The Chapin Library at Williams College has recently acquired a 19th-century Qur'an manuscript from the Ottoman Empire. It measures six and one eighth inches long and four inches wide, and has a wallet style binding. Assistant Librarian Wayne G. Hammond describes the manuscript's condition as "superb", the result of the binding style, which protected the pages, and he surmises that, given its size, the manuscript was originally a personal volume. This Qur'an is handwritten in Arabic calligraphy and decorated with gold and other metallic illuminations. It was obtained from a local bookseller. Williams College added Arabic Studies as a major this year, which Hammond says helped influence the acquisition, as part of the Chapin Library's mission to "support all aspects of the Williams curriculum". In light of recent anti-Muslim sentiment, sensationalized by the media's coverage of the proposed mosque near Ground Zero and a plan by a Florida church to burn copies of the Qur'an (which, thankfully, did not take place), the acquisition of a rare Qur'an manuscript by a collegial institution brings hope for proper knowledge and understanding of a religion and people that have been unfairly stereotyped in America. Hammond commented, "I would hope we would always educate and help people understand and get along together. There is nothing worse than ignorance causing all the problems in the world." College gets rare Quran [more Williams College’s Chapin Library Aquires Rare Qur’an]

Andalouse This past Tuesday, our friend L.D. Mitchell at The Private Library, discussed Hand-Colored Plates, paying particular attention to the assembly-line process required to manually color engravings or lithographs. The workers were, more often than not, anonymous women or children. The designers and engraver/lithographers did not color the plates themselves. But these anonymous colorists were not left alone to improvise a palette, each of their own creation; they required a color scheme for reference. And these were not Venus Paradise Coloring Sets with numbers on the plate corresponding to a specific colored pencil. It was left to the original artist/designer or a primary colorist to create models for the workers to use as guides. One such colorist/modeler was Edouard Bouvenne, an artist in his own right yet of whom little is known; he is not found in Benezit (now, thankfully, available in an English edition). But he often provided models for colorists employed by Chez Aubert and Chez Bauger, two of the leading publisher-printmakers in France, 1820-1845. Bouvenne was a "figure of considerable talent who was able to give strong coloration to certain of Daumier's prints" (Fogle, Sabina. Daumier. L'écriture du lithographe. In Nineteenth Century Art Worldwide, Volume 7, Issue 2, Autumn 2008). Pétrin Original models for hand-colored plates rarely survived their function; they were heavily used. From time to time, however, vintage hand-coloring models do surface and two ye... [more How Did Hand-Colorists in the Past Know What Colors To Use?]

Vic of Tavistock Books recently acquired a John Steinbeck manuscript. Read more here. [more ABAA Member Vic Zoschak gets a shout-out]