February 8, 2013
"How pure is every page!"
From p. 63 of Every Day: A Companion to The Birthday Scripture Text-book (1872). Original from Oxford University. Digitized September 4, 2006.

"How pure is every page!"

From p. 63 of Every Day: A Companion to The Birthday Scripture Text-book (1872). Original from Oxford University. Digitized September 4, 2006.

January 30, 2013

Employee’s fingers autocorrected with mirrored text. 

Throughout An Exact Narrative of Many Surprizing Matters of Fact Uncontestably Wrought By an Evil Spirit or Spirits, In the House of Master Jan Smagge (1709). Original from Oxford University. Digitized March 10, 2009.

December 7, 2012

The author becomes a text: pasted-in portrait, clipped from a newspaper. 

From the front matter of The Purgatory of Suicides: A Prison-Rhyme by Thomas Cooper (1850). Original from the University of Michigan. Digitized March 6, 2006.

November 5, 2012

Distortion.

Throughout A Narrative of the Gunpowder Plot by David Jardine (1857). Original from the Bavarian State Library. Digitized September 3, 2009.

October 11, 2012

Text photographed through both sides of a hole in the page.

From p. 1-2 of A Hue and Cry After Conscience: or, The Pilgrims Progress by Candle-light by John Dunton (1681). Original from Lyon Public Library (Bibliothèque jésuite des Fontaines). Digitized September 14, 2010.

September 30, 2012

The famed marbled page of Tristram Shandy, recto and verso, with imprint of text from surrounding pages.

From The Life and Opinions of Tristram Shandy, Gentleman, v.3, by Laurence Sterne (1761). Original from Oxford University. Digitized October 5, 2007.

September 1, 2012

Cropping creates triangular erasure poems.

Throughout The Voyages and Travells of the Ambassadors Sent by Frederick Duke of Holstein, to the Great Duke of Muscovy, and the King of Persia by Adam Olearius, Johann Albrecht von Mandelslo, Philipp Crusius, and Otto Brüggemann (1669). Original from the Complutense University of Madrid. Digitized February 11, 2009.

August 31, 2012

Bulging, distorted text.

Throughout Foedera, Conventiones, Literae et Cujuscunque Generis Acta Publica Inter Reges Angliae by Thomas Rymer, Robert Thomas Sanderson (1619). Original from University of Lausanne. Digitized November 11, 2009.

August 28, 2012
Pages turned by an invisible hand.
From p. 248-9 (?) of A Practical Essay on Distortion of the Legs and Feet of Children by Timothy Sheldrake (1816). Original from Oxford University. Digitized April 19, 2006.

Pages turned by an invisible hand.

From p. 248-9 (?) of A Practical Essay on Distortion of the Legs and Feet of Children by Timothy Sheldrake (1816). Original from Oxford University. Digitized April 19, 2006.

August 16, 2012
Thanks for following The Art of Google Books!
Have any questions? Want to go on a hunt? Found something you want to submit?
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Thanks for following The Art of Google Books!

Have any questions? Want to go on a hunt? Found something you want to submit?

You can also follow on Facebook and Twitter!

July 16, 2012

A bookplate: “You are requested not to turn down the leaves.” Employee turns pages (gently?). 

From the back matter of In Bad Company: And Other Stories by Rolf Boldrewood (1901). Original from the University of Michigan. Digitized May 9, 2005.

July 11, 2012
Torn text.
From p. 84 of On Intelligence by Hippolyte Taine (1871). Original from the University of Michigan. Digitized September 30, 2008.

Torn text.

From p. 84 of On Intelligence by Hippolyte Taine (1871). Original from the University of Michigan. Digitized September 30, 2008.

June 22, 2012
kcarenwilson:

Detritus: Poems from the Thames Foreshore Krissy Wilson is searching for textual artifacts in London’s river midden and assembling them into public, mosaic poems.

This is the process blog for my forthcoming Fulbright application, and it features a pique assiette mix of found objects, Victorian perspective on the Thames mudlarkers, folk art, tales of beachcombers worldwide, memoryware, and textual mosaic. 

Mosaic artists, poets, Londoners, beachcombers, anthropologists, and scholars of all kinds: I’d like for you to check out my latest project and I’d like even better to collaborate with you. 

kcarenwilson:

Detritus: Poems from the Thames Foreshore Krissy Wilson is searching for textual artifacts in London’s river midden and assembling them into public, mosaic poems.

This is the process blog for my forthcoming Fulbright application, and it features a pique assiette mix of found objects, Victorian perspective on the Thames mudlarkers, folk art, tales of beachcombers worldwide, memoryware, and textual mosaic. 

Mosaic artists, poets, Londoners, beachcombers, anthropologists, and scholars of all kinds: I’d like for you to check out my latest project and I’d like even better to collaborate with you. 

(via krissywilson)

May 30, 2012
Turning pages and employee’s finger autocorrected with text.
From p. 12-13 (?) of A Treatise on the Hair by James Woodman (1835). Original from Oxford University. Digitized April 7, 2006.

Turning pages and employee’s finger autocorrected with text.

From p. 12-13 (?) of A Treatise on the Hair by James Woodman (1835). Original from Oxford University. Digitized April 7, 2006.

May 30, 2012
Text visible through the page (the subject of the girl’s gaze).
Also, an amazing plate: “The mother stated that when three months pregnant with the child she was much terrified by a monkey attached to a street organ, which jumped on her back as she was passing by.”
From p.82 of The Human Hair: Its Structure, Growth, Diseases, and Their Treatment by Hermann Beigel (1869). Original from Harvard University. Digitized May 23, 2007.

Text visible through the page (the subject of the girl’s gaze).

Also, an amazing plate: “The mother stated that when three months pregnant with the child she was much terrified by a monkey attached to a street organ, which jumped on her back as she was passing by.”

From p.82 of The Human Hair: Its Structure, Growth, Diseases, and Their Treatment by Hermann Beigel (1869). Original from Harvard University. Digitized May 23, 2007.