Anne Welsh is a career-long cataloguer and a life-long writer. Following the success of Practical Cataloguing (London: Facet; Chicago: Neal Schuman, 2012) she focused on academic research and teaching before founding Beginning Cataloguing, which provides consultancy and training for institutions and, increasingly, to individuals preparing their libraries and archives and seeking an institutional home for them.
With some people working from home, some wanting to leave face-to-face services with customers who are not compliant with social distancing rules, and some staring down the barrel of redundancy, there have possibly never been more information professionals contemplating self-employment. Here are some tips and resources from my experience this year setting up Beginning Cataloguing.
Our next Book History Seminar will take place on Wednesday 13 January at 1pm.
In this live-only seminar, we will discuss factors affecting the publication and circulation of LGBTQ+ fiction in postwar Britain. We will examine how obscenity statutes and laws criminalising homosexuality impacted everything from a book’s text, to its cover design, to how and where it was sold. Examples will be drawn from the speaker’s personal collection.
Yesterday, Yvonne Lewis shared the story of ‘The Unwritten Book’ – the evidence William John Bankes left behind him of his travels, and, in particular, a set of lithography stones intended for publication in a book that was never printed in the end.
There are many reasons that these stones are both interesting and mysterious, but the greatest mystery is why they exist in the first place. Lithography was invented in Munich in 1798 by Alois Senefelder, and as Michael Twyman points out in his core text on the topic, “the lithographed book is almost as old as lithography itself” (p. 15). One of its leading proponents in Britain, Charles Hullmandel, set up his press in 1819, and so Bankes’s travels (circa 1815-17) coincided with the very earliest period of English lithography. Hullmandel’s marks appear on the back of the stones, and, as Twyman asserted in a paper he gave in 2016, “Hullmandel can be linked with the stones now at Kingston Lacy in several ways. First and foremost he owned them all, at least initially. Secondly, he made the drawings on some of them himself. And, thirdly, wherever a printer’s imprint appears on a stone it is his.”
Join us online on Tuesday 8 December for our next Book History Seminar, in which Krystle Attard Trevisan will share her curatorial and research expertise in printmaking techniques in book illustration.
Krystle is the first art historian in Malta specializing in historical prints and book illustration. Her ongoing doctoral research includes cataloguing and studying the only intact 18th century print collection in a public museum of over 4,500 prints amassed by one man. She has also started hunting for Incunabula in Malta with a team of other researchers. She has recently joined MUŻA, the Malta National Community Art Museum that houses the national collection of art, where one of her tasks is to research the prints and rare books that have remained unstudied for years. Her passion is to teach about the importance of printmaking in the history of art and of the book through public outreach and object-based study.
This is a live-only seminar – no preparation in advance (except for the speaker, obviously), no recordings afterwards, just an expert speaker talking on Zoom for around half and hour followed by group discussion and chat.