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Maryland Session, Panel Recap

Charles Cuykendall Carter

Edmonds, S. Emma. E. Unsexed; or, The Female Soldier: the thrilling adventures, experiences and escapes of a woman, as nurse, spy and scout, in hospitals, camps and battlefields. Philadelphia: Philadelphia Publishing Company, 1854. Stamp engraver unknown. From: “Publishers’ Bindings Online, 1815-1930: The Art of Books” University of Wisconsin-Madison and University of Alabama.


Sat., Oct. 26 | Kadin Henningsen, “Biblionormativity and the Construction of Gender in Nineteenth-Century American Publishers’ Case Bindings”  ❉  Douglas P. McElrath, “Moses the News Vendor: Newspapers and African Americans in Ante-Bellum Baltimore” [Read more]

Brilliant Adventure

Charles Cuykendall Carter

Saturday, October 27. “The Papermaking Tradition in Central Asia,” Johan Solberg ✧ “An Enduring Master and a New Generation of Traditional Japanese Papermakers,” Rie Hachiyanagi

Johan Solberg shared his recent research on historical papermaking in Central Asia, the geographical conduit through which paper technology moved from the Eastern world to Europe over a thousand years ago. Few sources remain to shed any light on how paper was made in the region when it first appeared there in the seventh or eighth century; the lack of available scholarship led Solberg to plan a trip to Uzbekistan in search of answers.  [Read more]

The Process of Innovation

Charles Cuykendall Carter

Amanda Nelsen and Josef Beery presenting. (Robert McCamant)

Saturday, October 7, 10:15-12:00 pm ★  Amelia Hugill-Fontanel, “Multitudinous Tints: An Inventor’s Pursuit of Instantaneous Multicolor Printing” ★ Julie Mellby, “Printed, Pasted, and Published: Edward Wilson’s Photographic Magazine” ★ Amanda Nelsen and Josef Beery, “Flying and Rolling in the Hand-Press Period: Book Production Efficiencies” ★ Hilary Stelling, “‘The best and most universally approved system of illustration …’: Jeremy Cross’s The True Masonic Chart[Read more]

Printers’ Devils

Charles Cuykendall Carter

Cover and first page for The Black Art.

Cover and first page for The Black Art printed and published by Goudy’s Camelot Press.


11:15 am-12:15 pm  saturday, october 8

Dianne L. Roman: The Devil Wore a Dress ♠  Steve Matteson: Black Art to Blackletter: Frederic Goudy’s First Foray into Print and his Last Word in Type Design

The typeface designer Steve Matteson and Dianne L. Roman, a doctoral student in printing history, gave presentations on printers’ devils both celebrated and unknown. Matteson spoke on the first and final works of typographical superstar Frederic Goudy (1865–1947), Roman on a number of nineteenth-century American women whose contributions to printing have been largely underrepresented by historians.  [Read more]

Nineteenth-Century Paper II: Networks

Charles Cuykendall Carter

10.18.14. Session II. Panel 2.  “The Geographies of Paper and Printing,” presented by Laura Sorvetti and Russ White.
Paper, Print & Publishing, Book Binding Establishments, 1880. (Russ White)

Paper, Print & Publishing, Book Binding Establishments, 1880. (Russ White)

A new digital humanities project from Cal Poly, San Luis Obispo could potentially offer deeper understandings of the history of printing, publishing and the allied trades. Through the use of digital mapping tools, users can manipulate data to analyze historical changes in the manufacturing, distribution, sales and consumption of paper and printed material. [Read more]

Alan M. Levitt on American Currency: Three Hundred Years of Color Printing

Charles Cuykendall Carter

APHA Gold Certificate $20 polychrome 1905 (obv)

This 1905 $20 Gold Certificate (along with similar $10 and $50 designs) was authorized by Act of Congress in 1882. Reissued with minor modifications in 1906 and 1922, they remained in circulation until 1933.

Historical consultant Alan Levitt presented dozens of remarkable images, some quite beautiful, of printed American currency—colonial, state, federal, Confederate and private banknotes, and various payment certificates—to emphasize the historical importance of the use of color in deterring counterfeiting. [Read more]