Collection Of Autographs Research Articles

Materiały i pamiątki po Janie Matejce w zbiorach rękopisów Biblioteki Naukowej PAU i PAN w Krakowie

Manuscripts related to Jan Matejko in the Scientific Library of the PAAS and PAS collection Due to the 185th anniversary of Jan Matejko’s birth and 130th of his death, to appreciate his artistic work as well as patriotic and social activity, the Senat of the Republic of Poland in its resolution of 16 November 2022 announced the year 2023 the Year of Jan Matejko. The celebrations of the Year of Jan Matejko create a perfect opportunity for an overview and familiarisation with keepsakes related to the Cracovian painter kept in the manuscripts collection of the Scientific Library of the PAAS and the PAS in Kra- kow. Among the most precious ones are the painter’s sketches from the album titled The Dead and Alive by a romantic poet Teofil Lenartowicz as well as letters written by Jan Matejko: three to the editorial board of “Kłosy” weekly magazine included in the collection of autographs gathered by Cyprian Walewski and two included in Stanisław Tomkowicz’s correspondence, related to artistic activity, financial matters as well as the artist’s health issues. Among various manuscripts there are some materials related to Jan Matejko’s life and arts, as well as those commemorating and critically analysing his life and activity, such as a manuscript of Jan Matejko’s artistic biography written by Stanisław Witkiewicz. A query revealed also numerous photographs showing the artist, some with his hand-written dedications. Thanks to the popularity of Jan Matejko’s paint- ings, the manuscripts collection includes also a great deal of replicas of his most famous but also some unique works printed on postcards, photographs and newspaper clips. The discovered materials do not form a coherent collection but through their diversity they can be considered an interesting source for the research on Jan Matejko’s life and work as well as on the perception of his paintings among his contemporaries and following generations.

Byron to Murray: An Unpublished Letter

A letter from Byron to John Murray has for two centuries remained unpublished. It has been in the collection of letters and autographs amassed by Theresa, Lady Lewis (1803– 1865), and handed down through later generations of the Lister family. The letter was written in February 1814, when a controversy had erupted about the inclusion in the Corsair volume of Byron’s short poem ‘To a Lady Weeping’, which was objected to by many as an insult to the Prince of Wales. During the controversy, John Murray had removed it from new editions of the best-selling Corsair volume. Later he restored it, but in this letter, after some polite preliminaries, Byron forcefully tells Murray that he will not be forced into anything that looks like ‘apology or submission’, and that if Murray were to compromise him in this, they should ‘cease to be friends’. 1

Omówienie zawartości zbioru rękopisów przechowywanego w Muzeum Księży Marianów im. ks. Józefa Jarzębowskiego w Licheniu Starym.

The article aims at the presentation of the collection of manuscripts, a hardly known collection of historical sources concerning different periods of the history of Poland. It describes in detail individual sets of manuscripts, a kind of guide concerning the inventory of the whole collection available in the Museum (a copy in the National Library of Poland). The most valua­ble, most comprehensive and – in this context – unobvious part of the collection, consisting of the sources for the history of the January Uprising, as well as the collection of literary autographs and royal documents. The objects which are closely related to the history of the Museum are the leg­acy of Father Józef Jarzębowski and manuscripts concerning the history of the Roman-Catholic church, documentation of the Poles’ activities during World War II, minor materials concerning the history of the Polish diaspora. It is only by recognizing the history and context of how the collection had been developed that it can be properly interpreted, individual objects included. 
 
 

Nowe perspektywy w badaniach nad nowożytnymi albumami przyjaźni

New research perspectives on books of friendshipThe article, based on a study of books of friendship alba amicorum in the collection of the University Library in Wrocław, aims at presenting new research perspectives on this kind of manuscripts. The author outlines the history of books of friendship and gives an explanation on the state of research footnotes 11 to 19, focusing on methods and undertaken topics. In the subsequent sections, alba amicorum are presented as “Objects and elements of the network,” “Collections” and “Performances.” The section “Objects and network elements of the network” refers to the return to materiality and the idea of the agency of things. It presents alba amicorum as material entities not only carriers of certain information or pieces of art, as well as an active part in the development and sustaining of social networks. Each book of friendship is both a collection of autographs, visual objects, quotes from literature and a collectible piece. This approach was presented in the section titled “Collections.” At the same time, alba amicorum gathered in museums or libraries tend to lose their performative character, presented in the last section.

THE UNIVERSE NEEDS EVERYONE

If I have to see something in myself and around me, I always look at the experience I gained in exploring torsion and quantum physics. AND THE SENSEof the new knowledge of the world in and around us. Recently, the collection of autographs by famous, so-called public figures. These are mostly artists: singers and musicians, actors and actresses, directors, poets and writers, sportsmans and many other spiritual leaders who are prominent in their field. People who fashion or design have placed the idea, image or sense that society needs in order to move forward in evolution. Evolution. Basic Law of Being. Undeniable. From the parish memories of civilization to the present day. From the time of Adam and Eve and before them. Since then, man has been interested in his prototype, the model that he has sealed in his mind and reproduced it. From the example of the one you take as a dream to study. And as a passion for an experience. Therefore, any human activity that leads us to development and enrichment is worthy to become a subject of scientific research. Autographs. These are signatures. Signatures by presumption are used to authenticate a personal document. Through them the signatory declares, without being there, his presence. Relationship to a legal relationship. As a graphic sign, he can tell graffologists a lot about the features of a person. But when these are signatures that simply "seal" a meeting, they are a sign of the meeting itself. And much more. Autographs. I felt them. And "I saw" that passion that the autograph put in their collection. In it there are many dreams, a force of life, fulfilled and unfulfilled, memories of past lives of greatness and sadness, beauty and exalted purposes. The struggle to them!

Collection of autographs at Institute of Manuscript of V. I. Vernadskyi National Library of Ukraine: history of creation, research, and usage

Collection of autographs at Institute of Manuscript of V. I. Vernadskyi National Library of Ukraine: history of creation, research, and usage

A Jewish National Collection for a Jewish National Library: The Abraham Schwadron Collection, Past and Present

The fascinating story of the creation and development of this unique collection is matched only by the collection's importance as a resource of primary material for research in the social sciences, the humanities, and even the exact sciences. With over five and a half thousand leading Jewish personalities represented in their original handwriting, Abraham Schwadron's autograph collection is more than just the first Jewish Who's Who. The inscribed visiting cards, literary manuscripts, handwritten letters, and even musical scores are all evidence of a Jewish social milieu and cultural enterprise that stretches from the sixteenth century to the present day. The collection is a written record of the history of the Jewish people as it unfolded. No less dramatic is the man behind the collection, who from his youth in Galicia decided he would build a national Jewish autograph collection for the Jewish people and bring it to Jerusalem. The National Library of Israel is presently working to make this whole collection accessible to the public, first by rendering the collection searchable through the Library's online catalogue and then by digitizing the entire collection of autographs. This article traces the history of the collection, introduces the intriguing figure of Abraham Schwadron and his rationale for building the collection, and reveals the many ways that the collection's rich and fascinating potential can be used as a resource of original source material. At the end of the article there is brief reference to the National Library of Israel's project for digitizing the collection.

Collection of Autographs

The review considers two new editions, connected by the theme of autographs, - “The Bibliophile Garland to Anna Akhmatova. To the 125th Birth Anniversary: the Autographs in the Collection of M. Seslavinsky” and “The Art of Autograph. Inscriptions of Writers and Artists in the Private Collections of Russian Bibliophiles”, published in 2014-2015. Description and identification of the autograph, its introduction into scientific use, as well as its study are relevant problems of today, as the accumulated handwritten material of this kind requires samples of cataloguing. The Russian collectors propose to comprehend such material accumulated in private collections, publish previously unknown autographs, manuscripts, epistolary heritage of Russian poets, writers and artists. Peer-reviewed publications are required in the work of experts - literary critics, art historians, book historians, culturologists, students of specialized educational institutions, and all the interested in the history of the Russian culture.

AUTOGRAFŲ KOLEKCIONAVIMAS ŠIANDIENOS LIETUVOJE

Collection of autographs emerged in Europe in the sixteenth century, together with the spread of the written language. In later centuries, this type of collection became popular in many European countries and USA. Relevant media articles and rare exhibitions of autographs show that although collection of autographs does exist in Lithuania as a particular type, knowledge about it is limited. Both autographs and, in general, their collection are the subject of limited scientific research in Lithuania. However, collection of autographs as a phenomenon is out of the scope of the aforementioned research. The present article examines the current Lithuanian collectors of autographs, their collecting motives, thematic composition of collections, methods of collection and sources of collections. The research revealed that collection of autographs is an integral part of certain Professional activity and leisure time of collectors, which is related and complementary to it. Among Lithuanian collectors of autographs, the most popular are the autographs of contemporary famous Lithuanian representatives of art, culture, science, public, politics and sports as well as famous foreign musicians and actors. Personalities, but not themes are selected, the autographs of famous persons, but not of all famous persons of a certain historical period are collected. The autographs of Lithuanian historic personalities, subject to a negative attitude, are not popular as the objects of collection. In Lithuania, the most popular are eclectic (mixed) collections, which consist of unrelated autographs on various themes that are close to the collector. The most important criterion for selection of autographs for these collections is an emotional and intellectual attractiveness of an autograph. It might be argued that even the autographs of negatively viewed personalities can be valuable, if certain historical periods rather than individual persons are chosen as the objects of collection. Thus, selection of themes rather than persons would allow to fully reveal complex epochs of Lithuanian history (wars, occupations), while the aforementioned thematic collections of autographs could be successfully used as iconographic material, for example, to illustrate historical monographs or other works in publishing, or used as educational tool for lectures, etc. Lithuanian collectors usually acquire the autographs of historical persons by purchasing them (in flea markets, antique shops, from other collectors, etc.), while the collectors of autographs of contemporary people generally ask for them personally during various events (concerts, book presentations, etc.). It might be concluded that subject to the nature of collection (of historical persons or collector’s contemporaries), the methods of autograph collection and their sources differ. Personally obtained autographs are the most popular and the most common method to collect autographs in Lithuania. In this way, the collectors get autographs from the following sources: 1) during various events (during concerts, book presentations, scientific conferences); it is the most popular source of autographs; 2) in workplaces, 3) by post after sending the request for autograph to the preferred author; even though this source of obtaining autographs is the most rare. Other methods to collect autographs are the following: 1) through intermediary (the sources are similar as getting the autograph personally); 2) purchase (flea market, antiques, auctions, etc.), 3) gift, 4) accidental findings. In comparison with methods of collecting books (purchase, exchange, gifts, heritage), no exchange of autographs and no heritage cases are found among the current Lithuanian collectors of autographs.

Star Signatures: A Cultural Studies Analysis of Máire Nic Shiubhlaigh's Notebook

Star Signatures:A Cultural Studies Analysis of Máire Nic Shiubhlaigh's Notebook Sean McCarthy (bio) In Celebrity Power, P. David Marshall argues that the apparent divisions between public figures such as celebrities, politicians, and pop stars are not as firm as we would like to think. He argues that in the mediated realm of contemporary culture, "there is a convergence in the source of power between the political leader and other forms of celebrity" (1997, 19). Marshall's work draws on a lineage of cultural studies scholars such as Richard Dyer who situate popular culture forms, practitioners, and practices as legitimate objects of analysis that can be viewed as sites of political power and contestation in their own right. Moreover, a cultural studies lens is not only a view from above: a notable product of this type of analysis is how the audience comes sharply into focus. It is the audience, after all, who sanctions the celebrities and buys the products they endorse. Even if the audience's agency is more the product of group feeling or affect than of direct political intervention, as many have argued, it is still an important, though often neglected, force in the dynamics of political power from a cultural studies perspective. [End Page 49] Molly O'Hagan Hardy's analysis of Maire Nic Shiubhlaigh's autograph book (2010) suggests that the convergence of political with other forms of celebrity power can also be read historically. Hardy maps the journey of a collection of autographs of Irish revolutionaries from signature collector to archive and examines the available narratives that attempt to explain this obscure notebook. Specifically, Hardy asks us to question the established interpretation of the notebook as a means of locating and identifying members of the underground revolutionary movement in Dublin after the 1916 Easter Rising. Instead, she suggests that the notebook represents "a feeling that explains more about the public than the political culture of the Irish struggle for independence" (47). By shifting the interpretive frame in this way, Hardy repositions the notebook from being a revolutionary tool (an argument that seems spurious at best) to being a product of affect that blurs the boundaries between popular and political cultures. In the following comments, I wish to build on Hardy's interpretation of the Nic Shiubhlaigh notebook and to present a short analysis of a scene in Jamie O'Neill's novel, At Swim, Two Boys (2001), to show how contemporary reconstructions of the revolutionary period in Ireland are beginning to make popular culture a central theme. Drawing on work by Dorothy Macardle, Kathleen Clarke, and others, Hardy reconstructs the return of the political prisoners from the internment camps in 1917 as a moment of great catharsis. This groundswell of public affect produced by the prisoners' release was certainly driven by the political role they played, but politics alone does not fully capture the feeling. The public identity of many of the prisoners was far more complex than that: they were pamphleteers, poets, orators, playwrights, and actors, and were often glamorous socialites in nationalist Irish social circles. The 1916 Easter Rising sealed their reputations and catapulted them into genuine stardom. Reading this collection of autographs in Nic Shiubhlaigh's notebook consequently suggests the power of these figures not only as revolutionary politicians, but also as stars in the popular imagination who populated front-page stories in the broadsheets, dominated gossip in the pubs, and were elevated to mythical status in popular songs. Such a reading also allows us to think of Nic Shiubhlaigh not only as foot soldier in the anti-imperial effort but also as a fan of the famous public [End Page 50] figures who so inspired her. Thus, when we read in Nic Shiubhlaigh's autobiography the story of a spirited young actress and self-described revolutionary who "hated to leave" the Abbey but brought with her the revolutionary impetus and connections that "the theatre had begun in the first place" (Nic Shiubhlaigh 1955, 137), we can begin to see how literary and popular culture were not outside politics but quite possibly a site of its production. How many of Nic Shiubhlaigh's ideas about the future of her...

Expenses for Ben Jonson's The Masque of Beauty

EXPENSES FOR BEN JONSON'S THE MASQUE OF BEAUTY Thomas W. Ross Thomas W. Ross (B.A., M.A., Colorado College; Ph.D., University of Michigan) is chairman of the English department at Colorado College. Mr. Ross served as NATO Visiting Professor at the University of Regensburg, Germany in 1969 and has edited Thomas Kyd, The Spanish Tragedy for the Fountainwett Drama Texts Series. Anne of Denmark, James I's queen, loved spectacle and ostentation. She was Ben Jonson's patroness for several of his masques, including The Masque of Beauty, which was presented in the new Banqueting House at Whitehall on 10 January 1608.1 We have always known that these works, performed for and by royalty, were cosdy entertainments. An official record of accounts, here reproduced for the first time, provides detailed evidence of just how outrageously expensive was a show like The Masque of Beauty.2 On 27 December 1607 the Venetian ambassador Giustiziani reported that the Queen was preparing a masque "at her own charges."3 Anne was notoriously and dangerously pro-Catholic and pro-Spain, and she used even this performance to make public her preferences. Ladies from the foremost English Catholic families were persuaded to appear.* The French ambassador was snubbed, the Spanish ambassador was invited, and thus Anne had her petulant and pernicious way. The Court of James was shot through witii religious fanaticism and 1BeI* Jonson, ed. C. H. Herford and Percy and Evelyn Simpson (Oxford, 19251941 ), VII, 193. Subsequent references are to this edition (cited as H&S). 2TlIe document, a folio leaf with the Queen's signature at the bottom, is in the collection of royal autographs owned by Professor Mark Lansburgh of the Art Department and Curator of the Rare Book Room, Colorado College. It was obtained from a private dealer in 1964. Written in a clear secretary hand, it is in perfect condition except for a small stain in the lower right which obliterates a few letters and figures. However, the letters can be dependably conjectured, and are supplied in brackets, since they are a part of the accountants formulas. And the amounts of money can be safely guessed by casting Lord Knyvet's sums and making up the differences. The standard works on Jonson and the masque make no mention of the accounts recorded in this document, although H&S, X, 457 ff., reproduce entries from other official papers which include expenses (also very large) for the furnishing of the new Banqueting House. Entries from the document are reproduced faithfully, though abbreviations are silently expanded and the Roman numerals for the sums are translated into Arabic. I should like to express my gratitude to Professor Lansburgh for permission to publish the new data, and to my students Jack Berryhül, Janis Rosenthal, and James Schwanke for their help in preparing this paper. SH&S,X,455., „ *H&S, X, 458. In addition to the Queen, the participants included Lady Arabella Stuart (James's cousin); the Countess of Arundel, Derby, Bedford, and Montgomery; and Ladies Guildford, Peter, Winter, Windsor, Clifford, Nevill, Hatton, Gerard, Chichester and Walsingham. The List of Masquers and Tilters (H&S, X, 440 ff.) provides biographical information about all these amateur actresses. 170RMMLA BulletinDecember 1969 homosexuality. The trauma of the Gunpowder Plot, with its aftermath of restrictive statutes against the Catholics, did not prevent Anne (a fairly recent convert) from flaunting her papistic sympathies. On occasion, James himself was publicly tolerant, hoping for an eventual reunion with the Roman Church.5 Furthermore, he had recendy acquired a new minion, Robert Carr, who was married to a member of the Howard family, the most influential Catholics in the realm, and the Queen was learning "to acquiesce in her husband's ineradicable homosexuality."6 To make Anne's bad taste even more obvious, everybody knew that Jonson and Inigo Jones, who created the designs for the masque, were botii Catholics too.7 It is unlikely, therefore, that James was much concerned with a troupe of overdressed females who were to dance an accompaniment to Jonson's allegorical verse. The masque, with its ponderous neo-Platonic symbolism, was unexceptionably moral. But Anne used it to flatter the Catholic faction. "The King did not deny her what she wanted; the expenditure of the...

RECENT SCHUBERT DISCOVERIES

AMONG private collections of Schubert's manuscripts one of the most recently formed and, to-day, quite the most important is that of Konsul Otto Taussig of Malmb, Sweden. In his collection of autographs is a number of unknown and unpublished works. These are juvenilia of Schubert's, belonging to the earliest years of his compositional life, probably 1811 and 1812. Of minor significance in the huge body of his total work, not one is devoid of intrinsic interest to the scholar; they all shed some light on his methods of composition, his youthful influences, his musical ambitions, his work of that time which has been published, and on chronological questions. The above dates for each of these youthful essays are conjectural for the reason that not one of the manuscripts is dated by Schubert himself. The fact seems to invalidate Grove's surmise that Schubert's careful dating of his pieces derives from his methodical father. If it were so, we should find evidence for it in the earliest work, whereas, in fact, it is during and after 1813 that the meticulous assessment of dates, at the beginning, and even at the end of compositions, begins. This suggests that his lessons with Salieri may have prompted the habit, rather than his father's precept and example. The unpublished works in the Taussig manuscripts consist of five sets, as follows:

Addendum: A New Landorian Manuscript

A new manuscript of Walter Savage Landor's pamphlet, Mr. Landor's Remarks on a Suit Preferred against Him (London [George Jacob Holyoake], 1859), has recently been found in the Charles A. Brown Collection of Autographs and Manuscripts in the University of Rochester Library. A study of this new material led to the writing of Dr. Super's article, and a description of the document is included here in order to give details which were not strictly germane to the broader treatment. The manuscript, which bears the title, “Mr. Landor's Remarks on his Trial for Libel,” is of importance in that it is revised by Landor and contains unprinted passages of his private defence.

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a Collection of Autographs

From a Collection of Autographs

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a collection of autographs

From a Collection of Autographs

From a Collection of Autographs