0.0001% Around the World

Last week’s post discussed the completion of a project to house items from our Wetmore Collection of Children’s Books in archival storage boxes. That project entailed measuring the height width and depth of 540 books in the collection and recording their call numbers. That means that we now have a spreadsheet full of measurements, and so it seemed like an opportunity to present that data with a selection of entirely unrepresentative, un-scientific, and unreliable statistics (done sloppily, for good measure). Think of this as a post authored by an evil Nate Silver.

WARNING: Really, this data is not to be trusted and shouldn’t be used for anything meaningful!

We’ll start off slow:

Based on our sample of 540 children’s books, the average height is 7.6 inches.

The average width is 6 inches.

And the average depth is 0.7 inches.

The ideal height-to-width ratio for a children’s book (in case you’re in the process of designing one) is 0.85 . So if your children’s book is 10 inches tall, you’ll want to make sure it’s exactly 8.5 inches wide.

The total width on the shelves of the newly-boxed books is 1,556 inches. But that number isn’t very easy to visualize, so we’ll use a more standard measurement: If every book were shelved together in a single line it would stretch 0.43 football fields! According to the data gurus at the New York Times, the average NFL field goal is from 35.9 yards out, which means that at 43 yards, children’s books are better than the average NFL kicker.

If you laid every one of the books flat head-to-tail, they would go 0.0001% of the way around the world.

Averaging together the call numbers for all of the books in the spreadsheet, the resulting call number is 529.5. That’s the Dewey number for the “Chronology>Calendar Reform“. Who would have guessed that the Gregorian calendar would be such a popular topic for children’s books?

Words and numbers are alright, but what we really need is some data visualization, so here’s a scatter plot of width (x-axis) and height:

scatter chart

Just ignore the values which seem to indicate that we have books with heights and widths of zero.

 

 

Rabbits in Boxes

As physical objects, children’s books are notoriously at-risk. Books and ephemera that were originally published for children usually ended up in the possession of… children, not surprisingly. And whatever their other merits, children aren’t typically known for their careful attention to the health and well-being of their toys and books.

That’s why a collection like our Edith Wetmore Collection of Children’s Books is so special. It’s comprised of about 2,000 books made for children, and many of them are still in incredible shape.

Imagine how easily this miniature French set of natural history books and its delicate, decorative could have been damaged in the nearly 200 years since its publication:

petite galerieOr how an avid young reader could have torn the dust jacket of Charlotte’s web:

Charlotte's Web

Or how about the fragile overlays attached to the pages of this guide for young women’s conduct:

The Toilet

Some items weren’t even designed to remain intact, like this assemble-it-yourself toy book of the Puss In Boots story (you can make your own version of one here):

Puss in boots

 

And in some cases, survival of a book is legendary. Beatrix Potter couldn’t get anyone interested in her story of a rambunctious rodent, so she published 250 copies of Peter Rabbit at her own expense and gave many away. We can be sure that original number of 250 was whittled down by children who loved their books to pieces, which is what makes a copy like this one such a treasure:

Peter Rabbit

With fragile books like this in such excellent condition, we wanted to make sure that they stayed as undamaged as possible, and that’s where the National Endowment for the Humanities* comes in. Thanks to a preservation grant program, we were able to purchase over 500 custom archival boxes for the most needy books in the collection. Individual boxes are great because they isolate books from most of the things that cause damage.

So now Peter Rabbit is safely ensconced and ready for another century of use by anyone (including children) who wants to see his first appearance in the world.

Rabbit in box

 

Next time: Numbers, numbers and more numbers.


*Any views, findings, conclusions or recommendations expressed in this blog post do not necessarily represent those of the National Endowment for the Humanities.

Wonderpictures, Russian Checkers, Toy Printing, Irish Certificate

Just a quick post with updates on some of the latest additions to Special Collections.

Thanks to donor David Nudelman, we’re now home to 356 Russian books on checkers. They join our already rich Haynes collection on checkers, and they should be of interest to anyone with an interest in Soviet book design. Here are two examples:

checkers

Another donor has given us a collection of toy printing/sign-making sets. They’ll join our Updike Collection on the history of printing.

fulton

We purchased a rare certificate of membership in the Repeal Association of Ireland:

irish

And a very fun item that you’ll have to visit to get a proper sense of. “Stulz Wonderpictures” is a small advertising booklet that doubles as a visual toy. The images inside are printed in two colors and in such a way that the first image presents a scene and text (“Where are the fish?” for instance, with a picture of a fisherman). When the included red plastic sheet is placed over the image the original scene disappears and a new one takes its place (in the example above, fish swimming in a stream). Not only is it a whimsical complement to our children’s collections, it’s a fascinating piece of printing ephemera. And best of all, this amusing toy, seemingly aimed at children, advertises whiskey made by the Stulz Brothers company in Kansas City, Missouri.

stulz

Whale Guitar Installed

If you missed the Whale Guitar unveiling and exhibition opening a week ago, you missed a great show.

After Jen Long and Rachel Rosenkrantz eloquently explained the motivation and process that led to the guitar, they officially unveiled it…

Whale Guitar Unveiling

And then lots of people packed the balcony outside Special Collections…

Audience

 

… to hear performances by Area C (aka Erik Carlson), Reza Clifton, and Shannon Le Corre & Chris Carrera (of Bloodpheasant):

Bloodpheasant

 

The performers signed the back of the guitar…

Guitar Signing

… and then it went in to the exhibition case…

Guitar in Case

… where you can see it until June 5th, as part of an exhibition on the guitar’s creation.

Whale Guitar Exhibition

The exhibition is in the Level 3 hallway beside Special Collections. And stay tuned for more information about the June 5th closing celebration, which will feature more music.

Typographical Ransom Notes #1: Fine Port and Ham

For a while now I’ve been planning on making a repository to store interesting pages from type specimen books that I come across during the day. And, more importantly, I wanted a place for visitors who use the Updike Collection to share their own images (we welcome researchers taking pictures of the materials they’re using when they visit). That site is now up and running: typesampling-logo1There are only a few images available at present, but expect many more in the future. And to celebrate, here’s the first post in an occasional series of ransom-note-style collages taken from images on the site: FinePortAndHam

Natural Language

A few weeks ago Occasional Nuggets subscribers got a bonus issue highlighting a little gem I had noticed for the first time and wanted to immediately send out:

Landscape Alphabet

It’s a small leather telescoping box containing twenty-six little sketches, each one representing a letter of the alphabet as a natural feature in the landscape. Here’s the card for “K”:

K

Rather than do any research to figure out what this thing actually is, I decided just to scan the cards and send them out to the Occasional Nuggets readers, who, it turns out, are pretty smart folks. Within a few days I had a couple responses pointing to an 1830 publication called The Landscape Alphabet, which was produced in two lithographed versions by G. Engelmann, Graf, Coindet & Co. in 1830. One version was done in standard codex form, but the other was done on individual cards (the same size as ours) with embossed borders stamped with the paper maker’s name, “Dobbs” (just like ours). The card version was, in turn, based on a series of pen-sketches done by an artist indicated only by the initials “EK”. (The original cards are now in the collections of the Pierpont Morgan Library.)

Here’s an image from an article by Michael Twyman that appeared in the journal Typography Papers (you can even buy your own copy), where the original pen and ink drawing (top) is compared to the lithographed version published on the cards:

TwymanIt’s immediately apparent that what we have is related, but it’s equally apparent that our version is not in fact the lithographed 1830 publication. Take the scene at the bottom left, for instance:

Litho version:litho-detail

Our version: pencil-detail

They’re close, but not quite the same (note that bundle on the right is sideways to the viewer in our copy and end-on in the lithographed version).

So what’s going on? In his article Twyman quotes a contemporary reviewer of Engelmann’s Landscape Alphabet who declares that “The value of this little work will probably be found to consist in the stimulus it will afford to the very young students of drawing, form exact copies of the scenes here affixed to them….”

Our copy seems to be an example of just that kind of copying: pencil sketches that do their best to mimic the original (25 years after the publication of the original, if the date of 1855 on the box is an indicator of when they were produced).

But that answer just prompts more questions. The cards our anonymous artist used aren’t just similar to the originals, they’re the same size, made by the same company and featuring the same embossing. The 1830 lithograph set was sold in a publisher’s box that seems to be the same size and format (sliding open in the middle) but featured a label that functioned like a title page. Were blank cards and boxes sold for this express purpose? Or was it a standard format before it was used by Engelmann in 1830? If you’ve got the answers, let me know.

Aside

Just a quick note to mention that our Bodoni event last week was terrific fun. Matthew Carter regaled a packed auditorium…

Auditorium… with tales of type design, including the pleasure of discovering that you (or at least your typeface) have made the cover of the Rolling Stone and that the designer “got” what you were intending:

Carter Rolling StoneMore photos of the evening are available on the Library’s Facebook page.

And don’t forget that the exhibition will be on display in the Library’s Providence Journal Rhode Island Room (Level 1) until April 19th. And if you want even more Bodoni in your life, send an email and set up a time to come in and look at the rest of the collection, which is not on display in the exhibition but is available for use any time.

 

 

Bodoni One More Time

We’re just a few days from our Thursday lecture and opening of the Bodoni exhibition, so I wanted to offer one more blog post. First, because I wanted to share the great poster that graphic designer Michael McDermott designed for the event. Here it is:

MatthewCarter_Poster

One of the great things about it is that it’s designed so that each panel can be printed on a sheet of 11″x17″ paper, creating a giant version of the poster. Here’s an example in the wild:

Poster on wall

Second, I wanted to share one image of something you can’t see in the exhibition:

Title page of Amoretti specimen

This is the title page of a type specimen (with a great border) by the Amoretti brothers of Parma. It’s often the case with exhibitions of books that there are a lot of openings from individual volumes that you’d love to show, but in the end you usually can only pick one. In this instance the title page lost out to another opening. But that’s just a reminder that if you see something that interests you in an exhibition you can always come back and work with the whole book, cover to cover, on your own.