...Luisa Calè In “A Friendly Gathering: The Social Politics of Presentation Books and their Extra-Illustration in Horace Walpole’s Circle,” Lucy Peltz plays with the technical and metaphorical senses of “gathering” to reflect on the materiality and sociability of altered books in the Strawberry Hill...

...Sandro Jung In a reading of James Thomson's The Seasons that largely draws on the history of the book and the fields of print culture and illustration studies, I offer a narrative of the changing interpretation of the poem between 1730 and 1797. Not only did readers, in response to changes...

...Aparna Gollapudi In the last quarter of the eighteenth century, John Bell commissioned hundreds of actor portraits in dramatic roles, which were published as book illustrations in the series Bell’s Shakespeare and Bell’s British Theatre. These portraits contributed significantly to the emergent...

...Sandro Jung This essay approaches Edmund Spenser’s Renaissance masterpiece, The Faerie Queene , through a hitherto unknown series of twenty-four vignette illustrations that the eighteenth-century painter and book illustrator, Thomas Stothard, contributed to the nowadays little-known annual...

...Paddy Bullard This article develops recent work by literary historians on miscellany publication, and on the printed miscellanies that were so important and popular for the early eighteenth-century book trade. It offers a history of the form, illustrated by comments made by the Duke of Buckingham...

...Helen Burke This essay analyzes the Irish jokes that circulated in London in the 1680s, paying particular attention to those that emanated from the stage and from the two earliest Irish joke books, Bog Witticisms; or, Dear Joy’s Common-Places (1682) and Teagueland Jests, or Bogg-Witticisms (1690...

... hundreds of book illustrations, paintings and drawings, prints, and other media (e.g., stoneware and ephemeral commercial products), all cata- loged in the book’s fifty-page appendix. In the first of two introductory chapters, Gerard deals with “the visual ele- ments within Sterne’s text” (2...

... and early eighteenth centuries. He explains that even if they did not explicitly claim to offer comprehensive coverage, expen- sively illustrated books that might run to 1,000 pages disguised the fact that their illustrations were based on fragmentary sketches. The engravers had no scruples about...

... not always worked in harmony,” Keymer admits (18). But, as the essays in his case- book illustrate, “the best readings of Tristram Shandy to have been published within the past two decades . . . have brilliantly married the theorized agenda of the modern academy with scholarly and historical...

... Too often, copies of these pocket books have been preserved largely because of who their owners were or because of the socio- cultural records they contain on day-­to-­day life in the period. But they have not been considered as important interventions in a sizable market for illustrated pocket...

... designed covers include clever illustrations by Pietro Spica (both 2020) that set the tone of the whole collection. For book 1, Spica's cover is a variation of Hogarth's Scholars at a Lecture (1736), which implies that the collection is written by academics for academics. For book 2, the cover is based...

... list no pocket books before 1757.46 The three “short-lived magazines” for ladies do not in- clude illustrations before 1759, but this evidence is necessarily inconclu- sive. Certainly by the second decade after Pamela, these magazines grew in number and were...

... Sillars, teaches in Norway, and another, Reiko Oya, in Japan. If the books can be said to share a thesis, it is that figures not usually clas- sified among the critics — actors, painters, illustrators — were engaging in their own versions of literary criticism all along, achieving insights...

... expensive works of gothic fiction at the time they were made, they also because of the sheer explosion of illustrated tales published as chapbooks were judged as possessing little literary value, as being derivative, and as not having the status of books. Their ephemeral- ity, like that of funeral...

...      1 2 1 Turning a classic book into a comic strip is not an entirely new concept. For the last six years, the Marvel Illustrated line has adapted literary classics to the graphic novel format — ​not just swashbucklers, but toughies like The Iliad, Moby-­Dick, and The Picture of Dorian...

..., it was not a lack of having highly skilled engravers available to illustrate books that created the uniform blandness of the historical figures; Stanley s author portrait was done by one of the period s leading frontis- piece artists, William Fainthorne. The quality of the full- figure images in this volume...

.... Although annotations offer insights into the history of the book, their critical and ideological function is more compelling as each of the chapters illustrates. In his thought- provoking and erudite introduction, Edson convincingly overviews the many ways that annotations played a significant role...

..., and survey texts useful for undergraduate teaching. The authors consist both of well-published historians as well as young scholars reworking their dissertations. The Press has managed to keep a grip on the rising cost of producing illustrated art books through its streamlined editorial process...

... “An Essay in Aid of the Reading of History,” which might be his equivalent of James’s “Gabrielle de Bergerac,” written before James’s first adult experience of Europe. Ralph cultivates a superstitious belief in the power of place, as the following intriguing quotation from his book illustrates...

... and with the scholarly works it generated will be surprised by the amount of new materials Stuart brings to light and valo- rizes. Added to this is a style at once subtle and smooth, enhanced by forty-­two color plates and thirty-­six integrated illustrations. An American edition, close on the heels...