Glansbilledets historie ca. 1800-1930

Gives the history of small images, reliefs used for Christmas and Valentine decorations, name cards, figures for children, advertising, and other decorations, lithographically printed and often embossed, of the nineteenth-century, with examples of each us

This book explores the history of scrapbook-making, its origins, uses, changing forms and purposes as well as the human agents behind the books themselves. Scrapbooks bring pleasure in both the making and consuming - and are one of the most enduring yet simultaneously changing cultural forms of the last two centuries. Despite the popularity of scrapbooks, no one has placed them within historical traditions until now. This volume considers the makers, their artefacts, And The viewers within the context of American culture. The volume's contributors do not show the reader how to make scrapbooks or improve techniques but instead explore the curious history of what others have done in the past and why these splendid examples of material and visual culture have such a significant place in many households.

The essays in this pathbreaking collection consider the significance of varied early American fragmentary genres and practices—from diaries and poetry, to almanacs and commonplace books, to sermons and lists, to Indigenous ruins and other material shards and fragments—often overlooked by critics in a scholarly privileging of the “whole.” Contributors from literary studies, book history, and visual culture discuss a host of canonical and non-canonical figures, from Edward Taylor and Washington Irving to Mary Rowlandson and Sarah Kemble Knight, offering insight into the many intellectual, ideological, and material variations of “form” that populated the early American cultural landscape. As these essays reveal, the casting of the fragmentary as aesthetically eccentric or incomplete was a way of reckoning with concerns about the related fragmentation of nation, society, and self. For a contemporary audience, they offer new ways to think about the inevitable gaps and absences in our cultural and historical archive.