Heritage Press – She Stoops to Conquer by Oliver Goldsmith (1964)

She Stoops to Conquer by Oliver Goldsmith (1964)
Sandglass Number V:34
Artwork: Illustrations and Decorations by T.M. Cleland
Introduced by Louis Kronenberger
Reprint of LEC #358, 32nd Series, V. 8 in 1964

Click images for larger views.


Front Bindng – It’s the return of Oliver Goldsmith! We last saw the multifaceted author for the Heritage exclusive The Vicar of Wakefield, and this will be the concluding post on his Macy career, as this classic play was the sole LEC offering of Goldsmith’s work (which got a Heritage edition as well, which is what we’re covering at present).

T.M. Cleland also makes another return to the blog, with this as his final commission before his death. He did double duty on this book, both rendering it with illustrations and decorations AND designing the overall look of it. Cleland’s career is delved into in my Monsieur Beaucaire post. It’s unfortunate that I generally dislike the artistic style chosen for this book, an apparent favorite of the LEC during the 60’s. The illustrations are little vignettes of the action being depicted in the text, but the execution of them rubs me the wrong way. I feel the same about Serge Ivanoff’s Tartuffe and the Would-Be Gentleman. There’s something about the overall look that doesn’t delight my imagination. My loss, I suppose.

Anyway, enough of my grumbles. Cleland worked with Bell as the primary font, which was then set by the Thistle Press. Connecticut Printers handled the printing on vellum-finish ivory paper from Monadnock Mill, and the bindery of choice was the old standby Russell-Rutter. Cleland’s art was printed in a unique way; each drawing in the text was done individually by color, so Cleland actually did 115 or so drawings to make up the nineteen illustrations in the book. He also did a splendid title page decoration (as he is aught to do), which is visible below.




Title Page – Cleland will always stand as one of the best title page designers in my book; this is yet another stellar example. See Monsieur Beaucaire for another. Louis Kronenberger steps in to introduce this work, which is his apparent third unification with Cleland; the two also collaborated (indirectly) on The History of Tom Jones and The Way of the World.

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

Personal Notes – I picked this up at a little shop in Jamestown, California. The name escapes me at present, but I’ve gotten a couple of good books from this place. I’ll have to write it down next time I visit and update this. I clearly have this work for the text.

Sandglass (right click and select Open in New Tab to see full size):

Heritage Press – The Mayor of Casterbridge by Thomas Hardy (1964)

The Mayor of Casterbridge by Thomas Hardy (1964)
Sandglass Number Unknown
Artwork: Wood engravings by Agnes Miller Parker
Introduced by Frank Swinnerton
Reprint of LEC #353, 32nd Series, V. 3 in 1964

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Front Binding – Welcome to our third post on Thomas Hardy’s novels done up by the George Macy Company (The Return of the Native and Far from the Madding Crowd preceded this).  With my discussion on both Hardy and Agnes Miller Parker being well documented in those posts (and Parker elsewhere), we’ll just focus on the book.  I was not gifted a Sandglass with this book, but I do know who designed the later Jude the Obscure – John Dreyfus.  Odds are good that he designed this one as well based on A.G. Hoffman’s Native design from the ’40’s.


Title Page – Parker continues to wow with her work – I adore her woodcuts.  Anyway, Frank Swinnerton offers his thoughts for the introduction.

Page 3 – Parker did smaller chapter opener woodcuts on top of full-page ones.

Page 6 – Lovely stuff.

Page 42

Personal Notes – This copy was once mine, but it lacked a Sandglass and wasn’t in the greatest condition, so I sold it off.  Plan on reacquiring it in the future, though!

If you have a Sandglass or comparisons to the LEC original, please drop me a line here or through the comments at my thread about this blog at the George Macy Devotees @ LibraryThing!  I could use extra insights into this book.  Thanks!

Heritage Press – The Adventures of Tom Sawyer by Mark Twain (two printings, 1936/1964)

The Adventures of Tom Sawyer by Mark Twain (1936/1964*)
Sandglass Number III:34R (from a later New York printing)
Artwork – Paintings by Norman Rockwell
Introduced by John. T. Winterich
Heritage Press Exclusive – the LEC would print their own Tom Sawyer with Thomas Hart Benton’s illustrations in 1939.

Click the images for larger views.

The Connecticut reprint is usually on top here, followed by the New York Illustrated Bookshelf edition below.  I’ll explain the Illustrated Bookshelf distinction below!

Front Binding – Well, the first thing that should leap out at you is the fact I’ve got a Huck Finn binding as the New York representative…but I assure you that Tom Sawyer is the book inside.  A curious binding error I imagine didn’t happen too often.  Anyway, the Connecticut printing keeps Tom’s head front and center but drops the text, going with a beige/brown combo.  I can’t vouch for the actual Tom Sawyer binding for the Illustrated Bookshelf run, alas, due to the error, but I imagine it was close to this but with Tom Sawyer items where Huck’s are.

The original Heritage was designed by Frederic Warde, no stranger to the George Macy Company.  The Sandglass mentions that he had done “several” Heritage books, which indicates that this is not the first printing’s letter.  The binding itself was designed by Norman Rockwell.

Tom Sawyer was printed up by the Limited Editions Club in 1939 with the artistic talents of Thomas Hart Benton, which was his first commission for the Club.  Twain’s The Adventures of Huckleberry Finn (a second printing – I’ll explain below) and Life on the Mississippi would follow, as well as the acclaimed printing of John Steinbeck’s The Grapes of Wrath and his final work, Lynn Riggs’ Green Grow the Lilacs.  The latter three would see reprint as Heritage Press editions (good luck finding The Grapes of Wrath – it’s almost as rare as the LEC!), but for Tom and Huck the Heritage Press had gone with their own unique printings featuring renowned American painter Norman Rockwell as the illustrator.  Tom was printed in 1936, but I’ll have to check on Huck.  Rockwell also did Poor Richard’s Almanac for both clubs later on.  The Sandglass goes on and on about Rockwell, which I’ll let it do.

As for Mr. Clemens himself, the George Macy Company loved him, and Cardevon Press continued that love.  Twain was printed twelve times by the LEC alone – a remarkable number that few other authors could match (Shakespeare is the only one who leaps to mind at present, with a staggering forty-one LEC editions, although thirty-seven of those were a special run of his complete works).  We currently have this and the Heritage A Connecticut Yankee in King Arthur’s Court up, but that wasn’t where it began.  Twain’s legacy with the George Macy Company kicked off with Huck Finn in 1933, but neither Benton or Rockwell are attached to that project.  Carl Purington Rollins provides a signature (as its designer), but E.W. Kemble served up illustrations for it.  Booth Tarkington wrote an introduction, as well – another case of a future LEC author getting an intro in an earlier work (like Thornton Wilder).  This one was printed at Yale University.  Anyway, Benton’s Huck arrived in 1942, likely after his Tom Sawyer was so received.  Bernard DeVoto supplied that edition’s intro.  But enough with Huck – this is about Tom!  The Rockwell Heritage here preceded Benton’s LEC by three years, and, if I can, I’ll provide further comparisons down the road.  My last note – Benton’s never saw release as a Heritage.

As both of my Toms lacked any informational letter, I’d like to know who designed the original Heritage printing, so if you know, please drop me a line!

Title Page – The Connecticut reprint removes Rockwell’s whitewashing painting for a later on in the book, but the Illustrated Bookshelf (and I’d imagine the Heritage original) keeps it at the front.  Now, since this is the first appearance of the Illustrated Bookshelf, I imagine you’d like to know a little more about it.  According to Heritage Press historian Michael C. Bussacco, George Macy began a Junior Heritage Club in 1942 to cater to a youth market on a subscription basis.  The books were fairly similar, if not identical to their “adult” editions, but included a Magazine over a Sandglass that went into further detail about the author and illustrator (The Vicar of Wakefield, which I recently acquired, is a Junior Heritage Illustrated Bookshelf edition and its magazine has those features – I’m making a broad assumption that all of them did) on top of its design and creation notes.  The slipcase (again, broad assumption) likely featured an illustration from the text on both sides, as well as putting the title on the back end of the case (The Vicar does this).  The two books’ publication dates do not sync up with Bussacco’s date of the Junior HC’s foundation, but perhaps Macy figured it wasn’t as essential to alter the dates of his Junior line, or perhaps it was an oversight.  Now, Bussacco does not mention when the Company ceased the Junior Heritage Club ceased to operate, so I can not pass along that info.  Any insights into this fascinating arm of the Heritage Press would be appreciated. :)

Thanks to kdweber at Librarything, I can pass along the book’s printing details!  Warde selected the Bell font (which was also used in The Innocents Abroad, which was done in 1962 – obviously this is not a first printing!) in 12-point, which the history of which is in the Sandglass.  It was printed by the Quinn and Boden Company in New Jersey (at the very least this one was).  The binding process is notably absent, though.

Now, with all that out of the way, we can focus in on the book’s paintings.

Conn. Preface – Why this was moved to the preface instead of the title page is beyond me.  I will say that the colors and sharpness are a bit dulled for the Connecticut reprint, which isn’t a surprise.  However, compared to South Wind, it’s at least recognizable.

Conn. Page 60

Illustrated Bookshelf Page 60

Personal Notes – I think Rockwell is a good fit for Twain’s ragamuffins, so I wouldn’t mind owning a nicer edition of it than I had (which got wet :( ).

Sandglass of a later New York Heritage Printing (courtesy of kdweber):

* = I suspect Cardevon did not alter a pub date from the George Macy Company for their printing, as they did not take over until 1970, and Helen Macy was still in charge in 1964.