Last week, two 19th-century Russian books were brought to me by a Rare Books colleague who had found by chance that they had no record in the online catalogue. An invisible title is a librarian’s (and reader’s) nightmare – without catalogue records, we may as well be without books. Now that these two volumes, lost to readers (except those still dipping into the old physical guard book catalogues) for decades, have been found, I thought it would be appropriate to celebrate them in a blog post.
The ejournals@cambridge blog publicises trial access to and purchase of various databases and ejournals, and it is certainly a blog worth following. Several purchases over the last few months complement our European collections, so this post gives an overview. The subjects of these new resources span philology, politics, art history, theology, migration studies, history, and bibliography, and their contents are in English and various European languages.
A recent addition to the Library’s online Revolution exhibition is a book about the controversial White General Lavr Kornilov who was killed in 1918. Having identified it in the catalogue by searching for Kornilov, I strangely couldn’t find the record when I later searched by its author. Our catalogue record, it transpired, was for the wrong book…
The six exhibits for the April 1918 part of the exhibition; the Kornilov book is top left.
Professor John Bowlt, a highly distinguished art historian of late Imperial and early Soviet visual culture, and the 2015-16 Cambridge Slade Professor of Fine Art, has announced that he will donate his library to the University Library as the Bowlt-Misler Collection. This is an extremely exciting development. Professor Bowlt has built his library into an astounding resource over the course of his career, and it now numbers many thousands of books, periodicals and catalogues.
100 years ago, the Society for the Encouragement of the Arts held an exhibition of works by members of the famous Peredvizhniki (or Wanderers, Oxford Art Online‘s preferred translation). In the Catherine Cooke collection, the UL has a programme from the exhibition. What makes our copy such a delight is that it contains pencilled comments by a visitor to the exhibition.
The catalogue, a slight and entirely unillustrated 14-page publication, lists the members of the Peredvizhniki followed by the names of their paintings exhibited, and then lists eksponenty – exhibitors – and their paintings. The relationship between the first group and the second is not entirely clear to me. In G.B. Romanov’s 735-page Peredvizhniki encyclopedia (S950.b.200.4794), the entry for the exhibition – which opened in March 1918 – provides a list of artists and exhibits that contains some but not all of the artists and paintings from both lists, undifferentiated, in the catalogue.