A guest post by Jan Kellett
Editor’s note: When the Folger acquired the lovely artist’s book Storming Shakespeare from Jan Kellett last year, Erin Blake asked if she would be willing to share some information with our readers about the making of the book. The post that follows is Kellett’s account of the inspiration and physical process of creating Storming Shakespeare. … Continue Reading
Posts Categorized: Art
Simran Thadani’s wild guess for the December Crocodile Mystery, backed up by Martin Antonetti and Deborah J. Leslie, is our winner. This month’s image is a close-up of the lower right edge of a mezzotint engraving. The lines that look like warp and weft are, in fact, rows of tiny black dots crossing each other at right angles.
This happens to be a fairly coarse mezzotint, with the grain easily visible to the naked eye.… Continue Reading
The change of pace in this month’s crocodile mystery is thanks to Salvador Dalí. Surely you, like our commenters, recognized those elongated legs. And if I’d shared the companion image, you’d have guessed that immediately as well.
But what’s he doing in the Folger Shakespeare Library’s collections? Sharing his designs for As You Like It, obviously!… Continue Reading
We are used to thinking of productions of Shakespeare’s plays as creating new works of art that demonstrate the vitality of the centuries-old drama. But in the right hands, books can achieve the same effect. Emily Martin’s The Tragedy of Romeo and Juliet, by William Shakespeare, published by Naughty Dog Press in 2012 and acquired by the Folger last year (ART Vol.… Continue Reading
It’s official: pictures in the Folger’s Digital Image Collection are now licensed CC BY-SA! That is, they can be used under a Creative Commons Attribution–ShareAlike 4.0 International License, one of the two Creative Commons licenses “approved for free cultural works.” That’s almost 80,000 images, and counting. We’ve already started adding images to Wikimedia Commons for use in Wikipedia and elsewhere, and encourage you to do the same.… Continue Reading
In recent months, the Folger Shakespeare Library added a rare emblem book to its holdings, a thin quarto bound in pasteboards holding 24 unnumbered leaves . The emblem book presents itself as a “new year’s gift” containing 13 engravings: one coat of arms and twelve emblems executed by the prolific engraver Frederik Bouttats. The author of the text is a Jesuit who remains anonymous.… Continue Reading
So the mysterious eye of this month’s crocodile belongs to no other than Shakespeare, as some readers immediately recognized:
More specifically, it is Shakespeare’s left right eye as depicted in the third state of the Droeshout engraving from one of the Folger’s copies of the First Folio. If you’re wondering why I chose his eye as the June crocodile, that previous sentence is key: the portrait of Shakespeare engraved by Martin Droeshout for the First Folio exists in 4 different states, 3 of which can be seen in copies of the First Folio (the fourth state wasn’t introduced until the Fourth Folio in 1685).… Continue Reading
In 1998, modernist art and literature scholar Paul Edwards wrote about “a set of watercolours and (apparently) ink drawings on the theme of Shakespeare’s Timon of Athens” by Wyndham Lewis that had been published as a portfolio in 1913. Why only “apparently” in ink? Until Professor Edwards came across the nine drawings in the Folger’s digital image collection, art historians thought the drawings had been lost.… Continue Reading
You know the saying, “the great thing about standards is that there are so many to choose from?” You know Sarah’s post about the transcription practices used in The Collation, and Goran’s posts about V and U in titles and imprints of 17th-century Flemish books in the STCV? Welcome to the Anglo-American cataloging rules for transcription in early modern texts, which differ from both.… Continue Reading
So, what’s up with the crocodile mystery for March? As I said in the comments, Tom Reedy was verrrrry close with “It looks like some sort of device using punctures along a line to allow powder or ink to pass through and transfer the outline of a drawing to another surface.” It isn’t itself such a device. Rather, it is evidence of such a device having been made.… Continue Reading
