July 10, 2015 Comments Off on Heritage Press – The Essays of Francis Bacon (1944/1951)
The Essays of Francis Bacon (1944)
Sandglass Number V:15 (not the exact Sandglass for this book, the Sandglass is from 1951)
Artwork: Decorations by Bruce Rogers
Introduced by Christopher Morley, with a brief note by A.S.W. Rosenbach
Reprint of LEC #157, 15th Series, V. 5 in 1944.
Click images for larger views.
Front Binding – Today brings the sole offering from the noted scholar and essayist Francis Bacon to the George Macy Company, a superb printing of the Essays (or Effayes, as the title page and spine depict it in the language of Bacon’s day). The LEC and Heritage editions are similar in terms of appearance, although the LEC uses far more exquisite materials. For a bevy of life details on Bacon, see the newly appended Sandglass below, courtesy of Django6924.
Bruce Rogers was the designer of the LEC edition, and that design pretty much carried right over to the Heritage. Rogers chose to maintain most of the original spelling and letter differences of Bacon’s original writings here, and he provided some rather nice decorations for the openings of each essay, for the title page, and the binding. Rogers has once before been spotlighted here, with The Federalist Papers. He was 81 when this Sandglass was printed (74 when the LEC was issued), and passed away in 1957.
Design notes: Janson is the font of choice; Rogers decided to redraw the majority of the letters, which were specially cut for the LEC edition by the Monotype Corporation. Decorations are in Garamond. The first letter of each essay was designed by Rogers and serve as the illustrations. Each page was meticulously formatted by Rogers to his exact standards. The Heritage pages were printed via lithography by the Duenewald Printing Corporation, and Russell-Rutter handled the binding. Rogers drew the cover illustration, which was printed with gold leaf paper. The design was taken from one of Queen Elizabeth I’s tapestries from her throne room, which is quite apropos. The boar was Bacon’s, taken from his crest. The spine is a greenish linen.
Title Page – A rather dynamic title page, with Rogers’ design flourish in full force. Christopher Morley supplies an introduction, which is not noted here, but it is on the pre-title page. Morley concedes a bit of his space to A.S.W. Rosenbach for a postscript.
Examples of the decorations by Rogers (right click and open in new tab for full size):
Personal Notes – I bought this at Bookbuyers in Monterey, if my memory is not mistaken. I was quite taken by the lovely cover, and would like to give the essays a shot in the future.
Sandglass (right click and select Open in New Tab to see full size):
Heritage Press – The Federalist Papers by Alexander Hamilton, John Jay and John Madison (Connecticut, 1973)
June 10, 2013 Comments Off on Heritage Press – The Federalist Papers by Alexander Hamilton, John Jay and John Madison (Connecticut, 1973)
The Federalist Papers by Alexander Hamilton, John Jay and John Madison (Connecticut, 1973)
Sandglass Number VI-R: 40
Artwork: Decorations by Bruce Rogers.
Introduced and edited by Carl Van Doren.
Reprint of LEC #169, 16th Series, V. 5 in two volumes in 1945.
Click images for larger views.
Front Binding – The Federalist is our selection for today. The Connecticut issuing in 1973 looks pretty nice if you ask me; a bold red/gold eagle stamped on top of a dark blue cloth. Alexander Hamilton, John Jay and James Madison are the political figures behind these essays; this was the only publication of theirs done by the George Macy Company. If my memory is correct, this is the first American political work we’ve featured on the blog. There are plenty more, and we’ll get around to them eventually. I imagine Thomas Paine’s Rights of Man will be next on that front.
Anyway, enough of my ruminations. Illustrations are restricted to decorations for this work, and Bruce Rogers served as the designer/decorator. There’s a nice blurb about Rogers on Page 3 of the Sandglass. He did a lovely job with this book’s look; it’s patriotic but not overtly so. Since we’re on the design front, here’s the remaining perimeters for this issuing: the primary font is Original Old Style, which the Sandglass extensively details (since the book’s type is one of the central focal points here). Rae Publishing Company printed the text on Finch-Pruyn Mills paper which is creme-white in color and vellum-finished. It features “thin” paper since it is a very thick book. The bindery is absent from the Sandglass.
Spine – A striking design if you ask me.
Title Page – Here is the title page; Carl Van Doren is the editor/introduction writer for this book (although the title omits the editorial part; the Sandglass clued me in on that one). Van Doren was a friend of Macy’s and a part of the ill-fated Reader’s Club judge’s panel.
Examples of the In-text Decorations by Rogers (right click and open in new tab for full size):
Personal Notes – I got this with the 50 books I received from the Oakhurst Library. It cost me a dollar. However, upon a recent reappraisal of my books, I decided that it was not a priority for me to keep (and there’s a NY printing), so I sold it off to help get Tristan and Iseult the last time I was in Monterey.
Sandglass (right click and open in new tab for full size):
UPDATE: Robert (Django6924) was kind enough to send along pictures of his LEC and NY Heritage editions. I’ve included the binding and title pages in the gallery below:
UPDATED 8/17/2013 JF
April 29, 2012 Comments Off on Of Interest – The Illustrators of the LEC Shakespeare
While I’ve yet to cover most of the exquisite LEC Shakespeares, I’ve had a devil of a time trying to find a complete list of the illustrators for the 39 volume set. Well, I’m happy to present to you that very coveted list, in a typed form, so that it’ll be available to LEC collectors looking for books from their favorite illustrators. All of the books were designed by Bruce Rogers.
All’s Well that Ends Well – Drawings by Richard Floethe, printed in color by A. Colish
Antony and Cleopatra – Wood engravings by Enric-Cristobal Ricart, pulled by R.& R. Clark and hand-colored by Jean Saude
As You Like It – Watercolors by Sylvain Sauvage, hand-colored by Mourlot Freres
The Comedy of Errors – Wood engravings by John Austen, pulled and printed in 5 colors by R.& R. Clark
Coriolanus – Tempura paintings by C. Pal Molnar, lithographed in 15 colors by Mourlot Freres
Cymbeline – Lithographs by Yngve Berg, pulled by the Curwen Press
Hamlet – Dry-brush drawings by Edy Legrand, printed in collotype/black/gray by Georges Duval
Henry the Fourth Part I – Color lithographs by Barnett Freedman, pulled by the Curwen Press
Henry the Fourth Part II – Watercolors by Edward Bawden, hand-colored by Jean Saude and printed in collotype by Georges Duval
Henry the Fifth – Pencil drawings by Vera Willoughby, lithographed by Mourlot Freres
Henry the Sixth Part I – Lithographs by Graham Sutherland, pulled by the Curwen Press
Henry the Sixth Part II – Lithographs by Carlotta Petrina, pulled by George C. Miller
Henry the Sixth Part III – Colored line drawings by Jean Charlot, printed in 3 colors by A. Colish
Henry the Eighth – Wood engravings by Eric Gill, pulled by A. Colish
Julius Caesar – Wood engravings by Frans Masereel, pulled by A. Colish
King John – Line drawings in three colors plus gold by Valenti Angelo, printed by A. Colish
King Lear – Brush drawings by Boardman Robinson, printed in collotype in black/2 grays by Georges Duval
Love’s Labour Lost – Crayon and wash drawings by Mariette Lydis, printed in collotype in black/gray by Georges Duval
Macbeth – Color drawings by Gordon Craig, lithographed by Mourlot Freres
Measure for Measure – Color lithographs by Hugo Steiner-Prag, pulled by Mourlot Freres
The Merchant of Venice – Watercolors by Rene ben Sussan, printed by both Mourlot Freres and Georges Duval, hand-colored by Maurice Beaufume
The Merry Wives of Windsor – Color drawings by Gordon Ross, printed in collotype in black and sanguine by Georges Duval, then hand-colored (does not state by whom…Ross, maybe?)
A Midsummer Night’s Dream – Watercolors by Arthur Rackham, lithographed in 4 colors by Mourlot Freres, hand-colored by Maurice Beaufume
Much Ado About Nothing – Watercolors by Fritz Kredel, printed in collotype by Georges Duval and hand-colored by Jean Saude
Othello – Wood engravings by Robert Gibbings, pulled by A. Colish
Pericles, Prince of Tyre – Wood engravings by Stanislas Ostoja-Chrostowski, pulled by A. Colish
Richard the Second – Wood engravings by Agnes Miller Parker, pulled by A. Colish
Richard the Third – Lithographs by Fritz Eichenberg, pulled by George C. Miller
Romeo and Juliet – Color line drawings by Ervine Metzl, printed in 2 colors by A. Colish
The Taming of the Shrew – Line drawings by W.A. Dwiggins, printed in sanguine by A. Colish
The Tempest -Watercolors by Edward A. Wilson, printed by both Georges Duval (collotype) and Mourlot Freres (2 colors), hand-colored by Maurice Beaufume
Timon of Athens – Wood engravings by George Buday, pulled by A. Colish
Titus Andronicus – Watercolors by Nikolai Fyodorovitch Lapshin, lithographed by Mourlot Freres
Troilus and Cressida – Wood engravings by Demetrius Galanis, pulled in black/terra cotta by Dehon et Cie
Twelfth Night, or What You Will – Watercolors by Francesco Carnevali, lithographed by Mourlot Freres
The Two Gentlemen of Verona – Watercolors by Pierre Brissaud, printed in collotype (key gray) by Georges Duval and hand-colored (not stated, Brissaud, perhaps?)
The Winter’s Tale – Drawings by Albert Rutherson, hand-colored by Jean Saude and printed in key-black by the Curwen Press
Note that this set is completely unsigned, so that bit of novelty is lost. However, a set of Shakespeare’s poetry followed the release of the plays. They were deliberately matched to the binding style of the rest, and this one is signed by Rogers. Hope this list aids you somehow or another!