Heritage Press – Lorna Doone by R.D. Blackmore (1943)

August 5, 2017 Comments Off on Heritage Press – Lorna Doone by R.D. Blackmore (1943)

Lorna Doone by R.D. Blackmore (1943)
Sandglass Number 10F
Artwork: Illustrated by John Austen
Introduced by John T. Winterich
Heritage Press exclusive

Click images for larger views.

Front Binding – Today brings another Heritage exclusive to the blog, R.D. Blackmore’s Lorna Doone. A Victorian novel written among many other greats of the era, the book is perhaps considered a minor classic in contrast to its more famous contemporaries like Great Expectations and Silas Marner, but it remains a romance icon regardless. The Limited Editions Club however passed over printing an edition of their own, but we do have this Heritage exclusive to consider. Blackmore did not get a second publication.

The book’s illustrator is a different story, as John Austen was called upon for his third Heritage exclusive, following David Copperfield and The Vicar of Wakefield. We’ve seen a fair amount of Austen’s work thus far on this blog, as we have discussed Vanity Fair, The Faerie Queene and the aforementioned Vicar, where I go into his publication history. This is very much in Austen’s usual standards of illustration, with hauntingly beautiful full-page color prints and several line drawings decorating the chapters, and as such may or may not please your eyes, depending on your feelings of Austen’s style. I for one feel this novel fits Austen’s artistic proclivities.

Design Notes – The designer is unstated, so it’s conceivable George Macy handled it, as is often the case when such commentary is lacking in a Sandglass. I’ll update this when I find out for sure. The color prints were reproduced by the Photogravure and Color Company of New York, while text setting and printing was done by Rochester’s The Printing House of Leo Hart. The font is Scotch.  Paper was supplied by The West Virginia Pulp and Paper Company, while Russell-Rutter did their usual binding services.

Spine – The front and back covers are pretty barren save the green cloth, but the spine has this delightfully intricate design.

Slipcase

Title Page – Interestingly we get a rather large reproduction of the Heritage logo in the center of this title page (minus the HP). While uncredited here, John T. Winterich stepped in to discuss the book’s origins and history within a short Introduction.

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

Personal Notes – I acquired this at Bookbuyers in Monterey last time I was there. The condition was exquisite! Bright and vibrant, unlike other copies I had seen before. Happy to have this in my collection.

Sandglass

Of Interest – The LEC’s “Booklover’s Journey Around the World” Project

July 30, 2017 Comments Off on Of Interest – The LEC’s “Booklover’s Journey Around the World” Project

Before beginning, much thanks to Devotee BuzzBuzzard for sharing the monthly letter this all comes from. This was originally a part of The Praise of Folly Heritage post, but I feel it deserves its own space.

So, in the fall of 1938, George Macy and his Directors determined the course for the LEC following the release of the massive Shakespeare set — a “Booklover’s Journey around the World” is how the letter describes it. Intended to begin in November 1940, Macy would have the most influential book of a particular country selected to be designed, published and illustrated by artisans within that very country. He clearly was enthused beyond words for this lofty project, and even though there were considerable challenges ahead (what with World War II about to explode, not to mention other logical difficulties of doing international correspondence in those pre-Internet years) he felt that now was the time to announce the proposal to the membership. And what a proposal it is!

Fourteen works were selected from fourteen countries for the initial prospectus. For simplicity’s sake, I will list these out:

  1. The Old Wives’ Tale by Arnold Bennett, England, printed by Oxford University Press, art by John Austen, introduced by Frank Swinnerton
  2. The Kalevala, Finland, printed by Tilghmann, art by Matti Visanti
  3. In Praise of Folly by Desiderius Erasmus, Holland, printed by Joh. Enschede en Zonen, art by Franz Masereel
  4. The Temptation of Saint Anthony by Gustave Flaubert, France, printed by Jean-Gabriel Daragnes, art by Daragnes, translated by Lafcadio Hearn
  5. Oedipus the King by Sophocles, Greece, printed by Pyrsos Press, art by Demetrios Galanis, introduced by Thornton Wilder, translated by Sir Richard Jebb
  6. The Song of Songs which is Solomon’s, Palestine, printed in a scroll form
  7. “Literature of Ancient Egypt”, Egypt, printed at the Press of the French Institute of Archaeology, art taken from examples of ancient Egyptian artwork, edited by the Librarian of the National Museum in Cairo
  8. The Story of an African Farm by Olive Schreiner, Basutoland (Lesotho), printed by Morija Printing Works, artist’s name not disclosed, binding to be bark from a native tree to the region*
  9. The Bhagavad-Gita, the Song Celestial, India, printed at the Times of India, seven Indian artists who are not disclosed, binding to be of gold cloth, translated by Sir Edwin Arnold
  10. The Ramayana, Siam
  11. Lord Jim by Joseph Conrad, Java
  12. We of the Never-Never, Australia
  13. Gaucho by Robert Bontine Cunninghame Graham (according to Wikipedia, the author never had a book by that name, but perhaps there was something in the works Macy knew of at the time that didn’t come to fruition?), Argentina
  14. The True History of Conquest of New Spain by Bernal Diaz, Mexico, printed by Rafael Loera y Chavez, art by Miguel Covarrubias

That’s quite a list! The letter then goes on to explain that books would still be sent out from the USA (in the patriotic verbiage you might expect) interspersed between these 14 volumes. The goal was to have all of these sent out by October of 1941.

…and we all know the result of that! Nary a single one of these proposed books actually made it out as intended to the membership of the LEC, and the few that did manage to make it out certainly did not hit that hopeful 10/1941 end date. Of the entire catalog, The Old Wives’ Tale was the only one to cut it close, shipped out to subscribers in November of 1941 as detailed above. From there, The Discovery and Conquest of Mexico (a rebranded title from the prospectus!) by Diaz was mailed in October of 1942, also as planned. The next, The Temptation of Saint Anthony, showed the first signs that problems were severely hampering the original plan for this series. Instead of Daragnes, Warren Chappell was recruited to do the artwork and the book was printed in New York by Aldus Printers. It came out in January of 1943. The ML for that book goes into some of the tribulations regarding the creation of the book and the selection of Chappell, but fails to mention Daragnes whatsoever. Next came The Praise of Folly, but it was not from Holland as originally intended; Masereel and Van Krimpen were sidelined for Lynd Ward and The Mount Pleasant Press, and as noted earlier came out in February of 1943. And unlike Saint Anthony, nothing about the book’s original vision came out in the letter for it.

It ought to be clear that Macy’s dream had withered, most likely due to World War II. I can only imagine the disappointment he must have felt as the majority of the remaining books fell off of his publication radar. Of the 10 left on the prospectus, only Oedipus made it out in any sort of form as Macy intended, with Galanis’ artwork still included, in November of 1955. After George’s death in 1956, Helen Macy issued three other titles from the “Booklover’s Journey”, although I doubt little beyond the text matched up to her husband’s aspirations for two of them: Lord Jim in 1959 (with Lynd Ward again stepping in to produce artwork for it), and The Bhagavad-Gita in 1965 (art by Y. G. Srimati and still including Arnold as the translator). The Story of an African Farm in 1961 (with Paul Hograth’s art), however, did manage to achieve some level of success in matching up with Macy’s design as outlined in the letter. I’ll let Django6924 explain:

The fascinating Monthly Letter uploaded here also fails to mention the name of the printer/designer at the Morija Printing Works where the The Story of an African Farm was to be printed. That gentleman was Hans Schmoller and that same gentleman actually did design and print the book–25 years later and in England!

Per the ML for the 1961 edition, Herr Schmoller was a 21-year-old printer in 1938 when he wrote to George Macy, whose name he had seen in an issue of The Dolphin, introducing him to the Morija Printing Works of the Société des Missions Evangéliques de Paris in Basutoland, where he was in charge of the composing and monotype department. “The only printing office of any importance in a country the size of Switzerland with a staff of 32, all but two of them natives, printing books in 15 languages.” Macy’s suggested that Morija might want to print The Story of an African Farm for the LEC. The ML is oddly silent about whether Schmoller accepted the offer (if indeed he had the authority to make such a decision at his age), but the war intervened and by the time it was over, Schmoller had moved to England where he was Oliver Simon’s assistant at the Curwen Press. Macy located him and raised the question of The Story of an African Farm again, but again the ML doesn’t say whether Schmoller accepted (if he had the authority to do so). In 1949 Schmoller moved to Penguin Books and by 1961 was the head of the production department and one of the directors of Penguin. By now, Schmoller must have decided that he needed to write finis to the production of this book for the LEC (he was, incidentally, the designer of the LEC edition of Silas Marner back in 1953).

Although Macy did not live to see the edition, and although it wasn’t printed in Basutoland, and the illustrator was not a native of Basutoland but an Englishman, I believe George would have been pleased overall with the result — especially the tree-bark binding.

The remaining 6 titles faded into nothingness, never properly fulfilled in any fashion. Which is a shame, as they sound quite interesting indeed.

For Oedipus, we did get some explanation about the project and its overall failure in regards to that book, which I’m going to copy over from that post below:

[Oedipus] was going to join their “Booklover’s Tour of the World” plan that they had going at the time, with the book to be printed and illustrated in Greece to truly showcase its cultural style. The following month, Nazi Germany began their invasion of France, which led to Paris being taken in June. In the chaos that ensued, the Club lost contact with their printer, Kiron Theodoropoulos, and their illustrator, Demetrios Galanis. The Club had seen Galanis’ work in print form before the war kicked off, so they knew the work had been completed, but alas, it would be quite some time before the LEC were able to recontact their Greek collaborators. Luckily, both men were alive following the war’s aftermath, but the book was in dire straits. Over the war’s duration, vandals broke into Theodoropoulos’ press, the Pyrsos Press, and had destroyed the pages of type prepared for the book. The engravings were still intact, but their condition was no longer satisfactory. The Club wanted to see for themselves, and the American Embassy in Athens had become involved, sending an interested party to the Press to retrieve and ship the engravings to the Club. This occurred in 1953. Once in their hands, the engravings were deemed printable. The Club then decided that their lofty aborted plan of “The Booklover’s Tour of the World” was no longer limiting the book to be printed in Greece, so they turned to Jan van Krimpen in the Netherlands to design the book based on Galanis’ initial plans to have the Greek on one side and the English on the other.

So in the end Van Krimpen did get his chance to be a part of the series, although a long ways removed from reproducing a classic piece of Dutch literature!

So let’s spin back to the Heritage Press for a moment. The Heritage Press did publish their own Song of Songs back in 1935 (1500 of which are signed by artist Valenti Angelo!), so that particular title does have a Macy publication under its belt, even if the original intent for its LEC was lost. And we do somehow have the intended The Praise of Folly available as a Heritage edition, printed in Holland by Van Krimpen and featuring woodcuts by Masereel, issued as an exclusive. As I lack a Sandglass for the Heritage Praise, I can’t go into any specifics, but I imagine a similar situation took place a la Oedipus; Van Krimpen and/or Masereel were unable to fulfill the commission due to the war, and Macy had to audible in Ward to get the book out. However, as the war concluded, there was an opportunity to put out the proposed Praise, but with the LEC released not all that long ago Macy decided to instead publish it as a Heritage exclusive. That’s all speculation on my part, but it seems reasonable to assume.

Monthly Letter (source)

Heritage Press: Moriae Encomium or The Praise of Folly by Desiderius Erasmus (undated)

July 30, 2017 Comments Off on Heritage Press: Moriae Encomium or The Praise of Folly by Desiderius Erasmus (undated)

Moriae Encomium or The Praise of Folly by Desiderius Erasmus (undated)
Sandglass Number unknown
Artwork: Woodcuts by Franz Masereel
Introduced by Hendrik Willem Van Loon; translated by Harry Carter
Heritage Press exclusive; the LEC issued their own edition with Lynd Ward’s illustrations in the 14th Series, V. 4 in 1943

Click images for larger views.

Front Binding – We’re back after a week off to continue on discussing the few remaining books I have in my collection. And today’s…well, we have a lot to talk about with this book! But before we delve into the history of this edition and its origins, I think I’ll get the author/illustrator/design notes covered first.

Desiderius Erasmus only had this particular work of his published by the George Macy Company and its descendants, but it was printed twice. The LEC commissioned Lynd Ward to tackle the work in February 1943, and we have this Heritage exclusive that presumably followed featuring the talents of another woodcut specialist, Franz Maserell. This is likely the last of his jobs with Macy, as the others came in the 1930s: he was the illustrator for the infamous 1930 printing of Notre Dame de Paris, where Macy sent out in only paper wraps which did not go over well with many subscribers, who subsequently were offered the opportunity to have them rebound; Masereel also joined the many notable artists for the LEC Shakespeare, decorating Julius Caesar.

Lastly, the book does have a colophon with some design commentary:

So now we can get into the meat of this post; the whirlwind production of this book and how it ended up as a Heritage Press title. I will also spin this off into its own post as it’s going to be a significant chunk of history that deserves its own space, but this book is central to the story so I want to keep it here. And before beginning, much thanks to Devotee BuzzBuzzard for sharing the monthly letter this all comes from.

So, in the fall of 1938, George Macy and his Directors determined the course for the LEC following the release of the massive Shakespeare set — a “Booklover’s Journey around the World” is how the letter describes it. Intended to begin in November 1940, Macy would have the most influential book of a particular country selected to be designed, published and illustrated by artisans within that very country. He clearly was enthused beyond words for this lofty project, and even though there were considerable challenges ahead (what with World War II about to explode, not to mention other logical difficulties of doing international correspondence in those pre-Internet years) he felt that now was the time to announce the proposal to the membership. And what a proposal it is!

Fourteen works were selected from fourteen countries for the initial prospectus. For simplicity’s sake, I will list these out:

  1. The Old Wives’ Tale by Arnold Bennett, England, printed by Oxford University Press, art by John Austen, introduced by Frank Swinnerton
  2. The Kalevala, Finland, printed by Tilghmann, art by Matti Visanti
  3. In Praise of Folly by Desiderius Erasmus, Holland, printed by Joh. Enschede en Zonen, art by Franz Masereel
  4. The Temptation of Saint Anthony by Gustave Flaubert, France, printed by Jean-Gabriel Daragnes, art by Daragnes, translated by Lafcadio Hearn
  5. Oedipus the King by Sophocles, Greece, printed by Pyrsos Press, art by Demetrios Galanis, introduced by Thornton Wilder, translated by Sir Richard Jebb
  6. The Song of Songs which is Solomon’s, Palestine, printed in a scroll form
  7. “Literature of Ancient Egypt”, Egypt, printed at the Press of the French Institute of Archaeology, art taken from examples of ancient Egyptian artwork, edited by the Librarian of the National Museum in Cairo
  8. The Story of an African Farm by Olive Schreiner, Basutoland (Lesotho), printed by Morija Printing Works, artist’s name not disclosed, binding to be bark from a native tree to the region*
  9. The Bhagavad-Gita, the Song Celestial, India, printed at the Times of India, seven Indian artists who are not disclosed, binding to be of gold cloth, translated by Sir Edwin Arnold
  10. The Ramayana, Siam
  11. Lord Jim by Joseph Conrad, Java
  12. We of the Never-Never, Australia
  13. Gaucho by Robert Bontine Cunninghame Graham (according to Wikipedia, the author never had a book by that name, but perhaps there was something in the works Macy knew of at the time that didn’t come to fruition?), Argentina
  14. The True History of Conquest of New Spain by Bernal Diaz, Mexico, printed by Rafael Loera y Chavez, art by Miguel Covarrubias

That’s quite a list! The letter then goes on to explain that books would still be sent out from the USA (in the patriotic verbiage you might expect) interspersed between these 14 volumes. The goal was to have all of these sent out by October of 1941.

…and we all know the result of that! Nary a single one of these proposed books actually made it out as intended to the membership of the LEC, and the few that did manage to make it out certainly did not hit that hopeful 10/1941 end date. Of the entire catalog, The Old Wives’ Tale was the only one to cut it close, shipped out to subscribers in November of 1941 as detailed above. From there, The Discovery and Conquest of Mexico (a rebranded title from the prospectus!) by Diaz was mailed in October of 1942, also as planned. The next, The Temptation of Saint Anthony, showed the first signs that problems were severely hampering the original plan for this series. Instead of Daragnes, Warren Chappell was recruited to do the artwork and the book was printed in New York by Aldus Printers. It came out in January of 1943. The ML for that book goes into some of the tribulations regarding the creation of the book and the selection of Chappell, but fails to mention Daragnes whatsoever. Next came The Praise of Folly, but it was not from Holland as originally intended; Masereel and Van Krimpen were sidelined for Lynd Ward and The Mount Pleasant Press, and as noted earlier came out in February of 1943. And unlike Saint Anthony, nothing about the book’s original vision came out in the letter for it.

It ought to be clear that Macy’s dream had withered, most likely due to World War II. I can only imagine the disappointment he must have felt as the majority of the remaining books fell off of his publication radar. Of the 10 left on the prospectus, only Oedipus made it out in any sort of form as Macy intended, with Galanis’ artwork still included, in November of 1955. After George’s death in 1956, Helen Macy issued three other titles from the “Booklover’s Journey”, although I doubt little beyond the text matched up to her husband’s aspirations for two of them: Lord Jim in 1959 (with Lynd Ward again stepping in to produce artwork for it), and The Bhagavad-Gita in 1965 (art by Y. G. Srimati and still including Arnold as the translator). The Story of an African Farm in 1961 (with Paul Hograth’s art), however, did manage to achieve some level of success in matching up with Macy’s design as outlined in the letter. I’ll let Django6924 explain:

The fascinating Monthly Letter uploaded here also fails to mention the name of the printer/designer at the Morija Printing Works where the The Story of an African Farm was to be printed. That gentleman was Hans Schmoller and that same gentleman actually did design and print the book–25 years later and in England!

Per the ML for the 1961 edition, Herr Schmoller was a 21-year-old printer in 1938 when he wrote to George Macy, whose name he had seen in an issue of The Dolphin, introducing him to the Morija Printing Works of the Société des Missions Evangéliques de Paris in Basutoland, where he was in charge of the composing and monotype department. “The only printing office of any importance in a country the size of Switzerland with a staff of 32, all but two of them natives, printing books in 15 languages.” Macy’s suggested that Morija might want to print The Story of an African Farm for the LEC. The ML is oddly silent about whether Schmoller accepted the offer (if indeed he had the authority to make such a decision at his age), but the war intervened and by the time it was over, Schmoller had moved to England where he was Oliver Simon’s assistant at the Curwen Press. Macy located him and raised the question of The Story of an African Farm again, but again the ML doesn’t say whether Schmoller accepted (if he had the authority to do so). In 1949 Schmoller moved to Penguin Books and by 1961 was the head of the production department and one of the directors of Penguin. By now, Schmoller must have decided that he needed to write finis to the production of this book for the LEC (he was, incidentally, the designer of the LEC edition of Silas Marner back in 1953).

Although Macy did not live to see the edition, and although it wasn’t printed in Basutoland, and the illustrator was not a native of Basutoland but an Englishman, I believe George would have been pleased overall with the result — especially the tree-bark binding.

The remaining 6 titles faded into nothingness, never properly fulfilled in any fashion. Which is a shame, as they sound quite interesting indeed.

For Oedipus, we did get some explanation about the project and its overall failure in regards to that book, which I’m going to copy over from that post below:

[Oedipus] was going to join their “Booklover’s Tour of the World” plan that they had going at the time, with the book to be printed and illustrated in Greece to truly showcase its cultural style. The following month, Nazi Germany began their invasion of France, which led to Paris being taken in June. In the chaos that ensued, the Club lost contact with their printer, Kiron Theodoropoulos, and their illustrator, Demetrios Galanis. The Club had seen Galanis’ work in print form before the war kicked off, so they knew the work had been completed, but alas, it would be quite some time before the LEC were able to recontact their Greek collaborators. Luckily, both men were alive following the war’s aftermath, but the book was in dire straits. Over the war’s duration, vandals broke into Theodoropoulos’ press, the Pyrsos Press, and had destroyed the pages of type prepared for the book. The engravings were still intact, but their condition was no longer satisfactory. The Club wanted to see for themselves, and the American Embassy in Athens had become involved, sending an interested party to the Press to retrieve and ship the engravings to the Club. This occurred in 1953. Once in their hands, the engravings were deemed printable. The Club then decided that their lofty aborted plan of “The Booklover’s Tour of the World” was no longer limiting the book to be printed in Greece, so they turned to Jan van Krimpen in the Netherlands to design the book based on Galanis’ initial plans to have the Greek on one side and the English on the other.

So in the end Van Krimpen did get his chance to be a part of the series, although a long ways removed from reproducing a classic piece of Dutch literature!

So let’s spin back to the Heritage Press for a moment. The Heritage Press did publish their own Song of Songs back in 1935 (1500 of which are signed by artist Valenti Angelo!), so that particular title does have a Macy publication under its belt, even if the original intent for its LEC was lost. And we do somehow have the intended The Praise of Folly available as a Heritage edition, printed in Holland by Van Krimpen and featuring woodcuts by Masereel, issued as an exclusive. As I lack a Sandglass for the Heritage Praise, I can’t go into any specifics, but I imagine a similar situation took place a la Oedipus; Van Krimpen and/or Masereel were unable to fulfill the commission due to the war, and Macy had to audible in Ward to get the book out. However, as the war concluded, there was an opportunity to put out the proposed Praise, but with the LEC released not all that long ago Macy decided to instead publish it as a Heritage exclusive. That’s all speculation on my part, but it seems reasonable to assume.

Regardless, this is arguably among the nicest exclusives of the Heritage Press, and it’s unsurprising given Van Krimpen’s expertise. Masereel’s woodcuts are lusciously reproduced and the text is sharp and crisp.

Monthly Letter (source)

Spine

Slipcase – This matches the binding quite nicely.

Title Page – The Heritage and LEC share its translator/introduction, so Harry Carter and Hendrik Willem Van Loon (respectively) pul double duty on this book.

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

Personal Notes – I picked this up at Bookbuyers last November. It was pretty neat being able to snag three exclusives in one fell swoop, and as usual I paid nothing beyond credit for them.

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.

Spine

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.

Page 17

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:

Limited Editions Club/Heritage Press: Cyrano de Bergerac by Edmond Rostand (1936/1954)

April 23, 2017 Comments Off on Limited Editions Club/Heritage Press: Cyrano de Bergerac by Edmond Rostand (1936/1954)

Before beginning this post proper, let me give a brief explanation for this post. This is the second time I will be covering all publications of a particular work by the George Macy Company that was printed in two unique LEC editions (the first was Tartuffe, although that was done in two posts). I’ll be starting with the earlier book first, and then cover the later LEC and Heritage reprint (the latter previously covered on the blog). Also, I accidentally mislabeled the date on the update, but I don’t want to relink everything more than once, so I’m leaving it as an April 2017 post. :p

Cyrano de Bergerac by Edmond Rostand (1936)
LEC #80/7th Series V. 10 in 1936
Artwork: Watercolors by Sylvain Sauvage
Translated and Introduced by Brian Hooker

#510 of 1500. LEC Exclusive.

Click to see larger views.

Front Binding – I am a nut about Cyrano de Bergerac (which I’ll get into below). So, I am beyond pleased to tell you that there are two Limited Editions Club variants of this fine play…although there is a very complex history behind the publication of both of these lovely books. But we’ll get to that momentarily.

Edmond Rostand, another of the legendary French playwrights (alongside Moliere, of course), had several other dramas beyond Cyrano spring forth from his pen, but none seemed to resonate the same way as his epic retelling of the eccentric de Bergerac. The George Macy Company didn’t feel compelled to create books for any of his other works, but being printed in two separate LEC volumes is relatively rare, so kudos to Rostand for that achievement (and having two spectacular artists doing your work justice at that!).

So this book has some significant backstory behind it, which I’ll happily share. This is retold from the Sandglass at the very bottom of this post. Before the war, when the Club was initially beginning the planning of this edition, Jacques LeClercq was going to be the book’s translator. He had performed the task and submitted it the LEC, but Macy and his partners felt that LeClercq did not recapture Cyrano‘s talents at poetry in English, or as the Sandglass puts it, “he had not made real poems out of the ‘set pieces'”. This was disappointing to Macy as LeClercq had done plenty of work for him that he felt did the original work justice, but just couldn’t print this particular translation.

While the text was being puzzled over, the other half of the book’s design was also having its own problems. The Club wanted to utilize Pierre Brissaud, who had recently made a big splash for the Heritage edition of The Story of Manon Lescaut which had just come out earlier in the year. Brissaud had completed his set of illustrations, but prior to sending them off to the LEC Europe began sinking into the chaotic web that begat World War II. Brissaud made himself scarce as Germany’s forces entered Paris, and vanished for over a decade from any contact with Macy or the LEC.

Now, this is all from the Heritage Press’ perspective, and I do not have access to the Monthly Letter of the second edition, and the letter for this book doesn’t mention any of this. The Quarto as well is mum on the matter, only delving into design notes for both. So, for now I am presuming that the Brissaud/LeClercq edition was originally scheduled as a LEC edition, not only as a Heritage exclusive. Once I know for sure I will update this post.

Either way, with Brissaud unable to get his illustrations out of Europe during the war and LeClercq’s translation deemed inappropriate, the project shifted gears. The LEC settled on Brian Hooker’s translation — popular at the time and still held with regard in dramatic circles — along with recruiting another French watercolorist, Sylvain Sauvage, to handle the art. The first truly was a desperate book…which makes it all the more remarkable it turned out as nice as it did.

Sauvage hasn’t been discussed as much as I would like on this blog, but we do have some history on him over at our Zadig post. As a pitch hitter, he scored a home run in my opinion, as his work is absolutely gorgeous here. There are twelve full page watercolor illustrations reprinted here in color collotype.

Design Notes – My edition came with the announcement card, so I’ll let that speak for the volume:

The binding, while novel for the blog, was modeled after the design utilized by the Club for Sauvage’s handling of the Anatole France novel At the Sign of the Queen Pedauque, and would see one more reuse for another France edition, The Crime of Sylvestre Bonnard. Images for both courtesy of Oak Knoll Books. It has two sides, so the back is also included below. Our featured book was designed and printed by Edmund B. Thompson at Hawthorn House. Curiously, the France novels were done by different designers: William A. Kittredge of the Lakeside Press for the Queen, and Edward Alonzo Miller for Crime.

Now if you read that note closely, you’ll notice it states the rust-colored linen is stamped in a blue and gold pattern; however, the “blue” appears brown to my eyes on my copy and others I’ve seen online. So perhaps it was originally blue but time has discolored it, or an alternative was used after this was printed. Again, this book was a bit of a pickle for Macy, so it may just be another detail that had to be changed at the last minute. And since the note lacks the detail, ever at the ready bindery Russell-Rutter performed that task.

Back Binding – This is a classic scene from the play, where Christian attempts to woo Roxane with the help of Cyrano speaking on his behalf.

Spine

Slipcase – The slipcase includes the limitation number, a relative rarity for the LEC, but it does happen on occasion.

Title Page – The book has an exquisite title page with the play’s dramatic final moments spotlighted here (perhaps an odd choice to have the end be your centerpiece for the title page, but with art this well executed it’s hard to complain). This edition never saw a Heritage reprint.

Colophon – Here Sauvage provides his signature (nice to have one!), and this is copy #510 of 1500.

Examples of the Text and Illustrations by Sauvage:

Page 3 – Each act begins with a nice curtained backdrop surrounding Rostand’s notes setting up the scene.

Page 20 – Sauvage’s gorgeous watercolors are an ideal fit for the world of Cyrano. Brissaud is a very close second, but I do have to give the artistic edge to the older edition. Here Cyrano steps up to shut down the play of his rival, Montfleury.

Page 36 – Here Cyrano has outclassed snotty marquis Valvert both in verse and by the sword.

Personal Notes – This book was created in chaos, and apparently I needed a relic of such a time for my own personal chaos, as I acquired this from an online seller as my marriage was dissolving last year. I wanted to fill three huge holes in my collection with an influx of money that had come in, and both Cyrano LECs and the Popol Vuh (which will likely be the next post) fit the bill, with reasonably priced copies in good condition available for all three books. I am thankful to finally have this book, as it was on my wishlist for a long while. And while I wish it didn’t have to come to me in a time where I was trying to ignore the reality of my life on the precipice of changing forever, I still cherish it for what it is, not for what time it entered my life.

LEC Newsletter:

Cyrano de Bergerac by Edmond Rostand (1954)
LEC # 240/22th Series V. 8 in 1954
Artwork: Ilustrations by Pierre Brissaud
Translated and Introduced by Louis Untermeyer
#990 of 1500. Heritage Edition discussed below.

Front Binding – And so we turn to the 1954 edition, one of the last books overseen by Macy himself (he served as designer for both the LEC and Heritage editions) before his death and the fulfillment of at least half of the idealized edition of the play he had set out to make in the first place. When the Club finally reconnected with Brissaud in 1952, they offered him the chance to print his Cyrano with the lost art they were unable to originally use. Brissaud’s response? “…In the intervening years he had certainly grown older and possibly wiser, that he certainly ought to make a new set of pictures – which would be better pictures.” So he did twenty five brand new illustrations, done with pen and brush watercolors, which were printed for the LEC by the Photogravure and Color Company in key black, then hand colored by Walter Fischer to match up with Brissaud’s originals. And thus the edition now before you was printed. But LeClercq, the translator intended to pair with Brissaud, was still unseen in the edition. As the Sandglass below explains, the Club apparently had the intention of printing this book again while the LEC original would never be printed as a Heritage edition, and Louis Untermeyer was subsequently recruited to do his own translation for the second edition. Personally, I find it one of the best — if not the best — I’ve read of this production, and I adore this play.

Since this post originally served as a means of sharing Brissaud’s bibliography with the Club, let’s go ahead and cover that again. He had a decent run for Macy, with three Limited Editions Club titles, which are Flaubert’s Madame Bovary (1950) and Saint-Simon’s Memoirs (1954) along with Cyrano. He also rendered the Heritage Press exclusive The Story of Manon Lescaut as noted above. Manon Lescaut was issued in 1936, but Brissaud had disappeared during the chaos of World War II (as observed above), and would not return to the Macy fold until 1950 with Madame Bovary. He passed away in 1964.

Design Notes – Courtesy of the Quarto and the Colophon, here’s what I can tell you. As I mentioned earlier, Macy himself designed the book.The Marchbanks Press handled printing duties after the text was set by David Goldman’s team at Empire Typographers. Curtis Paper was used, and the binding was done again by Russell-Rutter. The font is Times Roman, with News Gothic for character names. The binding is a full patterned brocade with a tan leather label stamped in gold.

Spine

Slipcase

Frontispiece – Right before the title page is this fantastic curtain call illustration by Brissaud, which I think perfectly suits Cyrano. A fine way to start a book! There is a bit more color to the LEC in contrast to the Heritage, as I will provide below.

Title Page – Untermeyer was no stranger to the Macy publications at this point, with several introductions and a few other contributions under his belt by the time Cyrano came out. This may be his unsung opus, though. He also provides an intro for this volume.

Colophon – Much more relaxed in style than Sauvage’s. This is #990 of 1500 and Brissaud provides his signature.

Pages 16 – 17 – Christian and Ligniere chat about Roxane, before the performance of Montfleury. De Guiche can be seen talking to Roxane in the balcony. Brissaud does a splendid job illustrating Cyrano much like Sauvage did; I find both premiere treatments of the classic. I think I like the execution of Sauvage’s watercolors just a touch more due to being full-page prints versus the majority of in-text ones Brissaud created. Both are marvelous though.

Pages 76-77 – Here De Guiche, the major antagonist of the play, shows up to recruit Cyrano to his side after seeing his skills at poetry and swordplay.

Personal Notes – I got this at the same time as the original LEC of the play from another online seller, and it replaced my Heritage edition.

Cyrano de Bergerac by Edmond Rostand (1954)
Sandglass Number IX:18
Artwork: Ilustrations by Pierre Brissaud
Translated and Introduced by Louis Untermeyer
Heritage Press Reprint of LEC # 240/22th Series V. 8 in 1954

Click images to see larger views.

Front Binding – This feathery design was done through a specifically designed marbled cloth, modeled after the 17th century French style. The Press calls it an unusual material for them. It’s on both the front and the back. My first copy did not come with a slipcase, but the second did, and it’s a tan color.

Design Notes – Brissaud’s watercolors were done differently here; here they were reproduced as gravures with dark brown ink. From there Brissaud watercolored them all and returned them to the Club. Herbert Rau cut each color into a rubber plate, so that the book’s reproductions would match up to Brissaud’s originals (mostly, as you will see below). The text was set still by Empire Typographers in New York, while the Heritage reprint was reprinted by the Ferris Printing Company on specifically made paper for this edition.

Frontispiece (Heritage left, LEC right) – The Heriage omits the peach and tan tones entirely, and prints the other colors in a different, often lighter tone. They still are effective, but lack the pop that the full color range gives the LEC edition.

Title Page – I’m impressed the red was reused here; oftentimes Heritage editions strip out extra colors on title pages.

Page 16

Page 65 – Cyrano and Roxane share a moment after the scene with the poets. I think this is definitive proof of Brissaud being an ideal match for Rostand’s classic.

Bonus Pamphlet – Along with a Sandglass, the Heritage Press included a comparison between Cyrano’s famous “nose” speech in Act I, and how it has been translated over the years (including LeClercq’s unused translation). A rather fascinating document!

Personal Notes – Acquired at a Oakhurst library sale, this was my third Heritage Press book (The Aeneid and Sherlock Holmes preceding it). It’s arguably the one that clued me into discovering that there was a particular press making all these exquisite books I was getting. I’ve become hopelessly devoted to these literary treasures. I considered this one of my absolute favorite books in my collection…until I replaced it with the LEC, but now that edition is treasured as such! As I mentioned, I love this play, and I found Untermeyer’s translation very readable and smooth. Having been a part of this dramatic production as De Guiche for my local college, I consider it to be a great way of remembering the good times being in this show. Brissaud’s excellent art is a great cherry on top, although I have to give the LEC the edge for its extra coloring.

Sandglass:

Updated 6/23/2017 – JF

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.

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