July 7, 2018 Comments Off on Of Interest: Bill Majure’s Brief History and Book List of the Limited Editions Club
As I began to write today’s post, I went over to check on Bill Majure’s superb checklist for the Limited Editions Club, a resource that has essentially been the backbone of my book cataloging for years. Unfortunately, it appears that his page has not been configured correctly and is sending up flags to my browser to not open it. Thankfully, I had saved the list as a document some time ago, so I am choosing to go ahead and host that in the interim in case his site continues to not function properly. The following is entirely his work save a couple notes at the very end of the checklist, which he did provide originally but I do not have in my document; I am merely providing it as a resource for collectors to use. Somehow his numbering system did not make the transfer; I will see about fixing that soon. I have also made some slight revisions to the checklist to correct misspellings, punctuation and adding in the occasional “unsigned” to books I know were issued that way. I have yet to give this a thorough editing, mind, so there will still be some minor errors throughout. A huge thank you to Bill for producing this research, and I sincerely hope you do not mind my hosting it.
A BRIEF HISTORY OF THE LIMITED EDITIONS CLUB
The Limited Editions Club was founded in 1929 by George Macy (1900-1956) to publish finely made and finely illustrated limited editions of the classics of literature – and of a few carefully selected contemporary titles (such as Batouala by Rene Maran).
Most of the books were beautifully illustrated with original artwork by leading book illustrators. In most cases, the illustrators handsigned each copy of the books that they illustrated for the LEC. Some books were published unsigned due to the unexpected death of the artist before publication, as happened with the The Arabian Nights illustrated by Arthur Szyk, Comus illustrated by Edmund Dulac, and the Arthur Rackham illustrated Wind In The Willows.
George Macy also commissioned some major fine art artists to illustrate LEC books with original etchings, lithographs, etc., which were bound into the books; artists such as Matisse, Picasso, Derain, Laurencin, and other members of the Paris School. He also commissioned a number of American masters of that period, largely from the Social Realism and American Regionalism schools of art. Included were Reginald Marsh, Grant Wood, Thomas Hart Benton, and John Steuart Curry. In addition, he commissioned major photographers, including Edward Weston and Edward Steichen, to illustrate LEC books. The artists and photographers handsigned all copies of the books that they illustrated.
Some LEC books were signed not only by the artist, but also by famous book designers and by the authors, such as The Complete Poems of Robert Frost (1950), which was signed by the poet, Robert Frost; the book-designer, Bruce Rogers; and the artist/illustrator, Thomas Nason. And most copies of the books, Alice’s Adventures In Wonderland and Through The Looking Glass, were signed by Alice Hargreaves, the original Alice, Lewis Carroll’s niece. A small number of LEC books were issued unillustrated, and were usually signed by the book-designer and/or the printer.
The two most sought after (and valuable) LEC books published under Macy’s leadership are Lysistrata, illustrated and signed by Pablo Picasso, 1934; and Ulysses, illustrated and signed by Henri Matisse, 1935. A limited number of the copies of Ulysses were also signed by the author, James Joyce.
The LEC issued up to twelve books each year (it varied) to a small group of subscribers. During ownership by the Macy family, LEC books were usually limited to 1500 copies, but with several exceptions. The original subscription price in 1929 of an LEC book was $10, discounted by 10% if the subscriber paid a year in advance.
After George Macy’s death in 1956, his wife, Helen, took over and directed the operations of the LEC until her death in 1968. From 1968 until 1970, the club was operated by her son, Jonathan Macy, and other family members. In 1970, the LEC (together with The Heritage Press and The Heritage Club), was sold to Boise Cascade Corporation. Boise Cascade sold it to Ziff-Davis Publishing Company. Ziff-Davis sold it to Cardavon Press. Cardavon operated the LEC unsuccessfully for most of the 1970’s, finally putting it on the block for sale.
Cardavon had raised the limitation to 2000 copies, and had sold The Heritage Press & The Heritage Club to The Danbury Mint (a sister company to The Easton Press) to generate needed cash. The Heritage Press and The Heritage Club were, respectively, the publisher and distributor of inexpensive, unlimited, and unsigned reprint editions of books which had previously been published by the Limited Editions Club. As a result of that sale, today The Easton Press has the reprint publishing rights for those LEC titles.
The current owner of the LEC, Sidney Shiff, acquired it from Cardavon in 1978. Over the next decade, Mr. Shiff gradually changed the focus of the club, and eventually began producing only Livres d’Artiste illustrated with original artwork by major “fine art” artists, rather than book illustrators. And he also gradually reduced the number of copies printed. As of 2004, the limitation per edition was 300 copies, and the annual subscription rate was $5,000 for from one to four books per year.
The books from the later Shiff years are for serious collectors of fine art, as well as for collectors of fine literature published in fine press editions. The artists commissioned by Mr. Shiff include such lofty names as Jacob Lawrence, Balthus, Henri Cartier-Bresson, Elizabeth Catlett, Francesco Clemente, Ellsworth Kelly, Sean Scully, Alice Neel, and others.
The current listing for the LEC in the Manhattan telephone directory (as of April 16, 2008) is:
Telephone number: (212) 838-4040
Address: 654 Madison Ave, Rm 1409, New York, NY 10065.
Limited Editions Club Staff, Prospectus For the First Twelve Books, New York: Limited Editions Club, 1929.
Burton, William. “The Decline And Fall Of The Limited Editions Club”. American Book Collector (July/August 1980).
Limited Editions Club Staff, Bibliography of the Fine Books Published by The Limited Editions Club 1929-1985. New York: Limited Editions Club, 1985.
Fleming, Margaret W. “Limited Editions Club.” Dictionary of Literary Biography, Vol. 46: American Literary Publishing Houses, 1900-1980. Detroit: Gale Research, 1986.
Lacey, Peter. “CEO at Leisure; Artists Books as Collectibles.” Chief Executive U.S. (July/August 1992)
Grossman, Carol. “East Side Story: Two Faces of the Limited Editions Club”. Biblio (March 1999).
The First Series: 1929 – 1930
Swift, Jonathan. THE TRAVELS OF LEMUEL GULLIVER. 1929. Signed by Alexander King.
Whitman, Walt. LEAVES OF GRASS. 1929. Signed by Frederic Warde.
Raspe, Rudolphe E. THE TRAVELS OF BARON MUNCHAUSEN. 1929. Signed by John Held.
Whittier, John Greenleaf. SNOW-BOUND. 1930. Signed by Carl Purington Rollins.
Poe, Edgar Allen. THE NARRATIVE OF ARTHUR GORDON PYM. 1929 Signed by Rene Clarke.
Stevenson, Robert Louis. TWO MEDIEVAL TALES. 1929. Signed by C. B. Falls.
Boccaccio, Giovanni. THE DECAMERON. 1930. 2 volumes. Signed by T M Cleland.
Irving, Washington. RIP VAN WINKLE. 1930. Signed by Frederic Goudy.
Daudet, Alphonse. TARTARIN OF TARASCON. 1930. 2 volumes. Signed by W. A. Dwiggins.
La Motte-Fouque, Friedrich de. UNDINE. 1930. Signed by Allen Lewis
Defoe, Daniel. ROBINSON CRUSOE. 1930. Signed by Edward A. Wilson
La Fontaine, Jean De. THE FABLES OF JEAN DE LA FONTAINE. 1930. 2 volumes. Signed by Rudolph Ruzicka.
The Second Series: 1930 – 1931
Hugo, Victor. NOTRE-DAME DE PARIS. 1930. 2 volumes. Signed by Frans Masereel.
Originally issued European style, bound in paper wraps. But when many subscribers complained about the paper bindings, the publisher rebound most copies in hardcover.
De Quincey, Thomas. CONFESSIONS OF AN ENGLISH OPIUM EATER. 1930. Signed by Zhenya Gay and B. H. Newdigate.
Homer. THE ODYSSEY. 1930. Signed by J. Van Krimpen.
Moliere. TARTUFFE, or THE HYPOCRITE. 1930. Signed by Hugo Steiner-Prag.
THE LITTLE FLOWERS OF SAINT FRANCIS OF ASSISI. 1930. Signed by Paolo Molnar
Carlyle, Thomas. SARTOR RESARTUS. 1931. Signed by Oliver Simon.
AUCASSIN and NICOLETTE. 1931. Signed by Vojtech Preissig.
Grimm, Jacob and Wilhelm. GRIMM’S FAIRY TALES. 1931. Signed by Fritz Kredel and Rudolf Koch.
Loti, Pierre. AN ICELAND FISHERMAN. 1931. Signed by Yngve Berg.
Thackeray, William Makepeace. VANITY FAIR. 1931. 2 volumes. Signed by John Austen.
Hawthorne, Nathaniel. MARBLE FAUN. 1931. 2 volumes. Signed by Carl Straus.
Homer. ILIAD. 1931. Signed by J. van Krimpen.
The Third Series: 1931 – 1932
Fielding, Henry. HISTORY OF TOM JONES. 1931. Signed by Alexander King.
Franklin, Benjamin. THE AUTOBIOGRAPHY OF BENJAMIN FRANKLIN. 1931. Signed by John Henry Nash.
Dickens, Charles. THE CHIMES. 1931. Signed by Arthur Rackham.
Surtees, R. S. THE JAUNTS and JOLLITIES OF MR. JOHN JORROCKS. 1932. Signed by Gordon Ross.
Balzac, Honore de. DROLL STORIES. 1932. 3 volumes. Signed by W.A. Dwiggins.
Goethe, Johann Wolfgang von. FAUST A Tragedy. 1932. Signed by Rene Clarke.
Hearn, Lafcadio. KWAIDAN. 1932. Signed by Yasumasa Fujita.
Reade, Charles. THE CLOISTER AND THE HEARTH. 1932. 2 volumes. Signed by Lynd Ward.
Cooper, James Fenimore. THE LAST OF THE MOHICANS. 1932. Signed by E. A. Wilson.
Douglas, Norman. SOUTH WIND. 1932. Signed by Carlotta Petrina.
Maran, Rene. BATOUALA. 1932. Signed by Miguel Covarrubias.
Carroll, Lewis. ALICE’S ADVENTURES IN WONDERLAND. 1932. Signed by Frederic Warde. Most copies were also signed by Alice Hargreaves, the original “Alice”, Lewis Carroll‘s niece.
The Fourth Series: 1932 – 1933
Apuleius, Lucius. THE GOLDEN ASSE (The Metamorphoses). 1932. Signed by Percival Goodman.
Dumas, Alexandre. THE THREE MUSKETEERS. 1932. 2 volumes. Signed by Pierre Falke.
THE FOUR GOSPELS. 1932. Signed by Emil Rudolf Weiss.
Twain, Mark. THE ADVENTURES OF HUCKLEBERRY FINN. 1933. Signed by Carl Purington Rollins
Alighieri, Dante. THE DIVINE COMEDY. 1932. Signed by Hans Mardersteig.
Confucius. THE ANALECTS OF CONFUCIUS. 1933. Issued in a handmade Chinese redwood box, with enameled title lettering and a small enameled Chinese design carved into the cover of the box.
Villon, Francois. THE LYRICS OF FRANCOIS VILLON. 1933. Signed by Howard Simon.
Shakespeare, William. THE TRAGEDY OF HAMLET, PRINCE OF DENMARK. 1933. Signed by Eric Gill.
Dickens, Charles. THE POSTHUMOUS PAPERS OF THE PICKWICK CLUB. 1933. 2 volumes. Signed by John Austen.
Tolstoy, Leo. ANNA KARENINA. 1933. 2 volumes. Signed by Nikolas Piskariov.
AESOP’S FABLES. 1933. Signed by Bruce Rogers.
Cervantes, Miguel de. DON QUIXOTE OF LA MANCHA. 1933. 2 volumes. Signed by Enric-Cristobal Ricart.
The Fifth Series: 1933 – 1934
France, Anatole. AT THE SIGN OF THE QUEEN PEDAUQUE. 1933. Signed by Sylvain Sauvage.
Dostoevsky, Fyodor. THE BROTHERS KARAMAZOV. 1933. 3 volumes. Signed by Alexander King.
Dickens, Charles. THE CRICKET ON THE HEARTH. 1933. Illustrated by Hugh Thomson.
Longus. THE PASTORAL LOVES OF DAPHNIS AND CHLOE. 1934. Signed by Ruth Reeves.
Shelley, Mary Wollstonecraft. FRANKENSTEIN, OR THE MODERN PROMETHEUS. 1934. Signed by Everett Henry.
Butler, Samuel. EREWHON. 1934. Signed by Rockwell Kent.
de Coster, Charles. THE GLORIOUS ADVENTURES OF TYL ULENSPEIGL. 1934. Signed by Richard Floethe.
Polo, Marco. THE TRAVELS OF MARCO POLO. 1934. 2 volumes. Signed by Nikolai Fyodorovitch Lapshin.
Aristophanes. LYSISTRATA. 1934. Signed by Pablo Picasso. – 150 of the copies included a separate portfolio of the 6 Picasso etchings with each etching handsigned by Picasso.
Sheridan, Richard Brinsley. THE SCHOOL FOR SCANDAL. 1934. Signed by Rene ben Sussan.
Burton, Richard (translator and notes) THE BOOK OF THE THOUSAND NIGHTS AND A NIGHT. 1934. 6 volumes. Signed by Valenti Angelo.
The Sixth Series: 1934 – 1935
Emerson, Ralph Waldo. THE ESSAYS OF RALPH WALDO EMERSON. 1934. Signed by John Henry Nash.
Dickens, Charles. A CHRISTMAS CAROL. 1934. Signed by Gordon Ross.
Chaucer, Geoffrey. THE CANTERBURY TALES. 1934. 2 volumes. Signed by George Jones.
Hudson, W. H. GREEN MANSIONS. 1935. Signed by Edward A. Wilson.
More, Sir Thomas. UTOPIA 1934. Signed by Bruce Rogers.
Carroll, Lewis. THROUGH THE LOOKING-GLASS. 1935. Most of the 1,500 copies were signed by Alice Hargreaves, the original “Alice”.
Hawthorne, Nathaniel. THE HOUSE OF THE SEVEN GABLES. 1935. Signed by Valenti Angelo.
O. Henry. (William Sydney Porter). THE VOICE OF THE CITY. 1935. Signed by George Grosz.
Twain, Mark. SLOVENLY PETER. 1935. Translation and jingles by Mark Twain. Foreword by Clara Clemens. Fritz Kredel, illustrator.
Melville, Herman. TYPEE. 1935. Signed by Miguel Covarrubias.
Sterne, Laurence. THE LIFE and OPINIONS OF TRISTRAM SHANDY, GENTLEMAN. 1935. 2 volumes. Signed by T. M. Cleland.
Joyce, James. ULYSSES. 1935. Signed by Henri Matisse. 250 copies were also signed by James Joyce.
The Seventh Series: 1935 – 1936
Smollett, Tobias. THE ADVENTURES OF PEREGRINE PICKLE. 1935. 2 volumes. Signed by John Austen.
THE HOLY BIBLE 1935-1936. 5 volumes.
Fitzgerald, Edward (translator). THE RUBAIYAT OF OMAR KHAYYAM. 1935. Signed by Valenti Angelo.
Butler, Samuel. THE WAY OF ALL FLESH. 1936. 2 volumes. Signed by Robert Ward Johnson.
Landor, Walter Savage. IMAGINARY CONVERSATIONS. 1936. Signed by Giovanni Mardersteig.
Borrow, George. LAVENGRO. 1936. 2 volumes. Signed by Barnett Freedman.
Thoreau, Henry David. WALDEN, OR LIFE IN THE WOODS. 1936. Signed by Edward Steichen.
Hale, Edward Everett. THE MAN WITHOUT A COUNTRY. 1936. Signed by Edward A. Wilson.
Rostand, Edmond. CYRANO DE BERGERAC. 1936. Signed by Sylvain Sauvage.
Sterne, Laurence. A SENTIMENTAL JOURNEY THROUGH FRANCE AND ITALY. 1936. Signed by Denis Tegetmeier and Eric Gill.
Rabelais, Francois. GARGANTUA AND PANTAGRUEL. 1936. 5 volumes. Signed by W.A. Dwiggins.
The Eighth Series: 1936 – 1937
Malory, Sir Thomas. LE MORTE D’ARTHUR. 1936. 3 volumes. Signed by Robert Gibbings.
Milton, John. PARADISE LOST and PARADISE REGAIN’D. 1936. Signed by Carlotta Petrina.
Aristophanes. THE FROGS. 1937. Signed by John Austen.
Cellini, Benvenuto. THE LIFE OF BENVENUTO CELLINI. 1937. Signed by Fritz Kredel.
Wilde, Oscar. THE BALLAD OF READING GAOL. 1937. Signed by Zhenya Gay.
Collodi, Carlo. PINOCCHIO, THE ADVENTURES OF A MARIONETTE. 1937. Signed by Richard Floethe.
Lewis, Sinclair. MAIN STREET 1937. Signed by Grant Wood.
Gay, John. THE BEGGAR’S OPERA 1937. Signed by Mariette Lydis.
Dickens, Charles. GREAT EXPECTATIONS.1937. Signed by Gordon Ross.
Burton, Richard F. THE KASIDAH OF HAJI ABDU EL-YEZDI. 1937. Signed by Valenti Angelo.
Dumas, Alexandre. CAMILLE. 1937. Signed by Marie Laurencin.
Allen, Hervey. ANTHONY ADVERSE. 1937. 3 volumes. Signed by Edward A. Wilson
Collier, John Payne. PUNCH AND JUDY. 1937.
The Ninth Series: 1937 – 1938
France, Anatole. THE CRIME OF SYLVESTRE BONNARD. 1937. Signed by Sylvain Sauvage.
Stowe, Harriet Beecher. UNCLE TOM’S CABIN. 1938. Signed by Miguel Covarrubias.
Le Sage, Alain Rene. THE ADVENTURES OF GIL BLAS OF SANTILLANE. 1937. 2 volumes. Signed by John Austen.
Maugham, W. Somerset. OF HUMAN BONDAGE. 1938. 2 volumes. Signed by John Sloan.
Peattie, Donald Culross. AN ALMANAC FOR MODERNS. 1938. Signed by Asa Cheffetz.
Flaubert, Gustave. MADAME BOVARY. 1938. Signed by Gunter Bohmer.
THE SONG OF ROLAND. 1938. Signed by Valenti Angelo.
Boswell, James. THE LIFE OF SAMUEL JOHNSON, LL.D. 1938. 3 volumes.
Wilde, Oscar. SALOME. 1938. 2 volumes. Signed by Andre Derain.
Tolstoy, Leo. WAR AND PEACE. 1938. 6 volumes. Signed by Barnett Freedman.
Gray, Thomas. ELEGY WRITTEN IN A COUNTRY CHURCH-YARD. 1938. Signed by Agnes Miller Parker.
The Tenth Series: 1938 – 1940
Stevenson, Robert Louis. KIDNAPPED. 1938. Signed by Hans Alexander Mueller.
Hugo, Victor. LES MISERABLES. 1938. 5 volumes. Signed by Lynd Ward.
Wharton, Edith. ETHAN FROME. 1939. Signed by Henry Varnum Poor.
Dreiser, Theodore. SISTER CARRIE. 1939. Signed by Reginald Marsh.
Browne, Sir Thomas. RELIGIO MEDICI. 1939.Signed by John Henry Nash
Shaw, Bernard. BACK TO METHUSELAH. 1939. Signed by John Farleigh.
Chaucer, Geoffrey. TROILUS AND CRESSIDA. 1939. Signed by George W. Jones
Twain, Mark. THE ADVENTURES OF TOM SAWYER. 1939. Signed by Thomas Hart Benton.
Austen, Jane. PRIDE AND PREJUDICE 1940. Signed by Helen Sewell.
Casanova, Jacques. THE MEMOIRS OF JACQUES CASANOVA DE SEINGALT. 1940. 8 volumes.
Baudelaire, Charles. LES FLEURS DU MAL (FLOWERS OF EVIL). 1940. 2 volumes.
SPECIAL PUBLICATIONS: In August, September and October of 1940, three books were issued outside of the regular annual subscription series, as “special publications”. Since they were not included in the regular subscription series and were sold separately, they were not numbered in the regular series. I have inserted them here using the same designations used in the LEC’s own 1959 bibliography, “S-6”, “S-7” and “S-8”.
S-6: Boccaccio, Giovanni. 1940. THE DECAMERON. Illustrated and signed by Fritz Kredel. 530 copies issued.
S-7: Grahame, Kenneth. THE WIND IN THE WILLOWS. 1940. Illustrated by Arthur Rackham. Limited to 2020 copies. Issued unsigned, due to Arthur Rackham’s death before publication.
S-8: Steinbeck, John. THE GRAPES OF WRATH. 1940. Illustrated & signed by Thomas Hart Benton. 1146 copies.
The Eleventh Series: 1939 – 1940
Shakespeare, William. THE COMEDIES, HISTORIES, AND TRAGEDIES OF WILLIAM SHAKESPEARE 1939-1940. 37 volumes. Designed by Bruce Rogers. Illustrated by various specially commissioned artists, a different one for each play. Issued unsigned. [See number 122 below.] The 37 volumes were issued at $5 per volume, or at a discounted price of $166 for the set if paid in full in advance. Publication was spread over ten months, with four volumes issued in each of seven months and three volumes issued in each of the final three months.
The Twelfth Series: 1940 – 1941
Cooper, James Fenimore. THE PRAIRIE. 1940. Signed by John Steuart Curry.
Scott, Sir Walter. IVANHOE. 1940. 2 volumes. Signed by Allen Lewis.
Brooks, Van Wyck. FLOWERING OF NEW ENGLAND. 1941. Signed by Raymond J. Holden. Some copies also signed by author.
Shakespeare, William. POEMS. 1941. Signed by Bruce Rogers. A slipcased 2 volume set of the poems and sonnets, bound to complement the earlier issued 37 volume set of plays; same size, same spine binding, and complementary patterned paper covering the boards.
Stevenson, Robert Louis. TREASURE ISLAND. 1941. Illustrated by Edward A. Wilson. Handsigned on the frontiespiece lithograph.
Merimee, Prosper. CARMEN 1941. Signed by Jean Charlot.
Poe, Edgar Allan. TALES OF MYSTERY AND IMAGINATION. 1941. Signed by William Sharp.
Bellamy, Edward. LOOKING BACKWARD. 1941. Signed by Elise Cavanna.
Dumas, Alexandre. THE COUNT OF MONTE CRISTO. 1941. 4 volumes. Signed by Lynd Ward.
Plutarch. THE LIVES OF THE NOBLE GRECIANS AND ROMANS. 1941. 8 volumes. Signed by W. A. Dwiggins.
Bunyan, John. THE PILGRIM’S PROGRESS. 1941. Illustrated by William Blake.
The Thirteenth Series: 1941 – 1942
Bennett, Arnold. THE OLD WIVES’ TALE. 1941. 2 volumes. Signed by John Austen.
Hawthorne, Nathaniel. THE SCARLET LETTER. 1941. Signed by Henry Varnum Poor.
Twain, Mark. ADVENTURES OF HUCKLEBERRY FINN. 1942. Signed by Thomas Hart Benton.
Adams, Henry. THE EDUCATION OF HENRY ADAMS. 1942. Signed by Samuel Chamberlain.
Masters, Edgar Lee. SPOON RIVER ANTHOLOGY. 1942. Signed by the author and Boardman Robinson.
Pepys, Samuel. THE DIARY OF SAMUEL PEPYS. 1942. 10 volumes. Signed by William Sharp
Stephens, James. THE CROCK OF GOLD. 1942. Signed by Robert Lawson.
Lincoln, Abraham. THE LITERARY WORKS OF ABRAHAM LINCOLN. 1942. Signed by John Steuart Curry.
Andersen, Hans Christian. FAIRY TALES. 1942. 2 volumes. Signed by Fritz Kredel and Jean Hersholt.
Hemingway, Ernest. FOR WHOM THE BELL TOLLS. 1942. Signed by Lynd Ward.
Diaz del Castillo, Bernal. THE DISCOVERY AND CONQUEST OF MEXICO 1517-1521. 1942. Signed by Miguel Covarrubias, Harry Block and Rafael Loera Y Chavez.
The Fourteenth Series: 1942 – 1943
Whitman, Walt. LEAVES OF GRASS. 1942. 2 volumes. Signed by Edward Weston.
Thackeray, William Makepeace. THE ROSE AND THE RING. 1942. Illustrated by Fritz Kredel.
Flaubert, Gustave. THE TEMPTATION OF SAINT ANTHONY. 1943. Signed by Warren Chappell.
Erasmus, Desiderius. THE PRAISE OF FOLLY. 1943. Signed by Lynd Ward.
Fielding, Henry. HISTORY OF THE LIFE OF THE LATE MR. JONATHAN WILD THE GREAT. 1943. Signed by T. M. Cleland.
Hoffmann, Ernst Theodor Amadeus. THE TALES OF HOFFMANN. 1943. Signed by Hugo Steiner-Prag.
Pushkin, Alexander. EUGENE ONEGIN. 1943. Signed by Fritz Eichenberg.
Melville, Herman. MOBY DICK. 1943. 2 volumes. Signed by Boardman Robinson.
Parkman, Francis. THE OREGON TRAIL. 1943. Signed by Maynard Dixon.
Cable, George Washington. OLD CREOLE DAYS. Issued with THE SCENES OF CABLE’S ROMANCES by Lafcadio Hearn. 1943. Signed by John O’Hara Cosgrave.
Bierce, Ambrose. TALES OF SOLDIERS AND CIVILIANS. 1943. Signed by Paul Landacre.
Hudson, W. H. FAR AWAY AND LONG AGO. 1943. Signed by Raul Rosarivo and Alberto Kraft. Bound in horsehide with the hair still on it. Issued without slipcase in a box with a wrap-around label.
The Fifteenth Series: 1943 – 1944
Poe, Edgar Allan. THE POEMS OF EDGAR ALLAN POE. 1943. Signed by Hugo Steiner-Prag.
Gautier, Theophile. MADEMOISELLE DE MAUPIN. 1943. Signed by Andre Dugo.
Crane, Stephen. THE RED BADGE OF COURAGE. 1944. Signed by John Steuart Curry.
Stevenson, Robert Louis. A CHILD’S GARDEN OF VERSES. 1944. Signed by Roger Duvoisin.
Bacon, Sir Francis. THE ESSAYES OF FRANCIS BACON. 1944. Signed by Bruce Rogers,
Twain, Mark. LIFE ON THE MISSISSIPPI. 1944. Signed by Thomas Hart Benton.
Willkie, Wendell L. ONE WORLD. 1944. Signed by the author.
Harte, Bret. TALES OF THE GOLD RUSH. 1944. Signed by Fletcher Martin
Plato. THE REPUBLIC. 1944. 2 volume. Signed by Fritz Kredel and Bruce Rogers.
Longfellow, Henry Wadsworth. THE POEMS OF HENRY WADSWORTH LONGFELLOW. 1944. Signed by Boyd Hanna.
Virgil THE AENEID. 1944. Signed by Carlotta Petrina.
Gogol, Nikolai. CHICHIKOV’S JOURNEYS (DEAD SOULS). 1944. 2 volumes. Signed by Lucille Corcos.
The Sixteenth Series: 1944 – 1945
Hughes, Richard. THE INNOCENT VOYAGE. 1944. Signed by Lynd Ward.
Beckford, William. VATHEK, AN ARABIAN TALE. 1945. Signed by Valenti Angelo
Untermeyer, Louis. THE WONDERFUL ADVENTURES OF PAUL BUNYAN. 1945. Signed by Everett Gee Jackson.
Emerson, Ralph Waldo. THE POEMS OF RALPH WALDO EMERSON. 1945. Signed by Richard and Doris Beer
Hamilton, Alexander; James Madison; John Jay. THE FEDERALIST. 1945. 2 volumes. Signed by Bruce Rogers.
Coleridge, Samuel Taylor. THE RIME OF THE ANCIENT MARINER. 1945. Signed by Edward A. Wilson.
Whittier, John Greenleaf. THE POEMS OF JOHN GREENLEAF WHITTIER. 1945. Signed by Raymond J. Holden.
Addison, Joseph. THE SIR ROGER DE COVERLEY PAPERS. 1945. Signed by Gordon Ross.
THE BOOK OF JOB. 1946. Signed by Arthur Szyk.
Gibbon, Edward. THE HISTORY OF THE DECLINE AND FALL OF THE ROMAN EMPIRE, 1946. 7 volumes.
The Seventeenth Series: 1946 – 1947
Chaucer, Geoffrey. THE CANTERBURY TALES. 1946. Signed by Arthur Szyk.
Montaigne, Michel de. THE ESSAYS OF MICHEL DE MONTAIGNE. 1946. 4 volumes. Signed by T. M. Cleland
Bryant, William Cullen. THE POEMS OF WILLIAM CULLEN BRYANT. 1947. Signed by Thomas W. Nason.
Nordoff, Charles and James Norman Hall. MUTINY ON THE BOUNTY. 1947. Signed by Fletcher Martin.
Morier, J. J. THE ADVENTURES OF HAJJI BABA OF ISPAHAN. 1947. 2 volumes. Signed by Honore Guilbeau.
Stendhal. THE RED AND THE BLACK. 1947. Signed by Rafaello Busoni.
France, Anatole. PENGUIN ISLAND. 1947. Signed by Malcolm Cameron.
Kingsley, Charles. WESTWARD HO! 1947. 2 volumes. Signed by Edward A. Wilson.
Epicurus. THE EXTANT REMAINS OF THE GREEK TEXT. 1947. Signed by Bruce Rogers
THE BOOK OF RUTH. 1947. Signed by Arthur Szyk.
Dana, Richard Henry Jr. TWO YEARS BEFORE THE MAST. 1947. Alexander Mueller.
The Eighteenth: April 1948 – April 1949
Browning, Elizabeth Barrett. SONNETS FROM THE PORTUGUESE. 1948. Signed by Valenti Angelo.
Walton, Izaak and Charles Cotton. THE COMPLEAT ANGLER. 1948. Signed by Douglas Gorsline.
Zola, Emile. NANA. 1948. Signed by Bernard Lamotte.
Dostoevsky, Fyodor. CRIME AND PUNISHMENT. 1948. 2 volumes. Signed by Fritz Eichenberg.
Balzac, Honore de. OLD GORIOT. 1948. Signed by Rene ben Sussan.
Chuan, Shui Hu. ALL MEN ARE BROTHERS. 1948. 2 volumes. Signed by Miguel Covarrubias.
Benet, Stephen Vincent. JOHN BROWN’S BODY. 1948. Illustrated by John Steuart Curry.
THE EVERGREEN TALES. 1948. 3 volumes:
ALADDIN AND THE WONDERFUL LAMP. Illustrated by Fritz Kredel.
Southey, Robert. THE THREE BEARS. Ilustrated by William Moyers.
THE STORY OF JOSEPH AND HIS BROTHERS. Illustrated by Arthur Szyk.
Browning, Robert. THE RING AND THE BOOK. 1949. 2 volumes. Signed by Carl Schultheiss.
Andersen, Hans Christian. THE COMPLETE ANDERSEN. 1949. 6 volumes. 168 stories. Signed by Fritz Kredel and Jean Hersholt.
Twain, Mark. A CONNECTICUT YANKEE IN KING ARTHUR’S COURT. 1949. Signed by Honore Guilbeau.
The Nineteenth Series: 1949 – 1950
Dostoevsky, Fyodor. THE BROTHERS KARAMAZOV. 1949. 2 volumes. Signed by Fritz Eichenberg.
THE SEVEN VOYAGES OF SINDBAD THE SAILOR. 1949. Signed by Edward A. Wilson.
James, Henry. THE TURN OF THE SCREW. 1949. Illustrated by Mariette Lydis.
France, Anatole. CRAINQUEBILLE. 1949. Signed by Bernard Lamotte.
Brillat-Savarin, Jean Anthelme. THE PHYSIOLOGY OF TASTE. 1949. Illustrated by Sylvain Sauvage. – Originally issued at $25 for the LEC edition or $5 for the Heritage Press edition.
THE EVERGREEN TALES. 1949. 3 volumes:
SAINT GEORGE AND THE DRAGON. Illustrated by Edward Shenton.
Beaumont, Mme. Le Prince de. BEAUTY AND THE BEAST. Illustrated by Edy Legrand.
DICK WHITTINGTON AND HIS CAT. Illustrated by Robert Lawson. Signed by Robert Lawson and Jean Hersholt.
THE EVERGREEN TALES. 1949. 3 volumes:
THE TALE OF ALI BABA AND THE FORTY THIEVES. Edward Ardizzone, illustrator
Perrault, Charles. THE SLEEPING BEAUTY IN THE WOOD. Sylvain Sauvage.
Andersen, Hans Christian. THE UGLY DUCKLING. Everett Gee Jackson.
Swift, Jonathan. A VOYAGE TO LILLIPUT BY DR. LEMUEL GULLIVER. and A VOYAGE TO BROBDINGNAG MADE BY LEMUEL GULLIVER 1950.
Pushkin, Alexander. THE GOLDEN COCKEREL. 1949. Signed by Edmund Dulac.
Flaubert, Gustave. MADAME BOVARY. 1950. Signed by Pierre Brissaud.
Doyle, Arthur Conan. THE ADVENTURES OF SHERLOCK HOLMES. 1950. 3 vols
Frost, Robert. THE COMPLETE POEMS OF ROBERT FROST. 1950. 2 volumes. Signed by Robert Frost, Thomas W. Nason, and Bruce Rogers.
The Twentieth Series: 1951 – 1952
Cervantes Saavedra, Miguel de. DON QUIXOTE, THE INGENIOUS GENTLEMAN OF LA MANCHA. 1950. 2 volumes. Edy Legrand.
Apuleius, Lucius. THE MARRIAGE OF CUPID AND PSYCHE. 1951. Signed by Edmund Dulac.
Scott, Sir Walter. IVANHOE. 1951. 2 volumes. Signed by Edward A. Wilson
Turgenev, Ivan. FATHERS AND SONS. 1951. Signed by Fritz Eichenberg.
Tolstoy, Leo. ANNA KARENINA. 1951. 2 volumes. Signed by Barnett Freedman.
Shakespeare, William. THE LIFE OF KING HENRY V. 1951. Illustrated by Fritz Kredel
Wister Owen. THE VIRGINIAN. 1951. Signed by William Moyes.
Schiller, Johann Christoph Friedrich von. WILLIAM TELL. 1951. Signed by Charles Hug.
Manzoni, Alessandro. THE BETROTHED. 1951. Signed by Bruno Bramanti and Giovanni Mardersteig
Stevenson, Robert Louis. STRANGE CASE OF DR. JEKYLL AND MR. HYDE. 1952. Signed by Edward A. Wilson.
Dumas, Alexandre. THE BLACK TULIP. 1951. Signed by Jan van Krimpen and Frans Lammers
Fielding, Henry. THE HISTORY OF TOM JONES, A FOUNDLING. 1952. 2 volumes. Signed by T.M. Cleland.
The Twenty-First Series: 1952 – 1953
Raspe, Rudolph and others. THE SINGULAR ADVENTURES OF BARON MUNCHAUSEN. 1952. Signed by Fritz Kredel.
THE EVERGREEN TALES. 1952. 3 volumes:
Andersen, Hans Christian. THE EMPEROR’S NEW CLOTHES. Signed by Jean Hershot and Ervine Metzl
Hawthorne, Nathaniel. PANDORA’S BOX. Signed by Rafaello Busoni.
Hawthorne, Nathaniel. KING MIDAS AND THE GOLDEN TOUCH. Signed by Fritz Eichenberg.
Doyle, Arthur Conan. THE LATER ADVENTURES OF SHERLOCK HOLMES. 1952. 2 volumes.
Doyle, Arthur Conan. THE FINAL ADVENTURES OF SHERLOCK HOLMES. 1952. 2 volumes.
BEOWULF. 1952. Illustrated by Lynd Ward. Not signed.
Maupassant, Guy de. A WOMAN’S LIFE. 1952. Edy Legrand, illustrator. Unsigned.
Dickinson, Emily. POEMS OF EMILY DICKINSON. 1952. Signed by Helen Sewell.
THE EVERGREEN TALES. 1952. 3 volumes:
Perrault, Charles. BLUEBEARD. Translated by Arthur Quiller-Couch, illustrated by Hans Bendix. Signed by Jean Hersholt, editor.
Grimm, Jacob and Wilhelm. HANSEL AND GRETEL. Translated by P. H. Muir, illustrated by Henry C. Pitz. Signed by Jean Hersholt, editor.
JACK AND THE BEANSTALK. Retold by Jean Hersholt, illustrated by Malcolm Cameron. Signed by Jean Hersholt, editor.
Virgil. THE GEORGICS. 1952. Signed by Bruno Bramante and Giovanni Mardersteig.
Tennyson, Alfred Lord. IDYLLS OF THE KING. 1952. Signed by Lynd Ward.
Doughty, Charles M. TRAVELS IN ARABIA DESERTA. 1953. Illustrated by Edy Legrand. Not signed.
Tegner, Esaias. FRITHIOF’S SAGA. 1953. Signed by Eric Palmquist.
The Twenty-Second Series: 1953 – 1954
Voltaire, Francois Marie Arouet. THE HISTORY OF ZADIG OR DESTINY. 1952. Illustrated by Sylvain Sauvage. Unsigned.
Spenser, Edmund. THE FAERIE QUEENE. 1953. 2 volumes. Signed by Agnes Miller Parker.
Eliot, George. SILAS MARNER, THE WEAVER OF RAVELOE. 1953. Signed by Lynton Lamb.
Jonson, Ben. VOLPONE, or THE FOX. 1952. Signed by Rene ben Sussan.
Dumas, Alexandre. THE THREE MUSKETEERS. 1953. Illustrated by Edy Legrand.
Sheridan, Richard Brinsley. THE RIVALS. 1953. Signed by Rene ben Sussan.
France, Anatole. THE REVOLT OF THE ANGELS. 1953. Illustrated by Pierre Watrin. Unsigned.
Rostand, Edmond. CYRANO DE BERGERAC. 1954. Signed by Pierre Brissaud.
Machiavelli, Niccolo. THE PRINCE. 1954.
Goethe, Johann Wolfgang von. THE STORY OF REYNARD THE FOX. 1954. Signed by Fritz Eichenberg.
Defoe, Daniel. THE FORTUNES AND MISFORTUNES OF THE FAMOUS MOLL FLANDERS. 1954. Signed by Reginald Marsh.
Proust, Marcel. SWANN’S WAY. 1954. Signed by Bernard Lamotte.
The Twenty-Third Series: 1954 – 1955
Grammaticus, Saxo. THE HISTORY OF AMLETH PRINCE OF DENMARK. 1954. Signed by Sigurd Vasegaard.
Milton, John. L’ALLEGRO and IL PENSEROSO. 1954.
Dreiser, Theodore. AN AMERICAN TRAGEDY. 1954. Illustrated by Reginald Marsh. Not signed.
Riggs, Lynn. GREEN GROW THE LILACS. 1954. Signed by Thomas Hart Benton.
Caesar, Julius. THE GALLIC WARS. 1954. Signed by Bruno Bramanti and Giovanni Mardersteig.
Milton, John. THE MASQUE OF COMUS. 1954. Illustrated by Edmund Dulac. Unsigned.
POPOL VUH : THE BOOK OF THE PEOPLE. 1954. Signed by Everett Gee Jackson.
Thackeray, William Makepeace. THE NEWCOMBES. 1954. 2 volumes. Signed by Edward Ardizzone.
Rousseau, Jean-Jacques. THE CONFESSIONS OF JEAN-JACQUES ROUSSEAU. 1955. Signed by William Sharp.
Burton, Richard (translator). THE ARABIAN NIGHTS ENTERTAINMENTS. 1954. 4 volumes. Illustrated by Arthur Szyk. Unsigned.
Hugo, Victor. NOTRE-DAME DE PARIS. 1955. Signed by Bernard Lamotte.
The Twenty-Fourth Series: 1955 – 1956
Sophocles. OEDIPUS THE KING. 1955. Signed by Demetrios Galanis.
Holmes, Oliver Wendell. THE AUTOCRAT OF THE BREAKFAST TABLE. 1955. Signed by Raymond J. Holden.
Dumas, Alexandre. CAMILLE (LA DAME AUX CAMELIAS). 1955. Signed by Bernard Lamotte.
Ibsen, Henrik. PEER GYNT. 1955. Signed by Per Krohg.
Meredith, George. THE SHAVING OF SHAGPAT. 1955. Signed by Honore Guilbeau
Stendhal. THE CHARTERHOUSE OF PARMA. 1955. Signed by Rafaello Busoni.
Hardy, Thomas. TESS OF THE D’URBERVILLES. 1956. Signed by Agnes Miller Parker
Trollope, Anthony. THE WARDEN. 1955. Signed by Fritz Kredel.
Dostoevsky, Fyodor. THE IDIOT. 1956. Signed by Fritz Eichenberg.
Carlyle, Thomas. THE FRENCH REVOLUTION. 1956. Signed by Bernard Lamotte.
Darwin, Charles. THE JOURNAL OF RESEARCH : THE VOYAGE OF H.M.S. BEAGLE. 1956. Signed by Robert Gibbings.
Thackeray, William Makepeace. THE HISTORY OF HENRY ESMOND, ESQ. 1956. Signed by Edward Ardizzone.
The Twenty-Fifth Series: 1956 – 1957
Verne, Jules. TWENTY THOUSAND LEAGUES UNDER THE SEA. 1956. Signed by Edward A. Wilson.
Aurelius, Marcus. MEDITATIONS OF MARCUS AURELIUS. 1956. Signed by Hans Alexander Mueller.
Bulwer-Lytton, Edward George. THE LAST DAYS OF POMPEII. 1956. Signed by Kurt Craemer and Giovanni Mardersteig
Stevenson, Robert Louis. THE BEACH OF FALESA. 1956. Signed by Millard Sheets.
Austen, Jane. SENSE AND SENSIBILITY. 1957. Illustrated by Helen Sewell.
Heine, Heinrich. POEMS OF HEINRICH HEINE. 1957. Signed by Fritz Kredel.
Dickens, Charles. DOMBEY AND SON 1957. 2 volumes. Signed by Henry C. Pitz.
Prescott, Willian Hickling. HISTORY OF THE CONQUEST OF PERU. 1957. Signed by Everett Gee Jackson and Harry Block.
Adams, Henry. MONT-SAINT-MICHEL AND CHARTRES. 1957. Signed by Samuel Chamberlain.
Stevenson, Robert Louis. TRAVELS WITH A DONKEY. 1957. Signed by Roger Duvoisin.
Carus, Titus Lucretius. OF THE NATURE OF THINGS. 1957. Signed by Paul Landacre.
Cook, Capt. James. THE EXPLORATIONS OF CAPTAIN JAMES COOK IN THE PACIFIC. 1957. Signed by Geoffrey C. Ingleton and Douglas Dunstan.
The Twenty-Sixth Series: 1957 – 1958
Hersey, John. THE WALL. 1957. Signed by William Sharp.
Wilde, Oscar. THE PICTURE OF DORIAN GRAY. 1957. Signed by Lucille Corcos.
Harris, Joel Chandler. UNCLE REMUS: HIS SONGS AND SAYINGS. 1957. Signed by Seong Moy
Dumas, Alexandre. TWENTY YEARS AFTER. 1958. Signed by Edy Legrand.
THE KORAN: SELECTED SURAS. 1958. Signed by Valenti Angelo
Rhodius, Apollonius. THE ARGONAUTICA. 1957. Signed by A. Tassos.
Bulfinch, Thomas. THE AGE OF FABLE. 1958. Signed by Joe Mugnaini
Hardy, Thomas. FAR FROM THE MADDING CROWD. 1958. Signed by Agnes Miller Parker on the limitations page. In addition to the bound-in wood engravings, the book was issued with a laid-in loose engraving on Japanese paper signed in pencil by the artist.
Alain-Fournier. THE WANDERER: LE GRAND MEAULNES. 1958. Signed by Andre Dignimont.
CHRONICLE OF THE CID. 1958. Signed by Rene ben Sussan.
Ovid. METAMORPHOSES: IN FIFTEEN BOOKS. 1958. Signed by Hans Erni and Hans Mardersteig
Gilbert and Sullivan. FIRST NIGHT. 1958. Unsigned.
The Twenty-Seventh Series: 1958 – 1959
Trollope, Anthony. BARCHESTER TOWERS. 1958. Signed by Fritz Kredel. There is a variant binding with a different pattern paper covering the boards.
THE HISTORIES OF HERODOTUS OF HALICARNASSUS. 1958. Signed by Edward Bawden
QUARTO-MILLENARY: THE FIRST 250 PUBLICATIONS AND THE FIRST 25 YEARS (1929 – 1954) OF THE LIMITED EDITIONS CLUB. 1959.
Verne, Jules. THE MYSTERIOUS ISLAND. 1959. Signed by Edward A. Wilson.
Goethe, Johann Wolfgang von. WILHELM MEISTER’S APPRENTICESHIP. 1959. Signed by William Sharp.
Saint-Simon, Duc de. THE MEMOIRS OF LOUIS DE ROUVROY DUC DE SAINT-SIMON COVERING THE YEARS 1691-1723. 1959. 2 volumes. Signed by Pierre Brissaud.
Alarcon, Pedron Antonio de. THE THREE-CORNERED HAT. 1959. Signed by Roger Duvoisin.
Jackson, Helen Hunt. RAMONA. 1959. Signed by Everett Gee Jackson.
Conrad, Joseph. LORD JIM. 1959. Signed by Lynd Ward.
Congreve, William. THE WAY OF THE WORLD. 1959. Signed by T.M. Cleland.
Sienkiewicz, Henryk. QUO VADIS? 1959. Signed by Salvatore Fiume and by Giovanni Mardersteig.
Collins, Wilkie. THE MOONSTONE. 1959. Signed by Andre Dignimont.
The Twenty-Eighth Series: 1959 – 1960
Aristophanes. THE BIRDS. 1959. Signed by Marian Parry.
Dostoevsky, Fyodor. THE POSSESSED. 1959. 2 volumes. Signed by Fritz Eichenberg.
Froissard, Jean. THE CHRONICLES OF ENGLAND 1959. Signed by Henry C. Pitz.
Wells, H. G. TONO-BUNGAY. 1960. Signed by Lynton Lamb.
London , Jack. THE CALL OF THE WILD. 1960. Signed by Henry Varnum Poor.
Flaubert, Gustave. SALAMMBO. 1960. Signed by Edward Bawden.
Virgil (Publius Vergilius Maro). THE ECLOGUES. 1960. Signed by Marcel Vertes.
THE NIBELUNGENLIED. 1960. Signed by Edy Legrand.
Wallace, Lew BEN-HUR. 1960. Signed by Joe Mugnaini.
Beerbohm, Max. ZULEIKA DOBSON. 1960. Signed by George Him.
Hugo, Victor. TOILERS OF THE SEA. 1960. Signed by Tranquillo Marangoni and Giovanni Mardersteig.
THE LIVING TALMUD: THE WISDOM OF THE FATHERS. 1960. Signed by Ben-Zion. A “popularity ballot” for voting on future titles to be published was enclosed with the Monthly letter. The Monthly Letter also included an offer of an artist signed copy of Ben-Zion’s Rabbi Jacob print to any subscriber who wrote requesting one. Copies of the book with the signed print laid-in loose are not common.
The Twenty-Ninth Series: 1960 – 1961
THE ROMANCE OF TRISTAN AND ISEULT. 1960. Signed by Serge Ivanoff.
Balzac, Honore de. EUGENIE GRANDET 1960. Signed by Rene ben Sussan.
THE BOOK OF PSALMS. 1960. Signed by Valenti Angelo.
Cooper, James Fenimore. THE DEERSLAYER. 1961. Signed by Edward A. Wilson.
Melville, Herman. OMOO. 1961. Signed by Reynolds Stone.
Paine, Thomas. RIGHTS OF MAN. 1961. Signed by Lynd Ward.
Schreiner, Olive. THE STORY OF AN AFRICAN FARM. 1961. Signed by Paul Hogarth.
Conrad, Joseph. NOSTROMO. 1961. Signed by Lima de Freitas.
Howells, William Dean. THE RISE OF SILAS LAPHAM. 1961. Signed by Mimi Korach.
ODES AND EPODES OF HORACE. 1961. 2 volumes. Unsigned.
London, Jack. THE SEA WOLF. 1961. Signed by Fletcher Martin.
Thackeray, William Makepeace. THE HISTORY OF PENDENNIS. 1961. 2 volumes. Signed by Charles W. Stewart.
The Thirtieth Series: 1961 – 1962
Aeschylus. THE ORESTEIA. 1961. Signed by Michael Ayrton.
Tarkington, Booth. MONSIEUR BEAUCAIRE. 1961. Signed by T.M. Cleland.
Scott, Sir Walter. WAVERLEY. 1961. Signed by Robert Ball.
Wilder, Thornton. THE BRIDGE OF SAN LUIS REY. 1962. Signed by Jean Charlot.
Twain, Mark. THE INNOCENTS ABROAD. 1962. Signed by Fritz Kredel.
Mann, Thomas. THE MAGIC MOUNTAIN. 1962. 2 volumes. Signed by Felix Hoffmann.
Shaw, George Bernard. MAN AND SUPERMAN. 1962. Signed by Charles Mozley.
THE CONFESSIONS OF ST. AUGUSTINE. 1962. Signed by Edy Legrand.
Lewis and Clark. THE JOURNALS OF THE EXPEDITION UNDER THE COMMANDE OF CAPTS. LEWIS AND CLARK. 1962. 2 volumes.
Kipling, Rudyard. KIM. 1962. Signed by Robin Jacques.
Plato. THE TRIAL AND DEATH OF SOCRATES. 1962. Signed by Hans Erni and Giovanni Mardersteig.
Verne, Jules. AROUND THE WORLD IN EIGHTY DAYS. 1962. Signed by Edward A. Wilson.
The Thirty-First Series: 1962 – 1963
Grimm, J. L. and W. K. GRIMM’S FAIRY TALES. 1962 – 1963. Four volumes, issued in two installments. Signed by Lucille Corcos.
Cooper, James Fenimore. THE SPY. 1963. Signed by Henry C. Pitz.
Moliere. TARTUFFE and THE WOULD-BE GENTLEMAN. 1963. Signed by Serge Ivanoff.
Wyss, Johann David. THE SWISS FAMILY ROBINSON. 1963. Signed by David Gentleman.
Maupassant, Guy de. THE TALES OF GUY DE MAUPASSANT. 1963. Signed by Gunter Bohmer.
Eliot, George. THE MILL ON THE FLOSS. 1963. Signed by Wray Manning.
Darwin, Charles. ON THE ORIGIN OF SPECIES. 1963. Illustrated by Paul Landacre. Not signed.
Tranquillus, Gaius Suetonius. THE LIVES OF THE TWELVE CAESARS. 1963. Signed by Salvatore Fiume and Giovanni Mardersteig.
Tolstoy, Leo. RESURRECTION. 1963. Signed by Fritz Eichenberg.
JOURNALS AND OTHER DOCUMENTS ON THE LIFE AND VOYAGES OF CHRISTOPHER COLUMBUS. 1963. Signed by Lima de Freitas.
Maurier, George du. PETER IBBETSON. 1963. Not signed.
The Thirty-Second Series: 1963 – 1964
James, Henry. THE AMBASSADORS. 1963. Signed by Leslie Saalburg.
THE BOOK OF PROVERBS. 1963. Signed by Valenti Angelo.
Hardy, Thomas. THE MAYOR OF CASTERBRIDGE. 1964. Signed by Agnes Miller Parker.
Wells, H. G. THE WAR OF THE WORLDS and THE TIME MACHINE. 1964. 2 volumes. Signed by Joe Mugnaini.
Galsworthy, John. THE MAN OF PROPERTY. 1964. Signed by Charles Mosley.
Aristotle. THE POLITICS and THE POETICS. 1964. Signed by Leonard Baskin.
Collins, Wilkie. THE WOMAN IN WHITE. 1964. Signed by Leonard Rosoman.
Goldsmith, Oliver. SHE STOOPS TO CONQUER. 1964. Signed by T. M. Cleland.
Austen, Jane. EMMA. 1964. Signed by Fritz Kredel.
THE SATYRICON OF PETRONIUS. 1964. Signed by Antonio Sotomayer.
Twain, Mark. THE PRINCE AND THE PAUPER. 1964. Signed by Clarke Hutton.
Franklin, Benjamin. POOR RICHARD’S ALMANACKS FOR THE YEARS 1733-1758. 1964. Signed by Norman Rockwell.
The Thirty-Third Series: 1964 – 1965
Nietzsche, Friedrich. THUS SPAKE ZARATHUSTRA. 1964.
Ibsen, Henrik. THREE PLAYS. 1964. Signed by Fredrik Matheson.
Dumas, Alexandre. THE MAN IN THE IRON MASK. 1965. Signed by Edy Legrand.
Stevenson, Robert Louis. THE MASTER OF BALLANTRAE. 1965. Signed by Lynd Ward.
Melville, Herman. BILLY BUDD and BENETO CERENO. 1965. Signed by Robert Shore.
Burns, Robert. THE POEMS OF ROBERT BURNS. 1965. Signed by Joan Hassall.
BHAGAVAD GITA: THE SONG CELESTIAL. 1965. Signed by Y. G. Srimati.
Aeschylus. PROMETHEUS BOUND and Percy Bysshe Shelley’s PROMETHEUS UNBOUND. 1965. Illustrations by John Farleigh. Unsigned.
Cooper, James Fenimore. THE PATHFINDER. 1965. Signed by Richard M. Powers.
Conrad, Joseph. THE NIGGER OF THE NARCISSUS. 1965. Signed by Millard Sheets.
Sinclair, Upton. THE JUNGLE. 1965. Signed by the author and by Fletcher Martin.
O. Henry. (Porter, William Sydney). THE STORIES OF O. HENRY. 1965. Signed by John Groth.
The Thirty-Fourth Series: 1965 – 1966
Petrarch. THE SONNETS OF PETRARCH. 1965. Signed by Aldo Salvadori and Giovanni Mardersteig.
Stoker, Bram. DRACULA. 1965. Signed by Felix Hoffman.
Marlowe, Christopher. FOUR PLAYS. 1966. Signed by Albert Decaris.
Hope, Anthony. THE PRISONER OF ZENDA. 1966. Signed by Donald H. Spencer.
Epictetus. THE DISCOURSES AND MANUAL OF EPICTETUS. 1966. Signed by Hans Erni.
Dickens, Charles. HARD TIMES. 1966. Signed by Charles Raymond.
Shaw, George Bernard. TWO PLAYS FOR PURITANS. 1966. Signed by George Him.
Vasari, Giorgio. LIVES OF THE MOST EMINENT PAINTERS. 1966. 2 volumes. Signed by Giovanni Mardersteig
Scott, Sir Walter. KENILWORTH. 1966. Signed by Clarke Hutton.
Twain, Mark. A TRAMP ABROAD. 1966. Signed by David Knight.
Chekhov, Anton. TWO PLAYS OF ANTON CHEKHOV. 1966. Signed by Lajos Szalay.
THE DEAD SEA SCROLLS. 1966. Signed by Shraga Weil.
The Thirty-Fifth Series: 1966 – 1967
Verne, Jules. A JOURNEY TO THE CENTER OF THE EARTH. 1966. Signed by Edward A. Wilson.
Hawthorne, Nathaniel. TWICE-TOLD TALES. 1966. Signed by Valenti Angelo.
Keats, John. THE POEMS OF JOHN KEATS. 1966. Signed by David Gentleman.
Bierce, Ambrose. THE MONK AND THE HANGMAN’S DAUGHTER. 1967. Signed by Michel Ciry.
James, Henry. THE PORTRAIT OF A LADY. 1967. Signed by Colleen Browning.
Dostoevsky, Fyodor. THE GAMBLER and NOTES FROM UNDERGROUND. 1967. Signed by Alexandre Alexeieff.
Euripides. THREE PLAYS OF EURIPIDES. 1967. Signed by Michael Ayrton.
THE BOOK OF BALLADS. 1967. Signed by Fritz Kredel.
Wells, H. G. THE INVISIBLE MAN. 1967. Signed by Charles Mozley.
Alcott, Louisa May. LITTLE WOMEN. 1967. Signed by Henry C. Pitz.
Jefferson, Thomas. THE WRITINGS OF THOMAS JEFFERSON. 1967. Signed by Lynd Ward.
Shakespeare, William. THE POEMS OF WILLIAM SHAKESPEARE. 1967. Signed by Agnes Miller Parker.
Prescott, William H. THE HISTORY OF THE REIGN OF FERDINAND AND ISABELLA THE CATHOLIC. 1967. Signed by Lima de Freitas.
Mitchell, Margaret. GONE WITH THE WIND. 1968. 2 volumes. Signed by John Groth.
Defoe, Daniel. A JOURNAL OF THE PLAGUE YEAR. 1968. Signed by Domenico Gnoli.
Joyce, James. A PORTRAIT OF THE ARTIST AS A YOUNG MAN. 1968. Signed by Brian Keogh.
Kipling, Rudyard. THE JUNGLE BOOKS. 1968. Signed by David Gentleman.
THE BOOK ECCLESIASTES. 1968. Signed by Edgar Miller
Maupassant, Guy de. BEL-AMI. 1968. Signed by Bernard LaMotte.
Wilde, Oscar. THE SHORT STORIES OF OSCAR WILDE. 1968. Signed by James Hill.
Donne, John. THE POEMS OF JOHN DONNE. 1968. Signed by Imre Reiner.
Thoreau, Henry David. CAPE COD. 1968. Signed by Raymond J. Holden.
Plato. THREE DIALOGUES OF PLATO. 1968. Signed by Eugene Karlin.
Cooper, James Fenimore. THE PILOT. 1968. Signed by Robert M. Quackenbush.
AMERICAN INDIAN LEGENDS. 1968. Signed by Everett Gee Jackson.
Remarque, Erich Maria. ALL QUIET ON THE WESTERN FRONT. 1969. Signed by John Groth.
Conrad, Joseph. HEART OF DARKNESS. 1969. Signed by Robert Shore.
Dumas, Alexandre. MARGUERITE DE VALOIS. 1969. Signed by Edy Legrand.
Scott, Sir Walter. THE TALISMAN. 1969. Signed by Federico Castellon.
James, Henry. DAISY MILLER. 1969. Signed by Gustave Nebel.
Creasey, Sir Edward S. THE FIFTEEN DECISIVE BATTLES OF THE WORLD. 1969. Signed by Joseph Domjan.
Hardy, Thomas. JUDE THE OBSCURE. 1969. Signed by Agnes Miller Parker on the limitations page. Issued with a laid-in loose two color engraving on Japanese paper signed in pencil by the artist.
Aquinas, Thomas. THE WRITINGS OF ST. THOMAS AQUINAS. 1969. Signed by Reynolds Stone.
Xenophon. THE ANABASIS. 1969. Signed by A. Tassos.
Browning, Robert. THE POEMS OF ROBERT BROWNING. 1969. Signed by Peter Reddick.
Irving, Washington. THE ALHAMBRA. 1969. Signed by Lima de Freitas.
Steinbeck, John. OF MICE AND MEN. 1970. Signed by Fletcher Martin. Bound in quarter suede cowhide. Blue denim cloth covered boards.
Frazer, Sir James George. THE GOLDEN BOUGH. 1970. 2 volumes. Signed by James Lewicki.
Yeats, W. B. THE POEMS OF W. B. YEATS. 1970. Signed by Robin Jacques.
Washington, Booker T. UP FROM SLAVERY. 1970. Signed by Denver Gillen.
Livy. THE HISTORY OF EARLY ROME. 1970. Signed by Raffaele Scorzelli & Giovanni Mardersteig.
THE ANALECTS OF CONFUCIUS. 1970. Signed by Tseng Yu-ho.
Verne, Jules. FROM THE EARTH TO THE MOON; and AROUND THE MOON. 1970. 2 volumes. Signed by Robert Shore.
Addison, Joseph. THE SPECTATOR. 1970. Signed by Lynton Lamb.
Twain, Mark. THE NOTORIOUS JUMPING FROG AND OTHER STORIES. 1970. Signed by Joseph Low
RUSSIAN FOLK TALES. 1970. Signed by Teje Etchemendy.
Pushkin, Alexander. THE CAPTAIN’S DAUGHTER AND OTHER STORIES. 1971. Signed by Charles Mozley.
Dickens, Charles. THE SHORT STORIES OF CHARLES DICKENS. 1971. Signed by Edward Ardizzone and Joseph Blumenthal.
Darwin, Charles. THE DESCENT OF MAN, AND SELECTION IN RELATION TO SEX. 1971. Signed by Fritz Kredel.
Austen, Jane. NORTHANGER ABBEY. 1971. Signed by Clarke Hutton.
Baudelaire, Charles. THE FLOWERS OF EVIL. 1971. 2 volumes. Signed by Pierre-Yves Tremois.
Camus, Albert. THE STRANGER. 1971. Signed by Daniel Maffia.
James, Henry. WASHINGTON SQUARE. 1971. Signed by Lawrence Beall Smith.
Ovidius Naso, Publius. (Ovid). THE ART OF LOVE. 1971. Signed by Eric Fraser.
Pascal, Blaise. LES PENSEES. 1971. Signed by Ismar David.
SIR GAWAIN AND THE GREEN KNIGHT. 1971. Signed by Cyril Satorsky.
Shelley, Percy B. THE POEMS OF PERCY BYSSHE SHELLEY. 1971. Signed by Richard Shirley Smith.
Mann, Thoas. DEATH IN VENICE. 1972. Signed by Felix Hoffmann.
O’Neill, Eugene. AH, WILDERNESS! 1972. Signed by Shannon Stirnweis.
Conrad, Joseph. YOUTH, TYPHOON, and THE END OF THE TETHER. 1972. Signed by Robert Shore and Ward Ritchie.
The Fortieth Series
Tolstoy, Leo. CHILDHOOD, BOYHOOD, YOUTH. 1972. Signed by Fritz Eichenberg.
Twain, Mark. ROUGHING IT. 1972. Signed by Noel Sickles.
White, Gilbert. THE NATURAL HISTORY OF SELBORNE. 1972. Signed by John Nash.
THE MEMOIRS OF CASANOVA. 1972. Signed by Rene ben Sussan.
Bierce, Ambrose. THE DEVIL’S DICTIONARY. 1972. Signed by Fritz Kredel.
THE ORATIONS AND ESSAYS OF CICERO. 1972. Signed by Salvatore Fiume.
Faulkner, Raymond O. (translator and intro). THE BOOK OF THE DEAD. 1972. 2 volumes. Illustrated with reproductions of paintings from the original Papyrus of Ani.
THE PANCHATANTRA. 1972. Signed by Y.G. Srimati.
Voltaire. CANDIDE, or OPTIMISM. 1973. Signed by May Neama.
Blake, William. THE POEMS OF WILLIAM BLAKE. 1973. Illustrated by the author. Unsigned.
Wilde, Oscar. LADY WINDERMERE’S FAN and THE IMPORTANCE OF BEING EARNEST. 1973. Signed by Tony Walton.
Dumas, Alexandre. THE QUEEN’S NECKLACE 1973. Signed by Cyril Arnstam.
The Forty-First Series
Chekhov, Anton. THE SHORT STORIES OF ANTON CHEKHOV. 1973. Signed by Lajos Szalay.
IRISH FOLK TALES. 1973. Signed by Ted Gensamer.
London, Jack. WHITE FANG. 1973. Signed by Lydia Dabcovich.
Wharton, Edith. THE AGE OF INNOCENCE. 1973. Signed by Lawrence Beall Smith.
Wordsworth, William. THE POEMS OF WILLIAM WORDSWORTH. 1973. Signed by John O’Connor.
Kipling, Rudyard. TALES OF EAST AND WEST. 1973. Signed by Charles Raymond.
Huxley, Aldous. BRAVE NEW WORLD. 1974. Signed by Mara McAfee.
Leonard, William Ellery (translator). GILGAMESH. 1974. Signed by Irving Amen.
Boswell, James. JOURNAL OF A TOUR TO THE HEBRIDES WITH SAMUEL JOHNSON. 1974. Illustrated by Thomas Rowlandson.
Weems, Mason L. THE LIFE OF WASHINGTON. 1974. Signed by Robert Quackenbush.
Thucydides. THE HISTORY OF THE PELOPONNESIAN WAR. 1974. 2 volumes. Signed by A. Tassos.
Twain, Mark. PUDDNHEAD WILSON. 1974. Signed by John Groth. Accompanied by PUDD’NHEAD WILSON’S CALENDAR, a separate small paperbound volume also illustrated by Groth.
The Forty-Second Series
Shaw, George Bernard. PYGMALION and CANDIDA. 1974. Signed by Clarke Hutton.
Crane, Stephen. MAGGIE, A GIRL OF THE STREETS. 1974. 2000 copies. Signed by Sigmund Abeles. Illustrated with gravure reproductions of original copper etchings by Abeles. A signed limited edition copper etching of the frontiespiece illustration was mailed separately to the book’s 2000 subscribers. Copies of the book with that etching laid-in loose can be hard to find.
Bradbury, Ray. THE MARTIAN CHRONICLES. 1974. Signed by the author and Joseph Mugnaini.
Wilder, Thornton. OUR TOWN. 1974. Signed by the author and Robert J. Lee.
Dostoevsky, Fyodor. A RAW YOUTH. 1974. 2 volumes. Signed by Fritz Eichenberg.
Tennyson, Alfred Lord. THE POEMS OF ALFRED LORD TENNYSON. 1974. Signed by Reynolds Stone
Dickens, Charles. AMERICAN NOTES. 1975. Signed by Raymond F. Houlihan.
Wharton, Edith. THE HOUSE OF MIRTH. 1975. Signed by Lily Harmon.
Conrad, Joseph. AN OUTCAST OF THE ISLANDS. 1975. Signed by Robert Shore.
Jerome, Jerome K. THREE MEN IN A BOAT. 1975. Signed by John Griffiths.
Thoreau, Henry David. A WEEK ON THE CONCORD AND MERRIMACK RIVERS. 1975. Signed by Raymond J. Holden.
Sophocles. ANTIGONE. 1975. Signed by Harry Bennett.
The Forty-Third Series
Walpole, Hugh. THE CASTLE OF OTRANTO. 1975. Signed by Wilmarth S. Lewis.
Burke, Edmund. ON CONCILIATION WITH AMERICA, AND OTHER PAPERS ON THE AMERICAN REVOLUTION. 1975. Signed by Lynd Ward.
Fernandez de Oviedo y Valdes, Capt. Gonzalo. THE CONQUEST AND SETTLEMENT OF THE ISLAND OF BORIQUEN or PUERTO RICO. 1975. Signed by Jack and Irene Delano.
Lawrence, D. H. SONS AND LOVERS. 1975. Signed by Sheila Robinson.
Bligh, William. A VOYAGE TO THE SOUTH SEAS. 1975. Signed by Geoffrey C. Ingleton and Douglas Dunstan.
Kafka, Franz. THE TRIAL. 1975. Signed by Alan E. Cober.
Pater, Walter. THE RENAISSANCE. 1976. Signed by Martino Mardersteig.
Arnold, Sir Edwin. THE LIGHT OF ASIA. 1976. Illustrated by Ayres Houghtelling.
Defoe, Daniel. ROXANA. 1976. Signed by Bernd Kroeber.
Stevenson, Robert Louis. NEW ARABIAN NIGHTS. 1976. Signed by Clarke Hutton.
Gogol, Nikolai. THE OVERCOAT and THE GOVERNMENT INSPECTOR. 1976. Signed by Saul Field.
Cabell, James Branch. JURGEN A Comedy of Justice. 1976. Signed by Virgil Burnett.
The Forty-Fourth Series
Turgenev, Ivan. THE TORRENTS OF SPRING. 1976. Signed by Lajos Szalay.
Austen, Jane. PERSUASION. 1977. Signed and illustrated by Tony Buonpastore. (LEC Vol #503)
Hesse, Hermann. STEPPENWOLF. 1977. Signed by Helmut Ackermann. 200 signed and numbered porfolios of the eight woodcuts illustrating the book were issued separately in 1979.
Hugo, Victor. THE BATTLE OF WATERLOO. 1977. Illustrated by Edouard Detaille. Signed by Drew Middleton.
Sassoon, Siegfried. MEMOIRS OF A FOX-HUNTING MAN. 1977. Signed by Paul Hogarth.
THE SERMON ON THE MOUNT. 1977. Unsigned.
THE BALLADS OF ROBIN HOOD. 1977. Signed by David Gentleman.
Anderson, Sherwood. WINESBURG, OHIO. 1978. Signed by Ben F. Stahl.
Flaubert, Gustave. THREE TALES. 1978. Signed by May Neama.
The Forty-Fifth Series
THE BOOK OF THE PROPHET ISAIAH. 1979. Signed by Chaim Gross and by H. Littell
Villon, Francois. THE LYRICAL POEMS OF FRANCOIS VILLON. 1979. Signed by Stephen Harvard, the typographer & designer. Unillustrated. Issued with no illustrations. However, a numbered & pencil signed, limited edition wood-engraving by Fritz Eichenberg depicting “Death & the Maiden, the Balladeer, the Gallows, Notre Dame, and cobbled streets”, was mailed to subscribers in 1982 as a supplement to the book. Copies of the book with that engraving laid-in can be hard to find.
Singer, Isaac Bashevis. THE GENTLEMAN FROM CRACOW and THE MIRROR. 1979. Signed by the author and by Raphael Soyer.
Carson, Rachel. THE SEA AROUND US. 1980. Signed by Alfred Eisenstaedt.
Fitzgerald, F. Scott. THE GREAT GATSBY. 1980. Signed by Fred Meyer.
Graves, Robert. POEMS. 1980. Signed by Paul Hogarth.
Rilke, Rainer Maria. SELECTED POEMS OF RAINER MARIA RILKE. 1981. Signed by Robert Kipniss.
Sassoon, Siegfried. MEMOIRS OF AN INFANTRY OFFICER. 1981. Signed by Paul Hogarth.
Crane, Hart. THE BRIDGE. 1981. Signed by Richard Mead Benson.
Homer. THE ODYSSEY. 1981. Signed by Barry Moser.
Grimmelshausen, Johann von. THE ADVENTURES OF SIMPLICISSIMUS. 1981. Signed by Fritz Eichenberg.
Cowley, Malcolm. EXILE’S RETURN. 1981. Signed by Malcolm Cowley and by Berenice Abbott.
The Forty-Sixth Series
Fitzgerald, F. Scott. TENDER IS THE NIGHT. 1982. Signed by Fred Meyer and Charles Scribner III.
O’Neill, Eugene. THE ICEMAN COMETH. 1982. Signed by Leonard Baskin.
Dostoevsky, Fyodor. THE HOUSE OF THE DEAD. 1982. Signed by Fritz Eichenberg.
Bradbury, Ray. FAHRENHEIT 451. 1982. Signed by the author and Joe Mugnaini.
Finney, Charles G. THE CIRCUS OF DR. LAO. 1982. Signed by Claire Van Vliet.
Brecht, Bertolt. THE THREEPENNY OPERA. 1982. Signed by Jack Levine and Eric Bentley.
Heaney, Seamus. POEMS AND A MEMOIR BY SEAMUS HEANEY. 1982. Signed by the author and by Henry Pearson and Thomas Flanagan (LEC Vol #530 : 7th Book / 46th Series)
Williams, Tennessee. A STREETCAR NAMED DESIRE. 1982. Signed by Al Hirshfeld.
Garcia Marquez, Gabriel. ONE HUNDRED YEARS OF SOLITUDE. 1982. Signed by Rafael Ferrer, Alastair Reid and Gregory Rabassa.
Walcott, Derek. POEMS OF THE CARIBBEAN. 1982. Signed on the colophon by Derek Walcott and Romare Bearden. (LEC Vol #533 : 10th Book / 46th Series). In addition to the bound-in original lithographs, one of several different hand-numbered limited edition lithographs by Bearden, each of which was limited to 275 copies, was laid-in loose.
The Forty-Seventh Series
Colette. BREAK OF DAY. 1983. Signed by Francoise Gilot.
Hersey, John. HIROSHIMA. 1983. (With original poetry by Robert Penn Warren.) Signed by John Hersey, Robert Penn Warren, and Jacob Lawrence.
Cather, Willa. A LOST LADY. 1983. Signed by William Bailey.
Milosz, Czeslaw. THE CAPTIVE MIND. 1983. Signed by the author and Janusz Kapusta.
Singer, Isaac Bashevis. THE MAGICIAN OF LUBLIN. 1984. Signed by the author and by Larry Rivers.
Kafka, Franz. METAMORPHOSIS. 1984. Signed by Jose Luis Cuevas.
Miller, Arthur. DEATH OF A SALESMAN. 1984. Signed by Arthur Miller, Leonard Baskin, and Bruce Chandler.
Borges, Jorge Luis. FICCIONES. 1984. Signed by Sol LeWitt. (LEC Vol #541 : 8th Book / 47th Series)
Poe, Edgar Allan. THE FALL OF THE HOUSE OF USHER. 1985. All copies signed by Raphael Soyer. Some copies also signed by Alice Neel, who died before signing all. Issued in a black linen covered drop-spine box. However, some copies were issued in a black paper covered slipcase.
Conrad, Joseph. THE SECRET SHARER. 1985. Signed by Bruce Chandler.
The Forty-Eighth Series
Grass, Gunter. THE FLOUNDER. 1985. 3 volumes. Signed by the author, who also illustrated the books.
Rimbaud, Arthur. A SEASON IN HELL. 1986. Signed by Robert Mapplethorpe and Paul Schmidt. (LEC Vol #545 : 2nd Book / 48th Series). Forty signed and numbered portfolios of the illustrations were issued separately.
Joyce, James. DUBLINERS. 1986. Signed by Robert Ballagh and Tom Flanagan.
Georges. THE DIARY OF A COUNTRY PRIEST. 1986. Signed by Fritz Eichenberg. There were 50 copies of a separately issued portfolio of five engravings signed by Eichenberg.
Kafka, Franz. IN THE PENAL COLONY. 1987. Signed by Michael Hafftka.
lonesco, Eugene. JOURNEYS AMONG THE DEAD. 1987. Signed by Eugene Ionesco.
Rilke, Rainer Maria. THE NOTEBOOKS OF MALTE LAURIDS BRIGGE. 1987. Not illustrated. Issued unsigned.
Faulkner, William. HUNTING STORIES. 1988. Signed by Neil Welliver. (LEC Vol #551 : 8th Book / 48th Series)
The Forty-Ninth Series
Carpentier, Alejo. THE KINGDOM OF THIS WORLD. 1988. Signed by Roberto Juarez and John Hersey. Twenty signed numbered portfolios of the illustrations were issued separately.
Paz, Octavio. THREE POEMS. 1988. Signed by Octavio Paz and by Robert Motherwell. (LEC Vol #553 : 2nd Book / 49th Series). 20 signed and numbered exhibition suites of the illustrations and 50 signed and numbered portfolios were issued separately in wooden boxes.
Lampedusa, Giuseppe di. THE LEOPARD. 1988. Signed by Piero Guccione and by Leonard Sciascia. (LEC Vol #554 : 5th Book / 49th Series)
Durrenmatt, Friedrich. OEDIPUS. 1989. 2 volumes. Signed by Friedrich Durrenmatt and by Marie Casindas.
(LEC Vol #555 : 4th Book / 49th Series)
Warren, Robert Penn. ALL THE KING’S MEN. 1989. 2 volumes. Signed by Robert Penn Warren and by Hank O’Neal. (LEC Vol #556 : 5th & 6th Books / 49th Series). There were also 30 signed numbered portfolios of the photogravures issued separately.
The Fiftieth Series
Beckett, Samuel. NOHOW ON. 1989. Signed by Samuel Beckett and by Robert Ryman. (LEC Vol #557 : 1st Book / 50th Series)
THE FIRST BOOK OF MOSES, CALLED GENESIS. 1990. Signed by Jacob Lawrence. (LEC Vol #558 : 2nd Book / 50th Series). 22 signed and numbered exhibition suites and 50 signed and numbered portfolios of the Illustrations were issued separately.
Hemingway, Ernest. THE OLD MAN AND THE SEA. 1990. Signed by Alfred Eisenstaedt. (LEC Vol #559 : 3rd Book / 50th Series). 30 signed and numbered portfolios of the photogravures were issued separately.
Whitman, Walt. THE SONG OF THE OPEN ROAD. 1990. Signed by Aaron Siskind. (LEC Vol #560 : 4th Book / 50th Series). 12 signed numbered exhibition suites and 30 signed and numbered portfolios of the photogravures were issued separately.
The Fifty-first Series
O’Hara, Frank. POEMS. 1988. Illustrated by Willem de Kooning. (LEC Vol #561 : Only Book / 51st Series). 12 numbered exhibition suites and 60 numbered portfolios of the illustrations were issued separately.
The Fifty-Second Series
Kawabata, Yasunari. SNOW COUNTRY. 1990. Signed by Tadaaki Kuwayama and by Edward Seidensticker. (LEC Vol #562 : 1st Book / 52nd Series). Also issued separately 40 signed & numbered portfolios of the illustrations.
Mann, Thomas. THE BLACK SWAN 1990. Signed by John Hejduk.
Mitchell, Joseph. THE BOTTOM OF THE HARBOR. 1991. Signed by Joseph Mitchell. (Illustrated by with Berenice Abbott Photogravures.)
Pasternak, Boris. MY SISTER, LIFE. 1992. Signed by Yuri Kuper. 40 signed and numbered portfolios of the etchings were issued separately.
The Fifty-third Series
Mallarme, Stephane. UN COUP DE DES JAMAIS N’ABOLIRA LE HASARD. 1992. Signed by Ellsworth Kelly.
Walker, Margaret. FOR MY PEOPLE. 1992. Signed by Elizabeth Catlett and by Margaret Walker.
Conrad, Joseph. HEART OF DARKNESS. 1992. Signed by Sean Scully.
Pound, Ezra. CATHAY. 1993. Signed by Francesco Clemente.
The Fifty-Fourth Series
Harrer, Heinrich. SEVEN YEARS IN TIBET. 1993. Signed by Heinrich Harrer. (LEC Vol #570 : 1st Book / 54th Series)
Bronte, Emily. WUTHERING HEIGHTS. 1993. Signed by Balthus. (LEC Vol #571 : 2nd Book / 54th Series)
Angelou, Maya. OUR GRANDMOTHERS. 1994. Signed by John Biggers and Maya Angelou. (LEC Vol #572 : 3rd Book / 54th Series)
Aragon, Louis. LE PAYSAN DE PARIS. 1994. Signed by Henri Cartier-Bresson. (LEC Vol #573 : 4th Book / 54th Series)
The Fifty-Fifth Series
Paz, Octavio. SIGHT AND TOUCH. 1994. Signed by Balthus. (LEC Vol #574 : Only Book / 55th Series)
The Fifty-Sixth Series
THE REVELATION OF ST JOHN THE DIVINE. 1995. Signed by Allan Rohan Crite. (LEC Vol #575 : 1st Book / 56th Series)
Kyoka, Izumi. THE TALE OF THE WANDERING MONK. 1995. Signed by Setsuko Ideta (also known as the Countess Setsuko Klossowska de Rola, wife of Balthus). (LEC Vol #576 : 2nd Book / 56th Series)
Giono, Jean. THE MAN WHO PLANTED TREES. 1995. Signed by Martine Franck. (LEC Vol #577 : 3rd Book / 56th Series)
Rimbaud, Arthur. VOWELS. 1996. Signed by Henri Cartier-Bresson. (LEC Vol #578 : 4th Book / 56th Series)
The Fifty-Seventh Series
Senghor, Leopold Sedar. POEMS. 1996. Signed by the author and by Lois Mailou Jones. (LEC Vol #579 : 1st Book / 57th Series)
Harrer, Heinrich. THE WHITE SPIDER. 1996. Signed by the author. (LEC Vol #580 : 2nd Book / 57th Series)
The Fifty-Eighth Series
Rilke, Rainer Maria. THE SONNETS TO ORPHEUS. 1997. Signed by Balthus.
Baudelaire, Charles. THREE POEMS FROM LES FLEURS DU MAL. 1997. Signed by Henri Cartier Bresson.
Ashbery, John. DESCRIPTION OF A MASQUE. 1998. Signed by John Ashbery and by Jane Freilicher. (LEC Vol #584 : 3rd Book / 58th Series). Note: Series numbers for the following titles are omitted from this edition of the checklist.
Hughes, Langston. SUNRISE IS COMING AFTER WHILE. 1998. Signed by Phoebe Beasley and Maya Angelou. The illustrations were also issued separately in a portfolio of six silkscreen prints in a limited numbered signed edition of 99 copies.
Neruda, Pablo. HEIGHTS OF MACHU PICCHU. 1998. Signed by Edward Ranney.
(No books were issued in 1999.)
Akhmatova, Anna. REQUIEM. 2000. Signed by Sir John Tavener and Grisha Bruskin. Issued with a compact disc recording of the Akhmatova Requiem by Sir John Tavener.
Tanizaki, Junichiro. A PORTRAIT OF SHUNKIN. 2000. Signed by Eikoh Hosoe & Shunkei Yahahi. Sixty-two suites of the photogravures were sold separately.
Hurston, Zora Neale. BOOKMARKS IN THE PAGES OF LIFE. 2001. Signed by Betye Saar.
Celan, Paul. TODESFUGE. 2001. Issued with a compact disc of the author reading the poem. Signed by John Felstiner.
Wright, Richard. DOWN BY THE RIVERSIDE. 2001. Signed by John Wilson. Sixty numbered suites of the etchings were issued separately.
Mozart, Wolfgang Amadeus. COSI FAN TUTTE. 2001. Signed by Balthus. Issued with two compact discs.
(No books were issued in 2002.)
Angelou, Maya. DEEP RIVERS IN MY SOUL. 2003. Signed by Maya Angelou, Dean Mitchell and Wynton Marsalis. Issued with a compact disc containing a new original recording by Wynton Marsalis.
Cavafy, Constantine P. A TRIBUTE TO CAVAFY. A SELECTION OF POEMS WITH PHOTOGRAVURES BY DUANE MICHALS. 2003. Signed by Duane Michals.
(No books were issued in 2004.)
Mahfouz, Naguib. ARABIAN NIGHTS AND DAYS. 2005. Epilogue by Mohamed Salmawy. Illustrated by Nazli Madkour. Signed by the author, Naguib Mahfouz (1911 – 2006), and by the artist, Nazli Madkour (1949 – ). 300 Limited Edition Copies. Original issue price $5000. Sixty portfolios of the illustrations were issued separately, signed by the artist.
O’Connor, Flannery. EVERYTHING THAT RISES MUST CONVERGE. 2005. Signed by Benny Andrews. Sixty suites of the signed & numbered illustrations were issued separately.
(No books were issued in 2006 or 2007.)
King, Martin Luther. LETTER FROM A BIRMINGHAM CITY JAIL. 2008. Illustrated with eight serigraph prints by Faith Ringgold
(No books were issued in 2009.)
Jefferson, Thomas. THE DECLARATION OF INDEPENDENCE. 2010. Photograph by Robert Frank.
(No further books were issued.)
A Limited Editions Club Letter was issued with each book, containing detailed notes from the publisher about the book with which it was issued. Even though not issued on strictly a monthly basis, most of the Letters were titled, “The Monthly Letter of The Limited Editions Club”. The title was discontinued in later years, as publication of new books became less frequent.
The ordering of the titles in the checklist is chronological, in the date order published. Individual titles in the several multi-volume sets issued by the Limited Editions Club, are not numbered and listed separately. For example, the complete 37 volume set of Shakespeare issued in 1940-1941 is included as one entry in the checklist, at number 118.
Limited Editions Club Bibliographies & Guides:
Quarto-Millenary: The First 250 Publications And The First 25 Years (1929 – 1954) Of The Limited Editions Club. New York: Limited Editions Club, 1959.
Bibliography Of The Fine Books Published By The Limited Editions Club 1929-1985. New York: Limited Editions Club, 1985
Limited Editions Club. 111.3 APG (Author Price Guide Series). Dickerson, MD: Quill & Brush, 2004. – Caution: The 2004 edition of that price guide does not reflect the evolution of the internet marketplace and the prices at which the books are now regularly bought and sold over the internet.
The LEC published certain special publications not part of the subscription series, which were sold separately. The first eight are designated in the two bibliographies published by the LEC (in 1959 & 1985) as S-1 through S-8. They are as follows:
S-1: Dwiggins, W. A. TOWARDS A REFORM OF THE PAPER CURRENCY. Bound in half black leather with gold stamped titling, and decorated paper covered boards. 1932. 32 pages plus a 2 page stub insert. 452 copies.
S-2: THE DOLPHIN, A JOURNAL OF THE MAKING OF BOOKS. 1933. Number 1. 390 pages. 1200 copies.
S-3: THE DOLPHIN, A JOURNAL OF THE MAKING OF BOOKS. 1935. Number 2. 345 pages. 2000 copies.
S-4: THE DOLPHIN, A HISTORY OF THE PRINTED BOOK. 1938. Number 3. 558 pages. 1800 copies.
S-5: THE DOLPHIN, A PERIODICAL FOR ALL PEOPLE WHO FIND PLEASURE IN FINE BOOKS. Number 4. Issued in 3 parts in 1940 & 1941. Part 1 – 12000 copies. Part 2 – 3000 copies. Part 3 – 3000 copies.
S-6: Boccaccio, Giovanni. 1940. THE DECAMERON. Illustrated and signed by Fritz Kredel. 530 copies issued.
S-7: Grahame, Kenneth. THE WIND IN THE WILLOWS. 1940. Illustrated by Arthur Rackham. Limited to 2020 copies. Issued unsigned, since Arthur Rackham died before publication.
S-8: Steinbeck, John. THE GRAPES OF WRATH. 1940. Illustrated & signed by Thomas Hart Benton. 1146 copies.
ADDITIONAL SPECIAL PUBLICATIONS
BIBLIOGRAPHY OF THE FINE BOOKS PUBLISHED BY THE LIMITED EDITIONS CLUB 1929-1985. New York: Limited Editions Club, 1985. 1800 copies in goatskin with marbled paper covered boards.
MONTHLY LETTERS: THE FIRST FIFTY MONTHLY LETTERS, 1929-1933. New York, Limited Editions Club, 1987. 550 copies in goatskin with marbled paper covered boards.
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:
- The Old Wives’ Tale by Arnold Bennett, England, printed by Oxford University Press, art by John Austen, introduced by Frank Swinnerton
- The Kalevala, Finland, printed by Tilghmann, art by Matti Visanti
- In Praise of Folly by Desiderius Erasmus, Holland, printed by Joh. Enschede en Zonen, art by Franz Masereel
- The Temptation of Saint Anthony by Gustave Flaubert, France, printed by Jean-Gabriel Daragnes, art by Daragnes, translated by Lafcadio Hearn
- Oedipus the King by Sophocles, Greece, printed by Pyrsos Press, art by Demetrios Galanis, introduced by Thornton Wilder, translated by Sir Richard Jebb
- The Song of Songs which is Solomon’s, Palestine, printed in a scroll form
- “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
- 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*
- 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
- The Ramayana, Siam
- Lord Jim by Joseph Conrad, Java
- We of the Never-Never, Australia
- 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
- 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 Hogarth’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)
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 , book architect 
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 .” 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.
1930 Tartarin of Tarascon
As designer :
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
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)
1940 The Travels of Lemuel Gulliver
1945 Robinson Crusoe
1948 The Book of Edward A. Wilson
1950 The Autobiography of Benjamin Franklin
 His birthday, December 7, isn’t in doubt but there is confusion over the year.
 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.
 Mitchell Kennerley’s assertion was quoted on page 4 of the Monthly Letter for the 1973 LEC Candide
 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.
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
May 15, 2014 Comments Off on Of Interest: The History of the Heritage “Great French Romances” series
My good friend Django6924 has written up a splendid little history on one of George Macy’s many attempts to create something unique with the Heritage Press: the “Great French Romances” series. I originally had this in my Gods Are A-Thrist post, but it really should be its own thing.This is mostly unedited (beyond one transition snip, the addition of the authors/artists of the original series, a appendix of the final series in chronological order, a few typo fixes, and my italicizing the book titles) from his original posts. So, without further adieu, I’ll let him take over (the original posting can be found here). Major thanks to Django for letting me host this excellent summary!
In 1938, Francis Meynell of the Nonesuch Press in England, of which George Macy became Managing Director in 1936, joined with a committee of French writers, who were chaired by Andre Maurois, to produce a series, “The Ten Great French Romances,” for Nonesuch. These would have a distinctive typographic plan and binding, designed by Meynell, and would illustrated by the “best French book illustrators,” as chosen by the committee. The books were, in order of planned publication:
Dangerous Acquaintances by Choderlos De Laclos/Chas Laborde
Candide by Voltaire/Sylvain Sauvage
The Charterhouse of Parma by Stendhal/Demetrios Galanis
Manon Lescaut by the Abbé Prévost D’Exiles/Andre Dignimont
The Princess of Cleves by Madame de Lafayette/Hermine David
A Woman’s Life by Guy de Maupassant/Edy Legrand
Germinal by Emile Zola/Berthold Mahn
Madame Bovary by Gustav Flaubert/Pierre Brissaud
Old Goriot by Honore de Balzac/René ben Sussan
The Gods are A-thirst by Anatole France/Jean Oberlé
The typographic moulds were made in England, then sent to France for printing at the Inprimerie Protat Freres in Macon (home, incidentally, of an excellent burgundy), as the French had superior quality rag paper. The illustrations were first printed at Georges Duval in Paris by the collotype process, then hand-colored through the pochoir process by the studio of Beaufumé, also in Paris. It is not said where the characteristic binding of fleurs-de-lys patterned linen boards and buckram spine binding was done, but it was in France as well.
Between planning of the series, and the completion of the first two volumes, World War Two had begun. This not only complicated the production, but made it necessary to change plans. Since by this time it was obvious that more of the books would be sold through Heritage in the US, it was decided that all printing should henceforth take place in the US (again, remember that by this time George Macy was really running Nonesuch), though Meynell would continue to design the books in England. A quote from the Sandglass accompanying Dangerous Acquaintances and Candide gives an interesting insight into those nerve-wracking days:
“Transportation to England is difficult enough, transportation to America is far more difficult. Shipped in merchant vessels under convoy, the books have taken weeks to cross the ocean, weeks during which we at the Nonesuch Fellowship have often thought that they must surely be at the bottom of the ocean.”
The above was written in April 1940. In the same Sandglass, the outline for the series of Ten Great French Romances was given. Some interesting statements were:
“The binding of The Charterhouse of Parma will be green (mine is, in fact olive-green), the binding for The Gods are A-thirst will be yellow (mine and every copy I’ve seen is a more appropriate red), and each succeeding volume will be in a unique color.” (The ones I have seem to indicate that the “10 different colors” scheme was abandoned–also, Balzac’s Eugenie Grandet was published later with a green buckram spine and the green patterned fleurs-de-lys boards in the design established by Meynell).
“…Galanis has already finished his illustrations for The Charterhouse of Parma, Dignimont has finished his illustrations for Manon Lescaut, Hermine David has finished her illustrations for The Princess of Cleves, Mahn has finished his illustrations for Germinal, Legrand has finished his illustrations for A Woman’s Life, Brissaud is nearing completion of his illustrations for Madame Bovary, and Oberlé is nearing completion for his illustrations for The Gods are A-thirst.” (Not mentioned was the status of the remaining illustrations, those for Old Goriot by René ben Sussan.)
As a famous Frenchman once said, “the best laid schemes o’ mice and men, gang aft agley.” A letter To The Members OF THE HERITAGE CLUB dated April 10 announces that it will be “necessary for us to send both Dangerous Acquaintances and Candide to you in the same package”, in May, rather than in April and May successively. This was necessary because the head of the atelier doing the hand-coloring, M. Beaufumé, was suddenly called into the army and that it was then up to his wife and daughters to finish his work as well as their own.
The next book of the series, distributed in July, 1942 was entirely printed and bound in the US, The Gods Are A-thirst, for which Jean Oberlé did the illustrations and took them to London just ahead of the Occupation of Paris. The hand-coloring was done by Macy’s favorite pochoirist in the US at that time, Charlize Brakely.
The next book, A Woman’s Life, sent to subscribers in September, 1942, was again was done entirely in the US and again enlisted the services of Ms. Brakely. The illustrations were done by Edy Legrand, a Macy favorite who would later do the 2nd LEC Don Quixote, but who in 1942 had fled Paris for Fez in French Morocco. (Interestingly, the LEC would issue A Woman’s Life in 1952 with the same typographic plan, this time using the studio of Walter Fischer to do the pochoir hand coloring, one of the few times when an LEC in essence reissued the same book originally published by the Heritage Press using the same illustrations.)
In November of the same year, Heritage issued Germinal with b&w illustrations by Berthold Mahn, reproduced by photogravure. Frank Fortney at Russell-Rutter bound them in the fleurs-de-lys/buckram binding which matched the first two (and I assume the 3rd and 4th books, but although my copy of The Gods are A-thirst follows this design [albeit in red rather than the planned yellow], as does my Heritage copy of A Woman’s Life, I’m not sure my copies are the first Heritage editions). Things are getting a little strange by this time as the Sandglass for Germinal lists the Ten Great French Romances again, and lo, Manon Lescaut has dropped off the list and has been replaced by Gautier’s Mademoiselle de Maupin! No explanation for this is given, but the obvious one is — the Heritage Press had already issued Manon Lescaut with a pigskin leather spine and marbled paper boards back in 1935 with illustrations by Brissaud (and with an original lithograph signed by Brissaud in the 1500 copies that were first offered to members of the LEC as a “collector’s item” when the Heritage Press was launched). And what of Dignimont’s “finished” illustrations for Manon as announced back in 1940? Never used anywhere, apparently, and perhaps destroyed during the war. One would love to see them, especially in light of the illustrations I saw once which Dignimont made for Pierre Louys’ Petites Scenes Amoureuses–which border on the pornographic, but in a most beautiful and Frenchified way. (Dignimont later did The Wanderer and The Moonstone for the LEC and Heritage Press.)
In January of 1943, Madame de Lafayette’s wonderful The Princess of Cleves is issued. Meynell planned the design and printed his specimen pages at the Fanfare Press before war broke out. The book features many beautiful illustrations by Hermine David, who after completing the illustrations in Paris just before the Occupation, “disappeared into a convent,” according to an earlier Sandglass. (She didn’t take orders, this was more of a retreat to a Benedictine abbey in Dourgne, near the southern French city of Toulouse, to where she returned many times until her death in 1970, seeking inspiration while doing her illustrations which became increasingly ones with religious subject matter.) The Princess of Cleves was letterpress-printed in New York at the printing house of Leo Hart, and once more the delicate hand-coloring was done at Charlize Brakely’s studio. The series binding of buckram and fleurs-de-lys was utilized. My copy is a light brown, and as far as I know this was the only printing of this particular work by Heritage or Nonesuch (and no LEC edition) until the Norwalk, CT incarnation of the Heritage Press issued it in 1970–not utilizing the series binding.
It is not until February, 1944 that the next Great Romance appears and it is, in fact, Theophile Gautier’s Mademoiselle de Maupin. (Parenthetically, I have to say I can’t understand its omission from the original list as it is a much more compelling novel than Manon Lescaut.) By now the original plan announced in 1938 is really having difficulties–mostly due to the war. Mademoiselle de Maupin is not designed by Francis Meynell (who was probably spending a fair amount of time in 1942-1943 dodging into air raid shelters) but by American George Salter (who was born a German and whose design for the cover of Berlin Alexanderplatz in 1929 was a revelation in its time). The illustrations–and racy ones they are!–were by Andre Dugo, a French expatriate living in New York. The binding utilized the same pattern as the previous books, this time blue buckram and cream and blue fleurs-de-lys boards.
In September, 1949, Old Goriot, is finally published with René ben Sussan’s illustrations. The title page has The Heritage Press, New York & The Nonesuch Press, London, though the obverse side simply says “Printed in the United States of America.” There is no date of publication–an anomaly in the series. The Sandglass says M. ben Sussan “had a bad time, an altogether bad time” during the war, spending his time dodging the Nazis. His remarkable illustrations were reproduced from his B&W brush drawings via gravure, then the colors were applied, not by pochoir, but by hand cut rubber plates, one for each color. The rubber plates were done by Herbert Rau. Are they as good as hand-colored using stencils? I don’t know, but they are truly wonderful and match any of the hand-colored ones in the series. The series binding is used (only “Nonesuch” appears on the red buckram spine–not “Heritage”).
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.
Stendahl’s The Charterhouse of Parma brought the series to a close in 1955. The series binding features “Heritage” on the olive-green buckram spine, and the title page doesn’t mention Nonesuch. The designer of the typographic plan isn’t specified in the Sandglass, though it looks very much like Meynell’s other designs. The illustrations are not by Galanis, but by Rafaello Busoni, who had won an international competition sponsored by the LEC in 1945 and on the basis of that had already illustrated Stendahl’s other novel The Red and the Black for the LEC. What happened to Galanis’ illustrations, which were already finished back in 1940? I haven’t found any evidence in my readings, but remembering that Galanis had been commissioned by the LEC before to illustrate Oedipus the King, and that those illustrations had come a cropper during the Occupation, it’s possible an identical fate befell the Stendahl illusrations. (If you are unfamiliar with the Galanis/Sophocles story, here is a link to WildcatJF’s excellent summary.
The Busoni illustrations are two-color lithographs and are actual lithographic prints. The type pages were composed by Leo Hart and printed by the Riverside Press. The binding was done by Frank Fortney.
The Herculean labor of completing this series must have been a relief to Macy, and probably a source of pride. These books are really wonderful and the best of them fully the equivalent of some of today’s limited fine press books.
The final list, then, is as follows:
Candide by Voltaire/Sylvain Sauvage (1939, Heritage exclusive)
Dangerous Acquaintances by Choderlos De Laclos/Chas Laborde (1940, Heritage exclusive)
The Gods are A-Thirst by Anatole France/Jean Oberlé (1942, Heritage exclusive)
A Woman’s Life by Guy de Maupassant/Edy Legrand (1942 Heritage printing, 1952 LEC edition available)
Germinal by Emile Zola/Berthold Mahn (1942, Heritage exclusive)
The Princess of Cleves by Madame de Lafayette/Hermine David (1943, Heritage exclusive)
Mademoiselle de Maupin by Theodore Gautier/Andre Dugo (1943, LEC edition available)
Old Goriot by Honore de Balzac/René ben Sussan (1948, LEC edition available)
Madame Bovary by Gustav Flaubert/Pierre Brissaud (1950, LEC edition available)
The Charterhouse of Parma by Stendhal/Rafaello Busoni (1955, LEC edition available)
It’s recently been brought up that the Heritage Press issued a second Honore de Balzac work under the same design auspices of this series despite originally not being included on the list. Django6924 once again is the source of the below info:
Unlike the other books in the series, Eugenie Grandet was not on the original pre-WWII slate of Ten Great French Romances (the Balzac representative being Old Goriot under Meynell’s master plan). Now this plan changed early on, but Eugenie was never one of the group, and the HP edition is, in this case, a reprint of the LEC (also designed by Meynell). I suppose that in the post-George Macy period, it was felt that putting the HP reprint in the same series binding would encourage those who had some or all of the others to want to extend the collection, as you mentioned.
The HP Eugenie is a fine addition to the series, although it doesn’t feature any hand-colored illustrations like the original group; to the best of my memory, the colors applied via hand-cut rubber plates were excellent. I prefer the fleur-de-lys binding of the HP to the LEC’s khaki-colored buckram with black-leather labels made to resemble some sort of medieval-esque binding hinges. The true superiority of the LEC is in the paper, a thick, rich paper that must be 100% rag; I say “must be” because the Monthly Letter doesn’t mention a word about the paper.
Thanks once again!
August 28, 2013 § 2 Comments
I’m quite pleased to be share what I think is one of the treasures of my non-Macy book collection today: the Random House issuing of Wuthering Heights and Jane Eyre, released in 1943. The star of the show is Fritz Eichenberg, who once again produces masterpieces of wood engraving to grace the texts of Emily and Charlotte Bronte, respectively. Why George Macy never negotiated to release fancy LEC editions of these exquisite renditions is beyond me; I’m still stumped as to why the Bronte sisters never had LEC editions in the various Macy’s tenure (or under Cardevon Press’ eye, for that matter). Sid Shiff would resurrect Balthus’ Wuthering Heights illustrations for his own edition in 1993, giving at least one sister the literary credence she deserved; Chris over at Books & Vines has a thorough post on that edition. Perhaps Macy wasn’t too big on the Brontes. Personally, I’m sad that Anne Bronte tends to be forgotten in these special sets…but that’s neither here nor there.
The Heritage Press did issue these two books with art from Barrett Freedman, but in my humble opinion Freedman is outclassed handily by Eichenberg’s amazing artwork. I’ll try to check out the two HP titles for comparison some time. At any rate, these books were designed by Richard Ellis (who I just rambled about for The Ambassadors), using Monotype Bodoni for the font (with long descenders). Kingsport Press composed the text, and H. Wolff Book Manufacturing Company handled both printing and bindery duties. Eichenberg’s engravings were printed via letter press from electrotypes of the originals. If only all of these non-Macy books were so upfront about their publication details!
Let’s start with Wuthering Heights.
Examples of the Illustrations by Eichenberg (right click and open in new tab for full size):
Now let’s spotlight Jane Eyre:
Examples of the Illustrations by Eichenberg (right click and open in new tab for full size):
Spines of both books; slipcase is green.
I’m being a little less talky on this post due to time; I’ve got a lot of other things to do today, but I think it’s fairly clear that I love these two books and they come highly recommended!
August 12, 2013 Comments Off on Of Interest: A Smattering of Non-Macy Books with LEC Illustrators #1
Hello all! Today I will be sharing five (!) books with you. These are non-Macy editions of several classic works, illustrated by some of the more prominent LEC illustrators. Three will be debuting today: Eric Gill, Boardman Robinson and Edward A. Wilson. The remaining two feature artists I’ve recently covered on the blog, Fritz Eichenberg and William Sharp. These are not my books; my good friend Lois was kind enough to let me borrow them to photograph them. Unfortunately, most of these are reprints of Random House or Doubleday editions, so I do not have designer info for them. With that in mind, I’ll be quickly summarizing their attributes, offering a brief opinion, and providing images for them. With that, let’s begin!
Anna Karenina by Leo Tolstoy, illustrated by Fritz Eichenberg, translated by Constance Garnett, published by Garden City Publishing Co. in 1948 from the 1944 Doubleday edition.
Eichenberg does not utilize the engraver’s tools for this commission; instead, he goes with his linework, and it’s a good match. I do greatly prefer his wood and stone cuts, but I think his penmanship is also pretty spectacular. Compare this to Freedman’s LEC/Heritage take.
The Moonstone by Wilkie Collins, illustrated by William Sharp, published by Garden City Publishing Co. in 1948 from the 1944 Doubleday edition.
Sharp takes on Collins’ famous novel with a combination of his styles used for the Macy editions of Tales of Mystery and Imagination and the biographical works of Rousseau and Pepys here. There are full page illustrations that remind me of the Poe commission, as well as many supplementary in-text drawings a la the biographies. There’s some astounding stuff in here, I must say. I haven’t seen Dignimont’s spin for the LEC, but I have covered his work for The Wanderer.
Favorite Poems of Henry Wadsworth Longfellow, illustrated by Edward A. Wilson, introduced by Henry Seidel Canby, published by Doubleday in 1947
This may be some of Wilson’s best work I’ve personally seen. Of course, I’ve yet to share any of his Macy contributions with you, but I plan on remedying that when I get the time. Excellent printing, too! Wilson did too many LEC and Heritage books to list here, but I’ll include three that I own for reference; Treasure Island, Westward Ho! and A Journey to the Center of the Earth. The LEC edition was illustrated by Boyd Hanna.
Troilus and Cressida by Geoffrey Chaucer, illustrated by Eric Gill, translated by George Philip Krapp, printed by the Literary Guild in 1932 from the 1932 Random House edition.
Gill does a rather fine job here if you ask me. His woodcuts evoke the essence of the work of Chaucer quite well, and they embellish every page. There’s a few full-size pieces, too. I’d like to see the Random House issuing! Gill did the original LEC Hamlet and A Sentimental Journey of France and Italy. The LEC Troilus lacks conventional illustration, but is decorated by George W. Jones.
The Brothers Karamazov by Fyodor Dostoevsky, illustrated by Boardman Robinson, translated by Constance Garnett, published by Halcyon House in 1940 from the 1933 Random House edition.
I must admit that Robinson does not do much for me. His style clashes with my personal tastes. I’ve seen his LEC commission for Spoon River Anthology (a tragic copy that was overpriced for its shoddy condition, despite author Edgar Lee Masters contributing his signature) and despite being a big fan of the work, his art doesn’t really mesh with me. He also did the LEC Moby Dick. Contrast this to the two Macy editions of Karamazov.
August 10, 2013 Comments Off on Of Interest: Random House’s Edition of Poe’s Tales of Mystery and Imagination
The second “Outside the Macy Sphere” book post is on Random House’s exquisite 1944 issuing of Edgar Allan Poe’s Tales of Mystery and Imagination, here simply titled Tales of Edgar Allan Poe. While the mystery and imagination have been exorcised from the title here, Fritz Eichenberg did his best through his woodcuts here to represent those fantastical notions. H. Wolff Book Manufacturing Company of New York printed up the work, and Margaret B. Evans served as the designer.
Front Binding – This is a nice, medium-sized book that was originally issued with a light blue slipcase, featuring a nice cerulean (if I’m mistaken, I apologize; I’m unfortunately quite familiar with the Crayola color wheel :0 ) fabric with black and gold stamps for the spine (as you’ll see below).
Title Page – Harvey Allen introduces the work, and, of course, Mr. Eichenberg serves up several woodcut illustrations that spice up most of the tales. He did one per tale from what I’ve noticed. Unfortunately, I do not have as many crisp shots as I would like for this post; only four of the six turned out really well, so I’ll likely add in a couple more whenever I photograph more books in the future.
Example Woodcuts by Eichenberg (right click to enlarge):
For contrast with the Macy publication, see here. Out of the two, I think both William Sharp and Eichenberg bring a chilling tone to their artwork in their own ways. I am quite fond of Eichenberg, as is well stated throughout this blog, but I feel Sharp also grasped the underlying terror and darkness swirling about Poe’s stories. In my opinion, you can’t go wrong with either edition!