With a money gift from a very kind anonymous donor, Special Collections has just acquired our fifth incunable! (Incunabula are European printed materials from pre-1501. A list of our incunabula and early printed books is here.)

This new one is a 1492 edition of Thomas à Kempis’s Imitation of Christ, printed by Anton Koberger in Nuremberg. It’s smallish, less than six inches tall and comfortable in the hands.

Owners and censors have been “refreshing” it in various ways over its five century life. Marginalia has been excised, leaves have been replaced, words have been struck out, owners have placed their signatures and stamps and bookplates in it. We know from its scent that at least one previous owner was a smoker. We know from the dealer that the clasp has been replaced. We look forward to scholars working with it and finding out much, much more.

So, on this day-before-Thanksgiving, we say: thank you, anonymous donor!  Thank you, Medieval Books, for the generous discount you provided in support of Colorado College’s minor in book studies! And thank you, book people everywhere, for loving books and caring for them so that they last and last.

Hagstrom: Forces and Fossils

In September of 2012, Carleton College professor and book artist Fred Hagstrom was the Press at Colorado College’s Visiting Lecturer. Special Collections owns three of Hagstrom’s books: Deeply Honored, concerning a Japanese-American internment camp, and two newly acquired books: Standing Place, gift of the artist, a book about the marriage of a Maori man and a Greek woman, and Forces and Fossils, which was made using blown-up illustrations from Ernst Haeckel’s 1862 book on microscopic protozoa, Die Radiolarien.

Fay: Salton Sea

While he was here, Hagstrom showed us samples of books his students at Carleton had made.  We thought students here might benefit from seeing books made by students elsewhere, and have therefore purchased four artists’ books made by Carleton students and alumni: Holly Phares’s Important to My Sanity and Future, Myla Fay’s The Salton Sea Guide to Birds and Dune Buggies, Liz Giraud’s Love Hertz, and Heather O’Hara’s The Handbook of Practical Geographies.

In the summer of 2012 we acquired one of Candace Hicks‘s unique embroidered composition books. Ours is “Volume XXXIII,” with a green cover. Like others in the series, it is a sort of personal reading journal, with all the text embroidered by hand. Authors mentioned in our volume include J.K. Rowling, Janet Evanovich, Jonathan Lethem, and Gary Shteyngart. The book is soft and floppy and a pleasure to handle, and several students have already admired it in our reading room.

In March 2012, Special Collections purchased a 20th century Ethiopian “magic scroll.” According to the dealer’s description, it is on parchment, probably goatskin, and in the language of Ge’ez (pronounced guh-UHZ, sometimes known as Ethiopic). It’s about 55 inches long and rolls up to the size of one of Wonder Woman’s wrist cuffs.

The scroll provides healing and protection for the person for whom it was made, and its length often matches the height of that person. (Ours is 55 inches long.)

We don’t know a lot about these scrolls, but according to this book, available at Tutt Library, each one is made for a particular individual, and the scrolls mix elements from Islam, Judaism, and Christianity. Another useful source on the topic is Harry Stroomer’s chapter “Magic parchment scrolls from Ethiopia,” available here.

In March of 2012, Special Collections acquired a single leaf from a 19th century Chinese woodblock printed book. This leaf, mounted on heavy paper, is a bifolium (two-page spread) from the Zizhi Tongjian (Comprehensive Mirror for Aid in Government), and was probably printed in the 19th century. The first edition of the text was produced in the 11th century using the same kind of printing technology.

We will use this leaf in conjunction with our other manuscript and printed leaves when we talk about the history of the material form of the written word in support of CC’s thematic minor in book studies.

 
Another book acquired in February 2012 through a gift from our anonymous donor: the first solo printing of Sappho’s poems. Up until Abraham Vandenhoeck printed this book in Hamburg in 1733, Sappho’s poetry had appeared only in multi-author collections like this one from 1600. 1733 may seem awfully late for a solo Sappho, but not when you remember — as CC Classics Professor Owen Cramer reminded us — that the majority of her known work wasn’t discovered until the late 19th century.

Our new book has Greek and Latin on opposite pages and an elaborate frontispiece with a bust of Sappho surrounded by ancient coins. We don’t know how the editor, Johann Christian Wolf, was able to compose a 32-page biography of Sappho (born ca. 615 B.C.), but we commend his effort.

With the ownership signature of Michael Wodhull (1740-1816), poet and translator of Euripides. Colorado College students, faculty, and staff have access to much of Wodhull’s work in paper at Tutt Library or via Eighteenth Century Collections Online.

In February of 2012, through another generous gift from our anonymous donor, we purchased the library’s fourth incunable. (Incunabula are European printed materials from pre-1501. A list of all of our incunabula and early printed books is here.)

Our new acquisition is a 1489 edition of Jacobus de Voragine’s Aurea Legenda, i.e. the Golden Legend. It’s in Latin and tells the life stories of Christian saints. The printer is Georg Husner of Strasbourg. (If you’re wondering why a book published in Strasbourg has “Argentine” in its colophon and on its spine, the answer is that the Romans referred to Strasbourg by its military name, Argentoratum, which became Argentina in medieval Latin.)

This particular copy is in a later binding and has almost all its hand-done initial letters. At least one previous owner made marginal notes on several pages. It will be useful to scholars of medieval history (the text was originally written in the 1200s) and to anyone interested in book history.

We could afford our new incunable because it lacks four leaves and has stains and other flaws — all of great interest to anyone interested in books as objects, so we’re very pleased with the bargain! We know faculty and students will make good use of it in the years to come.

More soon on other purchases made with this same anonymous gift!

In August of 2011, we purchased a 1536 edition of Dante’s Divine Comedy for use alongside our 1491 edition, a donation from Jane Carruthers Hale in memory of her father John A. Carruthers. A great many versions of the Comedy were published in the early years of printing, perhaps as many as 40 editions between 1472 and 1550. Both of our editions have woodcut illustrations: at right you can see two renderings of Lucifer devouring Brutus, Cassius, and Judas Iscariot.

The image on the left is from the verso of leaf 142 of the 1491 edition; the image on the right is from the verso of leaf 189 of the 1536 edition. Yes, the 1536 edition has some discolorations. How do you think we could afford it? We don’t mind.

Addendum, July 18, 2016: the Pokemon craze has come to Colorado College, and we’re happy (and a bit alarmed) to report that a creature known as Rattatta has been enjoying (and possibly nibbling on) our 1491 edition of Dante:

Artist Mary Chenoweth taught at Colorado College from 1953 to 1983. She was adept in many art forms, including collage, painting, woodcarving, printmaking, and more. Special Collections purchased her one-of-a-kind The Turn Book in July of 2011. It is long and thin (5 x 46 cm) with slipcover, canvas binding, and 18 paper or canvas leaves, all hand-painted.

The Turn Book, probably made in the 1990s, is playful and inviting: at one point, Chenoweth suggests the reader might want to take part in the “turns,” saying “Your turn.”

Special Collections has one other Chenoweth book, Malaysia (copy 1 of 7) and a collection of Chenoweth papers.

In late 2010, Special Collections purchased a 1665 edition of Fortunio Liceti’s De Monstris, an important work on human and animal abnormalities. Unlike his predecessors, Italian scientist Liceti (1577–1657) believed that physical anomalies occurred naturally, not as divine punishment for sin. This edition, printed in Amsterdam by Andrea Frisii, contains many engravings depicting both the possible (conjoined twins) and the impossible (human-animal hybrids such as the one in the image above). More of Liceti’s images are available at Yeeeeee.