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American Rare Book Trade Annals: Heritage Bookshop - The First Year

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by Louis Weinstein


At the time of its closing in 2007 after forty-four years in business, Heritage Bookshop, established by Louis and Ben Weinstein and ultimately located in a former mortuary on Melrose Avenue in West Hollywood, California, that they morphed into an English chapel library with stained glass windows, had grown from nothing to become the most successful and respected rare and antiquarian book shop on Earth. Rosenbach Company was the dominant force in the international trade in first half of the 20th century, Heritage during the second half.

If A.S.W. "Abe" Rosenbach was the greatest rare book salesman the world had ever seen - and he was - then Lou Weinstein was most certainly his successor, raising the bar and setting a new standard.

Humor played an enormous role in his rise to the top. He never saw an opening he didn't step into with a  quip, often irreverent, a quality that endeared him to clients and colleagues.  You have, hopefully, mastered the "spit-take;" reflexive opportunities will arise throughout Lou's tale. As a prelude, I leave you with the following true story, one of many in the Weinstein treasury.

One Christmas, Dustin Hoffman and his wife were in the shop to pick out a few presents. Hoffman gave Lou a Los Angeles address for the invoice. Puzzled, Lou said, "I always assumed you were from New York."

"No," replied Hoffman, "I originally went to New York for acting classes."

"Oh, really?" Lou replied. "Did it help?" [SJG].

I was seventeen and working for Deutsch and Shea Advertising Agency in New York. It was April 5, 1963. The news of my father's death in Gary, Indiana the day before wasn't too painful, for I had hardly known the man. It had been years since I'd seen him; sometimes I would almost forget that I had a father. I knew he had been a good merchant - always making a living, but never more. I believed that by profession he had been a pawnbroker, junk man, TV and radio repairman, appraiser, seller of used clothes and appliances, and trader - all of which he practiced under the name of "Irving's Trading Post."

Ben and I packed for Gary to deal with those things that must be dealt with by next of kin. In truth I'd heard of Indiana but "Gary" was a total mystery. I knew Chicago was not far.

When we arrived, it was explained to us by the attorney reading the will that my father's estate consisted of a $3,000 insurance policy and his business. With luck the $3,000 would cover the funeral and legal fees. The business, yet to be seen, was the asset left to his eight children, of which I was the youngest. Realizing that this was my only inheritance (for my mother had died twelve years before), and I hadn't any relatives asking for a recent address, I figured this was it.

Driving to the store made me nervous, for the streets reeked of poverty. We must have passed a hundred winos, pimps, hookers, and run-of-the-mill hoodlums within a half mile of the shop. The sign was simple, "Irving's Trading Post - We Buy and Sell Everything." It occurred to me that it was ideally located for its clientele. The window was full of used clothes, guns, tools, knives, eyeglasses, and good reproductions of costume jewelry. In the right corner as we entered stood a four-shelf bookcase, which, though unknown to me, would be a large part of my destiny. "Used books individually priced," the sign read.

Brothers, Jerry and Bob, arrived from the West Coast, and the search was on. We spent the first four hours looking through my father's world, trying to decide why people would pay real money for such junk - broken radios, clocks with only one hand (for good guessers?), lots of clothes with lots of holes (not stylish but functional). In the back room an old American flag draped his bed; it lacked a few stars, but who counted? By the front door, proudly mountd under glass, were officer's bars from the U.S. Army - Lieutenant, Captain, Major - neatly captioned, "Irving's own - Not for sale." Pretty impressive for a man who never made sergeant!

Probably a good deterrent for a would-be thief. The officer who found my dad's body (in front of the store) told me my dad was "packin'." Later I understood this to mean he had three loaded weapons in his possession. Nice neighborhood!

The search continued into the night, for we all knew Dad loved to hide his valuables. In the basement behind some loose bricks in the wall, we found a checkbook and a map. The checkbook's balance was too low to pay for the cab ride to the bank. The map was familiar. It seems my dad had mentioned a map he acquired (from a local wino, no doubt) of a cemetery in East Germany with the location of a half million dollars in gemstones buried at the end of the Second World War. The fantasy was intriguing, but who knows if it's still there and what it is. I've often been tempted to put the map in a Heritage catalogue as:

Map. Manuscript, folded. Buried treasure. $1/2 million worth.

Unpublished, of course. $5,000 net. No 'on approval" orders. I wonder how many I could sell.

It was decided we should have a sale, disposing of what we could, maybe even earning enough to cover our flight home. I quickly realized that at the right price almost anything is saleable.  I started to gain respect for the items I had thought of a week before as mere junk. It was definitely a learning experience and my first real exposure to the world of business and barter. I was excited!

I had to get back to New York, to my job of proofreading copy for classified ads. In the 'help wanted" sections were ads for engineers, systems analysts, technicians; it quickly grew boring. I missed the muck of Gary, the negotiating, the trading, the surprises. Ben had less to miss, for he was managing a home-made fudge shop in New Jersey.  Bob went back to his air Force station in Coos Bay, Oregon.

Ben and Jerry decided to move the remaining treasures to California and perhaps carry on a business in the tradition of my father. After all, they had thirty days' experience in the trade, so it wasn't as if they were going into it blind. Off they went with their fake jewelry, clothes with holes, toasters that hadn't touched bread in years, broken guns and miscellaneous objects we never could identify. They also brought the four shelves of unsold books, each neatly stamped on the front flyleaf, "Irving's Trading Post, Gary, Indiana."

Off they went, goodies and all, to Beverly Hills, California to find an appropriate location for the new shop. It was quickly discovered that if the price of every item in the inventory was doubled and everything completely sold out in thirty days, they still wouldn't have enough to meet the first month's rent. A second choice of location, of somewhat lesser prestige, was made - Compton, the Harlem of Los Angeles. The rent for the 2800-square-foot store was $200 per month - a lot of money but not impossible.

By July, I was hot and ready to join them in their new venture, "B&J Merchandisers." Jerry picked me up at L.A. International Airport on July 2nd and freely shared with me the glories of being self-employed, with your own hours and unlimited income. I was intrigued. Within weeks a settlement was reached. I was to exchange my entire net worth for Jerry's half interest in the new business. Now $300 was a lot of money, but heck, I was seventeen and without promise of a profession, so I decided to chance it. It was hardly a week before I realized that suing your own brother was impractical. "Your own hours" turned out to be 7 AM to 7 PM, seven days a week. "Unlimited income" meant there was no limit on how little you could make in an eighty-hour week!

The shop was located on a main street (Compton Blvd.) and catered to a local clientele of mostly Blacks and Mexicans. Due to a frugal lifestyle, we were able to reinvest what monies did come into building an inventory.

Within six months we had a store full of rarities, including appliances, clothes, tools, jewelry, and lots of books. Books, it seems, were acquired rather easily, for the word got around that Ben and I had a high school education. We paid five cents for any hardback and two cents for paperbacks (still do). It appeared that fifty percent of all Comptonians were in the business of cleaning and hauling from other people's garages. Books were previously considered unsaleable in this community until B&J Merchandisers arrived.

One day in November, four thousand volumes later, I pointed out to Ben that we probably accumulated the world's largest collection of Reader's Digest condensed books. Perhaps at five cents for hardbacks we were paying too much, so we lowered it to two cents - a major management decision. Beyond this we realized the only books we could sell in this low income community were "how-to fix it yourself" books - for cars, televisions, air conditioners, dinners, or divorces.

About this time a book scout named Al Taylor walked into our shop. He tried to convince us that some old books were worth ten dollars or more. That gullible we weren't! Fortunately for us, Al spent days in the weeks ahead explaining some realities about the trade. Fiction was virtually worthless, he stated; cookbooks, Americana, picture books, and auto-repair manuals were hot stuff. Our appetites were whetted, but we needed to learn more, so from an old AB [American Bookman] which Al had given us, we ordered the newest reference book, Roskie, The Bookman's Bible. This book  listed books chronologically, then by author's initials, then by titles. Thus Baum's classic, The Wonderful Wizard of Oz, published in 1900, would be found as "1900B.L.W.W.O.O. 300 (value)." After I conquered the cryptography the detective work really appealed to me. Within a few weeks Ben and I had this funny little book memorized. At this point we figured we had conquered the profession of antiquarian bookselling.

One Sunday afternoon a visitor came to our door. His name was Peter Howard.

"Do you have any first editions of William Faulkner?" he asked.

"One second," I said, as I turned to call to Ben, who was working in the back, alphabetizing the Reader's Digests. "Hey, Ben, did you ever hear of William Faulkner?"

A long, thoughtful pause was followed by, "Did he write cookbooks or auto-repair manuals?"

Peter's eyes brightened as if we had said, "Yes, we have his entire archives."

"You never heard of William Faulkner?" he reiterated.

"Uh-uh," came my fluid reply.

Peter turned to his companion and said, "This is going to be fun."

Three hours later, an impressive stack of fourteen titles stood on our counter - all fiction.

"Ben," I whispered, "I think we have a live one here."

Perhaps he'd like a complete run of Reader's Digest condensed, I thought to myself. The man's vocabulary was somewhat peculiar. He used such terms as issue, proof, variant, wrapper, state. Perhaps we had found our first collector! The total purchase was $27.00 - a calculated profit of $26.30, I mused. He seemed pleased, so I didn't feel I took advantage, even though he didn't ask for a discount.

"Nothing signed?" he asked on the way out.

This I understood (from my talks with Al Taylor), and I pointed to our signed book shelf in excitement. He perused the thirty titles in four seconds and left.

"Not too knowledgeable a collector," I said to Ben, "passing up the cream of my scouting."

After all, the shelf included two cookbooks, seven fix-it books, four self-help titles, some major Arkansas poets and even a lieutenant governor - all in presentation copies. After he left, Ben realized we had neglected to show this fiction collector our greatest find - a presentation copy of Aimee Semple McPherson's, acquired a week before, at our regular hardback offering of five cents. The book was proudly displayed, open, in our front window. I reached in to reassure myself it was still there.

"Ben," I screamed, "someone robbed it!"

"The book?" he asked.

"No, the signature." It seemed that one week of direct sunlight had completely eradicated the inscription. Thank goodness it wasn't the inscribed Dale Carnegie, I thought.

After seven months I decided it was time to weed the stock, which now amounted to some 7,000 volumes, for space was quickly becoming a problem. Satisfied with my knowledge of what titles were in demand, I made it my morning project to cull out four boxes of books, destined for the trash. During lunch a man drifted in to browse.

"What's in the boxes?" he asked.

"Some new arrivals," I quickly replied, thinking I could sell one. "Help yourself."

After he had browsed through our stock for half an hour I didn't have much hope for him. but who knows? Three minutes later, he pulled eight books from the dregs, paid me and left.

This experience somewhat unnerved me, for he had just purchased my garbage.

I quickly and quietly returned the balance of the four boxes to the shelves. Somehow I was no longer up to the project. Perhaps I should put our entire inventory in boxes on the floor, I thought. It might be a bonanza. That evening, Ben checked for cars on the street. None were coming, so we closed early (9:30 PM) and indulged in a steak at the Sizzler.

By the ninth month, I counted 8,500 volumes in hardback, with most of our money, time and energy going into replenishing the inventory. Our reference library now consisted of forty volumes, mostly price guides and catalogues, some of which were less than twenty years old. We found ourselves quickly losing interest in the junk business - too much competition and a depleting stock.

In truth, the store was a good learning experience and an example of the adage, "There's a customer for everything."   One day a man came in to buy an overcoat and found a suitable one for $10.00. He left his old one behind, asking if we would dispose of it for him. After he had left, Ben dusted the old coat and put it on the clothes rack. By the end of the day, it was gone, with another ten dollars in the till.

Our one-year lease was coming due, and a decision had to be made. I wrote to Gerald, a brother in New York, and told him of my options. I could either open a used book shop or a floating hot dog stand. It seems when I went out to the ocean, I noticed hundreds of boats, but never a food concession in the water. A floating restaurant, serving hot dogs, had to be a wonderful idea.

Gerald wrote me back, and I quote, "Lou, you've always trusted my judgment, you know I am a person of good business sense and reason. No one buys used books but a floating hot dog stand? I love it!"

Somehow God blessed me to ignore his wisdom. Who knows? I might this day, with my chain of floating hot dog stands, be writing this article for The Professional Hot Dog Boatman. Somehow, though, I feel we made the right decision.
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Heritage Bookshop - The First Year originally appeared in Issue No. 4, 1982 of The Professional Rare Bookman: The Journal of the Antiquarian Booksellers Association of America (ABAA), and is reprinted with the kind permission of the author.
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The Wanderlust And Wastrel Lives Of Vagabond Printers

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by Stephen J. Gertz


In spite of the fact that I received a law degree, 
I have never been in court except to plead guilty.
                    - Col. Will K. Visscher, tramp printer

Between the American Civil War and the introduction of the linotype machine in the 1890s, a curious sub-species of Homo Sapien roamed the mountains and prairies,  dusty trails and roads to nowhere and everywhere throughout the United States.

Escaping heartbreak, following the next drink, deserting the Army, coping with war trauma, fleeing debts, the wages of vice, the humiliation of typographical errors, or simply heeding  the call of the  wild, tramp printers populated the landscape. Most were well-educated, many came from respectable families. What they all had in common was that when urge struck or circumstance befell they resigned their position, collected their pay and hit the road.

What Alastair M. Johnston, editor of Typographical Tourists: Tales of the Tramping Printer, a new book from Johnston's Berkeley-based Poltroon Press, has done is a fascinating joy, pulling out of the oven a fine loaf of printing history, rich and nourishing, previously sliced but never so generously nor spread with such tasty condiments and wry wit. The condiments have tang. Employing “artistic printing” ornaments from the 1880s,  Johnston used all the Victorian typefaces in his shop for headpieces and a fair amount of “clip art” - small news cuts from the specimen books of the late nineteenth century to evoke the period.


In thirty-five chapters based upon contemporary newspaper stories or wholly reprinting articles from 19th century trade periodicals, you'll meet, amongst many characters:

Morningstar, a serial prankster who, left alone to compose, would write and print announcements and advertisements of unusual candor: "Now is the time to die. Perkins is giving cut price funerals and will bury people at bargain prices..."; Beanbody, a gifted forger of letters of recommendation from former employers he'd burned; Rocky Mountain Smith (or was it Jones?);  Texas Jack, who "wore a sombrero, top boots, and a long linen duster" and was the fastest setter in the West; "Shortalize" Murray, who employed abbreviations uniquely his own; Alexander Cameron, a Scotsman who, after incurring the wrath of his boss and being fired continued to show up for work anyway, his employer ultimately capitulating to his charm; Old Barney, who  thus explained his chronic homelessness: "my blood is too quick...It would be impossible for me to settle down...prosperity would wear me out...Three meals a day and a place to sleep [would] eventually kill me;" and Thomas McKenna, "reputed to be one of the oldest printers in the country. He was old when the oldest printers on the Eagle were kids, and there is a legend about him to the effect that he was seen around the office when Gutenberg and Faust were making their first experiments with movable types."


"The old-time tramp printer was generally 'an amoosing cuss,' as Artemus Ward would say." Many tramp printers, as Ward, became writers, and we learn that some "set their matter 'right outer their heads,'" avoiding pen and paper altogether, a mind-boggling process to contemplate. Walt Whitman, William Dean Howells, and Horace Greeley were tramp printers in their youth, as was Lincoln's favorite author, political humorist Rev. Petroleum Vesuvius Nasby.

You'll also get to know Mark Twain (“as a typesetter he was slower than the wrath of God”) and Bret Harte, who, it was reported in 1876, "admits that he learned the printer's trade. He says he could work six quarts of type per day on a hand-press, and could correct a roller as good as anybody."

And what of the female compositor? "They never 'sojer,' they never bother the editors for chewing tobacco; they never prowl around among the exchanges for The Police Gazette; they never get themselves full of budge...they never swear about the business manager, they do not smoke nasty old clay pipes..." That's why the lady is not a tramp.

Only problem? Entering the trade by necessity, single women tended to depress wages. The solution? "Select a pretty, modest and amiable compositress, and take her out of the printing office by marrying her. If you cannot do this, because you already have a wife, encourage others to do it."


What inspired Johnston, a master printer who has managed to stay in one place, to take up the hobo's bindle and stick and bum the scholar's road?

"While working in the Kemble Collection of the California Historical Society I began to find stories and memoirs in trade periodicals (such as the Inland Printer, The Pacific Union Printer, The Printer & Bookmaker) about tramp printers. Some were better written than others, and I began collecting them. I used the material for performances in which I would dress up in a top hat and frock coat and relate the tales of the tramping printer. One memorable event was held at the historic Historical Society premises, when I teamed up with my friend Steve Lavoie to perform - however they wouldn’t let us light the hurricane lamp or smoke our cigar stubs, so we were limited to nipping on a bottle of Jack for punctuation...

"...Soon I had two folders of raw material and decided it was time to put the material in order before it got too unwieldy. But then I discovered the Library of Congress Historic American Newspaper archive which yielded many more wonderful tales tucked between ads for shoe polish and draught horses. I was overwhelmed with great source material and could cherry-pick it for this anthology, tailoring it so the stories lead into one another."


Typographical Tourists is an extremely colorful, often wildly amusing, ink-stained On the Road, with Johnston steering us through the world of printers with type in their blood but ants in their pants, compelled by personal demons or nomadic spirits to a precarious existence leavened by an adventurous, if impecunious, black-ink life rich in colorful anecdotes and stories. Johnston has performed a fine service by collecting them here in one place from diverse sources, known, obscure, or merely forgotten. It's a movable type feast, accent on the movable, a travelogue through the peripatetic world of the tramp printer.
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JOHNSTON, Alastair M. (editor). Typographical Tourists. Tales of Tramping Printers. Berkeley: Poltroon Press, 2012. Octavo. 178 pp, including bibliography. Illustrated wrappers. $20.
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Dean & Son Movable Books and How To Date Them

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by Stephen J. Gertz

Old Woman and Her Silver Penny.
Dean's Movable Books. London: Dean & Son, n.d. [1861].

First edition. Octavo (9 3/4 x 6 3/4 ini; 248 x 171 mm).
Eight hand-colored wood engraved movable plates.
 Full page advertisements to front and rear endpapers.

The movable books of Dean & Son - the first publisher to produce movable books in large numbers - are highly desirable to collectors. Rarely found in untouched, fully functional condition due to the wear and tear of children, they were customarily issued without a date of publication, probably to keep them "evergreen," to wit, fresh and timeless in the marketplace without fear of becoming literally dated.


Most attributed dates by scholars and librarians are educated guesswork, and "circa" commonly accompanies whatever year of publication assigned by them as well as by dealers, collectors, and writers on the subject (i.e. Ann Montanaro and Peter Haining). 

Though Montanaro suggests the publication date as 1858,
At the lower right corner of the the lower board the
printer's key reads: " 8000 2 61," i.e. 8,000 printed, February 1861.

At the lower right corner of the rear pastedown
to this copy appears the printing key:
 "6000 5 61," i.e. 6,000 printed, May 1861.

Curiously, the year of publication and, significantly, the print run are present on just about all of the Dean & Son movables, if you know where to look and understand what it is you're looking at.

The Movable Mother Hubbard.
London: Dean & Son, n.d. [1857].

First edition. Octavo (9 3/4 x 6 1/2 x 248 x 164 mm).
Eight hand-colored woodcut movable plates, two of
which possess multiple moving images.

In the lower right or left corner of the rear board or on the lower right or left of the rear paste-down endpaper (usually an advertisement) is the publisher/printer's key. At the lower right corner of the the lower board to the Old Woman and Her Silver Penny, for example, the key reads: "8000 2 61," i.e. 8,000 printed in February 1861.


Sometimes you will find two keys. At the lower right corner of the rear paste-down to the copy of the Old Woman and Her Silver Penny I recently handled appears the printing key:  "6000 5 61," i.e. 6,000 printed, May 1861. 

An amazing four movable scenes using a single pull-tab.

With this example we learn that 8.000 were printed in February 1861 and another 6,000 were printed in May of the same year. This copy, then, is a second printing. Now, to what I imagine will be the utter frustration of collectors of Dean movables, they can be prioritized as first, second, third printings, making the first printing, theoretically, the more desirable - if you can find one.

In the lower left corner of the rear board is the
printer's key: "1000 2, 57," i.e. 1,000 printed February 1857.

"The first true movable books published in any large quantity were those produced by Dean & Son, a publishing firm founded in London before 1800. By the 1860s the company claimed to be the 'originator of childrens' movable books in which characters can be made to move and act in accordance with the incidents described in each story.' From the mid-19th century Dean turned its attention to the production of movable books and between the 1860s and 1900 they produced about fifty titles" (Montanaro, Ann. A Concise History of Pop-Up and Movable Books).

Dean & Son's Movable Book of the Royal Punch & Judy
As Played Before the Queen at Windsor Castle & the Crystal Palace.

London: Dean & Son, n.d. [1859].

First edition. Tall octavo (11 x 6 5/8 in; 280 x 170 mm).
Eight hand-colored movable woodcut plates with accompanying text.

"Dean & Son was the first publisher to produce movable books on a large scale. Thomas Dean, who founded the firm sometime before 1800, was one of the first publishers to take full advantage of the new printing process, lithography, which was invented in Germany in 1798. His business was devoted exclusively to making and selling novelty books, or 'toy' books, a term publishers began using in the early nineteenth century. His son George became a partner in 1847, and their toy books took over the market from the 1840s to the 1880s. 


"Dean opened studios in London where teams of artists worked to design and craft all kinds of new and complex movables. Around 1856, Dean released a series of fairy tales and adventure stories under the title New Scenic Books. The scenes in the books were crafted in a "peep show" style. Each was illustrated on at least three cut-out sections. The sections were placed one behind another and attached by a ribbon running through them. This way, they could stay together and be folded flat as flaps, face down against a page. When a readers lifted a flap, a three-dimensional scene would actually pop-up!  A later, but good example of this technique is McLoughlin Brothers' The Lions' Den (ca. 1880), which is held together by a piece of board across the top instead a a ribbon.

In the lower right corner of the rear board is the
printer's key: "4000 3 59," i.e. 4,000 printed March 1859.

"The books in new scenic series are probably the first that today's readers would consider pop-up books, although the term "pop-up" was yet to be used to describe such books. 'Movable' or 'toy book' was usually the choice for description. In 1860, Dean actually claimed to be the 'originator' of movable books.

Dean's New Magic Peep Show Picture Book  Showing
Wonderful & Lifelike Effects of Real Distance & Space.

.London: Dean & Son, n.d. [1861].

First edition. Tall octavo (10 5/8 x 7 1/2 in; 270 x 190 mm).
Four full-color woodcut peep-show tableaus with accompanying text.
Endpapers as advertisements.

"During the 1860s, Dean can be credited with inventing another first: the use of a mechanism that moved or was animated by pulling a tab. Dean advertised the new mechanisms as 'living pictures.' The Royal Punch & Judy is one of these early publications with tabs, which are located on the bottom of each page.

In this extraordinary "peep-show," the scene is pulled up
into multi-layered, cut-out panels to reveal a 3D tableau
with perspective and depth of field.

"In it, Punch and Judy are animated in their miniature theatre and act out all the violence and abuse that a Victorian audience would have expected from the couple" (University of North Texas, A Brief History of Early Movable Books). 


At the lower right corner of the advertisement on the rear board
is the printer's key: "4000 5 61," i.e. 4,000 May 1861.

In the lower left corner of the advertisement to the front free
endpaper is the printer's key: "8000 8 61," i.e. 8,000 August 1861.

Will a Dean first printing in horrible condition be valued more than a third printing in great condition? Now that dates and printing histories can be firmly established only collectors will decide. My sense, however, is that condition will continue to be the overriding factor to the trade and public.  Too few Dean & Son movables have survived in any sort of collectible condition. What good's a first printing copy if it's a disaster?
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Images courtesy of David Brass Rare Books, with our thanks.
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Of related interest:

 A Movable Book Feast.

Movable Books Pop-Up at Smithsonian.

Say Hello To The First Talking Book.

Waldo Hunt And Pop-Up Books: a Brief Overview.

A Pop-Up Book Of "Exquisite, Sentimental Beauty."
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Original Winnie-The-Pooh Drawing Sells For $40,954

The Most Important Hebrew Book Ever Published

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by Stephen J. Gertz

"The educated man knows, indeed, from his knowledge of history that the art of Gutenberg saw its inception with a Latin Bible in the middle of the XVth century. Yet what layman knows when the original text appeared for the first time? Not even the bibliophile knows; although a non-Jewish expert, Count Giacomo Manzoni, asserts in his enthusiasm for the book that the first edition of the Hebrew Bible is the most precious book on earth" (Lazarus Goldschmidt).

Ask most people who printed the first Bible and Gutenberg's name will be recalled. Ask them when and they may answer the mid-15th century.

Ask the average person when the first edition of the Pentateuch,  the first five chapters of the Old Testament otherwise known as the Torah or the five books of Moses, in the original Hebrew was first published and you'll draw a blank.

The first printed edition of the Torah in Hebrew, the Bologna Pentateuch, was published on 5 Adar 1, 5242 by the Jewish calendar, January 25, 1482 by the Gregorian.

Not incidentally and who knew, January 25, by biblical calculation, is accepted as Moses' birthday.

Published in Bologna by Abraham ben Hayyim 'the Dyer' of Pesaro, it is considered to be the most important Hebrew printed book ever published. Many Jewish scholars assert that this first edition of the Hebrew bible is the most  precious book on Earth.

The original print run is unknown but only thirty-six copies have survived; the book is rarer than the Gutenberg bible, of which there are forty-eight extant copies, only twenty-one of which are complete.

Of the thirty-six surviving copies of the Bologna Pentateuch the majority, twenty-seven, are printed on vellum (animal skin). The remaining ten copies are on paper, and of those ten copies only three are complete; the others lack leaves. For the number of vellum copies to exceed that for paper copies is an unusual phenomenon. Usually it’s the other way around, with vellum copies in the minority as a special printing. It has been suggested that this reflected the publisher’s desire to honor the text, too holy to be  printed on paper as sifrei Torah (handwritten scrolls).

Another noteworthy feature is that it’s the first Hebrew book with printed vowels, and cantilation signs for the  cantor to vocalize the text. This was a major innovation and challenge to the printer

Further, it’s the first Hebrew edition in which the Biblical text has been combined with commentary and a paraphrase in Aramaic, the commentary above and below the text in long lines, the Aramaic paraphrase, Targum Onkelos, in a column at the outer edge of the page.

This was another innovation. The commentaries on the Torah by Rashi (Solomon ben Isaac), the foremost biblical commentator of the Middle Ages, first appeared in print at Rome, 1470; all Hebrew commentaries were printed separately within the first few years of printing. But printers soon realized that it would be easier to combine texts and commentaries on one page through the flexible medium of composing type. This answered the educational need for texts and commentaries in one volume,  conveniently arranged and formatted.

Publisher Abraham ben Hayyim appears to have begun as a textile printer and bookbinder at Pesaro. In Bologna, working for Joseph Caravita, he showed remarkable skill, being the first printer to find a solution for the difficult technical problem of adding vowels and cantilation signs to the unvocalised biblical text. An earlier attempt, in a folio edition of the Hebrew Psalms, printed by a consortium of printers in 1477, somewhere in northern Italy, was abandoned after a few pages. 

By 1488 Abraham ben Hayyim was a master printer for the famous Soncino family. It appears that it was the famous font designer and cutter, Francesco Griffo da Bologna (c. 1450-1518) ,who solved the problem of integrating vowel and cantilation signs. Griffo, who later worked for the Soncinos, cut all the characters used by Aldus Manutius at Venice, and it seems likely that Abraham ben Hayyim knew Griffo and may have introduced him to the Soncinos, the distinguished Jewish family of Italian printers.

This is, as you might imagine, an exceptionally rare book. Only one copy has come to auction since ABPC began to index auction records in 1923.

It sold at Christie's in 1998 for £370,000 (including premium), slightly less than $600,000.
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[BIBLE, in Hebrew -- PENTATEUCH]. Humash ve-Targum u-ferush Rashi. With Aramaic paraphrase (Targum Onkelos) and commentary by Rashi. Edited by Joseph Hayyim ben Aaron Strasbourg Zarfati for Joseph ben Abraham Caravita. Bologna: Abraham ben Hayyim 'the Dyer' of Pesaro, 5 Adar I, [5]242 [January 25, 1482].

EDITIO PRINCEPS, the first printed Hebrew Edition. This copy with leaves varying between 297 x 180 mm and 275 x 180 mm, and containing 212 leaves (of 220, lacking 1/1-4 (Genesis 1:1 - 4:26), 10/5-9 [fols. 82-85] (Exodus 25:12 - 28:5), 14/1 [f. 103] (beginning of Leviticus) and 28/4-6 [ff. 218-220] (including the colophon and the final blank). Leaf 8/7 [f. 69] bound after leaf 9/2 [f. 72]. The biblical text of fols 1-4 and f. 103 has been supplied on unwatermarked paper in an early Hebrew hand, imitating more or less the printed Italian square types of the book and providing no clue as to its derivation.

Two columns. Vocalised biblical text with cantilation signs in one column, surrounded by Rashi's commentary (in long lines) at upper and lower part of the page and by the paraphrase (in a narrow column) at the outer side next to the biblical text. No foliation, signatures or catchwords. Headlines. To reach even lines in the biblical text, one or sometimes two anticipating letters were used at the end of the lines, in the commentary and paraphrase the same design (up to three letters) and abbreviated words were made use of.

Darlow & Moule 5072; Oates 2482; Goff Heb-18; Proctor 6557; Hain 12568; Goldstein 20; Rossi 7; Steinschneider 2; Ginsburg pp.794-802
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Images courtesy of Christie's, with our thanks.
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The First American Antiquarian Book Fair

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by Stephen J. Gertz


The first American antiquarian book fair was held in 1960, eleven years after the founding of the Antiquarian Booksellers Association of America (ABAA) in 1949.

It took place at Steinway Hall, in an unair-conditioned showroom space on the 3d floor measuring 1,000 square feet.

Twenty-two antiquarian book dealers exhibited in twenty booths. The booth fee was $250.

Tickets for the public were free.

Hours were 5PM - 10PM opening day; remaining days 10AM - 10PM. The fair ran for six days, April 4-9 1960. That's five twelve hour days following a five hour evening.

A small keepsake-souvenir directory of dealers and their specialties was printed for distribution during the Fair. ABAA ashtrays were also available as souvenir gifts.

The cost for mounting Book Fair #1 was $4,750. Some dealers questioned the need for so high an expenditure.

"Its modest scale was in inverse proportion to its success" Madeleine B. Stern reported in The Professional Rare Bookman (No. 4 1982, pp. 3-11; reprinted from AB Bookman's Weekly, May 4, 1981). "Fair No. 1 was as memorable as it was influential."

Steinway Hall, 109 W. 57th St., Manhattan NYC.

Madeleine B. Stern (1912-2007) was, with her partner,  Leona Rostenberg (1908-2005),  a legendary antiquarian bookseller and respected scholar. Her discovery of Louisa May Alcott's early, pre-Little Women, pseudonymously written stories and novels "forever altered Alcott scholarship" (New York Times obit). At the time of her report she was a past-President of the ABAA and current ILAB representative. Madeleine B. Stern was Chair of the Book Fair committee for this, the first antiquarian book fair held in the United States and what would evolve into the New York International Antiquarian Book Fair, now entering its fifty-second year and occurring April 12-15, 2012.

Its genesis was right out of a Mickey Rooney-Judy Garland movie.

"At a MAC [Mid-Atlantic Chapter] meeting," Stern recalled, "the suggestion was first proposed: 'Why don't we have a book fair?'"

The success of English antiquarian book fairs was the spur. A few ABAA members, impressed by what the British had accomplished, were confident that ABAA colleagues could pull it off: no event organizer was employed. "Every detail thus decided was implemented by Committee members," to the extent that one Committee member, Ann Klein, hired her carpenter to build display cases after a failed expedition to the Bowery to inspect what vendors had to offer. (For 20 they paid the carpenter $400). Every necessity was considered and implemented, and the decisions made then established the pattern for every Book Fair that has followed.

Total sales were $40,000 - $50,000. "Today we add a zero or two," Ms. Stern wrote in 1982.

"No one knew whether it would attract any visitors," she continued. "Very few believed that it would...[Shortly before opening] Leona decided to duck out to see if anyone had come. She returned - her expression a mixture of radiance and disbelief. 'They're standing in line to get in! There are crowds outside!!' Despite rain and storm, the jams of people on opening night filled us with incredulity and exuberance. Publicity had paid off."

AB (American Bookman's Weekly, May 2, 1960) reported, "No count was kept of persons attending, with estimates running from 3,000 - 5,000 for the week. On opening night the Fair was so jammed that there was a waiting line in the adjoining cloak-room."

Steinway Hall Recital Room.

 "As a result of this long week of togetherness," Stern wrote, "we developed a genuine fondness for one another and missed our colleagues sorely after the week was over."

Everyone was sore after five twelve hour days. "We all realized the folly of that time schedule which was promptly humanized the following year," Stern dryly noted.

"Many dealers remarked that they had a fine time, enjoyed themselves hugely, better than a Broadway show, got to know one another during the week, swapped stories - and customers, and had pleasure and profit, too!" the AB article said.

Sol. M. Malkin, the legendary bookman's bookman, summed it up in AB. "The Fair was the best single incitement to book collecting and book-buying. Every major city should examine its potential for a similar Antiquarian Book Fair." Every major, and a few minor, cities in the United States did so, and now rare and antiquarian book fairs, whether ABAA-sanctioned or independent, are a staple of American metropolitan culture.

Along with the crowds, one celebrity attendant, pianist Artur Rubinstein, was very pleased. He bought two musical manuscripts.

But not everyone was thrilled with the Book Fair.

"A genuine prima donna swooped majestically into her concert hall," Madeleine Stern recalled,  "saw the alien purpose to which it had been rededicated, and exclaimed:

"'What have they done to Steinway Hall? -

"'Books!!'"
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The participants in the First Antiquarian Book Fair in America were:

• J.N. Bartfield
• Robert K. Black
• Caravan Book Service
• Emily Driscoll
• Burt Franklin
• Goodspeed's Book Shop, Inc.
• K. Gregory
• House of Books, Ltd
• House of El Dieff, Inc. [Lew D. Feldman]
• Maurice Inman, Inc.
• Howard S. Mott
• Alfred W. Paine
• Bernard Rosenthal, Inc.
• Leona Rostenberg - Rare Books
• Walter Schatzki
• Schulte's Book Store, Inc.
• The Scribner's Bookstore
• Seven Gables Bookshop
• Stechert-Hafner, Inc.
• Geoffrey Steele
• Richard S. Wormser
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Old "New" Map Charts Europe's Current Financial Woes

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by Stephen J. Gertz


Seignor Italy continues to  enjoy la dolce far neite despite obvious pressures to do something, anything; niete has gone too far. Señora Spain is smoking a cigarette during  a siesta, off to the side as if the Pyrenees offer protection from the rest of Europe's woes. As a measure of how lame it has become, Greece is lumped in with and indistinguishable from the Balkan nations and is crushed under the weight of her prosperous neighbors to the north, France and Germany, who dominate the Continent as Ottoman Pashas in tricorn and Pickelhaube. Speaking of which, Turkey calmly watches from the sidelines as a houri in repose lazily smoking a hookah. Debt is not the only thing higher than a kite; ambitious pipe-dreams cloud the upstart's waking hours. Great Britain, by the way, is  an island with its own problems and glad to not be a part of Europe's.

2012? 


No, 1870.

In that year, French illustrator and caricaturist Paul Hadol (1835-1875) created Nouvelle carte d'Europe dressée pour 1870, a biting satire of the Franco-Prussian War that has endured as a comic masterpiece representing the ferocious power politics of contemporary Europe, caricaturing the Continent's national stereotypes. While the map is undated, it was undoubtedly published in the wake of the fall of Louis-Napoleon III and the Second French Empire in September 1870 after  his surrender to the Germans at the Battle of Sedan.


Only 20 centimes at the time of its publication, a genuine copy (not reprint) in very good condition of the 1870 first issue now costs approximately $3,000.

Got the shorts? Borrow the money from Greece. If they can't loan it to you, ask Angela Merkel. If she's not home, call Sarkozy. If he's cozy with Carla, give Ben Bernecke a buzz. If Big Ben's a bust, there's always Warren Buffet. He won't bail you out but he's got a rule, so if there's any fairness left in the world you'll have a little extra dinero in your pocket at his and Donald Trump's expense.

In Hadol's map, Trump's the guy with the weird hair posing as the King of Denmark and firing everyone, another delusional monarch whose time has come and gone.
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[MAP - POLITICAL SATIRE - EUROPE]. Nouvelle carte d'Europe dressée pour 1870. Paris: Imprimerie Vallee, n.d. [1870]. Hand-colored lithographed map, 24.5 x 38.5 cm, on sheet with text (42 x 58.5 cm). 

See: Dormeier, Humoristisch-Satirishe Europakarten von 1848 bis zum Ersten Weltkrieg..., pp. 525-542, no. 3.
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Image courtesy of Asher Rare Books, with our thanks.
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Charles Bukowski Bonanza At Auction

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by Stephen J. Gertz


Charles Bukowski is the star at PBA Galleries Fine Literature and Fine Books sale on Thursday March 15, 2012.


Twenty-eight lots of rare and, in a few instances, extremely scarce books from the Bukowski bucket will be offered, including Carlton Way Suite, Twelve Photographs of Charles Bukowski by Michael Montfort, privately published by the photographer in 1982. With each original print signed by Bukowski and Montfort, it's one of only two sets ("A" and "B") produced out of a planned run of twenty-six lettered copies. It is estimated to sell for $12,000 - $18,000.


In the  Carlton Way Suite deluxe portfolio, Michael Montfort chronicles Bukowski in various situations in and around Los Angeles and San Pedro, CA, including: pumping gas; smoking while driving; a few domestic tableaus; in his room tossing clothes around; petting a cat; at typewriter, eating; carrying laundry; two in a graveyard (in one he is lying down, in the other he's in front of  a headstone appropriately memorializing the "Beers" family); etc. 


The cover label states this is copy “B” of a limited edition of 26 copies, but in fact only two sets were originally produced: Montfort had to halt production due to costs much greater than he anticipated.  Some years later, a similar portfolio was produced in a limitation of three more copies, but with slight production differences with red ink signatures, etc. it was, strictly speaking,  a second edition.


Bukowski's original typescript for I Met The Master, his tribute to his literary hero, John Fante, is also being offered, along with the autograph envelope the typescript was mailed in to comix legend and artist, S. Clay Wilson.



Those seeking the ultimate, soothing Bukowski experience can be tranquilized by an infernal lullaby, Bukowski as a satanic Mr. Sandman reciting 90 Minutes in Hell, the original 1967 reel-to-reel tape of Buk's recitation of a selection of his poetry. 


In that year, Santa Monica, CA poet, Earth Books shop-owner, and Bukowski protege, Steve Richmond, dropped off a tape recorder and some blank tapes to Bukowski at his Hollywood apartment. Bukowski performed solo and gave the two completed tapes to Richmond, who, in 1977, issued the recordings as a two-LP set.

The Curtains Are Waving... #91 of 125. Signed, with Bukowski sketch.



No Bukowski library is complete without a copy of his collection Poems Written Before Jumping Out of an 8-Story Window (1968), and, of course, one is being offered by PBA. Here's a snippet from one of the suicide notes in the book:

I am drinking tonight in Spangler's Bar
and I remember the cows
I once painted in Art class
and they looked good
they looked better than anything
in here. I am drinking in Spangler's Bar
wondering which to love and which
to hate, but the rules are gone:
I love and hate only
myself...

From Cows in Art Class (1966).

It is fortunate that America's Poet Laureate of the Depths didn't take that 8-story dive.
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Images courtesy of PBA Galleries, with our thanks.
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Of related interest:

Charles Bukowski's Last Unpublished Poem and the Bestial Wail.

Dirty Old Man Exposed at the Huntington Library.
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Fictional Newspapers of Mark Twain (And Then Some)

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by Stephen J. Gertz


Objective journalism is a modern concept.  Through the end of the nineteenth century and into the early years of the twentieth, subjective newspapers were the norm, typically assuming the attitude of the publisher, editor, or printer, roles that often met in the same person.

Samuel L. Clemens (early writing as W. Epaminondas Adrastus Blab before adopting the pseudonym Mark Twain), began as a tramp printer, soon reporter for a handful of newspapers, and knew the species well. In Journalism in Tennessee, a story he wrote (as Mark Twain) while editor for the Buffalo Express, September 4, 1869, he satirically relates an apocryphal sojourn with the Morning Glory and Johnson County War-Whoop, a paper run by a Chief Editor who knew a thing or two about the realities of journalism. 

In the story, Twain reports that he wrote the following on assignment:

"The editors of the Semi-Weekly Earthquake evidently labor under a misapprehension with regard to the Dallyhack railroad…"

To which the editor responded, "Thunder and lightning! Do you suppose I am going to speak of those cattle that way? Do you suppose my subscribers are going to stand such gruel as that? Give me the pen!"

The editor's rewrite:

"The inveterate liars of the Semi-Weekly Earthquake are evidently endeavoring to palm off upon a noble and chivalrous people another of their vile and brutal falsehoods with regard to that most glorious conception of the nineteenth century, the Ballyhack railroad…"


In addition to the Morning Glory and Johnson County War-Whoop, and Semi-Weekly Earthquake, Twain, in this story, also cites the apocryphal Moral Volcano, Mud Springs Morning Howl, Higginsville Thunderbolt and Battle Cry of Freedom, and the Daily Hurrah.

There were, surely, other dubious American newspapers of the nineteenth century that proudly declared their character but Twain, alas, does not mention them. We at Booktryst are not so shy. Would that modern papers cut through the claptrap to get to the heart of their product, and conscious or unconsciously assert, in their names, the subjective reality behind the objective fantasy, with nineteenth century gloss and piquant result:

The Daily Noose

The Conniption Fit and Farm News

The Pottsville Primal Scream

The Daily Fracas and Sunday Fuss

The  Clamorer

The Afternoon Lather

The Town Crier & Weekly Weeper

The Herald-Prevaricator

The Mendacity Times

The Morning Bracer

The Daily Oy

The Paroxysm & Apoplexy Ledger

The Morning Drizzle and Evening Deluge

The Sunday Moral Hazard

The Daily Mudslide

The Tuscaloosa Seer and Tea Leaf

The Newel Post & Sub-Intelligencer

The Washington Blind Observer

The Richmond Detached Retina

The Louisville Corrective Lens

The Country Crock & Crackpot

The Denver Dismal-Register

The Amityville Horror-Express

The Basal Cell Carcinoma-Standard

Journalism in Tennessee was recently reprinted in a new book I cannot say enough good things about, Typographical Tourists, which we recently reviewed.

The typographical device is courtesy of Poltroon Press, with our thanks.
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Readers are invited to submit their own apocryphal newspaper names in the Comments section.
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Churchill Tells Chamberlain To Get Real In Historic Inscribed Rare Book

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In August, 1938, as Nazi  aggression against the Sudetenland threatened war, Winston Churchill  presented Britain's Prime Minister Neville Chamberlain with what  was a sharply inscribed and what would become an acutely historic copy of the fourth volume of his Marlborough. His Life and Times.

The significance of this set thus inscribed cannot be discounted. In fact, Bonham's, which is offering the set in its Knightsbridge, London Books, Maps & Manuscripts sale Tuesday, March 27, 2012, is not discounting it at all, estimating the set to sell for £40,000 - £60,000 ($62,682 - $94, 023).

Each volume in the set was inscribed and dated by Churchill at the time of its original appearance: October 1933 (the year that Hitler came to power);  October, 21, 1934 (Hindenburg dead, and Hitler now supreme leader); October 1936 (Axis declared between Italy and Germany); and here, in volume four, August 1938 (official publication date September 2d), Europe on the brink of war and with Churchill's pointed post-script:

"Perhaps you may like to take refuge in the Eighteenth Century." 

Chamberlain and Hitler, Munich, September 30, 1938.

The inscription captures Churchill's sardonic, mordant wit and rings with poignant irony, written as the world stood on the brink of "sinking into a new Dark Age," with Chamberlain desperately seeking peace at any price and Churchill amongst a few lone voices for confrontation before Hitler became further emboldened against his neighbors and thence the entire Continent.

"My good friends, for the second time in our history a British Prime Minister has returned from Germany bringing peace with honour. I believe it is peace for our time" (Chamberlain, announcing the agreement).


"We have suffered a total and unmitigated defeat... you will find that in a period of time which may be measured by years, but may be measured by months, Czechoslovakia will be engulfed in the Nazi régime. We are in the presence of a disaster of the first magnitude...we have sustained a defeat without a war, the consequences of which will travel far with us along our road...we have passed an awful milestone in our history, when the whole equilibrium of Europe has been deranged, and that the terrible words have for the time being been pronounced against the Western democracies: "Thou art weighed in the balance and found wanting". And do not suppose that this is the end. This is only the beginning of the reckoning. This is only the first sip, the first foretaste of a bitter cup which will be proffered to us year by year unless by a supreme recovery of moral health and martial vigour, we arise again and take our stand for freedom as in the olden time" (Churchill, denouncing Chamberlain's agreement in the House of Commons).

The provenance of the set is impeccable: from the private collection of Mrs. Francis Neville Chamberlain, daughter-in-law of the recipient, Rt Hon. Neville Chamberlain M.P.
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Inscription image courtesy of Bonham's, with our thanks.
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CHURCHILL, Winston S. Marlborough. His Life and Times. London: George G. Harrap, 1933-1938. First edition. Four octavo volumes. Publisher's original burgundy cloth.

Woods A40(a).
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Bookplate Special On Menu At Bonham's

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by Stephen J. Gertz

For ? by Le Blon, 1625.

The bookplate collection of Arthur W. Dorling, one of the foremost collectors of bookplate art, will be auctioned at Bonham's on March 27, 2012 in two, huge lots.

For James Bertie, 1702.

The Dorling collection, alphabetically arranged and, for the most part, mounted in twenty-one volumes, includes the bookplates of Queen Victoria, William IV, Geroge III, Edward VII, and George V. 

For Decoy Press by Eric Gill c. 1930s.

Some of the other notable bookplates represented in the collection include those of actor David Garrick (2); Charles Dickens; Anthony Trollope; William Gladstone; Horace Walpole; and Edward Burne-Jones.

?

The total bookplates in the collection number approximately 9,000. All styles are represented in the collection, including Early Armorial, Jacobean, Chippendale and Bookpiles.

For Kenneth Rae, by Rex Whistler 1931.

The designers and engravers include  George W. Eve, C.W. Sherborn (approx. 80 examples);  Robert  Osmond (approx. 70); H.J. F. Badeley (32); Rex  Whistler (5); Muirhead Bone; E.E. Dorlong (15); Reynolds Stone (4); Eric Gill; Edward Gordon Craig; Stephen Gooden; Max Beerbohm; John Buckland Wright; J.E. Millias; H.M. Fincham; Mark Severin; Anatoli Kalashnikov; and others.

For Adelaide Lovingstone, c. late 17th C.

Highlights include two very early European plates (one French, signed Le Blon and dated 1625, the other German, dated 1605), and the celebrated bookplate of Sir Francis Fust containing the armorials of all his antecedents.

For Robert Day J.P. F.S.A., c. late 19th C.

This first lot is estimated to sell for £4,000 - £6,000 ($6,274 - $9,411).

For John Highlord, 1698.

The second lot, estimated at £1,500 - £2,000 ($2353 - $3,136), contains the remaining bookplates from the collection together with Dorling's reference library and bookplate-related correspondence. These bookplates total approximately 3,000 in number and features examples of all styles, including modern artists' samples. 

For Sophia Merrik Hoare, c. late 17th C., by Francesco Bartolozzi.

The second lot also  contains an album of erotic bookplates (thirty-two including Mark Severin's by John Buckland Wright, eight plates by Mark Severin and three by Anatolii Kalashnikov), two alphabeticized sequences of plates (one sequence contains 800 in four small plastic boxes), and several boxes of miscellaneous, unsorted and duplicate plates. It includes correspondence, research notes, reference books, related periodicals, and etc.

For David Garrick (1717-1779).

Arthur Dorling (1902-1984) lived his entire life in the Woodford area of Greater Manchester, U.K.. A keen local historian and amateur genealogist, his consuming passion was for bookplates.

For Sir Francis Fust, 1662.

He played an active part in The Bookplate Exchange Club from the early 1960s onwards and when, in 1972, The Bookplate Society was founded, Dorling was one of the first to join. 

For Granville Barker, by Max Beerbohm c. 1920.

Arthur Dorling's collection of bookplates and related material reflects his long involvement with The Society and his love of bookplates plates of all kinds. The plates are meticulously arranged with Dorling's preliminary notes on the history and collecting of bookplates, bibliographical information, and indexes of plates by artist.

This is one of the most spectacular bookplate collections to come to market in many a year. Collectors who, hitherto libris, do not look into it will, henceforth, be considered ex-libris.
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All images courtesy of Bonham's, with our thanks.
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Of related interest:

Virginia Library Serves Up Bookplate Special.

The Man With The Bookplate Jones.

Authentic G. Washington Bookplate Comes To Auction.
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Visit:

 The Bookplate Society.

The American Society of Bookplate Collectors and Designers.

The Australian Bookplate Society.

International Federation of Ex Libris Societies.
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The Printer (1568)

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by Stephen J. Gertz

Der Buchdrucker (The Printer).
From the "Ständebuch" (Book of Trades).
Frankfurt am Main, 1568.

Commonly known as the Ständebuch (Book of Trades), this, the first Latin edition of Panoplia, contains 132 woodcuts by Jost Amman, eighteen more than the first German edition of the same year.

The work is as much a social history as anything else. Social status plays a role but the primary emphasis is in praise of the handwork of the artisan class.

"In gathering, amending and amplifying a diffuse conglomeration of images Amman established a completely objective mode of picturing craft genre, free of contextual purpose other than the work itself. This is in marked contrast to both earlier religious and secular uses of genre scenes, and to contemporary low-life scenes, which, despite their probable antique origins, remained grotesque mimics of a limited range of social behavior. Amman’s pictures were intended as illustration for a curious public, as an informative record of local customs, and as a visual adjunct to a text which primarily encouraged the Protestant work ethic. They were not caricatures or vulgarizations, but semi-scientific documentation combining several old and serious methods of viewing daily labor. They thus isolated the work scene as autonomous branch of art, and gave it a new purpose as an independent subject. They act as a turning point between the religious genre of Peter Aertsen, or the low-life scenes of the Flemish and Italian satiric painters and popular printmakers, and the sober, realistic genre painting of the Carracci and their followers" (Rifkin, B.A. Introduction to the Dover Edition, New York, 1973, p. xxxix).
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SCHOPPER, Hartmann (1542-1595) and Jost Amman (1539-1591). Panoplia. Omnium illiberalium mechanicarum aut sedentariarum artium genera continens. Frankfort  am Main: (George Rab for Sigmund Feyerabend), 1568.

First edition in Latin. Octavo. 148 unnumbered leaves 132 woodcuts.

Adams S-703. Colas I, p. 35. Becker 13b.
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Some Very Special Bindings From Gwasg Gregynog Press

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THOMAS. R.S. Laboratories of the Spirit.
Newtown: Gwasg Gregynog, 1976

Number 5 of 15 copies signed by the author
and specially bound by Sally Lou Smith.

Crushed blue levant morocco (signed "S.L.S."), with morocco
onlays and gilt tooling, t.e.g., publisher's morocco solander box.

Esslemont and Hughes 01.

A rare cache of specially-bound books published by Gregynog Press/Gwasg Gregynog Press is coming to auction at Bonham's, March 27, 2012

THOMAS, Dylan. Deaths and Entrances.
Newtown: Gwasg Gregynog, 1984.

Number 14 OF 18 specially bound by James Brockman.  

Morocco with an abstract landscape design of brown morocco with
blue, grey, green, and yellow inlays with gilt blocked decoration, g.e.
Preserved in publisher's velvetine-lined morocco-backed solander box.

Esslemont and Hughes 9.

The  nine lots  include bindings by masters James Brockman, Sally  Lou  Smith, Alan  Wood,  and Desmond  Shaw.

WILLIAMS, Kyffin (illus.), ROBERTS, Kate.
Two Old Men and Other Stories.
Newtown, Gregynog Press, 1981

Number 12 of 15 specially bound copies by Desmond Shaw
with the frontispiece hand-colored by the artist.

Red morocco (signed "D.S."), in a Welsh landscape design
with cottage and stone wall after Williams.
In original velvetine-lined book box.

Esslemont and Hughes 5.

The Gregynog Press was established in 1922, the brainchild of two sisters, Gwendoline and Margaret Davies. Located at their house, Gregynog Hall, in rural mid-Wales, during the next eighteen years the Press gained a reputation for producing limited edition books of the highest order and ranked alongside the leading Private Presses of the day.

WHITMAN, Walt. Wrenching Times.
Newtown: Gwasg Gregynog, 1991

Number 6 of 30 specially bound copies.

Publisher's full calf, with an all design of mountains beneath
a blue sky made up of coloured morocco onlays.
Publisher's fabric-lined solander box.

Re-established in 1978 under the Welsh title Gwasg Gregynog, the Press continues the traditions of its founders, and in January of 2002 was registered as a charity.

REES, Joan Bowen (ed.). The Mountains of Wales.
Newtown: Gwasg Gregynog, 1987.

Number 6 OF 20 copies specially bound by James Brockman.

Transparent vellum boards with abstract design of colored morocco overlays,
preserved in original velvetine-lined quarter morocco solander box.

Esslemont and Hughes 16.

Gwasg Gregynog integrates the traditional crafts of hot-metal typesetting, letterpress printing and hand-binding by the finest craftsmen, into books featuring illustrations by leading contemporary artists, printing on handmade and mould-made papers, and the finest binding materials.

TAYLOR, Armold. Four Great Castles. Caernarfon. Conwy. Harlech. Beaumaris.
Newtown: Gwasg Gregynog, 1983.

Number 11 OF 15 copies specially bound by James Brockman.

Morocco gilt by James Brockman, with all-over design of castle battlements
in gilt and coloured morocco inlays, t.e.g. In original velvetine-lined quarter
morocco book box.

Esslemont and Hughes 7.

The private press books of Gwasg Gregynog are amongst the finest currently produced. While the intricate bindings of the specially-bound copies present a  visual feast, the books themselves display beauty and harmony and are designed not only to be read but to delight the senses, as well.

PARRY, Robert Williams. Cerddi,
Newtown: Gwasg Gregynog, 1980.

Number 14 of 15 copies specially bound by Sydney Cockerell
after a design by Joan Rix Tebbutt.

Green crushed morocco (signed "J.S."), the upper cover with a flower
pattern tooled in blind and gold, t.e.g., publisher's felt-lined book box.

Esslemont and Hughes 4.

The goals of the original Gregynog Press, as declared by the Founders, were:

• To introduce and encourage fine printing in Wales.
• To print certain literature, in both English and Welsh, which relates to Wales and  the Welsh, and which has been hitherto unavailable except in rare volumes.
• To print editions of the English Classics.
• To bind all work at the Press Bindery.


WILLIAMS, Kyffin. Cutting Images.
A Selection of Linocuts by Kyffin Williams.
Newtown, Gwasg Gregynog, 2002.

Number 14 of 20 copies specially bound by Alan Wood
after a design by Williams.

With an additional suite of 9 linocuts all numbered and signed by the artist,
preserved in publisher's solandar box case designed by Williams.

As for  the  Press's  resurrection, "the  moving  force  in  recreating  Gwasg Gregynog  was  Glyn Tegai Hughes…In 1969, with  encouragement  from  the  Welsh  Arts  Council, a  Gregynog  Fellowship was established…Subsequent  Gwasg  Gegynog  books,  produced  under the  direction  of  Eric  Gee,  with assistance of Daivd Vickers, have also included attractive work…" (Cave, R. The Private Press, p. 242, 2d ed.).

ESCHENBACH, Wolffram von.
The Romance of Parzival and the Holy Grail.
Newtown: Gwasg Gregynog, 1990

Number 10 OF 15 copies specially bound by James Brockman.

Limp calf suede with covers interlaced with stained vellum straps
laced through the covers with tablets of wood, bone and enamelled metal
 on spine.

Preserved in publisher's silk-lined solander box.

Esslemont and Hughes 21.

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Images courtesy of Bonham's, with our thanks.
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Scarce Copy Of "The Blind Pugilist" Sees Light of Day

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by Stephen J. Gertz


"Every boy has a hobby, and my hobby was fighting," so says Philadelphia boxer, cigar store owner, and sometime dog trainer Ellwood McCloskey (1872-1927), known as "the Old War Horse of the Prize Ring," in The Blind Pugilist, a promotional memoir rich with vivid anecdotes of his days in the ring, his training regimen (maintained despite  going blind and retirement in 1901), and his professional record. It is an extremely rare piece of boxiana, not found in R.A. Hartley's History and Bibliography of Boxing Books.


Garrett Scott, a rare bookseller located in Ann Arbor, Michigan with a sharp, fully-functional eye for heteromorphic literature, i.e. books deviating from the norm, scores a knockout for finding this forgotten and extremely rare little book. From my perspective, it's a main event, eye-opening fisticuffs with handcuffs on the eyes.


"I never 'jobbed' or quit; nor was I ever knocked out. I also defy anyone to refute this latter statement. I simply quit my profession because of losing my eyesight, as at present I am totally blind. In addition, let me say that I did not have to quit because I was a 'dead one' or a 'has been.'"


According to BoxRec, Ellwood "The Old War Horse" McCloskey's professional boxing record, 1895-1901, was 81 fights, with 26 wins, 32 losses, 20 draws, and 3 no-contests. This is far from a sterling record. McCloskey, a Lightweight, was, apparently, indeed so. And, despite his no-knockouts claim, he took the horizontal express and landed on Dreamstreet, boxing's boulevard for the out of this world, three times.


He fought Kentucky Rosebud, Billy Whistler, and Jimmy Simister three times each. He was in the ring with Crocky Boyle, Yock Henninger, Marty McCue, Eddie Lenny, Patsy McDermott,  Young Starr, etc.

Between Rounds by Thomas Eakins, 1898-99.
McCloskey is seen in corner, overlooking Bill Smith.

In addition to his career in the ring, McCloskey played a small role in American art, appearing in Philadelphia artist and fight fan Thomas Eakins'  Between Rounds (1898-99). McCloskey is seen working as a corner man overlooking local featherweight Billy Smith in 1898. McCloskey corralled other boxers to pose for Eakins, who had set up a boxing ring in his studio. Ellwood was a firm wrangler who took no nonsense from recruits: "Hey, you son of a bitch, haven't you got a date to pose for Mr. Eakins? Come on now, or I'll punch your goddamn head off" (Goodrich, Lloyd. Thomas Eakins His Life and Work, Vol. II, p. 145).

Pittsburgh Press December 15, 1912.

In 1912, Ellwood McCloskey, now totally blind, returned to boxing for an ad hoc bout, decking C.J. Dunn, who, while patronizing McCloskey's cigar store, insulted Mrs. McCloskey. Dunn was hospitalized in the aftermath of the aspersion.

In a sign of the times, it was Dunn who was charged with a crime, not McCloskey, who, despite having been a professional boxer and not directly threatened by Dunn, was deemed the innocent party. Insults to a man's womenfolk were not countenanced by contemporary standards.

Lawrence Journal-World May 31, 1923

Pete Herman.

Herman Gulotta (1896-1973), fighting as Pete Herman aka Kid Herman, fought his last sanctioned bout in April of 1922; he had been going blind for a while and, after treatment returned sight to one eye in 1923, apparently returned to the ring. He ultimately went totally blind. 

Sam Langford.

 Ellwood McCloskey and Pete Herman were not the only blind pugilists. Sam Langford, "The Boston Terror," is considered to be "the greatest fighter to never win a world boxing championship....He was the most avoided fighter in the illustrious history of boxing. Despite often being outweighed by 20 to 50 pounds in many of his fights, he scored more knockouts than George Foreman and Mike Tyson combined. Fighting from lightweight to heavyweight Sam Langford took on all the best fighters of the first two decades of 20th century. He spent the last years of his fighting career virtually blind where the bulk of his losses occurred, although he still won a number of fights impressively by knockout. He was an amazing fighter. His record was 214-46-44, 16 no decision, 3 no contest with 138 KOs" (Monty Cox, Cox's Corner Profiles).

The grim novelty spectacle of a blind man in the boxing ring has not passed.

Ramathan Bashir (r), the blind pugilist of Naguru, Uganda,
here sparring with a blindfolded opponent.

"Ugandans will for the first time witness a boxing contest for the blind at a major contest on Boxing Day. The rare amateur fight will feature Uganda's Ramathan Bashir and Tanzania's Simon Peter Makalebera at Stillight Beach, Mukono...

"Bashir, 29, a former striker with the defunct Sambaya FC of Naguru turned to boxing after losing his sight seven years ago.

"The East Coast Boxing Club blind pugilist has been regularly featuring in exhibition fights against blind-folded opponents during charity concerts at the International School of Uganda in Lubowa. The local amateur boxing body UABF has already given green light for the contest.

"'This man (Bashir) is a true boxer, we have no problem. Provided he is in good shape, the fight should go on,' observed the local amateur boxing body's secretary Simon Barigo" (Blind News, December 16, 2009).

His trainer is presumed to be the Anne Sullivan of boxing, the miracle worker if ever there was one when boxers are blind, and deaf to reality.

And if you find another copy of The Blind Pugilist, another miracle.
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McCLOSKEY, Ellwood. The Blind Pugilist. N.p. [Philadelphia]: N.p. [by the author?], n.d. [late 1920s]. Third and hitherto unrecorded edition. Sixteenmo. 32 pp. Photo-illustrations. Pictorial wrappers.

"This book written in 1915. No Revisions or Additions made since, with exception of back cover." 

With an advertisement from McCloskey on the inside rear wrapper thanking his wife and urging all who pity him to patronize the cigar store she operates for the family. He alludes to his mother having been dead some ten years, placing this sometime later than 1925. 

The outer rear wrapper records that, "These pictures were taken February 1st, 1916," and further notes  "The Blind Pugilist and his little pupil give 'Boxing Exhibitions' throughout the country." 

OCLC notes one copy (Chicago History Museum) under title, Ellwood McCloskey the blind pugilist and his pupil James McCarty: Starting an Exhibition of Boxing (1916). Only two copies of the second edition, under the title  Ellwood Stanislaus McCloskey, issued in 1917, are located, at Harvard Medical School and Notre Dame.  
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Book images courtesy of Garrett Scott, Bookseller, with our thanks.

Image of Pete Herman courtesy of BoxRec, with our thanks.

Image of Ramathan Bashir courtesy of Demotix, with our thanks.
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The Floating World Of Japanese Erotica At Christie's

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by Stephen J. Gertz

ANONYMOUS. Haru no Karitaku. [c.1860s].
11 full-page and 5 double-page color-printed woodcut
illustrations, and 8 full-page uncolored woodcut illustrations.

[With:] ANONYMOUS. Hana no Sakigake. [c.1860s].
11 full-page and 5 double-page (one of which folding)
color-printed woodcut illustrations, and 8 full-page uncolored
woodcut illustrations, extra-illustrated with an ink and wash
sumi of Daikoku holding his mallet at end.

Together, 2 volumes, 8° (185 x 125mm).
Original wrappers (front wrapper to Haru no Karitaku.
Housed in a modern blue cloth box. (2)

Estimate: £1,000 - £1,500 ($1,566 - $2,349).

A group of rare shunga, including one by Katsushika Hokusai (1760 - 1849), the great master of Japanese erotic art, is being auctioned by Christie's - South Kensington in their Fine Printed Books sale March 21, 2012.

The three lots represent some of the finest shunga ("Spring Pictures") produced in the Ukiyo-e ("Pictures from the Floating World") wood block print style popular between the 17th and 20th centuries.

KUNISADA, Utagawa (1785-1865). Shunka shuto, Shiki no nagame
[In Praise of Love (in the Four Seasons)]. [1827-1829].
4 volumes, 8° (259 x 175mm). Colour-printed titles, 30 double-page
color-printed woodblock illustrations. Original decorative wrappers.

Estimate: £1,800 - £2,000 ($1,819 - $3,132).

Shunka shuto, Shiki no nagame, by Utagawa Kunisada (Tokokuni III, 1786 - 1865), the most popular and certainly nineteenth century Japan's most financially successful artist, is "a truly remarkable production...

KUNISADA, Utagawa (1785-1865). Shunka shuto, Shiki no nagame
[In Praise of Love (in the Four Seasons)]. [1827-1829].

"...distinguished not so much for the designs, which follow a fairly predictable pattern of generally violent love scenes, portrayed with a coarseness all the more repellent on account of Kunisada's skilful realism, but for the amazing technical brilliance of the print-makers" (Hillier, The Art of the Japanese Book, p. 901).

[HOKUSAI, Katsushika (1760-1849)]. Ehon Futami-gata
[Erotic Book of Conjugal Eddies]. [c.1802-4.]
3 volumes, 8° (215 x 152mm). 21 double-page and 6 full-page
color-printed woodblock illustrations.  Original blue paper wrappers.

Estimate: £3,000 - £5,000 ($4,698 - $7.830

"It is only by rare good chance that a Shunga as rare, or as closely guarded, as Ehon Futami-Gata, is likely to be seen at all" (Hillier, p. 507).

That rare good chance is now.

[HOKUSAI, Katsushika (1760-1849)]. Ehon Futami-gata
[Erotic Book of Conjugal Eddies]. [c.1802-4.]
3 volumes, 8° (215 x 152mm). 21 double-page and 6 full-page
color-printed woodblock illustrations.  Original blue paper wrappers.

Estimate: £3,000 - £5,000 ($4,698 - $7.830).

"The scene of the robber raping a woman whose husband he has tied up and whom he taunts with the point of his sword, is one of the most horrifying of any shunga of the period ... But the malevolent, black-clad figure of the robber is truly monumental and one of the most memorable images of the shunga even of this period" (Ibid., Hillier).


"Coming from a world where nudity was not necessarily perceived as erotic because of communal bath-houses, most shunga depict fully- or partially-clothed sex. This allows the print-makers to produce rich, colourful textures, and the artist to load the apparel with symbolism and help the reader identify various stock characters, such as courtesans, by their dress. Since shunga tend to depict a series of sexual tableaux, rather than a continuous narrative, each double-page scene is self-contained with the story printed as part of the background, and various symbolic props used as narrative devices. The genitalia are usually exaggerated and distorted, with the positions awkward or unrealistic, if not impossible, satisfying both a requirement for the sexually explicit and artistic composition.

"The demand for shunga meant that most ukiyo-e artists -- including the highly talented -- were drawn to the genre as the commissions that could be generated were far greater than for standard work. Interestingly, although there is little evidence that producing shunga damaged an artist’s standing, few signed their work" (Julian Wilson, Conjugal Eddies in the Floating World).


Ehon Futami-Gata (Erotic Book of Conjugal Eddies) has only recently been attributed to Hokusai, by Hayashi Yoshikazu (1981) and Hillier (1987). It is now considered to be foundational to the development of Hokusai's erotic art from his early works of the Shunro period, 1779-1794, through to his later masterpieces.

No, Conjugal Eddie was not a Japanese porn star, 
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Images courtesy of Christie's, with our thanks.
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Rare Holocaust Books & Art Come To Auction

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by Stephen J. Gertz

The Mass Extermination of Jews in German Occupied Poland. London: Hutchinson, [1943].
Octavo (216 x 140mm). 16 pp, printed in red and black.

Estimate: £500-£800 ($785-$1256)

A rare cache of nine books, including a very early official report of the Holocaust addressed,  in 1943, to the impotent League of Nations, exposing the extermination of Jews in Poland by the Nazi occupiers, is being offered today, March 21, 2012, at Christie's Fine Printed Books sale.

The report was based upon the brave work of Jan Karski-Kozielski, a Polish Government emissary in occupied Poland, who bribed his way into a German concentration camp and witnessed the mass extermination of Jews. The report was written in 1942 and printed in 1943 on behalf of the Polish Ministry of Foreign Affairs "In the hope that the civilised world will draw the appropriate conclusion, the Polish Government desire to bring to the notice of the public, by means of the present White Paper, these renewed German efforts at mass extermination, with the employment of fresh horrifying methods."

HASS, Leo (1901-1983). 12 puvodnich litografii z nemeckych
koncentracnich taboru.

[12 Original Lithographs from the German Concentration Camps.]
Prague: Svaz Osvobozenych Politickych Venzu, 1947.
Oblong 2° (343 x 480mm). 12 lithographs.
Original printed paper wrappers.

Estimate: £2000-£3000 ($3140-$4710).

A fine copy of Leo Hass' 12 puvodnih litografii z nemeckych koncentracnich taboru, a collection of images illustrating life in Auschwitz, is part of the cache. It is signed by Czech poet, essayist, translator, and resistance fighter, Frantisek Halas.

Leo Haas was an important Czech-Jewish graphic designer and book illustrator of who survived Terezin, Auschwitz, and Mauthausen where he was classified as a political prisoner. This is an extremely rare volume, with only four copies recorded by OCLC.

MATOUSEK, Ota (1890-1977).
Krezby Z Koncentraku: 61 Puvodnich Litografii.
[Drawings from a Concentration Camp: 61 Original Lithographs.]
Prague: Sdruzeni Jihoceskych Vytvarniku, 1946.
Quarto (307 x 208mm). 61 lithographs.
Original linen-backed boards.

Estimate: £2000-£3000 ($3140-$4710)

A fine first edition, limited to 200 copies signed by the artist, of Ota Matousek's Krezby Z Koncentraku: 61 Puvodnich Litografii (Drawings from the Concentration Camp), features sixty-one lithographs of everyday life at Flossenburg concentration camp.

Matousek was widely exhibited in Central Europe in the 1920s and 1930s. In 1943 he was arrested by the Gestapo and sent to Flossenburg. After liberation a set of images depicting everyday life in the camp was exhibited in Prague. Only two copies are recorded by OCLC.

STIBOR, Bohumil. Soubor Drevorytu Z Koncentracniho Tabora.
[N.p.]: by the author, 1946.
Oblong octavo (300 x 210mm). 10 woodcuts.
Original paper wrappers by Emil Spongl.
Provenance: Bohumil Stibor (inscription dated 1946).

Estimate:  £1000-£1500 ($1570-$2355).

Soubor Drevorytu Z Koncentracniho Tabora, a collection of ten woodcuts privately printed by artist Bohumil Stibor and bound at the Emil Spongl bindery in the town of Pelhrimov, Bohemia in March, 1946, will also fall under the hammer. A fine copy inscribed by Stibor, the book is quite rare, with only two copies recorded in Worldcat and none in Copac.

TUMA, Mirko. Ghetto Nasich Dnu. [Ghetto of Our Days].
Prague: Salivar, 1946. Octavo (257 x 180mm). 12 plates.
Original printed wrappers.

Estimate: £500-£800 ($785-$1256.

An excellent copy of Mirko Tuma's Ghetto Nasich Dnu (Ghetto of Our Days), his personal account of daily life in Terezin concentration camp, with illustrations by Leo Haas, his friend and fellow captive, is another rare literary and artistic spark to emerge from the Holocaust's flame.

During his three and a half years in the Czech ghetto, better known by the German name Theresienstadt, Mirko Tuma wrote numerous poems, translated Shakespeare's Measure for Measure, and adapted Calderon's The Judge of Zalamea. After the war he emigrated to the U.S.

From: Ghetto Nasich Dnu.
Illustration by Leo Hass.


Material of this nature, of this quality, in this condition rarely comes into the marketplace in multiple lots within one auction sale. This is an unusual opportunity to "never forget" with unforgettable books.
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Images courtesy of Christie's, with our thanks.
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Fran Lebowitz On Book Collecting

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by Stephen J. Gertz


Fran  Lebowitz,  whose  debut  collection of devastatingly witty essays,  Metropolitan Life (1978), and  its  companion,  Social Studies (1981), put her on the literary star map as a latter-day Dorothy Parker,  and whose  subsequent "writer's  blockade" has   become  the most celebrated case of scribe with blank slate in recent - and, perhaps, since ancient - history, does not need an excuse to talk about books and reading.

In an interview-essay from 2010,  Fran Lebowitz on Reading, that has not received the broad attention it deserves, she discusses, amongst other things, rare books and their collection.

"I'm not a collector," she says. "I don't care about things like that. I'm not a collector because I'm not that organized. I'm not grown-up enough to collect things."

"But," she adds. "I have acquired a stellar collection of odd books, weirdo books, books that don't fit easily into categories."

A category, however, that her odd books do easily fit into is heteromorphic literature, a broad, all encompassing genre that, under this name has a nice, academic gloss that lends credence to their collection and study. The common alternative is Weirdiana. In Lebowitz's case, perhaps Oddiana is the proper category.

"I have a very small but choice collection of books about the Masons, the Odd Fellows and the Elks. I particularly like Odd Fellows books. They're a little harder to find… You don't hear about the Odd Fellow much any more. I looked them up in the telephone book here but I guess in New York you don't need a separate listing for Odd Fellows."

Though she can be bitingly caustic she is invariably polite, so it should come as no surprise that she is a fan of a certain arbiter of the social graces.


"I collect Emily Post. I think I have everything of hers but I don't keep up with the revised editions. I have a book called Manners for the Millions [1932, in three different editions], which is a manual for immigrants to the United States. Emily Post may tell you how to properly address a Colonel, this tells you not to wipe your nose on your sleeve."

Many careers as a rare bookseller have begun when personal collecting got out of hand and insanity prevailed.

"I was once in Cleveland on a book tour and a bookshop there had just bought the library of a parochial grammar school and they were selling the books for ten cents a pound. There were these big meat scales. I went crazy…For about thirty dollars I bought eight thousand books.

Beware the parent whose personal habits and dire influence can lead children astray and onto a dark path for life.


"My mother was a big bookworm. Not a bibliophile. My mother got me into what has been for my entire life certainly what could be called my drug addiction: the reading of detective stories. I read five or six a week and must have eight billion of them…I suppose I read them for the atmosphere or the characters but I read them like a drug. I read them instead of taking heroin."

Don't imagine that Fran Lebowitz is a literary snob:

"I love trash. I like Jacqueline Susann and the early Harold Robbins. I love Jackie Collins."

She also has an interest in smut.

"I have a pornography collection. It's not a huge one. The really good stuff is too expensive for me. I wrote some for a company called Midway Press...

"The first one I wrote myself and it was called House of Leather...Then I wrote two or three others with about five people...My copies of these books are gone and I'm not looking for them. I have a finicky aversion to buying second hand pornography because I know where it's been."


Her reading and collecting interests are not confined to detective fiction, weird books, etiquette manuals, and porn.

"I would say that if I collect anything literary I collect O'Hara first editions, not that they're that hard to find. Each printing was about eight billion. O'Hara is a really important American writer and a really overlooked one."

On the life of a dedicated reader frittering away precious time, Fran has this to say:

"I would rather read than have any kind of real life, like working, or being responsible...All the things that I never did because I was reading, so what? If someone said to me, how did you spend your life? I'd have to say, lying on the sofa reading."

Fran Lebowitz's relationship to books is intimately overt.

"...When I was a very little child after I'd read a book I really liked I'd kiss it. Love is really the word... Children have emotional relationships with inanimate objects...The way a child makes a person out of a doll, which I never did, I made people out of books."

It is always comforting to be surrounded by loved ones.
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Read the full interview here.

This interview, and others with Diana Vreeland, John Waters, Susanna Moore, and Albert Murray, appears on the website I recently discovered for an impressive book shop in Harlem, NYC, The Private Library. They appear in the website's section, The Well-Dressed Bibliophile. I have devoured everything on those pages; a very tasty meal.
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If you haven't seen Public Speaking, Martin Scorsese's 2010 HBO documentary about Fran Lebowitz, why not? It's now available on DVD.

Here's the trailer:



She is the consummate New Yorker-Smart-Funny-Yakker. I watched it three times in a row.
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Beautifully Illustrated Erotic Manuscript Brings 10 x Estimate At Christie's

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By Stephen J. Gertz


Das Buch der Venus vulgivaga, (The Book of Venus Vulvigaga) an illustrated erotic manuscript from c. 1910, was the headliner at Christie's Fine Books Sale on March 21, 2012.

Estimated to sell for £800 - £1,200 ($1,269 - $1,903), it fell under the hammer for £15,000 ($23,805, incl. premium), a startling result.

Attributed to Fridericus Styrus and extensively and richly illustrated with 165 gallant and erotic drawings in pen, ink, and watercolor, the quarto manuscript, with tentative place of origin Graz, Austria, is written in black ink in a neat cursive hand on 199 pages, and bound in contemporary quarter red morocco.


The text, with a deft, delicate touch, considers various and diverse erotic themes. Women's shoes and feet are fetishized; the female netherland is discussed with variations illustrated; and a cavalcade of copulation postures populate some of the leaves.

How does an auction item wind up exceeding its estimate by over a factor of ten?


"The estimate was always ‘come and get me’ but still: the market for quality filth seems strong," Sven Becker, Associate Director and Book Specialist at Christie's, told Booktryst.

And fresh, highly attractive, artful material, new to the marketplace, will always find a comfortable home.

The Newberry Library holds a similar, shorter manuscript in its Special Collections, 4th floor, call number VAULT Wing MS 138.


Christie's was kind to provide Booktryst with multiple images from Das Buch der Venus vulgivaga but, while quite artfully executed and quite charming, a few are so charming that I've  left them out of this report. My 85 yr old mother reads Booktryst and I'd like her to make to 86 without dying from charm.


The "Omnipotent Rose," above, with its sturdy stalk, is, amongst the explicit, original illustrations within the manuscript, probably the least objectionable to those of sensitive nature; perhaps a little worse for the "where in the world, Stephen," my mother will likely make it through without incident.
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Images courtesy of Christie's, with our thanks.
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Of related interest:

The Floating World of Japanese Erotica At Christie's.

The Celebrated Stable of Erotica Writers, Part I.

The Celebrated Stable of Erotica Writers, Part II: The Perp Walk.
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The 2000 Year Old Man Talks Rare Books

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by Stephen J. Gertz


At the recent 45th California  International Antiquarian Book Fair, the 2000 Year Old Man, the oldest rare book dealer in the history of the world, exhibited for the first time.

Booktryst had an opportunity to talk to him in the exhibitor hospitality suite.


SJG: Excuse me, Sir, is it true that you're the oldest living rare book dealer in the world?

2000 Year Old Man: Yes, I've been selling rare books since twelve.

SJG: Twelve years old?

2000 YOM: No. 12. The year.

SJG: You started early.

2000 YOM: Six months.

SJG: The year?

2000 YOM: No, age. There was no such thing as childhood when I was a kid. You were born, you were weaned, you went to work. I was an apprentice 2000 years before I went out on my own, in 12. There's a lot to learn.

SJG: So, you're actually 4000 years old?

2000 YOM: Yes, but it creeps-out the chicks so I lie. 2000 years old, they can live with.


SJG: What rare book shop did you serve your apprenticeship in?

2000 YOM: The rare book shop where I served my apprenticeship was Between the Scrolls. It was that or The Scroll Shop LLC, Lux Scrollis, Scroll Hunter's Holiday, or Scrolls R Us. I went with Between the Scrolls.

SJG: Why?

2000 YOM: Lots of action. There was always something going on.

SJG: Tell us about a typical day at Between the Scrolls..

2000 YOM: Oy, you wouldn't believe. Caesar and Cleopatra. Anthony and Cleopatra. Always between the scrolls, making out. No shame. No shame at all.

SJG: Who was the worst?


2000 YOM: Lipschitz and Cleopatra.

SJG: Lipschitz?

2000 YOM: Maximus Gaius Cornelius Murray Lipschitz. The general who became a slave! The slave who became a gladiator! The gladiator who became a dentist with a lucrative, high-end practice catering to the  patrician class! A great book collector, by the way.

SJG: What did he collect?

2000 YOM: Hammurabi first editions. Very heavy reading.

SJG: Deep intellectual content?


2000 YOM: No, two tons. They wrote on rocks in those days. You could get a hernia just turning a page. I once read Tolst-Oy bin Riten's 1782 B.C. classic, War and War, in it's first edition, on polished granite in a fine cuneiform hand, in a contemporary full coral and cobalt Travertine marble binding. A work of art. But heavy. Oy! I tore my rotator cuffs to shreds trying to flip to the index.

SJG: How were they shelved?

2000 YOM: Shelved? There were no shelves. You bought a book, it was delivered by cart, and slaves shlepped it into a pile in a corner of  your living room, next to the Barcolounger.


SJG: Who were your favorite authors in those days?

2000 YOM: Well, you know, there wasn't much to read way back then.

SJG: No?

2000 YOM: Nah. You had grainary reports, accounting ledgers,  royal victory propaganda...Nothing to read at the beach. Feh!

SJG: So, what did you read?

2000 YOM: Trash. I loved reading trash.

SJG: Why did you love reading trash?

2000 YOM: There was no shortage of it. Coffee cups, MacDonald's wrappers, bills, coupons, collection notices, empty cereal boxes, you name it. Where's there's people, there's trash.


2000 YOM: I draw the line at garbage, though. I won't read garbage. Yeccchhh!

SJG: What about later? Who did you read later?

2000 YOM: Oh, there was Pliny -

SJG: - The Younger or Elder?

2000 YOM: Younger, Elder, in between. Plenty o' Pliny. Good and Pliny. Couldn't get enough Pliny.


SJG: Did  you read Agricola?

2000 YOM: Read Agricola? I drank Agricola! It's the perfect beverage. The essence of the cola nut combined with notes of Spring crops. Very refreshing.

SJG: Carbonated?

2000 YOM: Of course, naturally. They threw a little activated carbon in there to purify it. You could die from the water back then.

SJG: Let's get back to your book shop.

2000 YOM: You have a time machine?

SJG: What was the oldest, rarest book you ever bought?


2000 YOM: The oldest, rarest book I ever bought was The Book of Moses.

SJG: First edition?

2000 YOM: Better. Original manuscript with corrections in his own hand.

SJG: I thought there were five books of Moses.

2000 YOM: There were but Moe only wrote the first one.

SJG: Really?


2000 YOM: Sure. He started the second, got a bad case of writer's cramp and that was that. You try writing with a stick. If he had a nice Bic pen, another story altogether but there you go.

SJG: Who wrote the others?

2000 YOM: Well, aside from Moe there was Larry, Curly, Shemp, and Joe.

SJG: The Stooges?

2000 YOM: Stooges of the Lord, to you. Don't be a wisenheimer.

SJG: What did it sell for?

2000 YOM: I haven't offered it until now. I've kept it in a vault since I bought it.


SJG: When did you buy it?

2000 YOM: I bought it in 452. A rich collector needed a little quick cash to get out of Rome before Attila the Hun showed up.

SJG: How much are you asking?

2000 YOM: 100 million dollars.

SJG: That's a lot of money.

2000 YOM: But free shipping and passes to Disneyland included!

SJG: What, if you don't mind my asking, did you pay for it back then?

2000 YOM: Back then I paid 500,000 shekels.

SJG: What's that in today's dollars?

2000 YOM: $17.50.

SJG: My goodness, that's not very much money for the original manuscript to the first book of the greatest work ever written, one that's influenced millions and millions and millions of people since it first came out.


2000 YOM: I could of done better. If I'd known it was going to be such a great big huge success I could have gotten it direct from Moe for practically nothing.  It was originally rejected by  all the publishers;  too many begats, not enough sex and violence. He never thought it would catch on. I could have gotten his desk, too. A robe. Who knew? I could kick myself.

By the way, who do you have to shtup to get a piece o' rugelach around here? They got pretzels up the keister, nuts, candy, some kind of mystery canapé but not a single prune rugelach.

SJG: Did you have any celebrity clients?

2000 YOM: Oh, yes, yes, yes, indeed, of course, I had many, many celebrity clients.

SJG: Who was your most interesting celebrity client?

2000 YOM: My most interesting celebrity client was King Solomon.

SJG: The King Solomon?

2000 YOM: There was another one? First time he came in, he was with a real geszunta moid, a very healthy maiden, if you know what I mean. Zaftig. Such a punim. He says, "I'm King Solomon." I couldn't believe it.

My wife says, "Right, and I'm the Queen of Sheba."

And the gezunta moid says to her, "No, I am. Really."


SJG: Wow, that must have really been  something.

2000 YOM: Oh, boy! You don't know the half of it. They both wanted the same book.

SJG: What book was that?

2000 YOM: When Bad Hittites Happen To Good Hebrews. A romance novel with a message.

SJG: What happened?

2000 YOM: They were fighting over it. Finally, I took an axe, chopped the book in two, and gave them each half.

"You should be so wise," Sheba said to Sol.


SJG: Speaking of wisdom, why, after all these years, are you only now exhibiting at an antiquarian book fair"

2000 YOM: I saw the sign outside, Antiquarian Book Fair. I figured,  I  sell books; who's more antiquarian than me? I'm the most antiquarian bookseller you'll ever meet.

SJG: You certainly are, Sir. 4000 years old.

2000 YOM: Shhhh! Keep it down. I got my eye on that chick over there. She reminds me of one of my ex-girlfriends.

SJG: Who was that?

2000 YOM: The Empress Messalina. I love it when women wear glasses.

SJG: Why is that?

2000 YOM: When they take them off, it sends me.

SJG: Let's not go there.

2000 YOM: Why not? I'm still vital. I'm a very vital guy.

SJG: You're certainly an inspiration, Sir. Do you have any advice for book collectors?

2000 YOM: Yes! My advice to book collectors is to not buy rare books on rocks.

SJG: Do you have something against geology?


2000 YOM: I love geology! Geology's wonderful. It's my favorite of all the ologies. But rare rock books? You could give yourself a rupture. Who needs it? Feh!
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Apologies, respect and admiration to Carl Reiner and Mel Brooks, who began as writers and whose early 1960s improv routine for friends at parties developed into a textbook on comedy. Individually and as a team they are American Treasures.

Here's a classic bit:


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Medieval Scribes Gripe About Writing

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by Stephen J. Gertz


Given contemporary physical conditions and tools, if you were a medieval monk or nun and knew how to swing quill and sling ink your take on writing was very likely much as Dorothy Parker's: "I enjoy having written." The process has always been somewhat grueling, the pleasure retrospective.


You didn't complain; the boss was God. You kept your mouth shut. But  has there ever been a writer who could be stifled without, at some point, rebelling, even if only surreptitiously, in the margins of leaves or on the colophon?


The latest issue of Lapham's Quarterly contains a short, delightful piece about the marginalia of medieval scribes, and Booktryst presents a sampler with verbal illuminations when clarification is necessary.

"New parchment, bad ink; I say nothing more."

Windows 8.


"I am very cold."

"While I wrote I froze, and what I could not write by the beams of the sun, I finished by candlelight."

Medieval monasteries were not known for their central heating systems and insulation. You wrote in a room that was, basically, the great outdoors with walls and a roof pretending to keep out drafts and cold.


"The parchment is hairy."

Well, no, the parchment wasn't hirsute. "The parchment is hairy" is a medieval proverb that means, on one of its multiple levels,"wasting time in fruitless labor," i.e. the scribe made a mistake and has to start all over again, or the scribe felt that the text wasn't worth time and effort. Or, good grief, related to nuns having abortions rather than being found out. There's more than meets the quill with this  ripe medieval phrase, as you'll learn here. It is deeply embedded in, and revealing of, medieval ecclesiastical culture.


"The ink is thin."


"Oh, my hand."


"Now I've written the whole thing: for Christ's sake give me a drink."

Until recently, that declaration and plea could have been written by many if not most novelists. In fact, it is likely that if certain writers couldn't have a drink until after they finished their novels, the books would have been written in half the time in an ardent sprint to the finish for ardent spirits.


"St. Patrick of Armagh, deliver me from writing."


One of the biggest hit songs of the 12th century was written by a scribe who knew the score. Had you turned on the radio you'd have likely heard, in Top 40 rotation, Colm Cille's Is Scíth Mo Chrob ón Scríbainn, a plaintive Celtic rap otherwise known as My Hand Is Cramped With Penwork

 
My hand is cramped with penwork.
My quill has a tapered point.
Its birdmouth issues a blue-dark
Beetle-sparkle of ink.
Wisdom keeps welling in streams
From my fine drawn, sallow hand:
Riverrun on the vellum
Of ink from green-skinned holly.
My small runny pen keeps going
Through books, through thick and thin
To enrich the scholars’ holdings:
Penwork that cramps my hand.

It apocryphally ends with the refrain:

My hand is cramped with penwork.
My quill has a tapered point.
Now I've written the whole thing.
For Christ sake roll me a joint.
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Illumination images courtesy of It's About Time, with our thanks.

Image of this lovely new recording of medieval Celtic lyrics, Songs of the Scribes, courtesy of Pádraigín Ní Uallachán, with our thanks. Listen to a sample of My Hand Is Cramped With Penwork, sung by Pádraigín Ní Uallachán, here.

Translation of Is Scíth Mo Chrob ón Scríbainn by Seamus Heaney.
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Suggested reading:


HAMEL, Christopher de. Scribes and Illuminators. London: British Museum Press, 1992.
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