Spuriouser and spuriouser, part III

Boatwright’s 1810, third edition of Lord Byron’s English Bards and Scotch Reviewers is, as its catalog record suggested it might be, a spurious edition. It was most likely produced not in 1810 but two years later and without Byron’s knowledge by his old publisher, James Cawthorn. Reading about our spurious English Bards led me, disorientingly, to three literary forgers: Cawthorn, Thomas James Wise, and George Gordon De Luna Byron, introduced here in a series of three posts that tell the story of a forgery, later verified as such by a forger, who was himself the victim of a forgery.

George Gordon De Luna Byron, a.k.a. de Gibler

While English Bards was flying out of London bookshops, its author toured Cádiz. There, according to one source, Byron met and married a Spanish countess. Returning to England two years later, Byron ignored the marriage, which at that time would have been void anyway. His secret bride, the Countess De Luna, wrote to him from her death bed some thirteen years later, informing him of the existence of their illegitimate son. In Greece and on his own death bed, Byron died before receiving the letter.

This story, which is probably untrue, comes from the man who claimed to be that son of Byron and the Spanish countess, a man who called himself, at times, Major George Gordon De Luna Byron, and, at others, de Gibler. What we know about his adult life, that he was a literary forger, and the fact that no one has corroborated his stories, makes what he wrote about his youth more than a little suspect. He may or may not have studied in Switzerland; he may or may not have lived in Virginia.

We do know he left the States for London in 1844, where he continued a letter-writing campaign to Byron’s publisher and family members. In these elegant, polished letters he laid out his relation to Byron, described his hardships, and asked for money. The year before, he even asked for an example of Byron’s autograph. “No doubt he was even then, in 1843, practising that art of imitation of Lord Byron’s handwriting which later he managed to bring to such a high degree of perfection,” wrote his biographer. For while in London de Gibler began in earnest an entirely different kind of letter-writing campaign, one in which he copied the correspondence of poets like Byron and Shelley, sometimes altering the letters with new texts, perhaps making up some himself, then slipping the letters onto the market.

Wise, the ubiquitous bibliographer of Byron, whose own stories of an upper class childhood were “probably unprovable” or “probably untrue,” tried to alert the buying public to his predecessor in forgery. In his bibliography of Byron, Wise describes a copy of the authorized second edition of English Bards, which includes an inscription purportedly from Bryon himself: “sun shining Grecianly—Lemon trees in front of the house full of fruit—damn the book!—Give me nature and two eyes opposite.” But the inscription, Wise concludes, “is not genuine. It was the work of the man de Gibler.”

Wise was not always so quick to ring the alarm, however. He relied in part on an 1872 book called the The Unpublished Letters of Lord Byron to flesh out Byron’s scandalous lifestyle for the two-volume bibliography. Seventeen of the letters are addressed to a lover, “L.,” one of which alludes to a child born out of wedlock: “the child ***** is dead, and I do not regret it, though a bastard Byron is better than no Byron.” Wise could not help but include the story.

Unfortunately The Unpublished Letters of Lord Byron was a dubious volume. Some of the letters were in fact already published, and some of them, like the letter about yet another never-before-mentioned child, were likely created by de Gibler in his campaign to gain proximity to the life and fortune of Byron. Disappointed to discover the book was not what it pretended to be, the publisher pulped all but ten copies of it before sale. One of those copies came to be owned by Harry Buxton Forman, and from Forman it changed hands to his partner, Wise. Byron experts pleaded with him to reconsider mentioning the “L.” letters in his work, but Wise insisted the letters were utterly Byronic; he salted his bibliography with them anyway.

These then were spurious texts cited in a bibliography, which is now cited in the catalog records of spurious books. From the time I began cataloging our copy of English Bards it seemed there was a compromised book under every rock turned. Like all catalogers I stuck to a principal of representation when working with English Bards, representing the book as it represented itself, that is, transcribing things like year and edition from the title page. But in the case of English Bards, representation isn’t enough when telling our students and faculty exactly what we have. A second, more challenging principal, accuracy, instructs catalogers to give extra information correcting any ambiguous or misleading statements. To correct my description of English Bards I reached for reference sources. All confirmed that our edition was spurious, but they also surrounded it with a parade of nineteenth century fraud. With each step in my reading trust gave way and the lesson was repeated: a book is not always what it says it is, a title page can lie to you.

References

Ehrsam, Theodore G. Major Byron: The Incredible Career of a Literary Forger. Charles S. Boesen, 1951.

Barker, Nicolas and John Collins. A Sequel to An Enquiry into the Nature of Certain Nineteenth Century Pamphlets by John Carter and Graham Pollard: the Forgeries of H. Buxton Forman and T.J. Wise Re-examined. Scolar Press, 1983.

Wise, Thomas James. A Bibliography of the Writings in Verse and Prose of George Gordon Noel, Baron Byron. Dawsons of Pall Mall, 1972.

Partington, Wilfred. Thomas J. Wise in the Original Cloth: the Life and Record of the Forger of the Nineteenth-century Pamphlets. Dawsons of Pall Mall, 1974.

Lord Byron on his Death-bed from Wikimedia Commons.

Photograph of inscription from Wise, Thomas James. A Bibliography of the Writings in Verse and Prose of George Gordon Noel, Baron Byron. Dawsons of Pall Mall, 1972.

Spuriouser and spuriouser, part II

Boatwright’s 1810, third edition of Lord Byron’s English Bards and Scotch Reviewers is, as its catalog record suggested it might be, a spurious edition. It was most likely produced not in 1810 but two years later and without Byron’s knowledge by his old publisher, James Cawthorn. Reading about our spurious English Bards led me, disorientingly, to three literary forgers: Cawthorn, Thomas James Wise, and George Gordon De Luna Byron, introduced here in a series of three posts that tell the story of a forgery, later verified as such by a forger, who was himself the victim of a forgery.

Thomas James Wise

Thomas James Wise is the bibliographer most often cited in catalog records for English Bards. The same record that suggested our 1810 third edition “may be spurious” also referenced Wise’s two-volume study, A Bibliography of the Writings in Verse and Prose of George Gordon Noel, Baron Byron, which details at length eight spurious reprints of the English Bards third edition.

John Carter, a book dealer then in his late-twenties, recognized the Byron bibliography as authoritative when it was published in 1933. Writing for the Times Literary Supplement, he called it “a contribution to its subject of such magnitude and importance as no additions or corrections can sensibly affect.” However, while Carter could not offer any additions or corrections, he did list “certain points and queries.” It was due to these substantial if polite criticisms that Carter decided later that year not to call on the proud Wise, then in his mid-seventies, to discuss a personal project. He sent his research partner, Graham Pollard, in his place.

Pollard and Carter

Pollard, another young book dealer, visited Wise in his London home on the 14th of October. There, he summarized his and Carter’s investigation into the origin of several purportedly first-edition pamphlets that had come onto the market at the turn of the century, titles like “To Be Read at Dusk” by Charles Dickens and Brother and Sister by George Eliot. After analyzing the paper and typefaces used in the pamphlets Carter and Pollard had concluded they were fakes. And since many of them had been bought and vouched for by Wise, they wanted to know if he could account for the discrepancies. They also wanted to know, although they couldn’t explicitly ask, if Wise himself was the forger.

He was. In 1886 Wise had the printer Richard Clay use newly available printing technology to create a facsimile of a Robert Browning first edition for the Browning Society. Facsimile printing taught Wise and fellow bibliographer Harry Buxton Forman how easy it was to make new books look like old books. Together Wise and Forman, working with a witting or unwitting Clay, forged at least 100 pamphlets until around 1900. But instead of meticulously duplicating existing editions, Wise and Forman created their own, backdated editions of known poems and simply called them “first editions.” Half the battle then was not only inventing the edition but inventing the story that would support its origin. In the case of Elizabeth Barrett Browning’s Sonnets from the Portuguese, published in 1850, Wise peddled a story in which the poet was persuaded by her husband to first print the sonnets privately. Wise claimed he had acquired that 1847 private printing when in fact he and Forman had created it decades later.

Although Wise and Forman’s fakes circulated until the early 30s, there was already a cloud developing over them in the late 1890s: an American dealer in 1898 referred to an “uneasy feeling” and “grave suspicions” about the pamphlets. It was enough of a cloud for Wise to soon cease production of the forgeries. The laugh was with him until 1934, when Carter and Pollard published the result of their investigation, An Enquiry into the Nature of Certain Nineteenth Century Pamphlets. Without direct evidence, their book did not outright accuse Wise of being the forger, but it did nevertheless coolly and ironically place all the available evidence at his doorstep. Irrefutable proof came in 1945, eight years after Wise’s death, when some well-preserved notes between Wise and Forman were finally made public.

And so, after learning from a bibliography about the details of Cawthorn’s forgeries, I discovered the bibliographer himself was a forger. Like Cawthorn, Wise worked from an existing relationship with a printer to take advantage of a demand in the market (though in Wise’s case, there has been speculation about other, less rational motivations—mischief, power, fetishism). Wise even used the bibliographies he wrote to authenticate his forgeries, bibliographies of Swinburne and Ruskin for example.

I hesitated: did Wise use his Byron bibliography to prop up his own Byron forgery? Luckily, I did not see Byron’s name in a list of Wise and Forman’s works; matters then were not complicated by a spurious spurious edition, that is, a Wise fake pretending to be a Cawthorn fake. But my object lesson in the untrustworthiness of books continued. While the discussion of English Bards was free of Wise’s own illicit collaborations, other parts of the bibliography were indeed tainted by the work of another forger altogether.

Next: George Gordon De Luna Byron

References

Carter, John. “Notes on the Bibliography of Byron.” The Times Literary Supplement. 27 April, 1933.

MacDonald, Dwight. “The First Editions of T.J. Wise.” The New Yorker, 10 November 1963, pp. 168-205.

Photograph of Wise from Wikimedia Commons.

Photograph of Pollard and Carter and of Daily Herald headline from: Carter, John and Graham Pollard. An Enquiry into the Nature of Certain Nineteenth Century Pamphlets. 2nd ed. Edited by Nicolas Barker and Joan Collins, Scolar Press, 1983.

Spuriouser and spuriouser, part I

Boatwright holds a copy of Lord Byron’s English Bards and Scotch Reviewers. “A satire,” it says on the title page, “third edition…printed for James Cawthorn…1810.”

As a cataloger for Rare Books & Special Collections, I set out to record everything I knew about our copy of English Bards: the edition, the publisher, the names on the bookplates. I began by looking for a catalog record that I could build on from among the millions of records shared between libraries. But the record that best matched the details of our copy—third edition, 1810, 85 pages—contained a phrase I had never seen in a record before: “may be spurious.”

Spurious books, I found, are books “printed without the knowledge or consent of the author.” Produced behind the author’s back, they can often be forgeries or piracies. Knowing this, I suddenly wasn’t sure which edition of English Bards we actually had. Was it the third? Was it not? And if I couldn’t trust the details on the title page, what could I trust?

Answering these questions led me to three literary forgers: James Cawthorn, Thomas James Wise, and George Gordon De Luna Byron, introduced here in a series of three posts that tell the story of a forgery, later verified as such by a forger, who was himself the victim of a forgery.

James Cawthorn

Byron began his verse satire, then called British Bards, while a student at Cambridge, but it took on new life and purpose when the Edinburgh Review humiliatingly panned his first book, Hours of Idleness. “As an author,” he wrote, “I am cut to atoms.” His revenge on the critics, English Bards and Scotch Reviewers, was published in London in 1809. It sold through four editions in two years.

By the time the fifth edition was printed and ready to sell, however, Byron saw the poem as a burden to his new, literary friendships: “I can only say that it was written when I was very young and very angry.” He called for the suppression of all existing copies. But public demand ran high. In 1814 his publisher, James Cawthorn, offered Byron 400 guineas for the right to sell the fifth edition copies; again, Byron refused. Meanwhile, pirated copies were selling well. They had Cawthorn’s name on them; some said “third” or “fourth” edition. But they were not printed in the original run of third and fourth editions, and at no point did Byron consent to their publishing. “I have to inform you that the First Edition of the ‘English Bards’ has been pirated in Ireland,” wrote Cawthorn to Byron. “I have a copy of the pirated edition.”

Long after both Byron and Cawthorn had died bibliographers attempted to sort through this “inextricable tangle” of spurious English Bards editions. They noted, for instance, that some copies of the 1810 third edition bore watermarks with dates after 1810. Reading this, I took up a flashlight, aimed it behind a leaf in our copy, and found exactly the kind of watermarks these bibliographers referred to. Our “1810” English Bards was printed on paper that did not exist until 1812. We had one of the many “poor counterfeits, at the best, of Cawthorn’s work.”

Who was making such poor counterfeits of Cawthorn’s work? Some at the time felt it was Cawthorn himself. In 1816 Byron’s new publisher obtained an injunction against Cawthorn, preventing him from ever again printing English Bards. Over a century later, renowned bibliographer Thomas James Wise flatly rejected Cawthorn’s theory of Irish forgers. “No Irish edition that will fit this date is known,” Wise wrote. “There can be but little doubt that the ‘information’ given by Cawthorn to Byron was invented by him, and was concocted with the object of diverting attention from the spurious editions he was himself producing.”

As another bibliographer put it, Cawthorn was “both dishonest and sloppy.” To continue reaping profits from Byron’s popular work, Cawthorn put the already-printed fifth edition in title pages that said “fourth,” and it was likely he that made new editions misleadingly labelled “third”—one copy of which I had in my hands. And the injunction did not stop him. “In 1819 (and perhaps even later),” wrote Wise, “he was still printing and circulating unauthorised editions of the Satire. The laugh was with him after all.”

Next: Thomas James Wise

References

“‘Let Satire Be My Song’: Byron’s English Bards, and Scotch Reviewers. Harvard, http://hcl.harvard.edu/libraries/houghton/exhibits/byron/

Byron, George Gordon Byron. English Bards and Scotch Reviewers. James Cawthorn, 1810 [1812-?].

Wise, Thomas James. A Bibliography of the Writings in Verse and Prose of George Gordon Noel, Baron Byron. Dawsons of Pall Mall, 1972.

Byron, George Gordon Byron. The Works of Lord Byron. Edited by Ernest Hartley Coleridge. John Murray, 1905.

MacAlister, J.Y.W., editor. The Library: A Quarterly Review of Bibliography and Library Lore. Kegan Paul, Trench, Trübner and Co., Ltd., 1900.

Randolph, Francis Lewis. Studies for a Byron Bibliography. Sutter House, 1979.

New Additions ~ Maritime Collections

Another Spring Semester comes to a close here on campus.  This week is the last week of classes, then finals, and the thrill of graduation weekend and summer.  This semester has brought many changes to Rare Books & Special Collections, including the opening of the new Reading Room and Classroom Annex space.  If you haven’t had a chance to see the newly remodeled spaces yet, please drop by the next time you are on campus for a tour!

In addition to new spaces, there have also been many new additions to both the rare book and the manuscript collections in Boatwright Library.  The last blog post talked about the new World War II correspondence collection, but I wanted to share also the wonderful new additions to the maritime and naval collections that have been added this spring.

Three new first editions have been added to the rare book collection, which already houses an impressive set of travel and maritime-related works.  The first new addition is a 1977 2-volume first edition of George Forster’s A Voyage Round the World, In his Britannic Majesty’s Sloop, Resolution, commanded by Capt. James Cook, during the Years 1772, 3, 4, and 5.  This set adds to our materials on both sea-faring voyages and exploration literature by adding another version of Cook’s sailings.

The second new first edition account is a 1779 first edition of A Voyage to New Guinea, and the Moluccas, from Balambangan: including an account of Magindano, Sooloo, and other islands; and illustrated with thirty copperplates. Performed in the Tartar galley, belonging to the Honourable East India company, during the years 1774, 1775, and 1776 to which is added, a Vocabulary of the Magindano Tongue.  This account was written by one of the most experienced ship captains and documents social and cultural life as well as maps, panoramas, coastal charts, genealogy, and a English to Magindano and Papua vocabulary.

The third new addition to the rare book maritime collection is the 1802 first edition travel account of a woman traveler through the Crimea and Black Sea regions.  The book is written in the form of letters by Maria Guthrie, and translated and edited by her husband, Matthew Guthrie.  Her letters document her varied encounters during her travels, including a whirling dervish ceremony and a letter concerning Jews in the Crimean region.

Three new manuscript maritime collections have also been added to the Boatwright Library archival materials.  The largest of the three documents the work of U.S. Naval Commander Horace Elmer, who had an illustrious naval career including heading the department of seamanship at the U.S. Naval Academy from 1883 to 1886.  His last service included organizing and commanding the Mosquito Fleet, including the inner coast defense of the Atlantic and Gulf States during the Spanish-American War.  The archival collection includes journals from his time at the naval academy and a number of ship’s logs which include precise technical sketches including the engines of the U.S.S. Monitor. There are also several scrapbooks including one from his daughter, Edith Elmer Wood, which contains images of family, the Naval Academy, and the 1893 Chicago World’s Fair.

Two smaller manuscript items have been added as well. The first item is the journal of Edward Reavely, Quartermaster First Class serving on the U.S.S. Chester in 1917.  As a destroyer, the Chester was active during World War I as an escort between Gibraltar and Britain.  The second item is the private journal of Edward Paul Duffy, a printer on board the U.S. flagship Trenton, written in 1881.  While on board, Duffy printed the twice-monthly Trenton Herald and served as a special correspondent to the Baltimore Sun.  His journal documents his print work, the weather, and trips off the ship as well.

Each of these new additions bring new stories of explorations, travel, and sea voyages just waiting to be discovered.

Other People’s Mail

Working with archival material allows the researcher opportunities to learn about different places and other times.  Photographs of long-vanished buildings or reports of events long over are reminders of things no longer present.  But perhaps the most immediate, and occasionally the most poignant, way to immerse yourself into a different world is through reading other people’s mail.

Stacks of World War II letters

World War II Correspondence

Archival collections often contain a variety of correspondence, including business communications, official statements, organizational announcements, and academic inquiries.  For many researchers, however, it is personal correspondence that best brings the past to life.  When reading mail sent years or even centuries ago, one can’t help but try to fill in the gaps, to hunt for clues in deciphering the stories behind the penned or penciled words, seeking the individuals who wrote or received the letters.  Recently, the Rare Books & Special Collections division of Boatwright Memorial Library purchased a collection of more than 700 letters, the majority of them written during World War II.  The collection is a compilation of several different sets of correspondence.  Although connected by the time period, these different sets offer a view into the lives of many individuals, each with their own story to tell.

For example, one set of about 100 letters written on U.S. Navy letterhead share the story of a young couple named Paul and Charlotte.  Paul wrote almost daily between March and July 1944, and through his letters, readers come to know a bit about life in the Navy, the challenges of planning a wedding via correspondence, and enough of a hint about Charlotte’s world to spark curiosity.  A bit of research uncovered that Charlotte and her family were Jewish immigrants to the United States, having left Germany in 1934.

The largest set of correspondence in the collection are the approximately 250 letters written by George Orlikowski to his girlfriend, and later his wife, Mary Zyla Orlikowski, which cover the time between July 1942 and March 1945.  In addition to learning much about both of their lives, many of the envelopes and stationary are humorous by themselves.

World War II letter

Letter from George to Mary with code for salutations

In one letter written in December 1944, George offers a secret code to Mary so that she can know where he is at in the Pacific after he sails without the censor catching on to them; he indicated he would change which salutation he uses in his letters to her to identify his location. Even after more than 70 years, the letters still carry the scent of his cigarette smoke.

Perhaps the most intriguing series of correspondence in this collection are the variety of letters sent to Dorothy “Dot” Raynham, a female college student, by a variety of soldiers between 1942 and 1944. With at least fourteen different men writing her from nearly all branches of the military, these letters offer glimpses of military life as well as life on the home front for at least one college student and her family.  Whether it is a bomber pilot wistfully recalling their dance to a Glenn Miller tune or a sailor encouraging her in her schoolwork, the range of correspondents suggests there may be an interesting story about this particular moment in her life.

Reading other people’s mail in the archives offers a glimpse into the past, one way to bring history alive, for researchers of all types, including University of Richmond students.  This collection has already been utilized in several classes, including a Weekend College session doing hands-on history and a first-year seminar exploring a life in letters.  Materials from this collection as well as correspondence from other collections is currently on exhibit on the first floor of Boatwright Library through the end of April.

New Spaces!

Construction is finished, and we are so pleased with our brand new spaces.  During the past six months, our space on Level B1 of Boatwright Memorial Library has slowly been taking shape.  We’ve watched with eager anticipation as the new reading room and the new classroom were created.

new reading room

New reading room

Our new reading room space is designed for research use.  The glassed-in room showcases the beautiful hardwood floor and the new custom shelving.  With the new room come new procedures, too, as now all materials will be brought to the researcher.  Although we will miss having researchers in the actual rare book room, the new spaces allow for much better environmental controls for the collection.

The new classroom is equally beautiful.  It has flexible table designs to accommodate seminar-style or lecture-style classes or to allow for exploring large oversized documents like Japanese scrolls.  The large monitor provides much-needed internet access as well as display options, increasing the possibilities for classroom instruction in the space.  The first few classes we’ve held there this semester have given the space rave reviews, and we look forward to hosting many more in the years ahead.

new classroom

The new classroom space

We hope you’ll come visit our new spaces in person!  For Spring Semester 2017, the reading room is open Wednesday and Thursday afternoons from 1:00 – 4:30 p.m. or by appointment.

What’s in the Pot?

Cookbooks as we know them began as handwritten manuscripts of trial and error, what worked and what didn’t. The first printed cookbook appeared in 1470, but most cooks relied on their mother’s or their cook’s hard won receipts.cook1

Cookbooks can also tell us something about the society and ecomonics of the time. Where eggs and fresh milk were plenty and refrigeration a thing of the future.

In our Special Collections we have many cookbooks dating back to the 17th century. But it is in a fairly new cookbook, Famous Recipes from Old Virginia (1941) that we find some recipes from well-known cooks.

“Thos. Jefferson’s Recipe for Ice Cream

2 quarts of ‘good’ cream

½ pound sugar

6 yolks eggs

Mix yolks and sugar. Heat cream (with vanilla) until near boiling point, the pour it gently into the egg mixture. Stir well, and heat again to near boiling, stirring constantly; strain and when cool, freeze.”

Some recipes almost need translations!

“Martha Washington’s Crab Soup Recipe

Throw into boiling water fifteen crabs that are alive and kicking. When done pick meat up fine. Have ready a broth made of two quarts of water in which you have boiled until done one pound of middling meat, to this add crab meat. Heat two cups of rich milk and stir in well beaten yolks of two eggs. Pour into boiling crab soup, but do not let it come to a boil any more. Cook five minutes. Season with salt and hot pepper and serve from hot tureen.”

The Washington Wedding Cake with its pound and a half of butter, 10 cups of flour, pound and a half of sugar and 18 eggs, is shocking, and then you get to the part about baking for three and a half to four hours! Ah, the good old days!

 

The Marguerite Roberts Collection

Amid the books, maps, and journals collected the Galvin Rare Book Room, there are also a number of manuscript collections. You won’t find these in the catalog yet, but they will be there soon. One such collection is that of Dr. Marguerite Roberts, long time English professor, and Dean of Westhampton College. Dr. Roberts was a well-known Thomas Hardy scholar and spent much of her professional life researching and studying the author and his works.

Primarily interested in his theatrical works, her master’s thesis was an in depth study of his play in verse, The Dynasts. Hardy himself described this work as “an epic-drama of the war with Napoleon, in three parts, nineteen acts and one hundred and thirty scenes”. She also studied

Mrs. Hardy's Letters to Dr. Roberts

Mrs. Hardy’s Letters to Dr. Roberts

his stage version of Tess of the D’Urbervilles, and wrote Tess and the Theater, followed by Hardy’s Poetic Drama and the Theater. Her last work was a study of the influence of Hardy’s second wife, Florence, on Hardy and his circle of friends and colleagues who frequented his home at Max Gate, Florence Hardy and the Max Gate Circle.

In doing her exhaustive research for these books and articles, Dr. Roberts wrote many letters to Hardy’s literary executor, actors, directors, and most notably, Mrs. Hardy herself. Interestingly, these contacts led to a lifetime of letters, holiday cards, overnight visits, and gifts.

And there is one item in the files that is not attributed to anyone, but most likely is Dr. Roberts’ watercolor of Stonehenge, which plays largely in Tess of the

Sketch of Stonehenge

Sketch of Stonehenge

D’Urbervilles, with a quote from the book on the back. A woman of many talents on a subject of endless interest.

 

Half Way There!

It’s June already and the construction is well on it’s way.  The reading room outside the rare book room is taking shape, as is the classroom around the corner.  Also included in this reconfiguring is an office for our new Archivist and Book Arts Studio Coordinator.  But pictures will tell you more than words at this point so here goes!

Entrance

The entrance to the new reading room.

 

 

 

 

 

Reading Room

The bones of the reading room.  There will be tables and display shelves.

 

Reading Room

 

 

 

 

 

 

Class roomClassroom

And here is the classroom, first looking back toward the rare book room,  then towards the door to the workroom.

And finally the new office.  Office

Sign

May not look very exciting right now, but it will add so much to what we can do!  So this fall look for the sign on the new door and come and explore our new Uncommon space!

Big Changes for the Rare Book Room

Boatwright’s Special Collections are growing, but our space is not.  So, beginning on May 2, the Galvin Rare Book Room will close until July 1st, in order to create new spaces for research, reading, and instruction.  The rare book room itself with remain as is, but the ante room will open into the adjoining study room to become a reading and research area. This will allow us to close the rare book room, and add more shelves, making room for our burgeoning collection.

The two study rooms remaining on B1, and adjoining the new reading room, will be redesigned as a classroom with audio-visual equipment.  This will allow us to accommodate larger class sizes, and provide more types of instruction.

As sad as it is to lose the wonder of walking through the rare book room shelves and handling their treasures, this new arrangement will allow us to accept and house more collections.  It will also enhance what we are able to offer our students and professors.  So, keep watching this space for the unveiling of the new face of the Galvin Rare Book Room.