Limited Editions Club/Heritage Press – Three Plays by Henrik Ibsen (1965)

June 10, 2017 § 4 Comments

Limited Editions Club

Three Plays of Henrik Ibsen – An Enemy of the People, The Wild Duck and Hedda Gabler (1964)
LEC #364/33rd Series V. 2 in 1964
Artwork: Engravings by Frederik Matheson
Translated by Eleanor Marx-Aveling (Enemy), Florence Elizabeth Archer (Wild Duck) and Edmond Gosse and William Archer (Hedda Gabler), edited by William Archer and introduced by John Gassner

#144 of 1500. Heritage edition detailed below.

Click images for larger views.

Front Binding – Hello again, dear readers. It’s been almost a half year since we last had a book post pop up here at the blog, and over those six months my life has continued to change. I needed to get away for a bit to mature and rediscover myself, and I think I’m finally at a good point to pick up this project once again and discuss these lovely books. So I hope you can excuse me revising an old post as my return so I can get this back under my belt again. Thankfully it’s a nice edition from the Helen Macy period; Three Plays by Henrik Ibsen! This set features three of his biggest works: the biggies Hedda Gabler and The Wild Duck leap to the forefront, although An Enemy of the People is also a classic. The Limited Editions Club previously published Peer Gynt in 1955 for the LEC and 1957 for the Heritage Press.

Artistically Fredrik Matheson was recruited to do woodcuts for this edition, and they are quite lovely. This was his only commission, but it’s a memorable one! The LEC features more colors in its prints than the Heritage; a common trend in Helen Macy’s period.

Design Notes – Matheson was responsible for the design along with Arnstein and Agnar Kirste, owners of the Kirstes Boktrykkeri (aka bookprintery, as the Sandglass defines it) of Oslo, Norway, where the book was printed and bound. The text is Garamond. Beyond this, I can’t get into any more specifics due to no LEC letter either in my book or from my fellow collectors. Once one turns up I’ll update this.

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Slipcase

Title Page – The title page fails to mention the translators/editor of this set. An Enemy of the People was rendered into English by Eleanor Marx-Aveling, the daughter of Communist Manifesto author Karl Marx. William Archer, the editor of this book, collaborated on Hedda Gabler‘s translation with Edmond Gosse, and Archer’s wife Florence Elizabeth Archer did the honors for The Wild Duck. John Gassner, who is credited here, offers up an Introduction.

Colophon – Matheson signed this copy, and this is #144 out of 1500.

Examples of the Illustrations by Matheson – I’m skipping the Gallery to make the comparisons easier to see.

Page 2

Page 7 – I really like Matheson’s artwork. His larger prints are full color wood engravings (with each color being a different block, which blows the mind if you begin to think about the craft of such precision on multiple blocks), while the smaller ones are mere monochrome (but still special!).  This would be his sole work for the George Macy Company, but he certainly left his mark. The colors are more dynamic in the LEC in contrast to the Heritage; notice the reds and peach tones.

Page 59 – This one, meanwhile, had a lot of blues the Heritage lacks.

Personal Notes – I purchased this at Carpe Diem Rare Books in Monterey, CA when I was last there, alongside the Quarto-Millenary. I essentially got it from free. :) It’s nice to have this back; as I note below in the original post, I lost my Heritage copy to water damage, and now I have the more luxurious LEC to replace it.

Three Plays of Henrik Ibsen – An Enemy of the People, The Wild Duck and Hedda Gabler (1964)
Sandglass Number XV:29
Artwork – Engravings by Frederik Matheson
Translated by Eleanor Marx-Aveling (Enemy), Florence Elizabeth Archer (Wild Duck) and Edmond Gosse and William Archer (Hedda Gabler), edited by William Archer and introduced by John Gassner
Reprint of LEC #364/33rd Series V. 2 in 1964

Front Binding – Unfortunately, the first thing that probably leaps to the eye is the staining the bottom of the binding features — I’m not sure if it was coffee or some other tannish liquid, but considering I got this book for free, I did not complain too much. However, a second mishap splashed water over several of my incomplete tomes, and this received additional damage while I attempted to dry it off.

Design Notes – The Heritage was printed by Kellogg and Bulkeley in Hartford, Connecticut on paper from the Cumberland Mills of Maine, which are owned by the S.D. Warren Company of Boston. The Russell-Rutter Company performed bindery duties, and the boards have a pattern paper meant to resemble a curtain, appropriate for Ibsen, legend of theater.

Title Page – The same as the LEC minus the red.

Page 7 – As you can see, this is less colorful than the LEC, but still nice. The Sandglass gets deep into Matheson’s art career on Page 4.

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Page 61

Personal Notes – I was sad to see this one go. I got this as a gift from my anthropology instructor, who salvaged it from somewhere. Thankfully I now have the LEC!

Sandglass:

Of Interest: Richard Ellis’ Career

January 1, 2017 Comments Off on Of Interest: Richard Ellis’ Career

Over at the Devotees forum, user featherwate compiled a nice little history and bibliography of renowned book designer Richard Ellis, who worked on several LEC and Heritage Press titles for George Macy. This reappears here with his permission and slight editing. Thanks Jack!

Richard ‘Dick’ Ellis (1894/5/6-1982 [1], book architect [2]
Over a career spanning 60 years, Richard Ellis (familiarly known as RWE), built up a reputation as one of America’s finest printers and book designers, whether working for himself or for such leading names as Random House, OUP and the George Macy companies. One of his earliest commissions came from the distinguished publisher, art entrepreneur and bibliophile Mitchell Kennerley, who asserted that “…he has the surest touch of any book designer and printer in America today [3].” This magic touch rarely failed RWE and nearly 140 fine items ranging from a massive Dante/Blake Inferno to Richard Aldington’s small but perfectly-formed Balls passed through his hands.
In 1950 George Macy remarked that Ellis “had not had his just share of praise and gratitude”, and he and his successors demonstrated their confidence in him with frequent commissions. The following list is as comprehensive as I can make it; any additions or corrections will be very welcome!

Asterisked titles indicate LEC volumes that were also issued under the Heritage imprint.
The LEC
As printer:

1930 Tartarin of Tarascon
As designer [4]:
1945 The Sir Roger De Coverley Papers*
1945 Wonderful Adventures Of Paul Bunyan*
1947 The Red and the Black*
1947 Two Years before the Mast*
1955 The Warden*
1957 The Picture of Dorian Gray*
1958 Barchester Towers* (“Printed by Peter Beilenson in Mount Vernon, New York from the typographic plans of Richard W. Ellis. Illustrations hand-colored in the studio of Richard W. Ellis, NY.”)
1961 The Rise of Silas Lapham
1963 The Ambassadors*
1964 Poor Richard’s Almanacs*
1966 Journey to the Center of the Earth*
1968 Journal of the Plague Year 1665*
1968 Heart of Darkness*
1971 Northanger Abbey*
1973 Candide (as well as designing the book, RWE also oversaw its printing)
1974 The Life of Washington
The Heritage originals
As printer:
1937 Green Mansions (The Sandglass [1A of June 1937] makes no mention of RWE and ascribes the printing to The Haddon Craftsmen. At the time, however, he was in the Craftsmen’s employ and directed both the printing and binding of the book, which had been designed by Frederic Warde)
As designer:
1940 The Travels of Lemuel Gulliver
1945 Robinson Crusoe
1948 The Book of Edward A. Wilson
1950 The Autobiography of Benjamin Franklin

Notes:
[1] His birthday, December 7, isn’t in doubt but there is confusion over the year.
[2] In the 1925 New York Census RWE gave his occupation as ‘typographer’. Shortly afterwards he began to use ‘designer of books’ on his headed notepaper (Source: The Harbor Press Ephemera Collection). By 1940, however, he had acquired the confidence to enter his preferred description — ‘book architect’ — into the US Federal Census; surprisingly, perhaps, this neologism was accepted without comment (it wouldn’t have been in the UK!). But it seems not to have been taken up by others and appeareth not in the OED, the Urban Dictionary or, so far as I can tell, Webster’s. However, its derivative, ‘book architecture’ is a favorite buzzword of agencies offering to teach aspiring writers how to break into print.
[3] Mitchell Kennerley’s assertion was quoted on page 4 of the Monthly Letter for the 1973 LEC Candide
[4] It was said of him that in general: “Over the format, the typographic plan, and its execution Richard Ellis demanded complete jurisdiction; now and then he agreed to submit proofs, even more rarely to send trial pages…”. But I suspect that was earlier in his career, and not something he would have tried on too often with the Macys, who were effectively the saviors of his latter years.
Passim:
Earl Schenck Miers: “Richard Ellis, Printer.” The Journal of the Rutgers University Library, Volume 5 (December 1941)
Frank G. Harrington: “Praise Past Due, A Memoir of Richard Ellis”, Typographeum, 1991
Megan Benton: “Beauty and the Book: Fine Editions and Cultural Distinction in America”, Yale University Press, 2000

Heritage Press: Madame Bovary by Gustave Flaubert (1950)

December 29, 2016 Comments Off on Heritage Press: Madame Bovary by Gustave Flaubert (1950)

Madame Bovary by Gustave Flaubert (1950)
Sandglass Number Unknown
Artwork: Illustrations by Pierre Brissaud put into woodblocks by Theo Schmied
Introduced by Jacques de Lacretelle, translated by J. Lewis May
Reprint of LEC #206, 19th Series, V. 10; part of the Nonesuch Press/Heritage Press Great French Writers collaboration. The LEC issued this work earlier in 1938 with Guntar Bohmer’s illustrations.

Click images for larger views.

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Front Binding – To end 2016, we’ll post about the leading vote for the Heritage Reader’s Pick, Madame Bovary by Gustave Flaubert. This book has a bit of history, being that it was part of the Heritage Great French Romances series. One of the original ten books planned in 1938, this volume ended up being issued in 1950 as a Limited Editions Club title before launching as the ninth item in the aforementioned series in 1951 (the copyright date still lists 1950). Since my friend Django6924 did such a lovely job detailing the entire series, I’ll repost his comments about this particular book:

It isn’t until February, 1951 that Madame Bovary appears. I foolishly gave away my Heritage/Nonesuch edition when I acquired the LEC version which came out in April, 1950, so the information which follows comes from the LEC Monthly Letter. As you remember, Pierre Brissaud had elected to do Bovary and was “nearing completion” when the series was announced in 1940. The Monthly Letter continues:

“But by the time M. Brissaud finished his illustrations, the Nazis had marched into Paris and the Nonesuch Press had lost contact, with M. Brissaud on the one hand, and with us on the other. It was to us, at the headquarters of the Limited Editions Club in New York, that the Brissaud illustrations for Madame Bovary found their way; and it was we who, immediately after the war was over, found ourselves in Paris with those illustrations under our arm and the mission to have those illustrations reproduced in Paris, not for the Limited Editions Club, but for the Nonesuch Press.”

The Monthly Letter then goes on to say that discovering that the atelier of Théo Schmied had reopened in Paris, and M. Schmied had indicated his interest in printing the Brissaud illustrations through multiple wood engravings, that it was decided Bovary with the Brissaud illustrations reproduced through multiple wood engravings in color would be issued first as an LEC book, and it was. This was despite the fact that Madame Bovary had been previously issued by the LEC in 1938, with illustrations by Gunther Boehmer (I’ve never seen a copy of this edition). The Monthly Letter then adds a reassuring note:

“Now once this edition…is distributed to members of this Club, it will be followed by an unlimited edition (in which the illustrations will be reproduced in monochrome) to be included in that series called The Ten Great French Romances, for distribution by the Nonesuch Press in London, and for the Nonesuch Press, by the Heritage Club in New York.”

Meynell’s typographic plan was used for the LEC editon, and of course, for the unlimited edition, which, if memory serves me, had “Heritage” on the bright green buckram spine, with green fleurs-de-lys patterned boards, which indicates it was a later printing as the 1950 edition had “Nonesuch” on the spine, which was lavender. As I remember, my Heritage edition had the illustrations reproduced in color–not monochrome.

This is the Nonesuch version of the book, given the lavender coloration. And the illustrations are indeed in monochrome. I’ll have to see if I can find a Heritage edition to compare.

This is Flaubert’s first appearance on the blog, although he had a fairly prolific run with Macy. This book is actually the second printing of Madame Bovary; 1938 saw the release of a LEC exclusive with Guther Bohmer’s artwork. The Temptation of Saint Anthony followed in 1943 with Warren Chappell’s artistic touch. Next came Brissaud’s 1950 spin on Bovary. Salammbo was issued in 1960 starring the talents of Edward Bawden. And lastly, the Cardevon Press issued Three Tales in 1978 with the art of May Neama.

Brissaud, meanwhile, is on his second-to-last commission we have covered on the blog. We’ve hit all his other contributions save his Shakespeare, The Two Gentleman of Verona. World War II wrecked havoc on Brissaud, as Django observes above, and really cut his potential for Macy. Thankfully he was really really good on the books he did illustrate!

I don’t have a Sandglass, so Django’s notes will have to suffice for now.

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Title Page – Jacques de Lacertelle provides an introduction, and J. Lewis May did the translation from French to English. As you can see, Brissaud’s work is different than his other contributions; Theo Schmied desired to convert Brissaud’s linework into woodblock, and Macy agreed to the endeavor. Personally, I prefer the watercolors and light touch of Brissaud’s style in contrast to the woodcuts, but maybe it looks better in color.

Examples of the Illustrations by Brissaud (right click and open in new tab for full size):

Personal Notes – This was another title Liz sent me earlier this year.

Limited Editions Club/Heritage Press: Tono-Bungay by H.G. Wells (1960)

September 5, 2016 Comments Off on Limited Editions Club/Heritage Press: Tono-Bungay by H.G. Wells (1960)

Limited Editions Club

Tono-Bungay by H.G. Wells (1960)
LEC #307/28th Series V. 4 in 1960
Artwork: Drawings by Lynton Lamb
Introduced by Norman H. Strouse

#660 of 1500. Heritage edition detailed below.

Click to see larger views.

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Front Binding – It’s yet another round of updating an older Heritage post with LEC information; this time, the perhaps surprising choice of H.G. Wells’ Tono-Bungay. I say surprising because Wells is now well-regarded for his contributions to science fiction, laying a lot of the initial groundwork for the genre today. However, the Limited Editions Club picked Tono-Bungay, a somewhat autobiographical novel that the Monthly Letter and Sandglass reveals that the author considered his finest work in fiction, as their first release of his. They followed up Tono-Bungay with two books of three of his better known works: The Time Machine & The War of the Worlds, with Joe Mugnaini’s art in 1964, and The Invisible Man, with Charles Mozley (who also did Shaw’s Man and Superman) providing the illustrations in 1967.

Tono-Bungay was Lynton Lamb’s second commission for the LEC, following his work on George Eliot’s Silas Marner in 1953. He would receive one more offer with the Club for Joseph Addison’s The Spectator in 1970. His drawings for this work come in two forms; black-and-white pieces (39) and full-color (15). Lamb was asked by the Club how he performed his full-color plates, which I’ll quote a piece of (you can read the rest in the Sandglass scans below on page 4):

I draw my basic design in black ink on a coloured paper which I also heighten with white. (The coloured paper I choose is one that is of a middle strength between light and dark; and for block making purposes I have used a middle blue, although once the blocks are made, this part of the design may be printed in another colour. The other colours are then drawn on separate sheets of tracing paper in black to give the necessary combination of overprinting.)

Design Notes – This was designed by Bert Clarke of Clarke and Way in New York (aka The Thistle Press), who also did the pub duties for both variants of the book. I will pause to highlight Clarke and Way, as they were Bert Clarke and David Way, who both used to be employed by the George Macy Company as part of the Heritage Press. They named their press after their mentor, one of the most distinguished members of the LEC/Heritage printing canon, Bruce Rogers.

The text is Caslon Old Style No. 337 (the Sandglass tackles the obvious gag of “is there 226 other Caslon fonts?” in its next sentence) while the block divisions and chapter headings are graced with Craw Clarendon typeface. The text was then printed by Clarke and Way for the LEC and by the New York Lithographing Company for the Heritage.

Unfortunately, I do not have the monthly letter to further elaborate on the LEC. I will see if my friends in the Devotees may be able to assist me.

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Spine

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Slipcase

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Title Page – Norman H. Strouse, the President of J. Walter Thompson Company in New York (at the time, the Sandglass gushes, “the most fabulous, amazing, tremendous, supercolossal advertising agency in the whole wide world”), delivers an Introduction.

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Colophon – This is copy 660 of 1500, and Lamb provides his signature.

Examples of the Illustrations by Lamb – I’m skipping the Gallery again so I don’t have to do it twice; it will hopefully make the comparisons easier to see.

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Page 16 – Lamb’s illustrations are a little subdued, which is appropriate for the text. Not my favorite, I must admit, but they work. The colors blend quite nicely, and the scenes are well depicted.

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Page 33

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Page 26 – I skipped the black and white linework last time; not so now!

Personal Notes – How weird that this too, like Herodotus’ volume, took five years to acquire since I originally posted about it! This also came from Liz, the very nice person who sent me a bunch of books gratis a few months back. Thanks again!

Heritage Press

Tono-Bungay by H.G. Wells (1960)
Sandglass Number VI: 26
Artwork: Drawings by Lynton Lamb
Introduced by Norman H. Strouse
Heritage Press Reprint of LEC #307/28th Series V. 4 in 1960

Click to see larger views.

Front Binding – The design for the binding changed things up a little between editions; one of Lamb’s illustrations were utilized for a little extra decoration, and the spine was toned down a little (the bottle is still there, but it’s not as prominent a design element). Otherwise, the inside is essentially the same, right to the reprinting of Lamb’s artwork (in the same color scheme as the LEC no less!). After George Macy’s passing, several LECs had their color palette reduced or stripped out in their conversion to a Heritage, but that is not the case here.

Other design notes for the Heritage: it features Saturn-wove paper specifically made for the Press by the Crocker Burbank Company of Fitchburg, Massachusetts. Lamb’s plates were made by John Swain & Company in London, sailed over to America on the Queen Mary, and printed by Clarke and Way. The boards are covered with “a staunch natural-finish cloth…a symphony of rose-reds.” The spine has the book’s title, Wells’ name and a bottle of the titular elixir stamped in gold, which were done by the ever-busy Russell-Rutter Company in New York. One of Lamb’s drawings adorns the front cover.

Title Page – No fancy colors here like the LEC.

Page 16 – The reprints of the LEC plates turned out well; there’s not a huge difference in quality. Perhaps Clarke and Way’s involvement here helped?

Page 33

Personal Notes – I haven’t read this novel, but I do think it’s a nice-looking book with quite a bit of charm. I got this copy from Page One Used Books, my good friend’s bookshop, before she retired (the same friend I traded Brownings with) for free for helping out with the store. Amazing how many HP books I got that way…it lacked a slipcase, but the condition was otherwise fantastic. I no longer have it (I have a LEC, naturally).

Sandglass:

Updated 9/5/2016 by JF

Heritage Press: The Autobiography of Benjamin Franklin (1951)

July 4, 2016 Comments Off on Heritage Press: The Autobiography of Benjamin Franklin (1951)

The Autobiography of Benjamin Franklin (1951)
Sandglass Number unknown
Artwork: Drawings from William Sharp
Introduced by Carl Van Doren; Printed for the first time from his manuscripts as originally written, including his preliminary outline
Heritage Press exclusive; the LEC issued their own edition designed and signed by printer John Henry Nash in 1931, #26, 3rd Series, V. 1 in 1931

Click images for larger views.

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Front Binding – Happy Fourth of July, everyone! I’ve decided to bump up a Heritage Press title for the holiday, and I happen to have one quite apropos for today: The Autobiography of Benjamin Franklin, one of the all-time legends in non-fiction and arguably the most famous memoir ever written (at least by an American!). Franklin, of course, was one of the Founding Fathers of America, but he wore many other hats during his long life: inventor, banker, post officer, businessman, printer, newspaperman, diplomat, writer, and scientist. The book was a project that he didn’t fully finish before his death (and as Carl Van Doren notes, was written in a blistering four months), but he was still able to document fifty or so years of his busy, industrious life. This is the Heritage version of the work; Macy commissioned renowned printer John Henry Nash to print a LEC back in 1931 as the first title in the 3rd series. William Wilke served as illustrator for that edition, although it was Nash who ultimately signed the colophon. Franklin would also have his Poor Farmer’s Almanacks printed by both presses in 1964, which featured the paintings of Norman Rockwell.

For this Heritage original, Macy hired William Sharp to do the honors of rendering Franklin’s world in line drawings, a task he has performed multiple times for the George Macy Company. As previously covered, Sharp brought the lives of Rousseau and Pepys to Macy’s editions of those works, so he was certainly not a stranger to chronicling the authors in illustration (Rousseau did follow this work, mind). For Sharp’s bibliography, please see the post on Pepys.

Design Notes – …I have none! Alas, I have no Sandglass and this stands as an original Heritage. There is also no colophon to work from. Once I have some production details, I will happily elaborate.

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Slipcase

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Title Page – Carl Van Doren, who I briefly mentioned above, provides an Introduction. What’s kind of neat about this edition is that Macy had the text taken directly from Franklin’s original manuscript stored at the Huntington Library in Pasadena. The outline, included here as well, came from the Pierpont Morgan Library in New York.

Examples of the Illustrations by Sharp (right click and open in new tab for full size):

Personal Notes – This was another book sent to me recently by Liz. I’m happy to have it join my collection!

Limited Editions Club/Heritage Press: The Histories of Herodotus (1958)

June 26, 2016 § 4 Comments

The Histories of Herodotus (1958)
LEC #293/27th Series V. 2 in 1958
Artwork: Illustrated and Decorated by Edward Bawden
Introduced and translated from the Greek by Harry Carter
#660 of 1500. Heritage edition detailed below.

Before I begin this post proper, I need to take a moment and dedicate this post to longtime Devotee and frequent visitor to this site Don Floyd, who has seemingly passed away within the past six months since I or any of the other Devotee have heard from him. Another reason we believe he has passed on is that his collection — a nearly complete set of LECs, several of which he personally had rebound — has ended up on eBay. It’s truly tragic to see Don’s pride and joy not go to its intended home following his passing; he had plans to donate his collection to his alma mater.

That all being said, I will miss Don’s candor. He definitely had a strong opinion against Heritage Press books, and he was particularly ornery about certain topics, but he was a wonderful man to talk to and learn from. He provided information for me to utilize here on the blog more than once, and I can think of few individuals who were as devoted or passionate about George Macy and his publications as he was. Don Floyd will also be missed here as he was arguably my most frequent commenter. So rest in peace, Don; you will not be forgotten.

Click images for a larger view.

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Front Binding – After five long years, I can finally revisit and update you on the differences between the LEC and Heritage editions of The Histories of Herodotus, a title I have sought since I originally stumbled upon the Heritage books that originally comprised this post! And the circumstances of my coming upon this book is quite a story as well; perhaps not as notable or important as the histories contained within, but I hope intriguing! I’ll discuss that in the Personal Notes below.

Onto the book proper. The Limited Editions Club printed these very early classics in the history genre in 1958. Given George’s death in 1956, it’s probable he had some hand in the formation of this book more than his wife Helen, who carried the Club through the next decade. Herodotus is considered “the father of history” (a term given to him by Cicero), pioneering a new approach to writing historical works through the use of historiography, utilizing ethnographic and geographical information to serve as his support. Not everything he writes about in this book is infallible; Herodotus stated that he took what he got from his sources as credible, and there are a few spots where the text is shaky. However, taken as a whole Herodotus’ volumes are fairly accurate to the actual events known of the Greco-Persain Wars. This is the sole work of his that made it to modern times, and is thus the sole production from the LEC or the Heritage Press.

Edward Bawden makes a bold imprint on the LEC legacy with this book. His artistic flourishes for the title page and chapter openers are colorful, crisp dioramas twisting different motifs and symbols into delightful setpieces. He also supplied several line drawings that are sprinkled in the text. My frequent source Django6924 had this to say about Bawden when this was originally posted:

Bawden, born in 1903, and who was a famous English War Artist in WW II and did a tour in Abyssinia, did 102 pen and ink drawings to illustrate the text, and ten double-page color spreads to introduce each of the 9 books (plus one for the title page). …these are very exotic, combining elements of Attic and Persian art in a tapestry-like effect.

Bawden would also contribute to 1960’s Salammbo LEC, written by Gustave Flaubert.

Design Notes – Herodotus’ ancient Greek was translated by Harry Carter, who also served as one of the designers of the book. He also, according to Django6924:

In addition to his translating and editing tasks, Harry Carter compiled helpful marginal glosses which are on nearly every page of text, as compiling an Index which is a marvel of utility and fun: consider such Index items as “Arrows, messages shot with,” and “Beans, abhorred by the Egyptians.”

LEC legend Jan van Krimpen (who was the original lead designer until his death) and Bawden also had a hand in the design. Django6924 supplied these additional details:

The book’s designer was Jan van Krimpen of Joh. Enschedé en Zonen fame, whose printing company in the Netherlands did many great LEC and Heritage books, as well as many other fine books and postage stamps. He needed help from both the illustrator Edward Bawden and also the translator, Harry Carter, as he died in October, 1958 while working on the project. The text used is his Monotype Spectrum, the last face Krimpen ever designed.

van Krimpen may have died in this midst of his involvement with this book, but his legacy in the annals of the LEC and Heritage Press will not be forgotten, as this book will serve as a testimony of.

The paper was Wolvercoat paper from Oxford, England, printed up by van Krimpen’s printing house Joh. Enschedé en Zonen of Haarlem, Holland. J. Brandt and Zoon of Amsterdam served as the binding house for the LEC. As I don’t have a monthly letter at hand, this is as far as I can go into production details at present.

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Title Page – Bawden’s decorations are exquisite! Worth the price of admission for sure. Carter also provides an introduction to the text.

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Colophon – 1500 copies were produced. This is #660, and Bawden provides his signature.

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Book I Opener – I’m making an exception to my usual “gallery” template for this post to showcase these amazing works of Bawden’s.

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Book II Opener

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Page 5 – An example of the linework and text. You can see one of Carter’s annotations in the bottom right.

Personal Notes – So, five years after posting this, I finally got my hands on the LEC edition of this marvelous book. As I mentioned above, it’s an interesting story. I arrived to work Monday morning to find a message on my phone. It was from someone I had never met before (we’ll call her Liz) inquiring if I was the person who ran this very blog, and that she was seeking a good home for some LEC titles she couldn’t take with her when she moved. That was a bit of a shock! I reached out at my break and by the end of the call, I was going to receive 10 books from her to document and keep in my collection. A week or so later (after some frightening “tourism” the USPS decided to give my package, having it wander off to Cincinnati for an extended detour), the books arrived safe and sound. So I’m tickled to finally have this book (and the others!), and a big thank you to Liz for her generosity in sending them to me.

Heritage Press

The Histories of Herodotus (1958, 2 volumes)
Sandglass Number II & III: 24
Artwork: Illustrated and Decorated by Edward Bawden
Introduced and translated from the Greek by Harry Carter
Heritage Press Reprint of LEC #293/27th Series V. 2 in 1958

Click images for a larger view.

Front Bindings – As you can see, the Heritage edition splits the sole LEC into two nice looking volumes with a fairly striking design on the boards. This is duplicated on the back as well. Here’s Django6924’s thoughts between the LEC and HP editions, as well as some insights into the creation of this set:

I have both the LEC edition and the Heritage Press edition, and this is one case where the Heritage is the clear winner. Why?

First of all, the LEC is a single chunky volume while the Heritage books are much more reader-friendly. The printing is identical–if you compare two pages side-by-side, they are indistinguishable, same size and same pagination. Secondly, as WildcatJF points out, the binding design is striking to say the least! I love the vertical title arrangement on the spines–a technique that is seldom used but which I prefer to the more usually found arrangement where you have to cock your head to the left or right to read the title. The LEC binding is subdued, a burgundy buckram (that has faded on my otherwise pristine copy two shades paler), with a small white title label and a white medallion on the front cover. Very high quality and elegant (I particularly like the beveled edges), but I really prefer the wilder Heritage design.

The Heritage Sandglass number (2 actually) are II & III: 24–the books were sent out in separate months, but only one Sandglass.

They were printed separately and tipped in to the text, which was printed by Kellogg & Bulkeley of Hartford, CT, on paper specially made for this edition the the Crocker, Burbank Paper Company of Fitchburg, MA.

The binding was done, as it usually was in this period, by Frank Fortney and his Russell-Rutter Company.

I like the simple class act of the LEC design a lot, but there’s a unity and flair to the Heritage volumes I think I prefer slightly more. The interiors are pretty similar in terms of quality, too. I’m sure higher production value was put into the papers, inks and materials, but the Heritage reprint does a pretty remarkable job holding up to the LEC. I’m not going to part with my LEC, but I can understand why someone would take the plunge on the Heritage over it!

Spines – I particularly like the spine design here, as Django6924 notes.

Title Page – Pretty similar to the LEC, with only the printing press swapped out. Sorry about the library card blocking the view, but it’s now at least visible in the LEC image above.

Book I Decoration – As you can see, the Heritage does an admirable (if not extraordinary) job replicating the images of the LEC. This was not a rush job, for sure.

Book II Decoration

Personal Notes – Checked out from my Mariposa Library, and one I believe I saw in stores only once (and I had LEC options for other books, so I went that direction instead). Now that I hold the LEC in my collection, I won’t be on the hunt for this set any longer.

Updated 6/26/2016 by JF

Heritage Press: The Adventures and Later Adventures of Sherlock Holmes by Arthur Conan Doyle (1969)

January 1, 2016 Comments Off on Heritage Press: The Adventures and Later Adventures of Sherlock Holmes by Arthur Conan Doyle (1969)

The Adventures and Later Adventures of Sherlock Holmes by Arthur Conan Doyle (1969)
Sandglass Numbers VII:35R and III:36R
Artwork: Illustrations from multiple illustrators, including new artwork from Frederic Dorr Steele
Introduced by Vincent Starrett; Collected and Edited by Edgar W. Smith
Reprint of LEC #207, 19th Series, V. 11 in a 3 volume set in 1950 (Adventures), and of LEC #223, 21st Series, V. 3 in a 2 volume set in 1952

Click images for larger views.

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Front Bindings –
Sherlock Holmes finally makes his debut on the blog, after many (unknown to you, dear readers!) fits and starts to actually get them posted here. The Heritage edition of the first collection of Holmes was my second (ack!) title from the Heritage Press I ever acquired, way back in 2008 or so. I have photographed that copy at least twice before, but events conspired against the publication of those images, and I had replaced that original acquisition with the copy and its sequel you see before you today. There is a third volume of stories, titled The Final Adventures, that I have yet to come across, but it looks like these two in style and design. And, as a fitting footnote to this troubles I’ve had posting about Sir Arthur Conan Doyle’s masterwork, this is at present the final books I can post that I currently own. Surreal!

Anyway, this was a reprint of the LEC Sherlock Holmes, which were broken into more volumes for comfort (three volumes for the first series; two for the second and third). While the overall visual look was unaltered, the convenience of carting around the LEC’s smaller tomes may make that set more desirable. These editions are from 1969 when the Heritage Club was in a curious state of flux; the Sandglasses state that their home was in Del Mar, California. Was this Jonathan Macy, son of George, or was it one of the few pitstops for the Heritage Press prior to settling in with MBI, owners of the Easton Press (and who, coincidentally, still own the rights to reprint LEC and Heritage titles from the Macy eras), in Norwalk, Connecticut? I do not know, but if any of my fellow Devotees knows, I’ll pass it along.

The sets of Holmes would be the last of Doyle we would see from the Limited Editions Club, but not from the Heritage Press. Well after the Macy era had passed, MBI issued some titles under the Heritage Press banner in the later 1980s/early 1990s, including Doyle’s The Poison Belt. It looks much like the rest of MBI’s titles generated through the Easton Press, but carries the Heritage banner and even came with a Sandglass. This was released in 1989, and would be the end of the publications featuring Doyle.

Atypically, this series features more than one illustrator at its helm, but that was more due to complications than design. The original plan George Macy had in mind was to commission the talents of one of the original artists of the works when Doyle was actually publishing them: Frederic Dorr Steele. Steele would redo the pre-existing artwork he had performed prior to Macy’s edition, and also create brand new illustrations for the stories he had not been able to during the original publication of Sherlock Holmes. Alas, this did not quite come to fruition. Production delays thanks to copyright permissions for redrawing his classic pictures had a heavy impact on Steele’s health (he was 75 when he got the job from Macy), and perhaps accelerated his unfortunate passing before the project could be finished. Steele did complete some of the commission’s intentions before his death — 11 redrawings for the Adventures and two redos and four entirely new pieces for the Later Adventures — and those have been included, but it was not, shall we say, enough to populate such a massive amount of text. It’s also clear than some of these selections are not complete, but were included anyway — perhaps as a nod to his creative process, or in tribute of his efforts to perform the task? At any rate, Macy had to come up with a drastic alteration for his Holmes, and he turned to the man who helped get it off the ground in the first place: Edgar Smith.

Wright, you see, was a bit of a Holmes enthusiast; I am perhaps understating it here, as Macy (or whoever edited this Sandglass in 1969) goes into quite a bit of detail about Wright’s passion and knowledge on Doyle’s leading detective. Wright had already volunteered his services as the series’ editor, and was more than happy to open up his vast collection of Holmes and allow the LEC access to them for their editions. I presume Macy had cleared all of the copyright problems that plagued Steele, as his art was joined by classics from Sidney Paget, George Hutchinson, William H. Hyde, Charles Macauley, D.H. Friston, W.M.R. Quick, Charles Kerr, and others. W.A. Dwiggins was recruited to handle the lovely binding design; this series had so many artists!

Design Notes – Dwiggins was also the designer of the books. He chose Original Old Style 12 point as his font. The Connecticut Printers handled the printing tasks for both text and illustration. The artwork was photographed from the Limited Editions Club pulls. Tapley-Rutter (formerly Russell-Rutter) did the binding work.

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Slipcases

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Spines

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Title Page (Adventures) –
The editions essentially share the same title page (with mere emendations to the title), so I chose to keep it to one image here. Smith, as noted above, served as the editor for the text, providing corrections and edits as required. Vincent Starrett was called in to introduce the first collection of stories; Later Adventures lacks an introduction.

Examples of the Illustrations (right click and open in new tab for full size):

Personal Notes – I kind of did this already in my opening paragraph, but I’ll mention that these two volumes came to my possession via the Oakhurst Library haul I’ve discussed before.

Sandglasses forthcoming

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