If you read my previous post, you'll know about the Providence Public Library and what its special collections librarian has been up to these days. What might a bookish tourist do while vacationing in Rhode Island this summer? Eric Boutin, a grad student in the MLIS program at the University of RI, alerted me to an exhibit of Civil War ballads he has curated for the University of RI-Kingston, running in August and September. It highlights the PPL's collection of Caleb Fiske Harris. An extensive online exhibit with tons of great images and explanation is available at the link above.

About 30 miles south, there is much to see in Newport, Rhode Island. Something to put on your list is the Redwood Library's new exhibit, In Pursuit of Natural History: An Exhibition of Works on Natural History from the Redwood Library Collections, curated by Dr. Philip Weimerskirch. Running now through November 18, it includes the first book on the natural history of the New World, an unrecorded pamphlet by a noted Philadelphia engraver, an elephant folio edition of Audubon's book on quadrupeds, and more. The Redwood Library is named for its founder, Abraham Redwood, a botanist. 
I am forever fascinated by bibliophiles who go beyond focusing their energy and resources on the collected works of one author to acquiring as many different copies as they can of a single book, oftentimes to the exclusion of pretty much everything else. In A Splendor of Letters I wrote about a collection at the University of Virginia of 400 copies of Lucile, a romantic novel in verse published between 1860 and 1927 in numerous editions, many of them illustrated, and wildly popular in its day, but now virtually forgotten, and the author, Owen Meredith (pseudonym of the poet and statesman Edward Robert Bulwer), a mere footnote in literary history. 

The collection had been assembled by Terry Belanger, recently retired as the founding director of Rare Book School at UVA, as a teaching tool to study various formats used over the years for a single book. I later learned of an even larger Lucile collection at the University of Iowa--almost three times as large, in fact--assembled by Sid Huttner, director there of special collections, and the subject of a dedicated web site known as the Lucile Project. I had the pleasure soon thereafter to meet with Huttner, and to see the collection.

There are some fabulous single-book collections of other titles, too, the late Jock Elliott's superb Christmas Carol editions coming immediately to mind, and a truly remarkable private collection of Alice's Adventures in Wonderland I have had the privilege of seeing on several occasions, but few collectors have the patience (and dare I say the fortitude) to see such a commitment through to these extremes. So it was with uncommon interest that I received a Google news alert yesterday (my name is mentioned parenthetically, thus the heads up) directing me to a piece that had just run in the Sacramento Bee about a collector whose library is brimming with 700 copies of Richard Henry Dana's 1840 novel, Two Years Before the Mast. Six paragraphs into the story, the reporter, Sam McManis, describes what he saw when he walked into the library of Bill Ewald, a 67-year-old retired firefighter:

At first, it's just a handsome room: nearly 700 books on oak shelves and display tables, and in cardboard boxes tucked in corners. You smell the mustiness of antiquity. Your eyes catch the glint of gilt spines, the sad fraying of aging cloth covers contrasting with shiny, happy paperbacks.

Then it hits you. These are all the same book.


A proud Californian, Ewald tells McManis he chose to concentrate on Two Years Before the Mast because it is set during the years of the great California gold rush, and because it is one of what veteran collectors know as the Zamorano 80--one of the eighty books determined to be seminal to the history and culture of the Golden State. (The book thief Stephen Blumberg was particularly keen on acquiring all eighty, incidentally, going so far as the steal the Zamorano Club's own collection of the books, which I wrote about in Chapter 13 of A Gentle Madness.)

Ewald discusses at length his unusual passion in McManis's piece, and offers some general insights on collecting. There is a sidebar there, too, for beginners looking for pointers, though I have to say I was a bit dismayed by the readers comments posted thus far. one bemusedly calling such an obsession "freaky," several others fixated on what is obviously a minor error on the part of a headline writer and not the reporter, as anyone who has ever worked for a newspaper will instantly recognize to be the case.

Anyway, give this most entertaining article a look; very nicely done indee

Nate Pedersen

Nate Pedersen is a writer in Mankato, Minnesota. His most recent book is Pseudoscience: An Amusing History of Crackpot Ideas and Why We Love Them. His website is natepedersen.com.

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Safety deposit boxes in Switzerland.  The crushing weight of bureuacracy.  A long disputed will.  The makings of a Kafka story?  No, just all part of the ongoing saga to release a huge chunk of Kafka's unpublished writings to the public.

Ten safety deposit boxes full of never-before-seen Kafka manuscripts are trapped in an ongoing trial over disputed ownership.  On one side are two elderly Israeli women who claim to have inherited the manuscripts from their mother.  On the other side is the Israeli National Library who claim the manuscripts should have passed to them.  And in the middle lies a treasure trove of Kafka writings, of untold cultural and monetary value.

A quick summary of the dispute: Kafka dies in 1924.  In his will, he bequeaths his writings to his friend and publisher, Max Brod, instructing him to burn everything unread.  Brod ignores this wish and publishes most of Kafka's manuscripts anyway, including "The Castle" and "The Trial."  Brod flees the Nazis and smuggles the remainder of the manuscripts with him into pre-state Israel.  There he dies in 1968, passing on his literary estate to his personal secretary, Esther Hoffe, and instructing her to leave Kafka's writings to an institution.  Hoffe ignores Brod's wishes; sells off a few of Kafka's writings including the original of "The Trial" which sold for $1.8 million at Sotheby's in 1988.  Hoffe died three years later, leaving the remainder of the papers to her daughters Eva Hoffe and Ruth Wiesler.  The Israeli National Library files an injunction against the execution of Hoffe's will, claiming the collection should have gone to them.  Finally, a year ago, the Tel Aviv court orders the papers to be examined before making its decision about the case.  And here we are today, with literary experts in two cities examining the contents and a court ruling only a few weeks away.

Kafkaesque indeed.

For more of the story, see the AP article.

Today, the University of South Carolina dedicated its new $18-million, 50,000-square-foot Hollings Library, which will house the university's S.C. Political Collections, as well as the Irwin Department of Rare Books and Special Collections and Digital Collections. Senator Ernest F. Hollings helped the university secure $14 million in federal funds for the LEED Gold building. What's inside? A vault containing a rare 1699 state charter and numerous first editions. It also contains a Zeutschal scanner -- the only one in the U.S., according to the USC Office of Media Relations. The Zeutschal is a large format scanner that allows library staff to scan folios, maps, and other oversized material. To read more about the state-of-the-art library, see The State. Vice-President Joe Biden (personal friend of Sen. Hollings) was on hand at today's dedication.

Take a peek inside the new library:


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As some of you may know, Lame Duck Books of Cambridge, Mass., is closing its shop in September. So this will be a summer of liquidation for the Harvard Square bookseller, and collectors stand to save between 25-50% off of books, manuscripts, art, and photography. Bittersweet news. The sale is both online and in store. Pictured here is an inscribed photographic portrait of Frank Lloyd Wright from Lame Duck's inventory.

Lame Duck owner John Wronoski graciously agreed to answer some questions about the shop's closure and his experience in the book business. Our Q&A follows.   

RRB: Are you just closing the physical shop, or are you getting out of the business? Why?

JW: The closing of the physical shop is part of a slightly longer-term process in which I'll be assessing the future prospects of the business. I have an art gallery next door to the current bookshop and I'll probably try somehow to consolidate the two businesses for some relatively brief period of time while I decide whether it makes sense to continue on in Cambridge, or at all. Although I have no sense that it will be possible to sell the business as a going concern, I'm very much open to that as an option, and I'd do what I could to make it possible for an interested party to acquire it under congenial terms, including staying on as an unpaid adviser during an interim period. Assuming that that won't happen, I'm intent on liquidating as much of the stock as I can in the relatively near future. It's highly likely that regardless of what might happen with Lame Duck Books I'd remain active in the book trade after some fashion, whether as an agent in the sale of collections and literary archives, an appraiser or even a consultant, or for that matter a private librarian. It's too intimate a part of my life to simply abandon it, much though I've often fantasized just that.

RRB: How long have you been a book dealer?

JW: I began putting the shop together in Philadelphia in 1983, when I was 24 years old. It opened in January 1984.

RRB: Do you have a favorite piece -- book, mss., letter -- that's come through your shop?

JW: A lot of them haven't quite finished coming through it.  My principal focus is literary archives and manuscripts and important association copies of literary works of art, so I've handled quite a lot of really extraordinary things. If I had to specify one that made me feel like the air had left the room and I was in the presence of eternity, it would probably be the only known manuscript version of Borges's Pierre Menard autor del Quixote -- my art gallery is named after it.

RRB: Are you a collector yourself?

JW: Only by virtue of having failed to sell some of my books. I think of myself as more akin to a birdwatcher than to a proper collector. I want to have seen it, maybe even gotten quite close, perhaps even for longer than would seem normal to a lot of people, but I don't need to possess it in the end.  On the other hand, I've sold some astonishing things that I've never even touched.

We all collect according to our interests and circumstances.  And we often begin our book collecting adventures with very little thought as to what exactly a new-found collecting interest might eventually entail in terms of time, money and effort expended.  

There's absolutely nothing wrong with this.  Some of the world's greatest book collections have begun serendipitously and proceeded willy-nilly for a number of years.  At some point, though, virtually every book collector realizes that he or she will not live forever.  Thus it is that book collectors often devise some sort of plan to better utilize their remaining years and resources.
 
These plans run the gamut from very simple to very complex.  The best of these can easily hold their own against the collection development plans of professional librarians.  It sometimes dawns upon book collectors who have reached this point that they no longer are collecting for themselves...they are collecting for posterity.
 
Of course, a few especially thoughtful collectors may actually begin their book collecting adventures with a plan firmly in place.  More frequently, though, most book collectors simply...begin.  Especially for book collecting that is generated by a response to something "in the news," it may be years before any sort of plan suggests itself.  
 
Consider the BP oil spill.  How does one build a meaningful book collection about this event, given that the impact of the event may not be fully known for decades?  
 
Perhaps one starts by adding to one's bookshelves titles about oil spills in general (mindful that such titles have been published for both adult and juvenile markets).  One may discover that oil companies (and their suppliers) have published a great many titles that anticipate the possibility of oil spills (response guides and the like) , and thus these also may be added to one's bookshelves.  What else?
 
Biographies, autobiographies and histories of the major players (British Petroleum, Tony Hayward, etc.) would seem to be important for such a collection.  As would material published in response to the event (Congressional hearings; leaflets, broadsides and other ephemeral printed material issued by activists in affected areas; etc.).  [Because the Federal Government is committed to making the documents of its various agencies available electronically, one may have to print such documents oneself to add them to one's bookshelves.]
 
As time passes, one also may be able to add to one's shelves scientific analyses of the spill's impact on various environments, local economies and so forth; technical treatises on how well the technologies deployed in response to the spill did or did not work; memoirs of particular individuals affected by the spill (local fishermen, politicians, etc.); and so on and so on and so on.
 
But this event is still unfolding, and so book collectors who are collecting in response to this event may be forgiven for not yet knowing exactly where they are going, or where they may eventually end up.  Whether they are collecting simply for themselves, or for posterity....

Fine Books Press, an imprint of FB&C magazine, recently published Nick Basbanes' About the Author: Inside the Creative Process. Here's a glowing review from the July issue of the Midwest Book Review:

Nicholas Basbanes was literary editor of the Worcester, Massachusetts Telegram & Gazette from 1978-1991, in which capacity he was able to interview hundreds of authors whose publicity tours took them through the city of Boston. In "About the Author: Inside the Creative Process", Basbanes draws upon his conversations with an immense diversity of literary greats ranging from Alfred Kazin, Arthur Miller, John Updike, and Toni Morrison, to Doris Lessing, Kurt Vonnegut, Neil Simon and Alice Walker, to explore the motivations and processes that authors experience and utilize to create their novels, poetry, histories, and other literary works. A fascinating read from beginning to end, this 246-page compendium is as informed and informative as it is insightful and inspiring. Thoughtful and thought-provoking, "About the Author: Inside the Creative Process" is highly recommended reading and a seminal work for both academic and community library Literary Studies reference collections.

Well-done, Nick! About the Author is available in both a trade edition and a signed limited edition in the FB store.  

Recently I was browsing in the wonderful little Hudson Valley town of Rhinebeck, New York, when some window dressing caught my eye (pun intended). Inside a lovely paper and stationery shop called Paper Trail was an exhibit of paper dresses and shoes. The shop happened to be closed at the time, so when I returned home, I went straight to my computer to research the shop and the exhibit. The exhibit is called Texture con Texture, and it features the work of Linda Filley and Ramon Lascano. Filley makes paper dresses and shoes, and Lascano makes conceptual book art and altered book art. Both are stunning.

The paper fashions were something I had never seen before, and I was quite taken with them. As examples, Filley's Bluebird dress and Shoe Boot are pictured here. I emailed her to ask more about it, and here is our Q&A.

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RRB: How did you come up with the idea for paper dresses and shoes? I've seen paper jewelry before, but never anything like this!

LF: The dresses came about when Maureen and Serine [owners of Paper Trail] bought the forms to use for a holiday ornaments display. After the holidays they suggested weaving some paper through the forms which are made of wire. It all came so naturally to me. I have always loved fashion and wrapping gifts so the two finally met. That was 4 1/2 years ago and I have probably made about 20 dresses since. The shoes are a recent project. I made 1 each for Maureen and Serine this past holiday season and used them for the topping of their presents. Maureen then suggested I make some more and we could include them in the Spring show which was the second one Ramon and I have done at Paper Trail. The first show was called Fashion and Fiction.

RRB: How do you describe your art -- or yourself -- book art, book artist? paper designer?

LF: I guess I would describe myself as a paper artist. I have always loved to make something from nothing and make it as appealing as possible. The next best thing to making the dresses and shoes is the search for different material and to use it outside of its original intent, e.g. packaging material, odd little bits of ribbon from the store and the plastic mesh bags that onions come in.

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RRB: What is your artist background?

LF: I am self-taught. I have been drawn most of my life to making visual stories out of different items whether it be window/table display for a store or just placing things picked up from a walk.

RRB: It's interesting to me that Paper Trail -- a retail paper & gift store -- is holding an art exhibition. How did this collaboration come about?

LF: Three years ago  when Maureen and Serine moved Paper Trail from the back space to its current location, it gave them a new chance to expand the scope of the store beyond gifts and stationery. The room on your left when you first enter the store is a natural space for displaying art.

Paper couture, I like it. If you happen to be in the area, I highly recommend a visit to Paper Trail. You can also see images from the exhibit online.



So July 4th weekend has come and gone, the hot hot weather is finally here (at least in my neck of the woods), and I have spent some time with some beach reading. Beach reading for the literary set, I should append. Beach reading for the collecting set, I might even add. 

Two such novels caught my eye this summer. Allegra Goodman's The Cookbook Collector (Dial Press, 2010) just went on sale last week. It's terrific. Goodman h been round the literary circuit before -- her debut was a National Book Award finalist, and her most recent a New York Times bestseller. But this book appeals to the bookish in a whole new way. The main characters are two intelligent twenty-something sisters, Jessamine and Emily. Emily is the CEO of a Silicon Valley start-up, who seems just a little too sweet and ethical for the job. The younger and less ambitious Jess works part-time at Yorick's Used and Rare Books in Berkeley when she's not out trying to save the redwoods. But Jess becomes enamored by a set of rare cookbooks that her boss acquired. With his encouragement, she begins cataloguing the books, finding erotic drawings and poems in the margins that signal the former owner's obsession with an unknown woman. One might think from this description that the novel's plot would focus on this mystery, a la Matthew Pearl, but it is but one element in a grander scheme of loves, losses, and lucidity. Bibliophiles who enjoy novels should not miss it. Where else in modern fiction are you going to read a line of dialogue like this, "You think there's something materialistic about collecting books, but really collectors are the last romantics. We're the only ones who still love books as objects."

The second novel in my proverbial beach bag is The Summer We Read Gatsby (Viking, 2010) by Danielle Ganek. Set in the Hamptons, this novel is about two half-sisters, somewhat estranged and brought together when they inherit a beach cottage called Fool's House (after the Jasper Johns painting). The recently divorced Cassie is back in the United States for one month to settle the estate of her aunt, while her eccentric sister Peck plays socialite. Their aunt, a sometime artist and art collector, told them there was something of "utmost value" to be found in the house, so between parties, dates, and shopping sprees, a secret or two percolates. Cassie thinks the valuable thing might be a Fitzgerald first edition: 

"I don't know why, but I had this idea we might find a first-edition Great Gatsby hardcover with a dust jacket. Signed, maybe." 

"What would that be worth?" Peck asked, scoffing. "Nothing. Maybe a few grand?"

"Signed?" I reached for the packet of letters and untied the ribbon. "Those things are worth a lot to some people." [Note: Like $180,000 at Bonhams record-breaking auction last year.]

Less intricate than Goodman's novel, Ganek's story is winsome nonetheless. Enjoy! 

The sale of the first portion of the Arcana Collection was held this afternoon at Christie's London, for a total take of £8,169,800. Results are listed here. Just eight of the 48 lots failed to sell, but three of the major pieces were among them.

Things got started pretty quickly, with Lot 2, an early German Bible (1477) beating estimates and selling for £169,250. While Boccaccio's De claris mulieribus (1473), estimated at £250,000-350,000, did not find a buyer, his Decameron, bound with Masuccio's Novellino, fetched £361,250 (again surpassing estimates). Jean Grolier's copy of the Hypnerotomachia Poliphilimade £313,250, and the amazing copy of Hieronymus' Epistolae (1470) fetched £937,250. A 1484 Paris edition of Ovid sold for £97,250, while Pliny's Historia naturalis (Venice, 1476) made £313,250.

The Latin Nuremberg Chronicle sold for £67,250 (beating the estimates handily), and then theGerman copy (with illuminations) made an eye-popping £541,250 (estimates had it at £120,000-160,000).

The expected big-ticket items among the illuminated manuscripts didn't do much: the Abbey Bible, a fabulously-illuminated manuscript on vellum (Bologna, 1260s) and the Elizabeth de Bohun psalter/book of hours (England, 14th century), both estimated at £2 million plus, didn't sell. Nor did the Cauchon Hours.

There was a little manuscript action, though: a manuscript of Bartholomaeus Anglicus' Le livre des propriétés des choses (Paris, c. 1390), beat expectations to become the top seller of today's sale, reaching £1,105,250. An illuminated triptych on vellum over wood panels (Bruges, c. 1540) made £241,250, as did a pair of French books of hours from around the 1460s (Lots 36 and 37). A French manuscript of Ovid's Heroides (Paris, c. 1493), with lovely miniatures, made £601,250 (within the estimate range). And the Hours of François I fetched £337,250 (on estimates of £300,000-500,000).

Overall, not bad, but not a good day for the headliners.