https://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&feed=atom&action=historyFakes, Forgeries & Facsimiles - Revision history2024-03-28T23:53:04ZRevision history for this page on the wikiMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=23273&oldid=prevNicoleWinard: /* Items included */2016-11-29T19:36:15Z<p><span dir="auto"><span class="autocomment">Items included</span></span></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Sir Joshua Reynolds. ''David Garrick.'' Pen and ink wash on paper, ca. 1770. Call number: [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 ART Inv. 1003].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Sir Joshua Reynolds. ''David Garrick.'' Pen and ink wash on paper, ca. 1770. Call number: [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 ART Inv. 1003].</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Joannes Boemus. ''The fardle of facions conteining the aunciente maner, customes, and lawes, of the people enhabiting the two partes of the earth, called Affrike and Asie.'' London: <del style="font-weight: bold; text-decoration: none;">Jhon </del>Kingstone and Henry Sutton, 1555. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 STC 3197 copy 2].</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Joannes Boemus. ''The fardle of facions conteining the aunciente maner, customes, and lawes, of the people enhabiting the two partes of the earth, called Affrike and Asie.'' London: <ins style="font-weight: bold; text-decoration: none;">John </ins>Kingstone and Henry Sutton, 1555. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 STC 3197 copy 2].</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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</table>NicoleWinardhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=18471&oldid=prevSophieByvik: added images2015-07-08T17:37:56Z<p>added images</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:37, 8 July 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l39">Line 39:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Facsimile "witchery"===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Facsimile "witchery"===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:STC 5082.jpg|thumb|300px|right|''The Cook's Tale'' from a 1477 edition of ''The Canterbury Tales''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/1o5w16/ 6065].]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''"There is a sort of witchery in his process.... At the wave of his wand, Caxton seems to take on perpetual youth."''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''"There is a sort of witchery in his process.... At the wave of his wand, Caxton seems to take on perpetual youth."''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::T.F. Dibdin, Bibliographical Decameron, London, 1817</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::T.F. Dibdin, Bibliographical Decameron, London, 1817</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Famous owners?===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Famous owners?===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:PR2752 1795a copy 1 Sh.Col. vol. 3 bookplate.jpg|thumb|right|200px|A copy of William Shakespeare's works once thought to be owned by John Adams, the second president of the United States. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/8b61i0/ 1214].]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''"A volume of the very slightest consequence may be transformed into an object of precious regard just by a bit of writing on one of its leaves."''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''"A volume of the very slightest consequence may be transformed into an object of precious regard just by a bit of writing on one of its leaves."''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::William Harris Arnold, Ventures in Book Collecting, New York, 1923</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::William Harris Arnold, Ventures in Book Collecting, New York, 1923</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===William Henry Ireland===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===William Henry Ireland===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:W.b.496 p. 93.jpg|right|thumb|240px|A page from Ireland's 1805 ''Confessions''. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/45p3uj/ 3072].]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>At the age of seventeen, William Henry Ireland claimed to have discovered a cache of Shakespearean manuscripts in the house of a country gentleman. One by one, he presented them to his Shakespeare-worshipping father, Samuel Ireland, who promptly published an expensive facsimile edition of the "Shakespeare Papers" and allowed visitors to view them in his house.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>At the age of seventeen, William Henry Ireland claimed to have discovered a cache of Shakespearean manuscripts in the house of a country gentleman. One by one, he presented them to his Shakespeare-worshipping father, Samuel Ireland, who promptly published an expensive facsimile edition of the "Shakespeare Papers" and allowed visitors to view them in his house.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Shakespeare's Mulberry Tree===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>===Shakespeare's Mulberry Tree===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:Wood no. 11.jpg|right|thumb|320px|A tea caddy purportedly made from Shakespeare's mulberry tree at New Place. Folger Digital Image [http://luna.folger.edu/luna/servlet/s/yl2p4s/ 1372].]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:''And from his touchwood trunk the mulb'ry tree''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:''And from his touchwood trunk the mulb'ry tree''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:''Supplied such relics as devotion holds''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:''Supplied such relics as devotion holds''</div></td></tr>
</table>SophieByvikhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=18466&oldid=prevSophieByvik: fixed LUNA links2015-07-08T16:24:33Z<p>fixed LUNA links</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All prints, by their nature, are reproductions of an image created on another surface. However, etchings are usually thought of as original works of art, too. Artists such as [[Impressions of Wenceslaus Hollar|Wenceslas Hollar]] scratched their own compositions directly into a layer of varnish on a copper plate, using a chemical bath to cut into the plate itself. Engraving, in contrast, requires gouging lines into the plate by hand. This laborious task was generally done by copyists working from an artist's drawing.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All prints, by their nature, are reproductions of an image created on another surface. However, etchings are usually thought of as original works of art, too. Artists such as [[Impressions of Wenceslaus Hollar|Wenceslas Hollar]] scratched their own compositions directly into a layer of varnish on a copper plate, using a chemical bath to cut into the plate itself. Engraving, in contrast, requires gouging lines into the plate by hand. This laborious task was generally done by copyists working from an artist's drawing.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''This image''' was printed from the same copper plate as the [http://luna.folger.edu/luna/servlet/s/<del style="font-weight: bold; text-decoration: none;">5q8e9g </del>1640 print], but notice the heavy cross-hatching added to the shadows. Etched plates wear out quickly and have to be re-touched. Even though it was printed over fifty years after Hollar's death and was re-touched by someone else, this late impression is still an original Hollar print because the plate was etched by the man himself. Early impressions have a higher market value than later ones, but all are "genuine."</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''This image''' was printed from the same copper plate as the [http://luna.folger.edu/luna/servlet/s/<ins style="font-weight: bold; text-decoration: none;">38v049 </ins>1640 print], but notice the heavy cross-hatching added to the shadows. Etched plates wear out quickly and have to be re-touched. Even though it was printed over fifty years after Hollar's death and was re-touched by someone else, this late impression is still an original Hollar print because the plate was etched by the man himself. Early impressions have a higher market value than later ones, but all are "genuine."</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Compared to [http://luna.folger.edu/luna/servlet/s/r8y600 this photograph], [http://luna.folger.edu/luna/servlet/s/g5b3m9 this painting] looks like obvious fakery. However, Gabriel Harrison made no secret of the fact that he used photographs underneath his paintings of Edwin Forrest. There is no intent to deceive. Like the mythological origin of painting in the tracing of shadows on a wall, Harrison used a "shadow" recorded on light-sensitive paper as the basis for the painting on the right. Ironically, when Harrison published his portrait of Edwin Forrest as King Lear in a fine press limited edition book, he assured subscribers that the plates were destroyed after printing, "so that there is no possibility of duplicates."</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Compared to [http://luna.folger.edu/luna/servlet/s/r8y600 this photograph], [http://luna.folger.edu/luna/servlet/s/g5b3m9 this painting] looks like obvious fakery. However, Gabriel Harrison made no secret of the fact that he used photographs underneath his paintings of Edwin Forrest. There is no intent to deceive. Like the mythological origin of painting in the tracing of shadows on a wall, Harrison used a "shadow" recorded on light-sensitive paper as the basis for the painting on the right. Ironically, when Harrison published his portrait of Edwin Forrest as King Lear in a fine press limited edition book, he assured subscribers that the plates were destroyed after printing, "so that there is no possibility of duplicates."</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Wenceslaus Hollar. ''Ornatus muliebris Anglicanus'' or ''The severall habits of English women.'' [London: s.n., 1640]. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=169174 STC 13599.5] and [http://luna.folger.edu/luna/servlet/s/<del style="font-weight: bold; text-decoration: none;">5q8e9g </del>LUNA Digital Image].</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Wenceslaus Hollar. ''Ornatus muliebris Anglicanus'' or ''The severall habits of English women.'' [London: s.n., 1640]. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=169174 STC 13599.5] and [http://luna.folger.edu/luna/servlet/s/<ins style="font-weight: bold; text-decoration: none;">38v049 </ins>LUNA Digital Image].</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Wenceslaus Hollar. ''Ornatus muliebris Anglicanus or The severall habits of English women.'' [London]: Sold by H. Overton [1734?].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Wenceslaus Hollar. ''Ornatus muliebris Anglicanus or The severall habits of English women.'' [London]: Sold by H. Overton [1734?].</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Frederick Gutekunst. [Photographs of Edwin Forrest as … King Lear … others]. Philadelphia [Pa.: s.n., mid-19th century]. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=255945 ART File F728 no.43 PHOTO] and [http://luna.folger.edu/luna/servlet/s/r8y600 LUNA Digital Image].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Frederick Gutekunst. [Photographs of Edwin Forrest as … King Lear … others]. Philadelphia [Pa.: s.n., mid-19th century]. Call number: [http://shakespeare.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=255945 ART File F728 no.43 PHOTO] and [http://luna.folger.edu/luna/servlet/s/r8y600 LUNA Digital Image].</div></td></tr>
</table>SophieByvikhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=16031&oldid=prevSophieByvik: added categories2015-03-31T00:12:34Z<p>added categories</p>
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</table>SophieByvikhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=15432&oldid=prevSophieByvik: added categories2015-03-17T19:24:11Z<p>added categories</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Exhibitions]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category: Exhibitions]]</div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Category: 19th century]]</ins></div></td></tr>
</table>SophieByvikhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=14835&oldid=prevSophieByvik: added categories2015-03-11T00:22:49Z<p>added categories</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:22, 10 March 2015</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Tea caddy surmounted with carving of mulberry leaves and berries. [England: s.n., 18th or 19th century]. Call number:[http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=128527 Wood no. 11] and [http://luna.folger.edu/luna/servlet/s/odr47y LUNA Digital Image].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Tea caddy surmounted with carving of mulberry leaves and berries. [England: s.n., 18th or 19th century]. Call number:[http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=128527 Wood no. 11] and [http://luna.folger.edu/luna/servlet/s/odr47y LUNA Digital Image].</div></td></tr>
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</table>SophieByvikhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=14656&oldid=prevKateCovintree: /* Can you spot the fake? */2015-03-05T01:22:23Z<p><span dir="auto"><span class="autocomment">Can you spot the fake?</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Although [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 this picture] looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, <del style="font-weight: bold; text-decoration: none;">1717-1779</del>: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Although [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 this picture] looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, <ins style="font-weight: bold; text-decoration: none;">1717–1779</ins>: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 the book on the right] had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 the book on the right] had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td></tr>
</table>KateCovintreehttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=13431&oldid=prevKateCovintree: /* Can you spot the fake? */2015-01-29T02:53:23Z<p><span dir="auto"><span class="autocomment">Can you spot the fake?</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<col class="diff-content" />
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 21:53, 28 January 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l12">Line 12:</td>
<td colspan="2" class="diff-lineno">Line 12:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Although [<del style="font-weight: bold; text-decoration: none;">&#x09;</del>http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 this picture] looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Although [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 this picture] looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 the book on the right] had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, [http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 the book on the right] had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td></tr>
</table>KateCovintreehttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=13358&oldid=prevMeaghanBrown: linked Heather and Erin's names; This page needs attention, as relative terms need to be clarified.2015-01-27T19:35:27Z<p>linked Heather and Erin's names; This page needs attention, as relative terms need to be clarified.</p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:35, 27 January 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1">Line 1:</td>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Fakes, Forgeries & Facsimiles,'' part of the [[Exhibitions at the Folger]], opened August 20, 2003 and closed on January 3, 2004. The exhibition was curated by Heather Wolfe, Curator of Manuscripts, Erin Blake, Curator of Art, and Rachel Doggett, Curator of Books. Major support for Folger exhibitions comes from The Winton and Carolyn Blount Exhibition Fund.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Fakes, Forgeries & Facsimiles,'' part of the [[Exhibitions at the Folger]], opened August 20, 2003 and closed on January 3, 2004. The exhibition was curated by <ins style="font-weight: bold; text-decoration: none;">[[</ins>Heather Wolfe<ins style="font-weight: bold; text-decoration: none;">]]</ins>, Curator of Manuscripts, <ins style="font-weight: bold; text-decoration: none;">[[User:ErinBlake|</ins>Erin Blake<ins style="font-weight: bold; text-decoration: none;">]]</ins>, Curator of Art, and Rachel Doggett, Curator of Books. Major support for Folger exhibitions comes from The Winton and Carolyn Blount Exhibition Fund.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The fabrication and reproduction of documents has a long and dubious history from antiquity to the present day. The boundary between "genuine" and "false" is murky at best, often hinging on the intention of the creator or duplicator, the historical moment in which an item is being considered, or the level of restoration it has undergone.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The fabrication and reproduction of documents has a long and dubious history from antiquity to the present day. The boundary between "genuine" and "false" is murky at best, often hinging on the intention of the creator or duplicator, the historical moment in which an item is being considered, or the level of restoration it has undergone.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Can you detect a faked work of art, a forged document, or a recent facsimile of a sixteenth-century printed page? Even experts able to handle the items can be fooled.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Although <del style="font-weight: bold; text-decoration: none;">'''</del>this picture<del style="font-weight: bold; text-decoration: none;">''' </del>looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Although <ins style="font-weight: bold; text-decoration: none;">[&#x09;http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=124494 </ins>this picture<ins style="font-weight: bold; text-decoration: none;">] </ins>looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, <del style="font-weight: bold; text-decoration: none;">'''</del>the book on the right<del style="font-weight: bold; text-decoration: none;">''' </del>had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, <ins style="font-weight: bold; text-decoration: none;">[http://hamnet.folger.edu/cgi-bin/Pwebrecon.cgi?BBID=159530 </ins>the book on the right<ins style="font-weight: bold; text-decoration: none;">] </ins>had previously been owned by another English book collector, [[Henry Huth]]. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l149">Line 149:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::William Cowper, "The Task," 1785</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>::William Cowper, "The Task," 1785</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Thus Cowper described the mulberry tree that gave birth to the Shakespeare relic industry. Supposedly planted by Shakespeare at New Place, his Stratford home, the tree was sold for firewood in 1756. Instead of burning it, purchasers transformed the firewood into <del style="font-weight: bold; text-decoration: none;">saleable </del>items and made a fortune. The issue of fakery has several dimensions here. Did Shakespeare plant the tree? Does wood from trees grown from slips of the original mulberry count as genuine? Was a box marked "Shakespeare's wood" actually made from "the" tree? Was the wood even genuine mulberry? The only certainty, as a modern scholar observes, is that the tree provided a "new and strange addition to rural England's arts and crafts, namely that of making poetry pay."</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Thus Cowper described the mulberry tree that gave birth to the Shakespeare relic industry. Supposedly planted by Shakespeare at New Place, his Stratford home, the tree was sold for firewood in 1756. Instead of burning it, purchasers transformed the firewood into <ins style="font-weight: bold; text-decoration: none;">salable </ins>items and made a fortune. The issue of fakery has several dimensions here. Did Shakespeare plant the tree? Does wood from trees grown from slips of the original mulberry count as genuine? Was a box marked "Shakespeare's wood" actually made from "the" tree? Was the wood even genuine mulberry? The only certainty, as a modern scholar observes, is that the tree provided a "new and strange addition to rural England's arts and crafts, namely that of making poetry pay."</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A 1905 auction catalog features a prominent photograph of a "tea-caddy made from the mulberry tree planted by Shakespeare." The lengthy text description goes on to call it "an undoubted genuine relic, having Sharp's own stamp on it." Thomas Sharp, the best-known maker of mulberry souvenirs, stamped "Shakespeare's wood" into his products. Note, however, that [http://luna.folger.edu/luna/servlet/s/odr47y this box] does not actually bear his stamp, only a damaged area where a stamp seems to have been scraped away. The box is possibly genuine mulberry, but fake Thomas Sharp.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A 1905 auction catalog features a prominent photograph of a "tea-caddy made from the mulberry tree planted by Shakespeare." The lengthy text description goes on to call it "an undoubted genuine relic, having Sharp's own stamp on it." Thomas Sharp, the best-known maker of mulberry souvenirs, stamped "Shakespeare's wood" into his products. Note, however, that [http://luna.folger.edu/luna/servlet/s/odr47y this box] does not actually bear his stamp, only a damaged area where a stamp seems to have been scraped away. The box is possibly genuine mulberry, but fake Thomas Sharp.</div></td></tr>
</table>MeaghanBrownhttps://folgerpedia.folger.edu/_mw/index.php?title=Fakes,_Forgeries_%26_Facsimiles&diff=13048&oldid=prevMeaghanBrown: /* Can you spot the fake? */2015-01-20T19:31:50Z<p><span dir="auto"><span class="autocomment">Can you spot the fake?</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:31, 20 January 2015</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although '''this picture''' looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although '''this picture''' looks like an original drawing at first glance, it is actually an ink-covered photograph of a painting. A dishonest dealer put it in an elaborate frame and sold it as a genuine life-portrait of the actor, [[David Garrick, 1717-1779: A Theatrical Life|David Garrick]]. Close examination reveals a photographic emulsion under the ink, and a too-perfect resemblance to a finished painting by Sir Joshua Reynolds.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, '''the book on the right''' had previously been owned by another English book collector, Henry Huth. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Acquired by the Folger Library in 1938 with volumes from the collection of Sir Robert Leicester Harmsworth, '''the book on the right''' had previously been owned by another English book collector, <ins style="font-weight: bold; text-decoration: none;">[[</ins>Henry Huth<ins style="font-weight: bold; text-decoration: none;">]]</ins>. Its binding is signed by J. Mackenzie, who was active in the 1840s. One of the leaves shown here is a facsimile, probably produced from an etched plate at the time that Mackenzie bound the volume. </div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>====''Items included''====</div></td></tr>
</table>MeaghanBrown