Pavel Chepyzhov is the owner of a rare book business in Moscow and in Georgia's capital Tbilisi. He is also member of the ILAB Executive Committee and shares some information about his country and the book trade in Russia.
Nigel Beale, journalist and bibliophile, regularly interviews accomplished authors, publishers, and "sundry biblio folk". In June 2018, he met with NY bookseller Glenn Horowitz. Listen to this fascinating podcast here.
Rebecca Lawton (M.Litt Mediaeval History 2015) has been working on a collection of Anglo-Saxon manuscripts as part of a collaborative PhD between the University of Leicester and the British Library. ILAB would like to share her original blog post to demonstrate the work and research currently taking place in the field of rare books.
ILAB responds to amendments made to the EU's proposal: Proposal for a regulation of the European parliament and of the Council on the import of cultural goods
Proposal for a regulation (COM(2017)0375 – C8-0227/2017 – 2017/0158(COD))
The 2017-18 Colin Franklin Prize for book-collecting has been awarded to Ekaterina Shatalova (Keble College), for her collection of works by and about Edward Lear (1812-1888), the poet and illustrator famous for limericks in "A Book of Nonsense", and for poems recounting the nautical adventures of "The Owl and the Pussycat" and the "Jumblies" ('who went to sea in a sieve').
th September is the birthday of cartoonist and children's book author Syd Hoff (1912), who is best remembered for his Danny and the Dinosaur (1958) and more than 60 books in the HarperCollins beginning reader "I Can Read" series. Hoff sold his first cartoon to The New Yorker at age 18. His work also appeared in Esquire, Look magazine and other publications. Under the pseudonym A. Redfield, Hoff produced a cartoon series The Ruling Clawss for the Communist newspaper The Daily Worker in the 1930s and 1940s. He also illustrated advertising for Eveready Batteries, Jell-O, Rambler and other brands. But it was the children's books that brought him the greatest recognition.
That's got that schmaltz out of the way … It's 2012! If you're of an excitable bent, then it's the year the world ends according to the Mayan Calendar (or more likely when the Mayan Calendar ends according to the world). If you're literary then it's 200 years of Charles Dickens; the man who brought you Bah! Humbug!, spontaneous human combustion, a series of character archetypes that for good or ill (or as is more usual, both) have endured (and been endured) for a good century and a half, and a new, disturbing and moving understanding of what it might have been like to be poor and deprived at the height of the British Empire's prosperity. Oh, and jolly fat people with odd names, can't forget them.
The International Rare Book & Autograph Fair at the Grand Palais in Paris is one of the most prestigious fairs in the world, attracting nearly 200 exhibitors and thousands of visitors each year. And each year a French library, archive or museum of worldwide renown introduces itself at the fair by presenting bibliophile treasures from its rich collections of rare and valuable books and historical documents. For its 27th edition from 23 to 26 April 2015, the International Rare Book and Autograph Fair is honoured to welcome as guest library the Archives of the Paris Prefecture of Police.
It's a well-told story: a man is hitchhiking his way across Europe, has a few too many pints at the pub, lies down in a field, looks up at the stars, and thinks, "Hey, someone should write a guide to hitchhiking across space!" The British writer Douglas Adams (1952-2001) admitted that he'd told the story so many times, he wasn't completely sure which parts were true and which were embellished.
In 1952, Stevens-Nelson Paper Corporation published what it called "a catalogue of the finest printing and art papers in the world." It was less boast than just a simple statement of fact. Indeed, the company had enlisted the help of small handmade paper shops across the globe.
"Up to the Eighties, personal computers were not existing yet, and we could not even begin to think of scanners: the texts, typed on cards with bolds or italics highlighted with a red or blue pencil, were formed by the printer with the linotype; the illustrations used to be reproduced on zinc cliché applied on thick wooden blocks to be placed in the typographical shapes. In the past few yeas, computerized instruments have made everything easier, but the research for a greater and greater bibliographical attention and a more sophisticated graphic elegance, has paradoxically lengthened the time to complete a paper catalogue, destined to be consulted for years as a bibliographic source. While the descriptions reserved to a search engine are less charming and long lasting, because of the ephemeral characteristics of the internet. The same purchasing dynamics have changed: the bibliophiles of the past used to prefer saving on long distance calls and ordering from our catalogues, using the "low postage bookseller's order form" or the already forgotten telex, and the telegraphic address "Preliber" is what we have decided to keep for our current web site." Catalogues in times of the internet: the final part of the Pregliasco story.