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Just Say Da: Unique Rare Books With Original Russian Watercolors At Auction

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By Stephen J. Gertz

Original watercolor by Georges Kars Kralupy for David Golder.



Lot 192 is a singleton. a richly illustrated first edition copy of Iréne Némirovsky's (1903-1942) David Golder (Paris: 1929) featuring sixty-seven original watercolors by artist Georges Kars Kralupy (1882-1945).


Némirovsky is primarily known as the author of Suite Française, duet novels portraying life in France between June 4, 1940 and July 1, 1941, the period in which the Nazis occupied Paris.

After the author's death in Auschwitz the manuscript of  Suite Française was kept by her eldest daughter for fifty years until it was donated to a French archive that had it published: it became a bestseller in 2004. The present copy is no. 56 of a limited edition of 100 copies and is inscribed  by the artist to Robert Ellissen.

Original watercolor by Hermine David for Gourmont's Oeuvres.

Next up, lot 193 is a unique copy of the limited edition of Remy de Gourmont's (1858-1915) Oeuvres (Paris: 1930) elegantly illustrated with ninety-eight original watercolors by Hermine David (1886-1970). It, too, is inscribed to Robert Ellissen by the artist.


A trend is developing...


Is it the woman or the moon? It's both, lot 194, another unique and superbly illustrated book, no. 12 of a limited edition of only eighteen copies of Gil Robin's (1893-1967) novel Le Femme et la Lune (Paris: 1925).


It features sixty-eight original watercolors by Sonia Lewitska (1874-1937). 


Yet again, it is inscribed, here to Mme. Robert Ellissen by Lewitska.

Original watercolor by Alice Halicka for Tragédies de Ghetto.

Finally, artist Alice Halicka (1895-1975) illustrated lot 195, a copy of Israel Zangwill's (1864-1926) Tragédies du Ghetto (Paris: 1928), with fifty-seven original watercolors.


You guessed it: inscribed by the artist to Robert Ellissen.


Who were the Ellissens and how did they manage to get the artists to devote their time and talent to illustrate these books for them?


Robert Ellissen was the author of Le Gaz dans la vie moderne (1933); Les villes et l'Etat contre l'industrie privée (1908); Le Concours Sartine 1763-1766 (1922), and a translator. He and his wife were art patrons who befriended and aided the Russian and Eastern European artist-exiles who had emigrated to Paris to escape the anti-Semitism in their homelands, settled in Montparnasse, and established the 1918-1939 Judaic aspect of the Ecole de Paris, its heyday the 'Twenties.
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Images courtesy of Christie's, with our thanks.
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Troubling Questions In Stolen Book Of Mormon Case

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By Stephen J. Gertz

First edition, 1830.
Image courtesy of Toronto Public Library.

When the story of the theft of a first edition of the Book of Mormon broke this past May 29th many members of the Antiquarian Booksellers Association of America, the premier trade organization for professional rare booksellers in the U.S., were uneasy. "There is just a whole lot of bad in this story," was a comment left on Facebook by one. He was so right.

It was not just because the book was stolen. We take a very dim view of book thieves  yet drawing and quartering is no longer, alas, an accepted punishment option.

No, there were other, more compelling reasons for our discomfort.

There is only one reason why  rare book news hits the front page of newspapers and that is when a very expensive volume, worth at least six figures, is involved. Big money gets attention.

So it came as no surprise that major news sources picked-up a story about a stolen book declared to be worth $100,000. The fact that it was the Book of Mormon and that between Broadway and the Beltway Mormonism is receiving much public attention was certainly a factor. And, too, that the rare book dealer who owned it was an endearing 88-year old Mormon woman and poet.

Major money involved, eight law enforcement agencies, including the FBI, engaged in the hunt, a national dragnet to apprehend the thief and recover the $100,000 book.

But the book was never worth $100,000. At the time of the thief's capture the value of the book had declined to $40,000 with no explanation. But even that estimate was too high.

Auctions records reveal that since 2007 the average sale price for first editions of Book of Mormon has ranged from $40,000 to $60,000, the copies in not terribly good condition, per usual. Those sales, however, were for complete copies.

Mrs. Schlie's copy lacks fifty leaves (100 pages) and as such is near worthless as a collectible first edition. Law enforcement thought it was chasing a thoroughbred. It was actually hounding a dog.

Who excised those pages? Mrs. Schlie. For what purpose? To sell the leaves as "heirlooms."

Since the mid-20th century, when rare and antiquarian booksellers throughout the world organized national and international trade associations to establish professional standards and codes of behavior and ethics, the breaking-up of rare and valuable books to sell leaves or illustrations is not countenanced.  Not at all unusual in prior centuries before the trade matured, the practice is now shunned by all responsible and respectable booksellers.

Her copy, prior to removing the leaves, was worth, compared to other copies recently at auction, approximately $30,000.

"Concerned that the book was badly worn and that continued deterioration would end its inspiring mission, Helen consulted with experts at the Smithsonian Institute and the National Museum of Art. After much heart-felt prayer and consideration, Helen has determined that the best way to continue the journey of this copy of the Book of Mormon is to have the pages unbound and individually mounted in free-standing double-faced frames so that both sides can be viewed" (from Mrs. Schlie's website).

The most recent first edition copy of the Book of Mormon to come to auction fetched $45,000 at Bonham's-New York in 2010. The lower cover was detached, the leaves were browned and foxed, and the corner to one leaf was lost. Two years earlier, in 2008, a first edition copy with both covers detached, spine loose, and text block shaken sold at Sotheby's-New York for $30,000.

Mrs. Schlie's copy seems to be in like condition: a train wreck. But as most first edition copies are found in similar states of distress, prices remain healthy. Her copy was still viable as a collectible. If she wished her copy to continue its inspiring mission and journey the accepted and proper thing to do would have been to have it professionally restored preserving as much of the original binding as possible, or commission a preservation box to house and protect it as is to maintain what's left of its original integrity.

Based upon her price list for leaves, the initial estimation of the book's value, $100,000, is left in the dust. She is offering leaves for $2500-$4500 each. The book contains 588 pages (294 leaves). At the low of $2500, she can potentially reap over $735,000. Nice return on a book worth $30,000 before it was plundered.

Mrs. Schlie's underlying purpose in selling individual leaves is to raise money for Mormon missionary work. That is a worthy goal (though I suspect that the LDS Church is doing just fine, financially). But at what expense?

She is destroying a copy of the sacred text of Mormonism. As most extant copies (forty-three at auction since 1976; though rare it is not scarce in the marketplace) are in poor condition destroying her copy to preserve it was completely unnecessary.

It's no secret that beat-up copies of the Gutenberg Bible were once broken-up to harvest leaves to either sell individually or to replace lost pages in an otherwise sound example.

(I had a Gutenberg leaf pass through my hands ten years ago, $60,000 on consignment. And I am aware of a modern dealer who had multiple facsimiles made of a Gutenberg leaf he owned, then cut out individual words from the genuine leaf and inserted them into a window where the same word appeared on the facsimile; he sold Gutenberg Bible words!).

The Gutenberg Bible, though the first printed edition, is not the first appearance of the Scriptures. The first edition of the Book of Mormon (Palmyra, NY: 1830), however, is the first time the complete revelations of Joseph Smith were exposed to the world.

Why the Smithsonian and National Museum of Art gave her their blessing to break-up the book is a mystery. I find it inconceivable that they would give Mrs. Schlie the okay to break-up  her copy. You would think that they, as conservators of historic and artistic treasures, would try to dissuade her. I suspect they did. Mrs. Schlie does not say what their response was, only that "heartfelt prayers and consideration" followed the consultation, suggesting that they may have said Don't do it and she did it anyway after struggling with her conscience. Note, however, that the Smithsonian and National Museum of Art, experts in their areas of collecting interest, are not experts on rare books. If Mrs. Scheil needed reliable advice she should have considered an ABAA-member rare bookseller with  experience selling Mormoniana. (Scroll down to Specialization).

She asked a collector-trader to initially appraise her copy. He provided the estimate of $100,000 for a copy in average condition. But the question remains why, since she specializes in Mormon material, Mrs. Schlie required an outside opinion when auction records and current dealer offers are readily available on the Internet?

In concert with her admission that she didn't carry insurance for the book or properly secure it (she stored it in an unlocked file cabinet drawer), two basic and essential precautions for professional rare booksellers, one can only conclude, no matter how nice and genuinely good-hearted this attractive elderly woman may be, that Mrs. Schlie has not conducted herself as a professional.

Mrs. Schlie is not liable for the inordinate media coverage that has surrounded this story. But she is responsible for declaring a grossly inaccurate market value that  got the media's mojo workin', as well as somewhat culpable for not keeping the book safe in the most fundamental manner. She didn't ask to be robbed but she assumed a huge risk and lost. Three cheers to law enforcement for recovering it.

“The first edition is not quite as good as having the gold plates but it’s right next to it," said Brent Ashworth, the collector in Provo, Utah who provided the estimate of $100,000 to Mrs. Schlie.

For the record, the only time a first edition Book of Mormon has ever sold at auction for $100,000 or more was at Swann Gallery March 22, 2007.  It fell under the hammer for $150,000 (not including premium). Why? It was a monster association copy, that belonging to Denison Root, brother-in-law of Joseph Smith, and signed by Orson Pratt, an early Church apostle. Further, Root's inscription indicates that the book was a gift to him from Hyrum Smith, Joseph Smith's brother.

Had that copy been stolen it would have warranted the attention of the media and the extraordinary efforts (and expense) of law enforcement across the country to recover it. But not this one, henceforth to be justifiably referred to as the notorious Schlie copy - or what's left of it, the Schlie scraps, which, if all sell at the minimum aggregate of $735,000, really is almost as good as having the gold plates.

There was never a legitimate excuse to break up this copy. Devout Mormons who value the sanctity of their scripture may wish to politely pass on Mrs. Schlie's "heirloom" Book of Mormon leaves. There is a hidden stain on each of them.
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SMITH, Joseph. The Book of Mormon. An Account Written in the Hand of Mormon, Upon Plates Taken From the Plates of Nephi. Palmyra, NY: Printed by E.B. Grandin for the Author, 1830. Octavo. 531 pp. Publisher's original calf binding.

Howes S623. Grolier, American 37. Sabin 83038. Streeter Sale 2262.
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Recent auction records for a first edition of the Book of Mormon, courtesy of ABPC:

Bonhams New York, June 23, 2010, lot 3488. 1st Ed - 1st Issue. Period sheep - worn, lower cover detached. Foxed, browned, 1 corner torn with loss.  Serenus Burnet copy -  $45,000.

Sotheby's New York, Dec 11, 2008, lot 142. 1st Ed. Contemporary sheep - spine loose, covers detached, text block shaken, titlepage loose. , $30,000.

Christie's New York, Dec 5, 2008, lot 290. 1st Ed. Contemporary sheep - spine chipped, rubbed, lower cover wormed. Foxed. John Preston-Augusta Gibbons-Julia Cullen copy/ $48,000.

Swann, Nov 18, 2008, lot 191. 1st Ed. Original calf - extremities scuffed & worn, chipping at base of backstrip, front hinge starting. Foxing & browning; minor soiling to titlepage; 3 small wormholes on rear pastedown; without index pages. $62,500. -

Pacific, Jan 24, 2008, lot 107. 1st Ed. Original calf - front pastedown holed, scuffed, darkened, chipped & joints cracked. Some foxing. $70,000.

Christie's New York, Dec 3, 2007, lot 192. 1st Ed. Modern half morocco gilt. Titlepage creased with pencil marks; some browning & spotting; without the extra leaf of Testimonies, final blank & index. $45,000.

Pacific, Oct 11, 2007, lot 247. 1st Ed. Original calf - rebacked, worn & hinges reinforced. $90,000.

Christie's New York, June 19, 2007, lot 283. 1st Ed. Contemporary sheep - spine ends chipped, front cover bowed, circular stain on front cover. With the extra leaf of testimonies. Lacking final blank. $55,000.

Swann, Mar 22, 2007, lot 204. 1st Ed. Original calf - worn, tear to front free endpaper. Titlepage & endpapers browned. Signed by Orson Pratt. Denison Root copy, presented to him by Hyrum Smith. $150,000.

Skinner, Nov 19, 2006, lot 477. 1st Ed - 1st Issue. Original calf - worn & chipped. Spotting throughout. $75,000.

Christie's New York, June 14, 2006, lot 588. 1st Ed. Original sheep - old library shelf label on spine, rubbed, hinges tender. Pencil marginalia; some browning & spotting; a few pale stains. Buell - Thomson - Knight - William Carey College copy. $60,000.
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18th C. Book Has A Story Without Head Or Tail, Wit or Humor

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By Stephen J. Gertz


What maketh thee of this, dear Reader, a trifling little Booke of Great Raritee but who careth? A nonsense Fairy-Tale satire, with the aim of "his Royal Lowness," Prince Toadstool, to win the Rose that rests betwixt Princess Tricolora's lower limbs. Yea verilee, it is a forgotten little bagatelle, of its details Don't ask, Don't tell, a witless wonder wittily told, with whacked-out philippic at end the story sold: Of Vice and Virtue, Mice and Men, and ugly Toadstool with brain a-mold.

Allow, I prithee, the Table of Contents to present this facetious fiction:

Chapter I: Which Promises More Than It Performs.
Chapter II: A New Form of Interviews.
Chapter III: Unexpected.
Chapter IV: In Which There Is Not Much.
Chapter V: In Which the Prince Does Not Know What To Think.
Chapter VI: So Much the Better.
Chapter VII: Worse and Worse. Is That Possible?
Chapter VIII: The Inspector-General in a Terrible Undertaking.
Chapter IX: There Never Was a More Foolish One.
Chapter X: Try To Break an Enchantment.
Chapter XI: More Nonsense; Which Will Surprize Nobody After What Has Gone Before.
Chapter XII: A Touch of the Pathetic.
Chapter XIII: A Leading One.
Chapter XIV: Beware the Colic!
Chapter XV: A Remedy For Gripes.
Chapter XVI: Pretty Pictures!
Chapter XVII: The Best Being the Last.

And now, our story unfolds:
Chapter I

"The Prince Toadstool answered the idea of his name; the Prince Discreet was a charming fellow; the Princess Tricolora was more fair, more shining than a fine day in spring: she detested Toadstool, adored Discreet, and was forced to marry Toadstool. So much the better.

"There is no art in this manner of telling a story. The unravelment is given at the same time as the exposition: but no-one is the more for that in the secret of that fame, so much the better; and this is what I am about to unfold, with all the pomp becoming the gravity of the subject.

"ToadstooI though infernally ugly and a fool, was not for all that lawfully begot. His mother was so execrable that no man had had the courage to take her for better or worse but her money supplied the place of charms: she bought her gallants, and had just arithmetic enough to pay them according to the number of their jobs. Toadstool was the fruit of one of her laborers at that hard work.

"He had a monstrously great head, and nothing in it: his legs were as short as his ideas, so that whether thinking or walking, he always lagged behind. But as he had heard that men of wit, though they do not say foolish things, often do them, he took it into his head to be a man of wit upon the plan of doing a foolish thing, and resolved to marry.

"His lady, mother of the fairy Burning-Sprite, mused a good while about what family she should prefer for this plague..."

Alloweth thy imagination to cut to the chase; voila! a furious finish:

Chapter XVII
[The Final Musings of a Harangue-Utan in a Lather]

"...The so ridiculously called Great have shewn themselves so miserably ignorant, that they seem to have taken it for an admirable improvement arid distinction to invert the order of things, by kicking Nature out of doors, and delivering themselves wholly up to the false refinements of Art which was never designed by Taste for any thing but Nature's very humble servant. Thus sentiment stands banished by them from Love, from everything. 

"But what has this senseless depravity produced? View the actual face of things, and deny it if you can; a destruction to the very foundations, of honor, worth, wit, taste, after which it will be but in course to add, of true pleasure; a chaos of infernal stupidity; a mass of rottenness, which must turn all concern or respect for themselves into such a joke, as must justly and necessarily fink them below the lowest and the vilest of the mob.

"It matters not then as to them whether this tale is purely the work of imagination or not. But it is plain that the author had in view the dressing up Vice in a fool's coat, a way of treating it, towards extirpation, not perhaps less effectual than those austerer preachments, which may be styled the dry-shaving of sheer morality: morality which always does Vice infinitely too much honor, and much less harm than it is aware of, in painting it as an object rather of terror than of scorn and ridicule.

"As to any ludicrous situations in the story, which may have required too strong or too gay a coloring, the author would not, I presume, pay his reader so wretched a compliment as to offer an apology. Nothing. surely but the meanest and most contemptible of all understandings, with the most naturally vicious of all inclinations, could dread or asset to dread the corruption of morals, or any danger from Vice in so grotesque a habit.

"Virtue, nobly secured in a just superiority of taste, feels nothing but what must rather confirm than alarm her for herself, in that monitor, whether presented in the loathsome nakedness of rank obscenity, or less disgustfully and consequently more dangerously wrapped up: in which last form indeed, though it may serve even for a salutary medicine to the never more than a few people of sense; yet as it may also prove a poison to those classes too numerous not to be respected and even tenderly guarded, the young, the unexperienced, the ignorant, the weak and the foolish; any want of having considered enough the consequences to them must render it justly execrable to none more than to whoever may have been unfortunate enough to lay the fumbling block or give the offense.

"In the present however ready-cut-and-dry piece borrowed, as being the first at hand for the purpose, Nonsense never but a volunteer against itself, is pressed into the service of its capital enemy judgment; and may it happily for once, and contrary to its nature, have a little of that power to produce a good effect, of which it has had flagrantly so much to produce the worst!

"If then in this decoy, formed as it is with the most innocent intention on the trite maxim, that "Extremes "touch," any reader should find himself, by what carries the air of the lowest levity, betrayed unawares into a serious train of thinking; if that thinking produces even indignation at any one's amusing himself no better than with reading such damned filth; or what is worse yet, with writing it, in what times  than which never any could more loudly proclaim the [?] of exploding the abandoned futility that so strongly marks them, and of restoring that once so justly admired solidity of the British Genius, which has seen itself so infamously supplanted by dullness, by folly, false wit, false taste, false interests, false politics, and what is there not false among us?

"I say, if I could catch any reader daring to think in this manner ...... 'What  then?' I  would, say -- 'So much the better for him.'"

Within that jeremiad lies the theme, licentious fluff bereft of wit a threat to British lit. supreme; so quoth the raven, "Mama mia!" as if in a bad dream. So much the worst, an 18th century  culture warrior hocks a loogie to the cursed - those who shun Fox News and thus remain unversed.
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[Anonymous]. Did you ever see such damned stuff? Or, so-much-the-better: a story without head of tail, wit or humor. Rantum jantum is the Word, and Nonsense shall ensue. London: C.G. Seyffert, 1760. First (only) edition. Small octavo. vii, 168 pp.
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Novelist Richard Brautigan's Brains At Bancroft Library: A Grand Guignol Adventure!

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by Stephen J. Gertz

The Bancroft Library.

The papers of 'Sixties Counterculture novelist and poet Richard Brautigan, who, in 1984, committed suicide at his desk with a gunshot to the head, rest in the The Bancroft Library at University of California, Berkeley.

Poet J.J. Phillips, while working in the manuscript division at the Bancroft, rough-sorted Brautigan's papers when the library acquired them. She had no idea that latex gloves and surgical mask would be appropriate to the task.

"I know you know that Brautigan blew his brains out, literally blew his mind," she wrote to poet, novelist and essayist Andrei Codrescu at Exquisite Corpse.  "What you might not be aware of is that he blew his brains out all over pages of his last manuscript... I handled them, archived them, ran my hands over his desiccated brain matter on numerous occasions, though at first I had no idea what I was touching because the Library said nothing and even denied what became all too apparent after I eliminated the other possibilities of what this strange stuff could be (I’m not unfamiliar with such things, and my eyes didn’t deceive me).

"The coroner’s report confirmed my suspicions. I see what’s on these pages as something of a completely different order than coffee stains, cigarette burns, the tomato seeds that Josephine Miles idly spat onto her mss., even drops of spittle, blood, semen, and the like.  With Brautigan, these are the actual physical remnants of brain tissue, blood splatters, and cerebral fluid of the very brain that gave birth to the ideas he had and the words he wrote, now creating its own narrative on top of those words; and of course that act insured he’d never think or write another word."

Thus inspired - or, more properly, driven - she wrote a poem about it. 

Brautigan's Brains
 
Brains blasted there
upon the page
gray matter gobbed
blood of the poet congealed
this grotesque palimpsest
last words concealed
beneath the blood
shattered neurons
glial cells unglued
glopped, splattered

A text of rage coagulated
there upon the page.

Axons impel thought to take
that fatal fiery leap
across synapse into act
fiction into fact.

Atoms smash against the skull
the neural net tattered warp and woof
the brain that strings the words extruded
globbed, fragmented, spattered
last words occluded by the final proof

The text of rage coagulated
there upon the page.


It will come as no surprise to those who knew him that the late Peter Howard of Serendipity Books in Berkeley, CA was in the middle of all this.

"Peter sold the papers to TBL, and even he was a bit dodgy when I asked him about it." she wrote to Booktryst. "When Peter sold the typescript, he said he was going to make TBL buy one whether they wanted to or not." (Pure Peter).

He may have been dodgy then but it didn't prevent Peter Howard from later validating the story by literally putting his imprimatur on it.

"Some years ago," Phillips told me, "Peter sold a limited edition signed typescript of this poem [ten copies], printed over a photo of Brautigan’s face, with the title Apoptosis: or Brautigan’s Brains" [2002]. He later published her poem Nigga in the Woodpile (2008).

And what does the Bancroft Library think about the situation?

"I get the sense," she continued,  "that even now they don’t want people to know what’s on those mss. pages (to my knowledge, the catalog description doesn’t mention this, or didn’t when I last saw it a long time ago) because their attitude was so squirrely and obfuscatory when I began asking questions, which is why I was driven to call the coroner, then send for the coroner’s report (ghastly, a tragic death).

"TBL was (is?) bent on denying the fact of what is undeniably there.  I honestly don’t understand why they wouldn’t either encase those specific pages in mylar or remove them for safekeeping and substitute photocopies.  This for a number of reasons, not the least of which being that I don’t think your average literary researcher accessing the ms. would be thrilled to learn that he or she had been unknowingly fingering somebody’s brain matter...What about possible pathogens?  What if he had Creutzfeldt-Jakob disease?"

Anyone wishing to go trout fishing in the Brautigan papers at the Bancroft Library may wish to don waders and elbow-length surgical gloves. Or a Hazmat suit.
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Mille grazie to J.J. Phillips.

Brautigan's Brains reprinted with the kind permission of the author.

A tip o' the hat to Andrei Codrescu.
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Of related interest:

Novelist Richard Brautigan's Unrecorded One Day Marriage Certificate Surfaces.
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Sometimes A Not So Great Notion, Or When Buffoons Horse Around (1831)

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By Stephen J. Gertz
 A good rider can hear his horse speak to him, a great rider can hear his horse whisper, but a bad rider won't hear his horse even if it screams at him. 
• • •
 Right now it's only a notion. l think l can get money to make it into a concept, then turn it into an idea - Alvy Singer (Woody Allen), Annie Hall.
 
I have a NOTION that DUCROW could not excel this...his is all Art, mine Nature.

Some notions are best left just that particularly when they get into the heads of amateurs with horseback ambitions and delusions of grandeur. Slapstick ensues.

I had no NOTION of the Comforts of Hunting by Water.

1831-33. Henry Alken, sporting caricaturist, had a great notion that a series of engraved plates with wittily understated captions satirizing  men on steeds at unsafe speeds and the horse's ass on horseback would tickle the withers of those who find the pretensions of the upwardly mobile downright funny, i.e. everybody. He turned the notion into a concept, the concept into an idea, and Sporting Notions was born, twisting the not-so-great notions of nincompoops in the saddle into a great lampoon.

I have a NOTION that this Bridge will a-Bridge my Sport.

Inspired perhaps by circus performer Andrew Ducrow (1793-1842), "The Father of British Circus Equestrianism," and his popular acrobatics on horseback act at Astley's Amphitheater, Alken, who took special glee when riders landed on their glutes, imagined them as inept performers in a bent Cirque du Soliel, equestrian ninnies in a cirque du oy vey.

I have a NOTION that this may be called "Riding to the hounds at a Smashing rate."

In thirty-six soft-ground etched and aquatint plates, Alken skewers those in over their heads on horseback and drowning while on a fox hunt. Somewhere, the fox is on the sidelines texting his den mates, "ROTFLMAO."

I had a NOTION that Timber jumping was quite an easy thing.
I held him TIGHT in hand, too.

Henry Thomas Alken (1785-1841)  "was the dominant sporting artist of the early nineteenth century... he delivered a long series of designs to the leading sporting printsellers—S. and J. Fuller, Thomas McLean, and Rudolph Ackermann among others.

"He was also a prolific designer, etcher, and lithographer of scenes relating to racing, shooting, coaching, and other sports... He wrote several books on aspects of engraving, including The Art and Practice of Engraving (1849).

"In later life he drifted into ill health, consumption, and poverty... He died in the early summer of 1851" (Oxford DNB)

 I have a NOTION  that the Brute is going to make the best of his way out
and leave us to shift for ourself.

I have a NOTION this is not the HARD way the Man told us of.

Quite scarce, only four copies of Sporting Notions have come to auction within the last thirty-six years but only one, twenty-eight years ago at Christie's in 1984, was colored.

Modern litterateurs will have picked up the reference to Ken Kesey's magnum opus in today's headline, the hard-headed Stamper family's motto, "Never Give An Inch," apropos of the the stubborn pride exhibited by the soft-headed whose self-appraisal of their skills on horseback is off by a mile.
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ALKEN, Henry. Sporting Notions. London: T. McLean, 1831-33.

First edition. Oblong quarto (10 1/4 x 14 1/8 in; 261 x 358 mm). Thirty-six hand-colored soft-ground etchings and aquatints with tissue guards as issued without title page, watermarked 1831-1833.

Tooley 54. Siltzer p. 73.
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Images courtesy of David Brass Rare Books, with our thanks.
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Of related interest:

Slightly Nuts But Not Crazy: Artist Henry Alken Lampoons Art.

A Horse's Ass In The Saddle, With Henry Alken.
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What To Expect When You're Done Expecting: Dr. Spock in 1577

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By Stephen J. Gertz

Safety Helmet.

It's in Latin, so it's not quite what you want to have on the nightstand when your baby or child has a bad case of whatever and you can''t translate "Vocant IX-I-I" in time for the paramedics to arrive and resolve the crisis before your kid kicks the bucket.

But though not a popular guide, De arte medica infantium by Omnibonius Ferrari (1577) was a key go-to book on pediatrics, Dr. Spock's Baby & Child Care for sixteenth century doctors and Latin-literate parents who could afford it.

Breast Milk Pump.

Divided into three parts, in 195 pages it covers the management of wet nurses; the care and feeding of the newborn; and the diseases of children.

Typically bound together with De arte medica infantium aphorismorum, a list of 273 aphorisms by Ferrari on the care and diseases of children based on the writings of Hippocrates and Galen but with a number of additions from contemporary sources, the two works present the state of the medical arts for infant care.

Toilet Training.

Or particular interest for 21st century mothers are the four text engravings which illustrate a self-operated breast pump for harvesting milk, a device for training children to walk, a  potty-training  toilet, and a helmet made to protect the child's head from injury, each early designs for now commonplace items in the inventory of modern motherhood.

In an age of harsh conditions, the concept of the child as tender and vulnerable and in need of a nurturing environment was beginning to emerge. De arte medica infantium  was amongst the most important contemporary medical books of its kind and provides insight into views on  late sixteenth century child care and psychology that will be startling familiar to modern parents.

Rolling Crib For Training To Walk.

"The illustrations are of interest…as they show two commonly used child-training devices of the past – the running stool, ancestor of the present-day walker, and the chair stool,  which held infants in a sitting position. Both of these devices were denounced by Ferrarius’s contemporary Felix Wurtz, who described the undue strain they put on undeveloped infant muscles” (Norman).

"In 1577 Ognibene Ferrari of Verona, Italy, proposed that the home be 'child-proofed'; offered designs for developmentally appropriate walkers, potty chairs, and helmets; and argued that 'the greatest care must be taken that he does not see terrifying pictures, nor should the one who has charge of him shew himself to him with a stern look on his face, lest he cause him fright, and so through depression and overmuch grieving he be ill affected'" (Review of Nurturing Children: A History of Pediatrics in JAMA, Nov. 1, 2000).

Amongst the "terrifying pictures" that should probably be kept from tender eyes is any image of mama mia! Italian actress and mama Monica Bellucci in the lobby of the Excelsior hotel in Rome using Ferrari's breast milk pump while the paparazzi pretend to be ga-ga over her pair of peepers rather than endowments. Grown men can barely tolerate the view without convulsions, forget about little Gianni who might grow up to have visions of sugar plums fairies and marriage to La Cicciolina, a terrifying prospect indeed.
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FERRARI, Omnibonius. De arte medica infantium, libri quatuor. Quorum duo priores de tuenda eorum sanitate, posteriores de curandis morbis agunt. [Bound with] De arte medica infantium aphorismorum, particulae tres. Brixiæ [Brescia], apud Franciscum, & Pet. Mariam fratres, de Marchettis, 1577.            

First editions, two works in one. Small quarto. [xii], 195, [1] pp.; 22 pp. With errata, four engraved text illustrations, large illustrated woodcut initials, ornamental head- and tailpieces. Marchetti's anchor and dolphin device on both title pages.

Both reprinted in 1598 and usually bound as one.

Adams F-288 (Aphorismorum), F-289 (De Arte Medica, 1598 ed). Normon 787 (De Arte Medica), 788 (Aphorismorum). Grulee 452 (De Arte Medica), 454 (Aphorismorum).
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B. & L. Rootenberg Rare Books and Manuscripts is currently offering a lovely first edition copy of these two volumes bound together.
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The Annals Of Sporting, 1809; Or Take This Horse And Shove It!

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By Stephen J. Gertz

Titlepage.

In 1809, the great caricaturist, Thomas Rowlandson, engraved plates after designs by two other celebrated caricaturists, Henry Bunbury and George Moutard Woodward, for Annals of Sporting, a satire of contemporary sporting anecdotes by "Caleb Quizem Esq." Sporting anecdotes as a literary genre would not recover until refreshed by Pierce Egan, his fundamental contributions to sports journalism collected as Sporting Anecdotes in 1823.

How to Vault from the Saddle

In 1808, the year before Annals of Sporting was published, Rowlandson engraved the plates after Bunbury designs for the first collected edition of The Annals of Horsemanship and The Academy For Grown Horsemen, both satires by "Geoffrey Gambado" originally appearing in the late 18th century. The author of its text,  the pseudonymous Gambado, has been tentatively identified as the antiquary and lexicographer Francis Grose, best known for his Classical Dictionary of the Vulgar Tongue (1785).

The True Method of sitting on a Horse Mathematically Delineated.

"The text consists of sixteen letters to, and answers by C. Quizem. The first letter relates the amusing story of a sportsman mistaking his wig for a hare, and bang went the contents of the gun, and the fancied hare lay prostrate!" (Chute).

Only here are wigs considered fair game for hopeless hunters; they rarely provide much skill to fell and, significantly, don't bite when wounded. This holds true for all known species.


Game Wigs.

A Long Bob; A Short Bob.
A Black Scratch; A Physical Tie.
A Sir Cloudesley Shovel; A Three Tier.

"The text, in the form of letters, is a satire on sporting anecdotes and cockney sportsmen..." (Mary Dorothy George, Catalogue of Political and Personal Satires preserved in the Department of Prints and Drawings in the British Museum, vol. 8, no. 11479A).

The Bucephalus Riding Academy for grown Gentlemen.

The author behind the pseudonym "Caleb Quizem Esq." remains unknown. Considering that Rowlandson and Bunbury had earlier collaborated on the two Gambado volumes satirizing horsemanship and that Francis Grose was, apparently, responsible for the volumes' text*, it would seem reasonable to presume that Grose wrote the text to Rowlandson and Bunbury's Annals Of Sporting. The portrait engraving of Quizem, with its references to Gambado and Annals of Horsemanship, certainly suggests it.

However, after checking Grose's pulse I learned that not only is he indeed defunct but that he died in 1791, eighteen years before Annals Of Sporting. He thus seems an unlikely candidate for its authorship. Unless, of course, he shows up as one of the ringleaders of the looming zombie invasion and stakes his claim as Quizem, inquisitor of correspondents amongst the sporting set.

Hounds.

The Black Straddler [and] The short legg;d Shag Hound.

The deliriously amusing plates in Annals Of Sporting include: The Bucephalus Riding Academy for grown Gentlemen (frontispiece); How to Vault from the Saddle; The True Method of sitting on a Horse Mathematically Delineated; How a Man may Shoot his own Wig; The Maid of Mim; Costume of Hogs Norton” (two plates); Game Wigs (two plates); Hounds (two plates); Mathematical Horsemanship (six plates); Fashionable Furniture at Hogs Norton (two plates); and The Bailiffs Hunt (eight plates).

Caleb Quizem Esq.

Note volumes on book stand:
Annals of Horsemanship and Tristram Shandy.

Further note portrait in background of "Geoffrey Gambado,"
i.e. Francis Grose, who wrote the text to Annals of Horsemanship;
Henry Bunbury designed its engravings.

Commonly rebound, the book is rather rare in the publisher's boards (original price 10s. 6d).  "Caleb Quizem" appears to have written only one other book,  another satire titled Economy: a Pindaric Tale in Three Parts (1811).

"First edition of a coloured-plate Sporting-book, which is esteemed on account of its humorous plates by Rowlandson..." (Schwerdt).

"The Rowlandson colour-plates are most humorous" Chute).

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[ROWLANDSON, Thomas, engraver. BUNBURY, Henry and George Moutard Woodward, artists]. QUISEM, Caleb (pseudonym). The Annals of Sporting. By Caleb Quizem Esq. and his Various Correspondents. London: Thomas Tegg, 1809.

First edition. Twelvemo (6 3/4 x 4 in; 171 x 105 mm). [10], 104 pp., untrimmed. Hand-colored fold-out frontispiece engraved by Thomas Rowlandson after Henry Bunbury, hand-colored vignette title of a rider falling from Pegasus, and twenty-six hand-colored etched plates by Thomas Rowlandson after Henry Bunbury, George Moutard Woodward, and possibly others.

Publisher's original printed boards. Publisher's advertisements printed on rear board within ornamental border.

Not found in Abbey, Tooley, nor, surprisingly, Siltzer.

Schwerdt II, pp. 119-120. Chute 533. Grego, Rowlandson the Caricaturist, p. 178.  Falk, p. 216. Grolier, Rowlandson 63.
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*“Gambado is said to have been Francis Grose, compiler of  A Classical Dictionary of the Vulgar Tongue” (Riely, John C.  Horace Walpole and ‘the Second Hogarth’, in Eighteenth Century Studies, Vol. 9, No. 1, Autumn, 1975).
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Images courtesy of David Brass Rare Books, currently offering this title, with our thanks.
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Of related Interest:

When Horses and Human Keisters Collide.

The Story Of Nobody, By Somebody, Illustrated By Someone.
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Bring Me The Head Of St. Lawrence Of Rome, Patron Saint Of Librarians

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By Stephen J. Gertz


Martyrs roasting on an open fire,
Larry's last words bravely won:
Though it's been said many times many ways,
"Stick a fork in me, I'm done."

He's a patron saint of librarians because he sacrificed his life to save Church documents. He's the patron saint of cooks because he knew what it was like to be on the wrong end of a basting brush. And he's the patron saint of comedians because he was dying onstage yet still riffed a wisecrack.

The only Church deacon (of seven) to survive the Emperor Valerian's persecution in 258, St. Lawrence was afterward soon arrested for refusing to turn over Church treasures. By legend he was grilled to death and is said to have had the presence of mind to joke to his torturers, "I'm done on this side; turn me over."

There but for a consonant a myth is born. In the early twentieth century historian Rev. Patrick Healy postulated that the tradition was based upon a simple error. The Church formula for announcing the death of a martyr, Passus est ("he suffered," i.e. was martyred) was mangled, the "P" early lost in transcription, and Assus est - "He roasted" -  became the received truth. Not that Healy's hypothesis was accepted. It threw cold water on St. Lawrence; the faithful prefer the fire.

"When the legend becomes fact, print the legend" (The Man Who Shot Liberty Valance).

"His charred body was claimed by the Christians, and his mummified skull is still in the care of the popes. At the Vatican on the tenth of August every year they expose in its golden reliquary the head of Saint Lawrence that still, in the distorted mouth, in the burned bone of the skull, shows the agony he suffered to defend the archives of the popes" (Maria Luisa Ambrosini and Mary Willis, The Secret Archives of the Vatican. New York: 1996, p. 27).

Another apocryphal story, by way of Father Jacques Marquette, is that St. Lawrence inspired the classic Julie London hit tune Cry Me a River before being beheaded (his likely demise).



It is not true, however, that the story of St. Lawrence inspired Peter Greenaway's  1989 cinematic salute to roast human, The Cook, The Thief, His Wife & Her Lover.
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Image of St. Lawrence courtesy of Infolit, with our thanks.
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Astonishing Gandhi Archive Estimated $622,000-$870,000 At Sotheby's

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A highly important and revealing archive of letters, papers, and photographs of M.K. Gandhi, one of the towering figures of the twentieth century, comes to auction on July 10, 2012 at Sotheby's -London. The trove is estimated to sell for €500.000 - €700,000.($622,000 - $870,000).


The archive was the possession of Hermann Kallenbach (1871-1945), a German Jew and successful architect originally from East Prussia who had settled in Johannesburg and was Gandhi's constant companion during the great man's last decade in South Africa. They met in 1904.

"He used to say to me often that when I was deserted by the whole world I would find him to be a true friend going with me, if need be, to the ends of the earth in search of Truth..." (M.K. Gandhi, March 25, 1945).


The years that followed the initiation of their friendship saw Gandhi's political maturation and spiritual growth, the period that prepared him for his future return to and activism in India. Kallenbach played a key role in Gandhi's life not only as someone who arguably knew him better than anyone else  but who played a unique role in Gandhi's transformation from lawyer to Mahatma.

This was not a friendship of equals. Kallenbach became one of the first believers in Gandhi's philosophy and struggled to follow his strict and exacting regime. Kallenbach became deeply involved in the struggle for Indian rights in South Africa, was imprisoned in 1913 for doing so, followed Gandhi from vegetarianism to increasingly restricted diets, practiced sexual abstinence, and adopted a simple, communal lifestyle.


In 1910 he bought a 1,100 farm twenty miles from Johannesburg and turned it over to Gandhi. The two were closely involved in managing the farm. The archive documents the farm's purchase and the friends' acquisition of fruit trees, as well as arguments with neighbors over grazing rights.

It was Gandhi's aim to have Kallenbach return with him to India via Britain in 1914 but the declaration of war between Britain and Germany occurred while they were at sea. Upon their arrival in England Kallenback was declared an enemy alien and was interned for the duration of hostilities, afterward returning to Johannesburg. Gandhi had made his way to India but the two friends never lost contact.

In poignant letters the archive reveals Kallenbach's deep intimacy with Gandhi's family; he was something of a surrogate father to Gandhi's four sons, two of whom had remained in South Africa. Their letters, along with those from other family members to Kallenbach, provide the richest source yet for insight in Gandhi's personal life in India.


Kallenbach would not see Gandhi again until 1937 when he visited his friend and remained in India for two years.

This extraordinarily rich archive stands alongside the main group of Gandhi's letters to Kallenbach (sold at Sotheby's in December 1986) as a testament to this hugely significant figure in Gandhi's life and important member of his inner circle. It is a key and crucial biographical source for Gandhi.
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Images courtesy of Sotheby's, with our thanks.
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A Very Edgy Alice In A Very Weird Wonderland

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By Stephen J. Gertz


Alice doesn't live here anymore. 


At least, not in Wonderland as imagined by John Tenniel in his original illustrations for Lewis Carroll's classics about the curious domain found on the far end of the rabbit hole and through the looking glass.


Glimmers of bondage, sexual hegemony, and voyeurism with fetish as relish are condiments that season a two-volume, in French and English edition of Alice In Wonderland and Through The Looking Glass illustrated by Dutch-born artist, Pat Andrea. Published in France in 2006, it is now available through Ken Sanders Rare Books by special arrangement with the publisher.


With his fully-realized reinterpretation of Lewis Carroll's two Wonderland volumes, Andrea turns the story on its head to present a protean Alice with an attitude absent from traditional Alice illustration.


It's precocious Alice in 21st century Wonderland, a virgin touched and never the same. Think Britney Spears from Disney to fishnets and Baby One More Time. Oops, she did it again, confounding our expectations and opening our eyes as she journeys through a transmogrified Wonderland, a realm of the sensuous. It's 3 AM at Hef's place, the Playboy mansion in Los Angeles, as imagined by David Hockney on LSD.


The work of painter Pat Andrea, born in 1942 in Den Haag, Netherlands and now living in Paris and Buenos Aires, has achieved international success. With over eighty international exhibitions of his work, including at The Hague and the Centre Pompidou, and four retrospectives on his forty-year career, he presently teaches in France. He has been justifiably hailed as a modern master of magical realism. 


As written by Lewis Carroll, the Alice books present dreamlike and nightmarish fantasy, lack of logic, and bizarre characters. As illustrated by Pat Andrea, the books present a dreamlike and nightmarish fantasy, lack of logic, and bizarre characters that would have scared the bejesus out of Carroll but that Freud would have recognized.


Imagined by Andrea, this is one little girl that Anglican deacon Charles Lutwidge Dodgson would have never photographed in his Oxford studio. She might have innocently come on to him and thrown him into a terminal tizzy blubbering "jabberwocky, jabberwocky, jabberwocky, jabberwocky" until gently led away by the men in white coats for sedation and recovery in a Victorian sanitarium.


Heavens! We weren't in Kansas to begin with and we're surely not in Kansas anymore, certainly not now. This is Wonderland as Times Square before New York's Mayor Bloomberg sanitized it for our protection and turned it into Disney World.

Is that a hot dog on your head, Tweedle-Dum,
or are you just glad to see us?

This edition is a stunning addition to the Alice canon, a fresh and provocative vision.
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CARROLL, Lewis.  Les Aventures d'Alice au pays des Merveilles et De l'autre cote du mirroir et de ce qu'Alice y trouva [Alice's Adventures in Wonderland and Through the Looking-Glass and What Alice Found There].  Paris: Diane de Selliers, 2006.  

First edition thus.  Oblong quarto [27 cm by 32 cm].  Two hardcover volumes in slipcase with prospectus.  Dual language edition (French and English) translated into French by Henri Parisot. Illustrations by Pat Andrea.
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All images courtesy of Ken Sanders Rare Books, with our thanks and with a nod and a wink to Melissa Sanders.
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Elizabeth Barrett Browning Original Manuscript Sonnet At Auction

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By Stephen J. Gertz


On Thursday July 5, 2012, auctioneer PBA Galleries will offer a rare original manuscript of a sonnet by Elizabeth Barrett Browning. It is estimated to sell for $5,000 - $8000.

The poem, named here "sonnet - a thought," was originally published in Browning's Poems (1844) under the title An Apprehension:

IF all the gentlest-hearted friends I know

Concentrated in one heart their gentleness,

That still grew gentler till its pulse was less

For life than pity,--I should yet be slow

To bring my own heart nakedly below

The palm of such a friend, that he should press

Motive, condition, means, appliances,



My false ideal joy and fickle woe,

Out full to light and knowledge; I should fear

Some plait between the brows, some rougher chime

In the free voice. O angels, let your flood

Of bitter scorn dash on me ! do ye hear

What I say who hear calmly all the time

This everlasting face to face with GOD ?
 

The present manuscript slightly differs from the published version. In it the second line reads:

"Gave to the heart of one their gentleness..."

The third line begins "Which still grew gentler..."

The third line from bottom reads "Of your salt scorn dash on me!..." differing from the printed "Of bitter scorn dash on me!..."

Written perpendicular to the text in a larger, later hand, in black ink in the right hand margin of the sonnet, she has inscribed "Elizabeth B. Browning / author of 'The Scraphian(?)" re / a very Pythiness." A small fragment of sealing wax lies beneath the sonnet.


The fragment on the verso is also curious. "The Maiden's Death" (1839) was not published during Browning's lifetime (1806-1861) but was one of a number of early poems by her contained in a quarto manuscript volume sold at the Browning manuscripts sale in 1913. It was published in Cornhill Magazine that same year. The present fragment begins with the 19th line, "Weep for her who doth remove" and ends with the line "Dust to dust, she lies beneath." 
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BROWNING, Elizabeth Barrett. "Sonnet - a thought" [i.e. "An Apprehension"].

14 lines plus title, written in brown ink in a miniscule hand on a slip of paper; on the verso is a 13-line fragment from "The Maiden's Death," also in Browning's hand. Slip of paper is 5.8x11 cm. (2½x4½"), neatly glued along left edge to backing board so it can be lifted to view the verso. Matted along with a typed transcript of both recto and verso, framed under glass (removed from frame for examination).
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Images courtesy of PBA Galleries, with our thanks.
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The Story Of A Drunk, Diseased, Insane Hunter And Inglorious Squire

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By Stephen J. Gertz

Original boards, untouched.

What do you call a 175 year old copy of a book that looks exactly as it did on the day it was published, completely untouched without any sort of restoration at all?

I call it an astonishment.

Light come, light go.

But, beyond the wild-tale,  it's the night scenes in aquatint engravings by Henry Alken and T.K. Rawlins that will make a lasting impression upon readers of Memoirs of the Life of the Late John Mytton, Esq. (1837) by Nimrod, the mighty hunter otherwise known as C.J. Apperley (1777-1843), British sportsman and sports writer.

The Oaks filly.

"This is not a work of fiction, for John Mytton, a rather inglorious character for a biography, was a hard-living, hard-drinking country squire of Halston, Shropshire, capable of the utmost physical endurance, and ready to accept any wager to walk, shoot or ride against any man. Many of his feats are recorded and graphically delineated, including the climax of his folly in setting his nightshirt on fire to cure a hiccough (Martin Hardie). Kids, don't try this at home.

John "Mad Jack" Mytton, born into comfortable circumstances, attended Westminster School. He was expelled a year later for fighting. He went to Harrow. He was expelled three days later. He had tutors. He tormented them with practical jokes; he once left a horse in one's bedroom.  Despite poor academic achievement he was accepted into Cambridge. He brought 2,000 bottles of port along to fortify him for study. He left before graduating because he was bored.

He went into the army and devoted himself to gambling and drinking. When he turned twenty-one he came into his inheritance. Then the real fun began.

He decided to stand for Parliament. His campaign platform was, apparently, Vote for me and I'll give you a £10 note. He won the election. But he found politics boring and only attended Parliament once, for thirty eternally excruciating minutes. He declined to stand for re-election.

In 1832 he thought he'd  give Parliament another shot. When the polling results began to be counted he quit the race when it was clear he was going to ignominiously lose. The fact that he had gone into exile to avoid debts may have had something to do with it.

The straight life cramped his style, which, at this point, centered upon horse racing and gambling, and, oh yes, drinking. About that wager he made and won: he rode his horse into the Bedford Hotel, up the grand staircase and on to the balcony, and jumped, still a-saddle, over diners in the restaurant below and then out the window and onto the street.

He was cuckoo for fox-hunting and did so no matter the weather. In winter, caught up in the thrill of the chase, he would strip naked to continue the pursuit. He enjoyed arising in the middle of the night and, buck naked with only his gun to keep him warm, would go out, ambush ducks, and return to bed.

Stand and deliver.

He owned 700 pairs of hunting boots, 1,000 hats, and 3,000 shirts. He loved pets; he owned 2,000 dogs, as hounds, and some attired in livery, others in costumes. He fed them steak and champagne.

He was, as must now be apparent, a marinated, extravagant thrill seeker. He was hell in the carriage driver's seat, the shortest, most inconsequential ride a feral dash to the finish line. He once invited a parson and doctor to dine at his home one evening. He dressed himself as a highwayman, and, face disguised, rode out and held them up at gun-point, calling "Stand and deliver!"

The list of his eccentric and scandalous behavior is long. We will gloss over the time he rode a bear into a dinner party, and dog-fought a mastiff.

Money ran through his fingers like water. His inheritance went down the drain. He died in debter's prison.

In its review of Memoirs...  the Literary Gazette contrasted Mytton's promise with his sad end:

". . .heir to an immense fortune, gifted by nature with a mind susceptible of noble cultivation, and a body endowed with admirable physical powers with the wretched drunkard who died in a gaol at the age of thirty-eight, a worn-out debauchee and driveling sot" (Literary Gazette, review of Memoirs).

". . . Did the late Mr Mytton really enjoy life amidst all this profusion of expenditure? No. He lacked the art of enjoyment. He was bored and unhappy. There was that about him which resembled the restlessness of the hyena. A sort of pestering spirit egged him on" (Nimrod).

Well done. Neck or Nothing.

"When Lockhart said of 'Nimrod' that he could 'hunt like Hugo Meynell and write like Walter Scott,' he was doubtless excited into exaggeration by the pleasure of having hit upon a man who could write of sport without the vulgarity of Egan. 'Nimrod,' whose name was Charles James Apperley, was a man of education, a country squire and a genuine sportsman. Loss of means turned him to literature; he contributed articles on sport to The Sporting Magazine, The Quarterly Review and other journals; but is best known by his two books, The Life of a Sportsman, and Memoirs of the Life of John Mytton, both of which were illustrated with coloured engravings by Alken...

"Memoirs of the Life of John Mytton appeared as a book in 1837, a portion of the work having been printed in The New Sporting Magazine in 1835. It shows a difficult task performed with fidelity and tact. Apperley had been Mytton’s neighbour in Shropshire, and had extended to him all the care that was possible when both were living in Calais in order to avoid their creditors. Apperley’s task was to write the life of a man who, while he was one of the most heroic sportsmen that ever lived, was also drunken, diseased and insane; and he performed the task with admirable judgment" (Cambridge History of English and American Literature, Volume XIV. The Victorian Age, Part Two, VI. Caricature and the Literature of Sport).

"A most valuable and important book for the sporting life of the period, aptly described by Newton as 'a biography of a man that reads like a work of fiction'" (Tooley).

And this is an unsophisticated copy of a book that looks like a work of restoration, an under-the-bed-in-a-box-and-forgotten-OMG example. Tally-Holy Mackerel.
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[ALKEN, Henry, artist]. NIMROD (pseud. of C.J. Apperley). Memoirs of the Life of the Late John Mytton, Esq. Formerly M.P. for Shrewsbury, High Sheriff for the Counties of Salup & Merioneth, and Major of the North Stropshire Yeomanry Cavalry. With Notices of His Hunting, Shooting, Driving, Racing, Eccentric and Extravagant Exploits By Nimrod. With Numerous Illustrations by H. Alken and T.J. Rawlins. Second Edition. Reprinted with considerable Additions from the New Sporting Magazine. London: R. Ackermann, 1837.

Second and enlarged edition, with additions to the text and six extra hand-colored plates. Tall octavo )9 7/8 x 5 3/4 in; 240 x 146 mm). ix, [3], 206, [2], [8], as publisher's catalog] pp. Extra-engraved title page. Eighteen hand-colored aquatint plates.

Publisher's original green pebbled cloth with large trophy vignette in gilt enclosing title, and gilt lettered spine with dog and rabbit gilt stamps bordering title and "1837" in gilt at foot. All edges gilt. Yellow endpapers. 

Abbey, Life, 385.  Tooley 67.  Schwerdt 1, p. 38.  Martin Hardie, pp. 185-186.  Prideaux, p. 326.         
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Images courtesy of David Brass Rare Books, with our thanks.
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A Feast Of Late 15th Century Illuminated Books

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Biblia germanica.
Nuremberg: Anton Koberger, February 17, 1483.

Issued at three prices: with uncolored woodcuts,
cuts colored,and with cuts colored in a broader
palette and the major initials and first woodcut
illuminated with gold leaf.

When illuminated manuscript copies were replaced by printed books, the art of hand-painted decoration did not die with them. Incunables, books  printed within the first fifty years of the publication of Gutenberg's Bible, continued to be illuminated, even those with woodblock illustrations, which were supplemented with hand-painted historiated initials and margin flourishes.

Hermes Trismegistus. De potestate et sapientia dei.
Venice: Maximus de Butricis, July 29, 1491.

Not too long ago. a colleague bemoaned to me that there were only thirty or so incunables currently  being offered in the marketplace. That figure has now jumped to over one hundred.

FIRMICUS MATERNUS, Julius and Franciscus Niger (editor).
Mathesis (De nativitatibus).
MANLIUS, Marcus. Astronomicon.
ARATUS. Phaenomena.
THEON. Commentaria in Aratum.
PROCLUS. Diadochus Sphaera.
Venice: Aldus Manutius, June and October 1499.

Important Aldine collection of classical astronomical texts.

Shapero Rare Books has just issued a catalog of seventy-five rare and precious incunable editions, many illuminated, all from one of the most prestigious collections ever assembled, the renowned Bibliotheca Philosophica Hermetica.

COLUMNA, Franciscus [but eliseo da Treviso] and Benedetto Bordone [artist].
Hypnerotomachia Poliphili.
Venice: Aldus Manutius, December 1499.

The most admired of Renaissance illustrated books,
a celebrated masterpiece of Italian art and typography.

Carefully amassed over the last forty years by Dr. Joost R. Ritman, this unparalleled collection focuses on an important aspect of Renaissance culture: the revival of Antiquity and Platonism and their relationship to Christianity.

LACTANIUS, Lucius Coelius Firmianus. Opera.
[together with]
FORTUNATUS. De resurrectione Christi.
Venice: Johannes de Colonia ans Johannes Manthen, August 27, 1478.

Third Venice edition of the first works to be printed in Italy.

Dr. Ritman's guiding principle was to gather together the finest examples of printed texts in their earliest and most important editions. Complete copies, in contemporary bindings and often with hand-colored or illuminated initials and illustrations, were his prey. 

JOSEPHUS, Flavius. De antiquitate Judaica. De bello Judaica.
[Ausburg]: Johann Schüssler, June 28, 1470.

One of the few classics first issued in Germany.

Some editions are astonishing for their rarity, one copy of only a handful printed or from a press which published only a few books.

PLOTINUS and Marsilio Ficino (transl. and comment.)
Opera.
Florence: Antonio di Bartolommeo Miscomini, May 7, 1492.

The only incunable edition of the primary documents of Neoplatonism.

The collection is a trove of important "firsts": the first book printed in Ausburg, Germany; the first dated book printed in Lübeck; the first book printed by Johann Schüssler; the first by Johann Bämler; books from the first printers in Paris and, indeed France; and first books printed in Nuremberg, Cologne, Zwolle, Ghent, and Haarlem.

RHODIUS, Apollonius and Janus Lascaris (ed.). Argonautica.
Florencec: Laurentius de Alopa, 1496.

First edition of Jason's epic quest for the Golden Fleece.
One of only five copies printed on vellum.
ARISTOPHANES and Marcus Musurus (editor). Komodiai ennea.
Venice: Aldus Manutius, July 15, 1498.

Editio princeps of Aristophanes' comedies

It is, in toto, one of the most impressive and jaw-dropping collections seen in quite a while, a delight to the mind and eye.

BERGAMO, Jacobus Philippus and Albertus de Placentia and
Augustinus de Casali Maiori (editors).
De claris mulieribus.
Ferrara: Laurentius de Rebeis de Valentia, April 29, 1497.

First edition of the first encyclopedia for women, a catalog of the
most important women in the history of humanity.
Bergamo, another view.

Each of these copies were, at the time of their publication, extremely expensive; illumination was labor-intensive and a high degree of artistry was required. As printed books became more widely distributed and read their cost had to fall and, as the printing of woodcuts as illustrations became practical and cost-efficient, illumination gradually dimmed from view, and with fewer outlets for their talents the number of illuminators declined and a noble art-form fell into disuse and withered.

That this important collection is being broken-up is unfortunate. Yet the books will likely find their way into other collections, ones that may also tell a compelling story about a time and place in the history of books, culture, ideas, and art.
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All images courtesy of Shapero Rare Books, with our thanks.
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Bookseller in 1770 England Also Sells Everything (Including Female Elixir)

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By Stephen J. Gertz


WILLIAM GRIGG, 
Bookseller and Book-binder,
In the Exchange, Opposite to Broad-Gate,
in Exon

Sells, at the lowest prices, Books of all Sorts. Also all Kinds of Stationary Wares, viz., Writing Paper of all Sorts Wholesale and Retale; where may be had all Sorts of: Stamp-Paper for Writing's; Parchment & Vellum for Drum-heads; Letter Cases, Paper Books, Account Books; Japan Ink, Indian-Ink, Ink, and Ink Powder; Cards; Quills, Pens, Sand, Pounce, Sealing-Wax, and Wafers, Ink-pots of all Sorts; Slates, Pencils, Quadrants, Gunter's scales, and Compasses; with Choice of Maps and Pictures; likewise great variety of Paper Hangings for Rooms of the newest Patterns; also Violins, Bows, Bridges; German and Common Flutes, and other Musical Instruments; with Books of Instruction for the use of them, and Fiddlestrings; likewise Daffey's, Squire's, Bostocks, Ratcliff's, and Stoughton's. Cordial elixirs; Bateman's Pectoral Drops; Golden and Plain Spirits of Scurvy Grass; Godfrey's Cordial; Anderson's Scots Pills; Dr. Hooper's Female Pills; Fraunces's Female strengthening Elixir; Jackson's Tincture; Dr. James's Fever Powders; Baron Schwanberg's Liquid Shell; Dr. Greenough's Tinctures for preserving the Teeth, and for the Tooth-ach; and Turlington's Balsam of Life, so much approved; all warranted genuine; and he can supply by Wholesale Country Shoppers, and others, with Betton's genuine British Oil, as Cheap as immediately from the Maker.

N.B. And gives full Value, for any Library of Parcel of Books; and exchanges New Books for Old, and lends out Books to read; Almanackes, Daily Journals, and Court Kalendars, sold about Wholesale and Retail.

A peek into the hurly-burly world of bookselling in an eighteenth century English provincial city (Exeter) where the local bookshop often purveyed a wide variety of goods to remain a profitable enterprise, including spirits of scurvy grass (golden and plain) to, apparently, combat vitamin C deficiency while reading fruitless literature.

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This 14 x 8 cm advertising sheet was found within a copy of William Vicars' devotional work, A Companion to the Altar (London, 1757). ESTC, recording a copy pasted into another book, dates it to c. 1772 noting that Grigg first appeared in Exeter in 1765.
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Image courtesy of William Reese Co., currently offering this copy of A Companion to the Altar & this advert, with our thanks.
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Into Africa: A Ventriloquist Dummy's Divine Mission

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By Stephen J. Gertz

"This is Gabby, Rod's alter ego, speaking. I wanted to write the whole book, but Rod wouldn't let me. There have been many (at least two) requests for this book. It deals with Rod's early life (no requests for that), with my own beginnings (the best part of the book), and most of all, the missionary work of the Camerons with the Batonga tribe of the wild Zambezi Valley - the most primitive tribe in Central Africa" (From the Introduction, 1962).

Ed Sullivan: Tonight, ladies and gentlemen, right here on our stage, we have a really big show for you, a really big show. Just back from an extended 5 to 10 year engagement at San Quentin after slaying the audience in Las Vegas, the mouse with the most, Topo Gigio; hapless infant angst in a soiled diaper featuring their new baby, Ben, let's hear it for Stiller & Meara; the astonishing hand shadow-puppets of Australia's only Unusualist, Raymond Crowe; Señor Wences; performing the death aria from La Lollipalooza by Porcini, She Wore An Itsy-Bitsy Teeny-Weeny Yellow Polka Dot Bikini, internationally acclaimed opera star, soprano Joan Sutherland ; and just out of Africa after six socko weeks in the Safari Room at the Zambezi Mirage where they converted the native Batongas to Christianity and belief in a talking piece of wood, ventriloquist  Rod Cameron & Gabby.

Frontispiece: Gabby & Rod.

An account of a missionary who traveled to Africa with his family and ventriloquist dummy, A Dummy Goes To Africa is the tale of two dummies, one the oaken alter ego of the missionary, the other the missionary who confesses to being a dummy, too - simply a mouthpiece of the Lord, His hand within him.

Note Gabby's assimilation into African culture: septum spike piercing.
Gabby in Pee Wee Herman drag.

Don't let Gabby fool you. Inside the hard wood lies a cellulose heart as big as Mt. Kilimanjaro and an evangelical spirit as broad as the savannah. He writes inspirational poetry and camp songs. 

To the tune of If I Only Had A Brain:

Yes, I know that I'm a dummy,
with sawdust in my tummy,
and splinters in my head.
Even so, I'm presumin'
that I must be partly human
Or I'd otherwise be dead.

I have finally got the notion,
I owe all of my devotion
to where I get my life.
So I think I would advise you
if you'll do the same as I do
you'll avoid a lot of strife.

You and me, we both agree
there's more to life than stuff,
Simply living's not enough.
There's a goal
for the soul.

So I can't do any walkin'
nor do any talkin',
without the help of Rod.
So this word to you I'm givin',
if you want real joy in livin'
you must do the will of God.



This is actually a very rare book.  OCLC records only ten copies, each in Christian institutions. There is only one copy currently in the marketplace.

Cameron & Gabby additionally authored A Dummy Goes To Church Camp. They also produced  A Dummy With An Attitude, an audio tape. No matter how closely you listen you can't see Rod's lips move.
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CAMERON, Rod. A Dummy Goes To Africa. Joliet, Illinois: Mission Services Press, 1962. First edition. Octavo. 297 pp. Black & white photo-illustrations throughout. Green cloth, black lettered. Presumed issued without a dust jacket.
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Images courtesy of Between The Covers, currently offering this volume, with our thanks.

If I Only Had A Brain adaptation ©Rod Cameron.
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In Paris With Jules Cheret, Belle Epoch Poster Master

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By Stephen J. Gertz

CHERET, Jules. KOLA MARQUE.
Paris: 1895. Printed by Chaix.

Tomorrow, Thursday, July 12, 2012, Bloomsbury Auctions in London is offering a selection of rare posters by Jules Cheret in its Old Masters To 20th Century Prints And Vintage Posters sale.

CHERET, Jules. ELDORADO.
Paris: 1895. Printed by Chaix.

Cheret (1836-1932) began his apprenticeship with a lithographer in Paris when he was only thirteen. From age twenty-three through thirty he gained further training in lithography in London.

CHERET, Jules. PASTILLES GERAUDEL.
Paris: 1891. Printed by Chaix.

When he returned to France he began designing poster advertisements for music halls, cabarets, and theaters, each capturing the gaiety of Parisian life. He was soon in such demand that he broadened his clientele to include municipal festivals, touring troupes, beverages and liquors, soaps, perfumes, cosmetics and pharmaceuticals. 

CHERET, Jules. PASTILLES PONCELET.
Paris: 1896. Printed by Chaix.

His joie de vie women became known as "Cherettes," and Cheret can be viewed as a champion  of womens liberation.

CHERET, Jules. PIPPERMINT.
Paris: 1895. Printed by Chaix.

Woman had previously been depicted as either in purity or as whores. Cheret changed that, freeing women from those corsets and allowing them to enjoy what was becoming a freer, open society. Ladies fashions became less confining and concealing, and women began to engage in behavior once thought the exclusive province of men while establishing just what it meant to be a modern woman on the cusp of a new century. The Cherettes were emblematic of the cultural shift.

CHERET, Jules. SAXOLEINE.
Paris: 1896. Printed by Chaix.

 Perhaps Cheret's lasting contribution to the history of graphic design and as father of poster art was his creation, in 1895, of the Maîtres de l'Affiche (Poster Masters) collection, which published smaller-sized reproductions of the best work by ninety-seven Parisian artists, including Toulouse-Lautrec and Steinlen. By this one act he introduced a new generation of poster designers to a broad audience. The series has become quite popular and collectible.

CHERET, Jules. TAVERNE OLYMPIA.
Paris: 1895. Printed by Chaix.

But if you can afford it go for the originals.

Even before he published Maîtres de l'Affiche Cheret's place in French art was secure. In 1890 he was awarded the Légion d'Honneur for his outstanding contributions to the graphic arts.

CHERET, Jules. VIN MARIANI.
Paris: 1895. Printed by Chaix.

I now pause for a refreshing one-two party-punch of Kola Marque and Vin Mariani, the popular 19th century tonics fortified with cocaine to reinvigorate my physical and intellectual forces and remedy  a bout of gout. I'll then clean the house, do the laundry, fix the car, build a second home, dance a jig, and write a novel before lunchtime.
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Images courtesy of Bloomsbury Auctions, with our thanks.
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Rare Early Scientology Book May Help Katie Holmes v. Tom Cruise

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By Stephen J. Gertz


It's "based upon the Nexological teachings contained in 'Lessons For Living' which is a course of instruction in the relationship between things," so you know you can depend upon it.

The book is Mind Over Matter: The Development and Control of Psychokinesis (1955) from Human Engineering Inc., an organization related to Scientology and apparently run by Kenneth Hart, a relation to husband and wife,  Alphia and Agnes Hart, publisher and editor, respectively, of the early-Scientology-related newsletter, The Aberree, published between 1954-1964; Kenneth Hart appears in several issues. Alphia Hart was a former editor of the official Dianetics Journal.

Human Engineering Inc. embraced hypnotism, telepathy, and, as here, psychokinesis, aka telekinesis or Carrie's Disease, more commonly known as mind over matter, the control of the material through the exertion of mental power with sequela mayhem at the high school prom, death, and destruction.

The book's wrapper illustrates the concept: a man reads the newspaper while controlling the universe with his mind. This is something I do on a regular basis. I was, as an example, responsible for Janet Jackson's "wardrobe malfunction" while sitting comfortably 3000 miles away in my Lazy-Boy lounger reading Popular Mechanics.  I also led the Navy SEAL team that took down Osama Bin Laden while I was reading an issue of Boy's Life, the official publication of the Boy Scouts of America, in bed one evening. (I later received the anti-terrorism merit badge, an embroidered portrait of Dick Cheney giving the Okay! sign with a wink).  Discovery of the Higgs boson? Me, while reading about Hugo Boss in GQ. Don't look for these facts in the news; I mentally blocked their publication.

Perhaps if Katie Holmes reads this book she can develop her mental powers to move Tom Cruise to the other side of the world as far away from her as possible. I'm concentrating on that as I write. Later I'll intensely focus on getting Katie interested in an aging rare book guy and discovering the wonderfulness of life within the secretive, cultish antiquarian book world and the cool happenings at the ABAA-Celebrity Center in New York City. Plenty of vintage childrens books there for Suri to read while Katie and I nuzzle oh-so-close in a nook with a glass of white wine and a fine rare book.
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[SCIENTOLOGY]. Mind Over Matter: The Development and Control of Psychokinesis. Fairhope, Alabama / Rickmansworth, Hertfordshire: Human Engineering, Inc. 1955. First edition. Quarto. 24 pp. Mechanically-produced mimeograph sheets with printed rectos only. Tape bound with stiff blue pictorial wrappers.
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Image courtesy of Between The Covers, with our thanks.
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Bauer's The Holy One (Red Point): 1939 World's Fair Influence

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By Stephen J. Gertz


This lithograph, currently being offered by William Reese Co., is by Rudolf Bauer (1889-1953) who was closely associated with Hilla Rebay, director, and Solomon Guggenhiem, founder, of the Guggenheim Museum in New York. Guggenheim financed Bauer's gallery in Berlin.

This bold composition is an adaptation of Bauer's 1936 oil painting and was used for the cover of the Guggenheim's catalog for the Second Charleston Show in 1938.

It has been cited as the likely inspiration for the Trylon and Perisphere theme-structures for the 1939 New York World's Fair.


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Image courtesy of William Reese Co., with our thanks.
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Autograph In The Rue Morgue: A Tell-Tale Poe Forgery

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By Stephen J. Gertz

The signature in question.
Poe used two styles of handwriting, a fluent script in his letters to intimate friends, and a painstakingly legible hand in his formal letters and the manuscripts he prepared for publication. Poe's is the most avidly sought of American literary autographs. Anything in his hand, signed or unsigned, commands an awe-inspiring price (Charles Hamilton, Collecting Autographs and Manuscripts, p. 116).

Hamilton's samples.

It was Pavlov's dog-time when a beautifully rebound first edition copy of Poe's Tales (1845) landed on my desk with a breathtaking slip tipped-in to one of the preliminary blanks.

The slip was addressed, To Col. Richard B. Mason / Holmes Island / Lustrins Calf., and signed, in the lower left corner, From Edgar A. Poe.

Mother of Mercy!

Then I looked closely and my salivary glands withered like grapes into raisins.

The tipped-in slip.

First, the hand that wrote the signature and that which addressed the slip are completely different, beyond those variations noted by Hamilton. The address bears little if any resemblance to samples of Poe's casual or formal penmanship. Poe did not write that address.

Authenticated examples of Poe's signature.
Note informal style at center.
 Courtesy of TomFolio.

Furthermore, it makes no sense that, if Poe had written the address, he would have used his formal and painstakingly written signature as sender. He would have likely used his informal autograph as seen above at center. Note, too, that, based upon authentic samples, when Poe wrote his formal signature he invariably added a final, usually decorative, underline. That flourish is absent from this formal autograph.

Authentic Poe letter.
Courtesy of Bauman's Rare Books.

But more than the general differences in handwriting, the weird mix of formal and informal styles on the same slip, and the absence of an underscore to the signature, there is a nearly invisible sign that this autograph was obviously monkeyed with. The lower left corner of the slip upon which  the Poe autograph is found has been washed. It is not obvious unless viewed at the proper angle in the right light. When the slip was recently photographed it was lit so that the washing would be apparent.

Detail of signature from above letter.

This copy of Tales was rebound c. 1920s by Curtis Walters of New York. That approximate date of rebinding, when the slip was likely tipped-in, provides a tantalizing possibility about the origin of this forgery. It suggests that it was the work of Martin Coneely, aka Joseph Cosey (1887-?1950).

Joseph Cosey.

At some point during the early 1920s Cosey visited the Library of Congress and stole a pay warrant signed by Benjamin Franklin dated 1786. Shortly thereafter and broke, he attempted to sell the document to a dealer. The dealer rejected it, claiming it to be a fake. Indignant, Cosey went home and carefully, after studying examples, forged Abraham Lincoln's signature and presented it to the same dealer, who bought it. Cosey felt triumphant.

Franklin, Lincoln, and Poe became his favorite subjects; Cosey had a deep affection for Poe's work. Cosey was good, very, very good. He used period ink, paper, and writing instruments. It is known that he used modern chemicals to treat paper when necessary.

I strongly suspect that this example of Poe's signature to this addressed slip was the work of Cosey, perhaps an early exercise at a time when Poe autograph and manuscript material was hot (it still is),  he was beginning to experiment with paper-treating chemicals, and curious about what he could get away with. 

Part of Cosey's genius was that when he offered his work he never claimed it to be authentic; he left it up to the buyer to decide. If the work was subsequently judged to be faked he was in the clear; it was the dealers who erred in their evaluation. I imagine that he offered this early exercise as a test to see if it would fly. It, apparently, did. At the time the unknown duped buyer (perhaps Walters, or the bookseller or collector who commissioned the binding) purchased it autograph and manuscript forensics were in adolescence, few dealers had deep experience with Poe autograph material (there was not much genuine material recorded at the time - nor now), and the quest for Poe material likely blinded those involved to err on the side of hope.

Authenticated Poe addressed envelope.

All forgers have a "tell,' something that gives them away. For Cosey, it was the simple fact that signatures evolve over time. He was appending Franklin autographs forged from samples from early in Franklin's life to documents written later when Franklin's handwriting had deteriorated. His Lincoln forgeries were revealed by "A. Lincoln" being on the same plane; genuine Lincoln signatures have "Lincoln" slightly raised above the initial "A."

Authentic Poe manuscript sample.Courtesy of Cornell University.

In the hierarchy of autograph material an author's direct signature to one their books is valued higher than a tipped-in envelope with autograph. A tipped-in "clipped" signature (the autograph excised from an original document) is valued even lower. If this tipped-in slip with autograph had been authentic it would have likely added at least $5,000 to the book. As it turns out, because of his notoriety, skill, and chutzpah, Coesy forgeries have become collectible in their own right. There remain samples not yet firmly identified, and this may be one of them.

If it can be firmly attributed to Cosey it may add $500-$750 to the book's market value.

At this point, however, what we have is a very interesting and lovely first edition of Poe's Tales with an obviously fake autograph, one that may be significant as an early example in the development of a notorious master forger.

It's certainly not the story I hoped for when I first laid eyes upon this copy of Poe's Tales. But it's still a pretty good one, a latter-day Poe tale of mystery and imagination.
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When Norman Mailer Met Actor Charles Laughton

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By Stephen J. Gertz


Not too many years after Norman Mailer (1923-2007) published The Naked And The Dead in 1948, the screen rights were bought by actor Charles Laughton (1899-1962), who would direct, and his producing partner, Paul Gregory. Mailer received the then princely sum of $250,000. Though he was not hired to write the screenplay (ultimately written by James Agee) Laughton brought Mailer in to help with preliminary development, the two spending a week together working in Laughton's penthouse apartment in Hollywood.


The fruits of Mailer and Laughton's collaboration have survived. 

An archive of twenty-two original sketches for the film adaptation of The Naked And The Dead, in pencil on paper, and with many signed by Mailer, is being offered by Bloomsbury-London this Thursday, July 19, 2012 as part of their Printed Books Including Modern First Editions sale.


The archive's provenance could not be more sterling: from the estate of Charles Laughton and his wife, Elsa Lanchester. The lot is estimated to sell for £20,000 - £30,000 ($31,130 - $46,729).


Nine of the sketches relate to scenes in the novel, including views of the island from the invasion fleet's POV, views of the island pass, the structure of the rapids traversed by characters Croft and Wilson, and a scene from Croft's "time machine," one of a series of flash-backs interspersed within the novel.


The remaining sketches depict characters in the novel: Croft (3); Minetta (2); Cummings (3); Roth (2); Goldstein (2); Red (3); A Soldier (1); Dalleson (1); Hearn (1); Brown (1); Polack (1); Stacey (1); Ridges (1); Toglio (1); Wyman (1); Wilson (3); Hennessey (1); Gallagher (4); and Martinez (1).


In the portraits of Cummings and Croft, Mailer has drawn sketches for both their "outer" and ''inner'" aspects. Dalleson is referred to as "Wallace Beery the younger" and one of Wilson's sketches has the comment "should be more handsome." The sketches provide an insider's view into the  free and easy nature of this early leap into adapting the novel to film.


Based upon Laughton's hopes for The Night Of The Hunter, his first film directing assignment, it was expected that a Laughton-directed The Naked And The Dead would receive a studio's production green light. Sadly, alas, The Night Of The Hunter, while a critical success, was a box-office failure. Laughton dropped out of the project and The Naked And The Dead would ultimately be directed by Raoul Walsh and released in 1958.

"Charles Laughton was to do it," Mailer told interviewer Gerald Peary, "and we spent a week together at Laughton's St. Moritz Hotel penthouse. He had a great dedication to the novel, and he was coming off...The Night Of The Hunter, which he thought would do extraordinarily. It didn't. Laughton was not a young man, and it took everything out of him. He never directed again."
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Images courtesy of Bloomsbury Auctions, with our thanks.
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