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Summaries/résumé/zusammenfassung
Paul van Capelleveen, Charles Ricketts en de nieuwe Nederlandse boekkunst 1890-1895
[Charles Ricketts and the Dutch art nouveau book 1890-1895]
From 1892 to 1895 Jan Veth wrote a series of reviews and articles on the wood engravings and bookbindings designed by Charles Ricketts. Though critical, they highly praised the work of Ricketts and his fellow artist Shannon, at a time that their work was met with hostility or silence in England. This led to their work being discussed and widely exhibited in the Netherlands. Their fame reached its peak in 1895 when the art dealer Van Wisselingh mounted their first separate exhibition.
Among the artists influenced by Ricketts, Richard Roland Holst was the only to form a long-term friendship with Ricketts. Commercial publishers imitated Ricketts' bookbindings. But Ricketts did not have a lasting influence on Dutch typography and book illustration. His influence is confined to the short symbolistic period of the artists involved. However, Veth's passionate discussions of his work helped shape the new ideas on the Dutch art nouveau book. This study focusses on how Veth's discovery of the work of Ricketts and Shannon came about and on the several reasons for the early appreciation and recognition of Ricketts's work in the Netherlands.
Berry Dongelmans, Ware liefde in drie delen. Het verschijnsel romantrilogie in Nederland in de twintigste eeuw
[True love in three volumes. The novel trilogy in the Netherlands in the twentieth century]
In this article the trilogy is discussed as a combination of careful publishing practices and paratextual apparatus. Historically the word ‘trilogy’ is mainly linked with three plays, which emanated from the classical tradition. In the nineteenth century the word is applied to poetry as well and in the first decades of the twentieth century it also becomes more and more linked with epic, narrative forms. At first mainly used to indicate three consecutive novels joined by content, from the mid-thirties the word ‘trilogy’ becomes gradually a publishers term as well. On the basis of research covering 224 different works with the word ‘trilogy’ in their title, it becomes clear that in the Netherlands the word ‘trilogy’ is used especially in connection with a certain kind of novels, namely regional and family novels.
In that respect the word trilogy has developed a specific meaning. From the neutral lexicographical meaning of three novels wich belong together, the trilogy has become a publishing term, with more or less pejorative connotations of light reading or pulp fiction. From a book historical point of view the word trilogy is thus defined as a collection of three (regional or family) novels, written by one, mostly feminine, author, which form a continuing story. In general, the three novels are published first as three volumes, which can be read separately and have their own title, but whose contents are linked. Within a few years after their first publication the three novels are recycled in one volume. In literary circles the trilogy is not highly esteemed, but in large sections of the population, especially with women, it is a very popular
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type of book. These women readers stem from different categories in age and religion.
Jos van Heel, Jong geleerd, oud gedaan. Pieter van Damme, Jacob Visser en hun vriendschap met Willem van Westreenen
[Expérience est mère de science. Pieter van Damme, Jacob Visser et leurs liens d'amitié avec Willem van Westreenen]
Le baron Willem Hendrik Jacob van Westreenen van Tiellandt (1783-1848), qui a légué à l'Etat les collections qui sont à l'origine du Musée Meermanno-Westreenianum à La Haye, avait connu très jeune les célèbres collectionneurs Jacob Visser (1727-1804), compilateur de la première liste d'incunables imprimés dans les Pays-Bas, et Pieter van Damme (1727-1806), connu surtout comme antiquaire et numismate. Visser initia le jeune Van Westreenen à l'art d'identifier les incunables. Quant à Van Damme, il confia à son jeune ami des sections de son cabinet numismatique pour qu'il apprît à les ordonner et à en éliminer les doubles (qu'il fut autorisé à garder pour lui: c'était la récompense de ses peines). En l'espace de quelques années, Van Westreenen parvint à un degré d'expertise tel que Van Damme ne crut pouvoir mieux faire que de le charger par avance de la vente après décès de sa collection. Le moment venu, la rédaction du catalogue de la vente devait occuper Van Westreenen pendant une période d'une à deux années (1806-1807).
Le contact entre Van Damme, vivant à Amsterdam, et Van Westreenen, à La Haye, fut entretenu principalement par lettre. La correspondance permet de se faire une idée précise et détaillée de cet épisode crucial de la formation du jeune Van Westreenen, ainsi que de l'importance qu'ont eue pour lui ces collectionneurs chevronnés qu'étaient Visser et Van Damme.
Susanne Janssen, Onderzoek naar twintigste-eeuwse literaire uitgeverijen. Een stand van zaken
[The study of twentieth-century literary publishing houses. A state of affairs]
For a long time, very little scholarly attention has been paid to publishing houses both in literary history and in literary studies in general. However, the past fifteen years have witnessed a growing interest on the part of literary scholars in the activities and achievements of literary publishers and other literary institutions, both in the Netherlands and in other Western countries. This increased attention seems to a large extent the result of a re-evaluation of the part that these institutions play in what can be referred to as the symbolic production of literature. They are considered to be vital agents in the building of opinions on works of literature and in the establishment of writers' careers and reputations. This article discusses the various activities through which publishers affect the symbolic production of literature and considers the state of affairs with respect to Dutch research into these activities. The author argues that future research into literary publishing houses has to face the challenge of developing more systematic ways of thinking about the role and function of literary publishers as well as developing more advanced, comparative, research designs.
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Inger Leemans, De sexshop van Europa. De Nederlandse productie en verspreiding van pornografische romans in de zeventiende eeuw
[The sex shop of Europe. The Dutch production and distribution of pornographic novels in the seventeenth century]
The part played by the Dutch Republic in the production of pornography during the seventeenth and eighteenth century has only in the last twenty years received some scant scholarly attention. This is remarkable, since all bibliographical standard works state that the Republic played a vital role in book printing and distribution in Europe in these centuries. The Republic was ‘le magasin de l'univers’, and, as regards pornography, the sex shop of Europe. It was generally assumed that the Dutch did not read what they printed for others. In 1984, P.J. Buijnsters concluded an investigation of Dutch translations of the Italian and French classics with the finding that the Dutch actually were interested in pornography and may even have written some themselves.
Although Buijnsters' pioneer research is not faultless (some of ‘the translations’ he found are no translations at all) and needs to be supplemented, his findings form a good basis for further research. While his investigations were centred on the eighteenth century, Dutch pornography had its heyday in the 1680s. Amsterdam publishers such as Timotheus ten Hoorn and, to a lesser degree, Jan Bouman, were even specialized in pornography and bawdy prose. They were quick to translate the French works and sold and published Dutch works, among which D'openhertige juffrouw (The candid whore), 't Amsterdamsch hoerdom (Prostitution in Amsterdam) were most frequently reprinted. Often, they produced French translations of these works, which were also quickly translated into English and German, and seem to have sold well all over Europe and even in America.
E.A. Overgaauw, Zekerheden, twijfels en vermoedens. Over het Veghe-handschrift van 1436 in de Universitäts- und Landesbibliothek Münster
[Sicherkeiten, Zweifeln und Vermutungen. Über das Veghe-handschrift von 1436 der Universitäts- und Landesbibliothek Münster]
Die Veghe-Handschrift der Universitäts- und Landesbibliothek Münster (Ms N.R 1551) enthält vier Traktate des Johannes Gerson. Sie wurde, wie es die Angaben im Kolophon belegen, 1436 von magister Johannes Veghe geschrieben. In der Forschung wurde der Schreiber meist mit dem Vater des bekannten Münsteraner Fraterherren dieses Namens identifiziert, was aber keineswegs gesichert ist. In ihrer Schrift und Ausstattung (Fleuronnée-Initialen) ist die Veghehandschrift mit den gleichzeitigen Handschriften der Fraterherren in Münster verwandt. Dies hat dazu geführt, daß die ihre Schriftheimat wiederholt im dortigen Fraterhaus vermutet wurde. Für diese Vermutung gibt es jedoch keine überzeugende Gründe. Die Handschrift könnte zwar in Münster entstanden sein, aber auch anderswo in Westfalen, im Rheinland oder in den östlichen Niederlanden.
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L.G. Saalmink, Met inachtneming van de tegenwoordige kleederdragt. De drukgeschiedenis van Hieronymus van Alphens Kleine gedichten voor kinderen met het jaartal 1821
[According to contemporary fashion. The printing history of Hieronymus van Alphen's Little poems for children stating 1821 as the year of publication]
The poems for children by Hieronymus van Alphen were first published in three small volumes between 1778 and 1782. The first edition of the three booklets together appeared in 1787 with the title Kleine gedickten voor kinderen (Little poems for children). After that the Kleine gedichten voor kinderen were reprinted from different type seven times until circa 1818, but each new edition kept the year 1787 on the titlepage. In 1821 a new edition was published with new copperplate illustrations which were adapted to contemporary fashion. By looking at the preliminary leaves of some copies stating 1821 as the year of publication it becomes clear that they represent more than one edition: The publisher's name occurs as J.G. van Terveen as well as J.G. van Terveen en Zoon (J.G. van Terveen and Son), and some copies have a Preface by the Publisher while others have a Preface by the Publishers (plural).
From careful comparison of (minor) textual differences and spelling and punctuation differences of many copies it appears there must have been eight editions, all printed from different type. These editions were probably published between 1821 and circa 1851. Moreover, some of these editions with the (false) year 1821 were accompanied by a parallel edition from the same type as the dated edition, but without a year of publication, and without copperplate illustrations and with a different frontispiece. So, on the one hand copies of two kinds from the same edition were issued, each with a different frontispiece, on the other hand both frontispieces were used for several successive editions. Therefore it is clear, that more editions of Hieronymus van Alphen's poems for children were published than one might think at first sight.
Kees Thomassen & Klaas van der Hoek, Drie broertjes op reis. De alba amicorum van Homme, Juw en Pieter van Harinxma
[Three brothers on tour. The alba amicorum of Homme, Juw and Pieter van Harinxma]
In 1999 the Royal Library in The Hague acquired a collection of eleven alba amicorum of the well-known Frisian family Van Harinxma thoe Slooten. Three of these alba were kept by the brothers Homme, Juw and Pieter. They carried their booklets with them from 1625 till 1631 when they studied together at the universities of Franeker, Leiden, Paris, Angers and Orléans. The alba reflect the varied social relationships of the brothers with the local nobility, professors and fellow-students. Moreover, due to the fact that the booklets have many of their contributors in common, they offer a rare opportunity to compare the inscriptions of one and the same person.
Besides many inscriptions, the alba contain twenty-seven painted coats of arms and eighteen illustrations. Most, if not all, of the latter were copied from prints by Antonio Tempesta, Gerard de Jode and others. These anonymous and often very attractive gouaches were made by three local Frisian artists.
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Johan de Zoete, Het Museum Enschedé in Haarlem
[The Museum Enschedé at Haarlem]
From the very start of the printing firm in 1703, Joh. Enschedé and Sons have kept all of the firm's records. Now, almost 300 years later, this huge collection forms the Museum Enschedé. The collection has been made into an independent foundation, but is still housed in the firm's premises.
The museum preserves not only the documents, letters and ledgers over this long period, but also the majority of the works printed by them, the designs and the printing proofs. Besides, the family of Enschedé has collected objects in the fields they were working in. They took over the ‘Haarlemsche Courant’ (in existence since 1656) in 1737, started a typefoundry in 1743, and were one of the partners in the ‘Nederlandse Bijbel Compagnie’ and so acquired the right to print bibles and psalm books.
As security printers Enschedé has printed the Dutch banknotes from 1814, the postage stamps from 1866 onwards.
The museum keeps all these areas of printing and graphic activities in a number of collections, e.g. stamps, banknotes, typefoundry, printing blocks and plates, prints, library, etc. In 1996 a project was started to make a complete inventory of the main collections to accomodate researchers. The Enschedé Museum is not a public museum. It is, however, open to researchers by appointment.
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