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The London Library’s enviable foreign languages collection contains books in over 50 languages, with particular riches in the French, German, Italian, Spanish and Russian collections. The Library’s resident polyglot Retrospective Cataloguer Anna Vlasova, with assistance from Claudia Ricci, gives the first installment in her series of bi-lingual pieces focused on the foreign languages in the London Library ahead of this year’s European Day of Languages celebrated on 26 September. Anna takes a look at the Library’s fascinating RUSSIAN COLLECTION of literature, poetry and essays from the 19th/20th centuries. (English and with Russian transliteration, below).

From its foundation in 1841, the London Library has aimed to maintain a representative collection of literature in all major European languages. The Russian element was introduced by Robert Harrison, Librarian from 1857 to 1893, and remained strong ever since. Robert Harrison spent several years in Russia acting as a tutor to the family of prince Demidov and lecturing in the St. Anne’s school in St. Petersburg. Harrison’s successor Sir Charles Hagberg Wright, Librarian from 1894 to 1940, received much of his early education in Russia and maintained a lifelong devotion to the country and its great writers, some of whom, notably, Tolstoy and Gorky, were close friends. One of the permanent memorials to Sir Charles’s Russian interests is the London Library’s comprehensive collection of Russian literature. Russian literature collections, including the collection of 19th century Russian literature, praised by Sir Isaiah Berlin as ‘truly remarkable’ and containing ‘among other, better-known works, a number of rare and fascinating books some of which are not to be found in the British Library or anywhere else in Britain’, was recently electronically catalogued as part of the Library’s Retrospective Cataloguing Project:http://www.londonlibrary.co.uk/index.php?/retrospective-cataloguing.html

The Russian literature collections include editions of collected works of all major Russian writers, as well as individual works of poetry, drama and essays by a wide range of authors in the original Russian as well as in translation. Some of the notable collected works include Tolstoy’s 91 volume Polnoe sobranie sochineniǐ (Moskva: Terra, 1992), Chekhov’sPolnoe sobranie sochineniǐ i pisem v tridtsati tomakh (Moskva: Nauka, 1974-1983) and Turgenev’s Polnoe sobranie sochineniĭ i pisem v dvadtsati vosʹmi tomakh (Moskva: Nauka, 1961-1968). For all major 19th century authors (e.g. Gogol, Pushkin, Lermontov, Turgenev, Ostrovsky, Dostoevsky and Tolstoy) contemporary editions (printed using the old spelling conventions) are found alongside more modern ones. The remarkable collection of the authors of the Golden Age of the Russian literature is supplemented by an equally comprehensive collection of the poets of the Silver Age. Works of Blok, Esenin, Briusov, Akhmatova, Tsvetaeva, Severianin, Gumilev, to name a few, can be found on the Library’s open access shelves. Notable Symbolists, such as Andreev, Merezhkovsky, Gippius, Sologub and Ivanov are also present.  The Library holds many works of the Silver Age poets in original editions published by Alkonost, Al’tsiona, Sirin and Skorpion.

Due to Hagberg Wright’s friendship with and interest in Tolstoy, the Library holds a particularly rich collection of Tolstoy’s works from the 1890s and 1900s, including, notably, his banned works (published in Russian by A. Tchertkoff in Christchurch and M. Elpidine in Geneva), his less well-known religious and philosophical works (published in English by the Free Age Press in Christchurch), and also criticism of his literature and thought from this period.

Some examples of donations found in the Russian literature collections are particularly notable, as they illustrate the interests of a few British authors in the cultural and political affairs of the 20th century Russia. Among other things, Hagberg Wright’s connections with Russia’s cultural milieu are evident from an inscription expressing hope for future meetings from Ivan Bilibin found in a 1905 edition of Pushkin’s Fairy Tales for which Bilibin created the illustrations. A copy of Tsarstvo Antikhrista, donated to the Library by a British travel-writer and novelist Stephen Graham (1884 -1975), includes Merezhkovsky’s dedication to Graham dated 1925, when Merezhkovsky and his wife Zinaida Gippius were in exile in Paris. Sir Isaiah Berlin, some of whose books are now held by the London Library, met with Boris Pasternak (Doctor Zhivago) in the Soviet Union in the 1940s. A testimony of these meetings is found in Pasternak’s dedication to Berlin in a 1933 edition of his poetry: “To I.M. Berlin, Lucky book it will travel and end up in Oxford instead of me! B.Pasternak, 24 XII 1945, Moscow”.

Currently there is an active acquisitions policy for Russian works, including contemporary literature and fiction. For more information on Russian collections please visit Introduction to the Collections: http://www.londonlibrary.co.uk/index.php?/books.html.

С момента своего основания в 1841 году Лондонская Библиотека целенаправленно комплектует печатные издания на всех основных европейских языках. Русские коллекции Лондонской Библиотеки были основаны Робертом Харрисоном, занимавшим должность библиотекаря с 1857 по 1893 год. Харрисон провел несколько лет в России, где он работал преподавателем в семье князя Демидова и в училище Св. Aнны в Санкт-Петербурге. Преемник Харрисона, Сэр Чарльз Хегберг Райт (Sir Charles Hagberg Wright), работал библиотекарем с 1894 по 1940 год  и был особенно заинтересован русской культурой и литературой, поскольку он получил образование в России и был лично знаком Л.Н. Толстым, М. Горьким и другими писателями. Русские коллекции обязаны своим богатством  Хегбергу Райту, который комплектовал русские издания в течении почти пятидесяти лет. Коллекции русской литературы, включая коллекцию 19-го века, названную Сэром Исаей Берлином (Isaiah Berlin) ‘поистине выдающейся’ и содержащей ‘среди прочих более известных работ, редкие и занимательные книги, некоторые из которык не найти в Британской Библиотеке, да и нигде в Великобритании’, недавно были полностью каталогизированны в рамках Проекта Ретроспективной Каталогизации Лондонской Библиотекиhttp://www.londonlibrary.co.uk/index.php?/retrospective-cataloguing.html

Коллекции русской литературы включают в себя издания полных собраний сочинений ключевых русских писателей, а так же отдельные издания романов, стихов, пьес и очерков широкого круга авторов как на русском языке, так и в переводе. Из собраний сочинений можно особо выделить такие издания как Полное собрание сочинений Л.Н. Толстого в девяносто одном томе (Москва: Терра, 1992), Полное собрание сочинений и писем (31 том) А.П. Чехова (Москва: Наука, 1974-1983), а так же Полное собрание сочинений и писем в двадцати восьми томах Тургенева (Москва: Наука, 1961-1968). Произведения выдающихся писателей 19-го века (например Н.В. Гоголя, А.С. Пушкина, М.Ю.  Лермонтова, И.С. Тургенева, А.Н. Островского, Ф.М. Достоевского, Л.Н.Толстого) доступны в изданиях как 19-го (в дореформенной орфографии), так и в изданиях 20-го веков. Богатая коллекция писателей Золотого Века русской литературы дополнена не менее замечательной коллекцией поэтов Серебряного Века. А. А. Блок, С. А. Есенин, В. Я. Брюсов, А. А. Aхматова, М. И. Цветаева, И. Северянин, Н. Гумилев – лишь некоторые из поэтов Серебрянного Века, произведения которых читатели могут найти на полках открытого доступа в Библиотеке. Важнейшие Символисты, такие как Л. Aндреев, Д. С. Мережковский, З. Н. Гиппиус, Ф. Сологуб и В. Иванов также содержатся в коллекциях русской литературы. Произведения многих поэтов Серебрянного Века доступны в оригинальных изданиях AлконостаAльционаСирина и Скорпиона.

Поскольку Сэр Хегберг Райт был поклонником творчества Толстого, переводил его произведения на англииский язык и был другом великого русского писателя, Лондонская Библиотека содержит особо богатую коллекцию трудов Толстого, изданных в 1890-х и 1900-х годах. Фонды Библиотеки содержат так же запрещенные произведения Толстого, изданные на русском языке A. Чертковым в Крайстчерч и М. Элпидиным в Женеве, его менее известные религиозные и философские произведения, изданные на английском языке в издательстве Free Age Press в Крайстчерч, а так же критические статьи о его творчестве.

Некоторые книги из коллекциии русской литературы, подаренные Лондонской Библиотеке британскими авторами и коллекционерами, особенно примечательны, поскольку они демонстрируиут интерес британской публики к русской культуре и политике. Многие книги из коллекций русской литературы были подарены Библиотеке Сэром Хегбергом Райтом. Многочисленные книги содержат дарственные надписи авторов, переводчиков и иллюстраторов, адресованные Райту. Одна из таких надписей, от иллюстратора Ивана Билибина, находится в издании СказокПушкина 1905 года. Копия Царства Aнтихриста, подаренная Библиотеке британским путешественником и писателем Стивеном Грэемом (Stephen Graham), содержит дарственную надпись Дмитрия Мережковского датированную 1925 годом, когда Мережковский и его жена Зинаида Гиппиус прибывали в эмиграции в Париже. Сэр Исайа Берлин, чья коллекция книг после его смерти частично перешла в фонд Лондонской Библиотеки, встерчался с Борисом Пастернаком в СССР в 1940-х годах. Свидетельство об одной из их встреч – дарственная надпись Пастернака на форзаце книги его стихов: “И.М. Берлину, Счастливая книга, она будет путешествовать и попадет вместо меня в Оксфорд! Б.Пастернак, 24 XII 1945, Москва”.

В настоящий момент Лондонская Библиотека активно комплектует печатные издания на русском языке, включая современную русскую прозу и поэзию. Подробная информация о Русских коллекциях доступна на сайте Библиотеки в разделе Introduction to the Collectionshttp://www.londonlibrary.co.uk/index.php?/books.html

1 Ivanov_web

1. Viacheslav Ivanov. Prozrachnostʹ (Moskva: Skorpion, 1904)

Viacheslav Ivanov. Cor ardens (Moskva: Skorpion, 1911)

2. Viacheslav Ivanov. Cor ardens (Moskva: Skorpion, 1911)

3.Fedor Sologub. Fimiamy (Peterburg: Stranstvuiushchii entuziast, 1921) 4.Mikhail Kuzmin. Osenniia ozera (Moskva: Skorpion, 1912).   Book cover by Sergei Sudeikin  5.Vol.8 of Tolstoy’s forbidden works published in Christchurch, 1901-1904. 6.Cover of Pushkin’s Fairy tales by Ivan Bilibin, 1905. 7.Ivan Bilibin’s dedication to Hagberg Wright: “In hope that this meeting will not remain the only one” 8.Merezhkovsky’s dedication to Stephen Graham: “To Stephen Graham as a sign of heartfelt compassion for the fight with a mutual enemy of mankind. D. Merezhkovskii, 14/I 1925 Paris” 9.Pasternak’s dedication to Berlin: “To I.M. Berlin, Lucky book it will travel and end up in Oxford instead of me! B.Pasternak, 24 XII 1945, Moscow”

3. Fedor Sologub. Fimiamy (Peterburg: Stranstvuiushchii entuziast, 1921)

4 Kuzmin_web

4. Mikhail Kuzmin. Osenniia ozera (Moskva: Skorpion, 1912). Book cover by Sergei Sudeikin.

5 Tolstoy_web

5. Vol.8 of Tolstoy’s forbidden works published in Christchurch, 1901-1904.

6.Cover of Pushkin’s Fairy tales by Ivan Bilibin, 1905.

6. Cover of Pushkin’s Fairy tales by Ivan Bilibin, 1905.

7.Ivan Bilibin’s dedication to Hagberg Wright: “In hope that this meeting will not remain the only one”.

7. Ivan Bilibin’s dedication to Hagberg Wright: “In hope that this meeting will not remain the only one”.

8.Merezhkovsky’s dedication to Stephen Graham: “To Stephen Graham as a sign of heartfelt compassion for the fight with a mutual enemy of mankind. D. Merezhkovskii, 14/I 1925 Paris”.

8. Merezhkovsky’s dedication to Stephen Graham: “To Stephen Graham as a sign of heartfelt compassion for the fight with a mutual enemy of mankind. D. Merezhkovskii, 14/I 1925 Paris”.

9.Pasternak’s dedication to Berlin: “To I.M. Berlin, Lucky book it will travel and end up in Oxford instead of me! B.Pasternak, 24 XII 1945, Moscow”.

9. Pasternak’s dedication to Berlin: “To I.M. Berlin, Lucky book it will travel and end up in Oxford instead of me! B.Pasternak, 24 XII 1945, Moscow”.

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Claudia Ricci offers an update from the Bibliographic Services team, demonstrating how geopolitics have a direct bearing on where books in our collections are shelved…

“Kingdoms rise and fall, nations come and go”, according to the Confucian precept, but in the stacks of The London Library, and particularly in the History section, shelfmarks have traditionally been immune to change. Actually, this may have been the case for many decades, but lately things have started to change, as even we have had to accept that some “new” countries are here to stay. Therefore you will notice that a handful of new shelfmarks have appeared in the History stacks: we have created new sub-sections for H. BelarusH. KazakhstanH. Moldova and H. Ukraine.

Thanks to its policy of “preserving the original name of countries” the library had never adopted the heading “Soviet Union”, (after all this country only existed for a mere 70 years!), which makes our job easier today. Under  H. Russia you will still find many works that cover the past history of Ukraine or Belarus, as in the old medieval Chronicles, when the histories of the three countries were closely intertwined, or as in Soviet times, when all the socialist republics were treated as one country. But at least we no longer have to shelf Kuchma’s book “Ukraine is not Russia” in the section H. Russia…

Note: Eagle-eyed Library members will see a reference to the Library’s lack of an H. Ukraine shelfmark in the forthcoming issue of The London Library Magazine. This error should have been corrected before it went to print — our H. Ukraine shelfmark is alive and well! We hope you enjoy the books to be found there, along with the Magazine’s Hidden Corners piece on our Russian collections.

H.Belarus

The new H. Belarus shelfmark sits proudly in our History stacks

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In the latest update from her adventures in the Library’s archives, our Head of Reader Services finds some wonderful Pre-Raphaelite connections.

The painter Edward Burne-Jones and the writer, artist and designer William Morris were in the vanguard of the second generation Pre-Raphaelites who clustered round Rossetti. I am currently researching the Pre-Raphaelite network of friends and artistic collaborators evident in the Library’s Victorian membership records and thought I would share with you some of the men and women who painted, designed, etched, stitched, printed, illuminated and mused their way into the archive, and into national life.

Edward Burne-Jones joined the Library in 1867 when he was 34 years old, and he is followed in 1872 by his muse and lover, the sculptor Marie Zambaco.  She is the inspiration behind many of his works from the late 1860s onwards.  She is the temptress in The Beguiling of Merlin and her unmistakable features adorn the faces of both the male and female protagonists in Phyllis and Demophoon.  The psychological subtext of this emotionally revealing work is the traumatic end of their affair, which surfaces less violently, but in equal bleakness, over twenty years later in Love among the Ruins.

In 1870 Phyllis and Demophoon caused outrage not only for its subtext, but for its male nudity which did not sit easily with the Old Watercolour Society who exhibited the work in their Summer Exhibition. The experience triggered Burne-Jones’ resignation from the Society and his withdrawal from exhibiting for the following seven years, but he would become one of the acclaimed figures in the history of British art.

Burne-Jones was a lifelong friend and artistic collaborator of the veritable creative combustion engine that was William Morris.  He described Morris as “the greatest master of ornament in the world”. Their friendship began when they were both theology undergraduates and lasted for life. Their final collaboration, for which Burne-Jones provided 87 woodcut illustrations and 116 full page plates, was the Kelmscott Chaucer: an awe inspiring love letter to the codex, or, as Burne-Jones neatly put it, a “pocket cathedral”.

William Morris — writer, artist, craftsman extraordinaire, designer, poet, weaver, embroiderer, printer, entrepreneur and socialist — appears in the published London Library Members List of 1888. He died at the age of 62 from what his doctor diagnosed as simply “being William Morris” – having expended the energy of “ten men” during his lifetime which saw him re-ignite, master and elevate an astounding array of arts and crafts from stained glass to weaving. He was lauded during his lifetime for his literary works, (he was in the running for the Poet Laureateship after Tennyson’s death), but it is his status as the most original and successful designer of the industrial age which is more commonly recognised today. His wallpaper designs, like many significant literary works from this era, are still in print.

Morris had, as ever, several things on the go when he was a member of the Library. In 1885 he published “Chants for Socialists” and over the following two years he was at the heart of political protest in Britain. Between 1884 and 1898 he wrote and published a new genre of prose romances set in imaginary historic landscapes (all still available for loan from the Library’s Fiction shelves) and in 1891 Morris established the Kelmscott Press. Within five years the Press produced an undisputed jewel in British book production in the Kelmscott Chaucer, for which Burne-Jones provided the illustrations, Morris the borders and initial letters. The Kelmscott Chaucer shown here, from the Library’s Special Collections, was bound by the Doves Press in white pigskin with elaborate blind tooling and elegant silver clasps.  There is no better indicator of the literary soul of the Pre-Raphaelites than the Kelmscott Chaucer.

I was curious, given Morris’s enormous and varied creative output, to see how his “occupation or position” had been described in the manuscript membership records and when I checked I found a stunner of an archival record (see the image, right).  Predating and intertwined with William Morris’ name was the name of one of the most recognisable Pre-Raphaelite women: William’s wife (Rossetti’s lover, muse and collaborator), the exquisite embroiderer Jane Morris.

Dante Gabriel Rossetti drew and painted Jane Morris for over 20 years of his working life.  She appears in many guises as Pandora,Proserpine, and Mariana to name just a few, and  it was Jane asAstarte Syriaca, painted by Rossetti in 1877, that the Tate used to advertise the glorious “Pre- Raphaelites: Victorian Avante-Garde” exhibition last year. Rossetti also commissioned photographs of Jane in 1865, taken by John Robert Parsons – her staggering beauty is there; so too, and much more striking, her intelligent inner life.

Did Jane join the Library for her own use or did she join on behalf of William or were they both making use of the membership? Why is her name scored through and William’s added to her original record? Did Jane decide to give up her membership but William want to keep it on? Could this be a precursor to an institutional membership where a company registers for membership?  It is impossible to say exactly but those two small ticks on the left of the record indicate that both Jane and William at some point were members. It is William’s name only that appears in the published list of 1888, but it is clear that it was Jane, nominated by the process engraver and typographer Emery Walker, who first established the membership.

Emery Walker was a close friend of Jane and William. He joined the Library in 1879 when he was 28 and London Manager of the Typographic Etching Company.  His name is revered in the field of typography.  His involvement in, and influence on, the Kelmscott, Doves and Ashendene Presses mark him out as one of the most influential and significant people in the history of British book printing and he rose, like Jane from the humblest of beginnings.

After the death of Morris, Emery Walker set up Doves Press with Thomas James Cobden-Sanderson. It was Jane Morris who in 1882 had suggested Cobden-Sanderson take up book binding.  A long standing London Library member (he joined in 1864) Cobden-Sanderson donated over 30 Doves Press works to the Library including a beautifully printed and simply bound version of Love in Enough by William Morris. Sanderson’s affection for the Library is clearly evident in his donation inscriptions such this one from 1909: “Presented to the London Library, as to an old friend, by an old member, the printer.”

Over the fire place at Red House is the inscription “Ars Longa Vita Brevis” (Art is long, life is short).  The Library’s archival records, like art, are long, and each surviving record illuminates part of the Library’s rich and absorbing cultural heritage.

The London Library's copy of the Kelmscott Chaucer.

The London Library’s copy of the Kelmscott Chaucer

Burne-Jones LL archive

Edward Burne-Jones joined the Library in 1857

Madame Zambaco

Our archival records show Madame Zambaco’s Kensington address

Kelmscott Chaucer, LL copy

The beautiful, white pigskin binding of our Kelmscott Chaucer

William and Jane Morris, LL Archive

William and Jane Morris — joint London Library members?

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John Stuart Mill is an important figure in the history of The London Library and an intriguing presence in our institutional archive. Helen O’Neil, Head of Reader Services, continues her archival sleuthing.

In researching the Library’s archival records I want to do more than simply unearth those writers and thinkers who have been members of the Library throughout its history. I want to demonstrate the significance of membership.  One way of doing this is to take a single figure and delve deeply. With this in mind I have been tracking the economist, political theorist and most influential 19th century philosopher in the English language, John Stuart Mill, through the archive. Needless to say the archive has offered up a revealing picture of his engagement with, and use of the Library.

Mill’s name is not to be found in obvious places.  He is absent from the lists of past Library Presidents, Trustees and Committee Members but his elegant intellectual handprint can be seen dispersed throughout the collections to a much greater degree than we had perhaps previously realised. We have always known that Mill drew up the lists for the first Political Economy collection – this is evidenced in letters from him in the archive and in the 1841 minutes of the Library Book Committee.  We knew too that he donated books to the Library; there are several such donations in the Library’s Special Collections. These donations are personal and significant to him and include for instance the Commonplace Books of his father, the reformist James Mill.  I mentioned in an earlier blog too, that Mill introduced his step daughter Helen Taylor to the Library in the year before he died, and she edited and translated several of his works after his death in 1873.

In addition to this Mill’s donations turn up thrillingly, (and not infrequently) on the open shelves.  Sermons Preached in Boston on the Death of Abraham Lincoln; the Conspiracy Trial for the Murder of the President and The Special Report of the Anti-Slavery Conference held in Paris in 1867 are all examples of this. If you have recently been to see Daniel Day Lewis’s distilled performance as Lincoln, these donations demonstrate exactly how keenly Mill was watching America. He would follow up these donations with another in 1868 – Walt Whitman’s poetic panoramic of the American Civil War, Drum Taps.

Mill’s presence is also particularly prevalent in two other archival resources from which I have been gathering and collating data over the last month.  The first is a heavily annotated working copy of the Library’s first catalogue, and the second is the Library’s early Issue Books.  The annotated 1842 catalogue is an extraordinary Victorian document which reveals the level of Mill’s donations in 1841 was far greater than we had previously realised. 87 titles (numbering in excess of 240 volumes) are attributed to Mill in the annotated catalogue – only a handful of which are recorded in our much more contemporary records. In addition to this, Mill’s presence is unequivocally and impressively stamped in the Library’s early Issue Books which record the books issued during the very early years of the Library’s existence. I am half way through the Issue Books and have details of over 250 books Mill borrowed. To say he was an active regular user is an understatement.  Just look at the regularity and number of books he was borrowing during 1845.

There are several themes which play out both in both Mill’s issues and his donations.  The first is they are incredibly international in feel.  His donations are published in Paris, Dublin, Brussels, London, Berlin, Venice, Amsterdam, Bonn, Hamburg, Calcutta, Dresden, Milan, New York, San Francisco, Boston and Edinburgh; and his loans include books about all parts of the globe including Europe, America, India, Africa, Australia, Mexico, China and New Zealand. Mill donated an enormous amount of material in 1841 in French on the French Revolution including Mary Wollstonecraft’s View of the French Revolution – and both his donations and loans are in English, French, German, Italian and Latin.

For a man caricatured in a dress for his outspokenness on the position of women, most notably after the publication of The Subjection of Women, his loans reveal that he was not only reading books about women, he was reading and donating books written by women.  One of my favourites is The History of Margaret Catchpole: a Suffolk Girlpublished in 1846 by the Rev Richard Cobbold. Margret Catchpole was an extraordinary woman, who twice escaped the death sentence in the late 1790s for stealing a horse (she captured the popular imagination by riding 70 miles in 10 hours without a saddle) and for escaping prison by scaling a 22 foot wall disguised as a sailor.

To read Mill is to read work which is still relevant today.  He joined the Library in 1841 two years before he published Utilitarianism, and the major works which made his name were all published during his thirty two years of Library membership. On Liberty, one of Mill’s greatest legacies has never been out of print since it was published in 1859, an indicator of its enduring importance.

On May 8th this year it will be 140 years since John Stuart Mill died.  By then I hope to have wrestled out of obscurity both the books Mill donated and the books he borrowed from the Library and I will be mapping these against his published works.  UCL has an internationally recognised reputation in the Digital Humanities which I am hoping will show its value here as I attempt to use the mass of Victorian digitised material sloshing round the internet to triangulate Mill’s issues, donation and published works.

It is to this unique destination point that I am racing, with as much speed as I can muster, to meet Mr Mill.

© Helen O’Neill

Title page of ‘Sermons Preached in Boston on the Death of Abraham Lincoln; the Conspiracy Trial for the Murder of the President’, donated to the Library by John Stuart Mill

The Library Issue Book showing some of John Stuart Mill’s borrowing in 1845

An illustration from ‘The History of Margaret Catchpole: a Suffolk Girl’ (1846)

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Many of you will have read in the Winter 2012 issue of The London Library Magazine that a substantial refurbishment of the Library’s Victorian Reading Room and North Bay will take place this summer. This latest phase — Phase 3A — of our capital project will see the creation of additional study spaces in both rooms and improved facilities for our members. Mary Gillies, Reader Services Manager, explains the ‘what’ and ‘why’ of the preparation work beginning now.

One of our aims in the lead up to the refurbishment, and throughout the process, is to minimise disruption to members. While both the Reading Room and North Bay (soon to be known as the Writers’ Room) will have to be closed for a short time — watch this space for dates, which will be given well in advance — we will ensure that Reading Room and North Bay materials remain on site and on open access, not in storage or locked away. We have identified pockets of space throughout the Library where we can relocate books; identifying heavily used items and making these readily accessible, trying our best to keep similar types of material together and choosing the most suitable available space for each. An example of this is the planned move to bring different sized Reading Room atlases to open access shelving in The Times Room, where they will be easier to browse and consult using the upright angled bookrests. We will also try to maintain a relevant and useful collection in the Reading Room and North Bay for as long as possible before work commences.

As part of this work you may see a variety of staff members in unusual positions as they crawl, with as much dignity as possible, around the Reading Room and North Bay floors, and in and out of cupboards, pencil and paper in one hand and tape measure in the other. A large part of ensuring that we can keep this material on site and in a logical fashion relies on us knowing that each section we identify to move (often filled with various size books) fits where we want to put it, with regards to height, depth and width!

As you can probably imagine, this is a mammoth task that will require careful planning and organising to ensure that stock movement is logical and easy to follow for both members and staff. Over the coming months, as different material is moved from the Reading Room and North Bay, we will keep you informed with new or updated signage within the building, up to date information on the Phase 3 section of our website (www.londonlibrary.co.uk/phase3) and regular posts here on the blog. Please feel free to ask a member of staff to show you to the new location for something you are trying to find or to retrieve any items for you; there will also be an explanatory feature on Phase 3A in the Spring 2013 issue of The London Library Magazine, which will reach members in mid-March.

There are very exciting things ahead which will make using the Library an even better experience for all. We look forward to sharing updates and providing you with all the practical information you will need over the coming months!

If you have any questions or comments about this ongoing work or about the planned refurbishment, please emailcapitalproject@londonlibrary.co.uk  or contact the Development Office on (020) 7766 4704.

This short film gives an inspiring overview of the Library’s redevelopment, including both completed and planned phases. Librarian and CEO Inez Lynn, London Library President Tom Stoppard and architect Graham Haworth outline the Library’s vision for its future:

 

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