Heritage Press – South Wind by Norman Douglas (1968, Connecticut)

September 4, 2011 Comments Off on Heritage Press – South Wind by Norman Douglas (1968, Connecticut)

This is the first time I’m posting a Connecticut-era reprint of an earlier Heritage Press/Limited Editions Club book.  This one in particular will highlight the inferior quality some Connecticut Heritage Press titles received under presses outside of the George Macy Company, as South Wind’s illustrations suffer greatly here.  Not all of the books are this notably poor, but I will do my best when I can to provide one example between the Heritage Press’ two major eras.

South Wind by Norman Douglas (1968, Connecticut)
Sandglass Number: X-R : 43
Artwork – Drawings by Carlotta Petrina
Reprint of LEC #34/3rd Series V. 10 in 1932

Click the images for larger views.

Front Binding – If there’s one area the Connecticut book exceeds the New York Heritage, it’s here.  The New York edition is a darker shade of blue, with red text displaying the title in a nice font, but I do like the waves the Connecticut designer utilized here.  For the Connecticul edition, the Connecticut Printers did the printing, the Tapley-Rutter Company bound it, and the original LEC/Heritage design was by John Fass, who also was responsible for The Ballad of Reading Gaol.  The LEC is pretty distinctive, but my memory is drawing a blank on what its front actually looks like – I recall white boards with a brown box on the spine with the title and author alongside a nice symbol of some sort, but that’s about all I can recollect.


Title Page – The New York South Wind featured specialized pages for Carlotta Petrina’s illustrations, while the Connecticut redo forgoes that for low quality prints directly onto the page.  It’s a huge difference, and I’ll see if I can get a New York copy from the library to prove that to you.  Petrina has been on the blog before for The Aeneid, but South Wind was her first assignment for the George Macy Company.  Petrina actually met Norman Douglas and discussed her thoughts for the illustrations with him prior to putting them to paper.  The font here is Esteinne, designed by George W. Jones. This is the sole work of Douglas’ produced by the LEC. I go into Petrina’s brief but solid carer with George Macy in The Aeneid.

Page 1 – As you can see, Petrina’s art is fuzzy and pale, making her renditions of Douglas’ world difficult to enjoy.  The Heritage from New York is much sharper and printed at a higher quality comparable to the LEC.

Page 9

Personal Notes – I’ve seen the LEC once in Flagstaff, although its condition wasn’t ideal enough for me to take the plunge.  Every New York Heritage copy I’ve seen has been through tough times for some weird reason, and the vibrant blue that covers the boards is faded on the spine every time.  I sold off this edition in the hopes a truly good copy of South Wind lands in my lap sooner or later.



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