large woodcut device with the initials "W.C.". The book was printed by Caxton's protégé and successor, Wynkyn de Worde, and this is the last time Caxton's large woodcut device was used in a printed book.
-The earliest use of a printer's device in England was 1485 (St. Albans Press) and Caxton's is second, in 1487 or 1488. Up to the end of the 15th century only eleven separate devices are known. McKerrow cites only five recorded uses of Caxton's device, three of which are by de Worde (1495, 1516 and 1531).<ref>Ronald B. McKerrow, ''Printers' and Publishers' Devices in England and Scotland 1485-1640'' (London, 1913), 1.</ref>
-====Earliest printed ownership label to be found in an English book====
-At the head of the title of Erasmus's ''Institute of the Christian Prince'' is pasted a small typeset black-letter book label, ''John Bickner oweth this Booke''. Alan N.L. Munby (1913-1974), bibliographer and Librarian of King's College, Cambridge, said this appears to be "the earliest printed ownership label to be found in an English book."<ref>''The Book Collector'' 3.3 (1954): 227.</ref> The use of book labels was not uncommon in the early modern period, but Bickner's label is a rarity for being such an early example.<ref>Brian North Lee, ''Early printed book labels: a catalogue of dated personal labels and gift labels printed in Britain to the year 1760'' (Pinner, Eng.: Private Libraries Association, 1976), xv.</ref>
-====Markings: Studying the Evidence====
-What can association copies teach us? Studying the evidence of provenance allows us to assess the size and contents of particular libraries, and compare them with others of the same period. It builds upon our understanding of the patterns of literacy and book ownership, and permits us to speculate on the importance of books in a given society. Insight into the scope and nature of private collections yields information on the history of the book trade and the degree to which men and women participated. Provenance also tells us something about reading habits, tastes, and secular interests as well as connecting us to the lives of historical figures.
-====''items included''====
+===[[This Boke is Myne exhibition material]]===
-*T.M., Gent [Thomas Middleton]. ''The Ghost of Lucrece''. London, 1600. [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=162001 STC 22341.8].
-*Agostino Torrnielli. ''Annales Sacri ab Orbe Condito ad Ipsum Christi Passione Reparatum.'' Milan, 1610.
-*William Bonde. ''A devoute treatyse in Englysshe called the Pilgrymage of perfeccyon.'' London, 1531.
-*LOAN from Professor Toshiyuki, Keio University, Tokyo. Erasmus (Desiderius). ''Institutio Principis Christiani saluberrimis referta praeceptis.'' Basle, 1518.
-===Signatures===
+[[Category: Public programs]]
-===Henry VIII===
+[[Category: Exhibitions]]
-===Actors' Books===
+[[Category: 16th century]]
-===Ordinary Books Made Famous===
+[[Category: 17th century]]
-===Bindings===
+[[Category: 18th century]]
-===Manuscript Book Lists===
+[[Category: 19th century]]
-===Women Collectors===
+[[Category: 20th century]]
-===Inscriptions===
-===18th Century===
-===Alexander Pope===
-===Quiet Lives===
-===Myne?===
-==Notes==
-<references />