At $85,267 (£57,000), this finely bound set of Samuel Purchas’s Pilgrimes (1625-26) was the top lot at the third sale of the Brooke-Hitching library at Sotheby’s London last week. Over forty years this collector had amassed a stunning collection of rare books related to voyages, exploration, and discovery between 1576-1939. As our correspondent Ian McKay reported in FB&C’s winter issue, “Records have become almost commonplace where the two sales so far conducted to disperse the magnificent Franklin Brooke-Hitching library ... are concerned.” McKay went on to highlight two examples of the “superlative condition” and rarity “that the collector always strove for.”

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On March 19, there were three more record-breakers, according to Sotheby’s: $66,731 (£45,000) for the Huth-Penrose copy of Mortimer’s Observations and Remarks made during a Voyage... in the Brig Mercury (1791); $51,902 (£35,000) for Middleston’s The Last East-Indian Voyage (1606); and $48,194 (£32,500) for a first edition of Lind’s landmark, A Treatise of the Scurvy (1753).

The sale achieved a total of $1.8 million (£1.2) well above its pre-sale high estimate. The final sale (Q-Z) will be held in London on September 30.

Image: Courtesy of Sotheby’s.
photo credit: PRNewswire

Something there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
(“Mending Wall” Robert Frost, 1-4)

March 26 marks the birthday of four-time Pulitzer Prize-winnng poet Robert Frost, who, although a man of the twentieth century, wrote poems evoking traditional, rural New England landscapes of another time. His poetry recalls a simpler era, and yet Frost conveys the quiet strength of everyday Americans that continues to inspire.

Events across the country will commemorate the day, but one in particular stands out - the inaugural Mending Wall Day, organized by Lowell, Massachusetts-based stoneware studio, American Stonecraft. The event is named for the Frost poem “Mending Wall,” which recounts how fieldstones push their way through the dirt during the winter months. Traditionally, once the snow melted, hardy New England farmers would move the rocks out of their fields in preparation for  planting. Since farmers are resourceful folk, these stones were used to build the walls that grace hundreds of fields and backyards from Connecticut to Maine. (In an informative essay on, John-Manuel Andriote explains the history and singularity of New England rocks, estimating that 380,000 miles of stonewalls zigzag throughout the region.) That rite of passage continues every spring on farms throughout New England.

Robert Frost, 1913.

Robert Frost, 1913. (Photo credit: Wikipedia)

The Mending Wall Day project is the brainchild of Groton, MA, native Gerald Croteau III, a former D.C-based mergers and acquisitions consultant who switched careers after a visit to the family farm in the Merrimack valley.  “I looked at a fieldstone split open, and all the beautiful colors inside that rock, that’s all it took. I left my old job, moved back to Massachusetts, and set up shop,” he said. Four years later, American Stonecraft partners with local farmers by using their freshly unearthed stones to make custom tableware such as coasters and bowls (called ‘bowlders’ on American Stonecraft’s site). Each unique piece is labeled with the farm of origin, recounting via multicolored striations the time-worn tale of these rocks, and the farmers who put them to good use. Now, the company’s tableware are the vessels for culinary delights at chef Dan Barber’s upscale farm-to table restaurant Blue Hill at Stone Barns in Tarrytown, New York. Fieldstones from the restaurant’s adjoining farm provided the raw material for the distinctive serving ware.

A Bowlder. Photo Credit: American Stonecraft

Mending Wall Day’s inaugural goals are modest, but laudable. “We want to increase cultural awareness of New England stonewalls by organizing independent community gatherings like this one, where neighbors gather to rebuild and tend to fieldstone walls,” explained Croteau during a telephone conversation from his Congress Street studio overlooking an historic canal in Lowell, Massachusetts. Croteau’s choice of studio location also reflects his commitment to community. “Lowell has the most working artists per capita in America.” Also known as the Mill City, Lowell is experiencing a renaissance of sorts, thanks to a dedicated group of artists, musicians and entrepreneurs who are transforming formerly abandoned mills and storefronts into thriving galleries, studios, showrooms and restaurants. “It feels like Boston’s Brooklyn,” Croteau mused. Sure, plenty of neighborhoods still resemble hardscrabble scenes from the film The Fighter but things are looking up for the resilient, resourceful people of Lowell.

Lowell National Park Boat Tour of Canal (actua...

Lowell National Park Boat Tour of Canal (actually Pawtucket Canal). (Photo credit: Wikipedia)

This year the Mending Wall Day event is being held on Thursday, March 26, in the nearby rural town of Dunstable. Croteau’s group will collect rocks from the 350-acre Tully Farm, a family-run operation since 1873 whose herd of cows provide milk to nearby cheese making cooperative Cabot. Though he’s not expecting a large turnout--eight Stonecraft employees, (a number of whom hail from Frost’s childhood hometown of Lawrence) plus Tully farmers-- Croteau is optimistic about what the future holds. “Mending Wall Day is about finding the balance between city life and country life, and I’m hopeful that if people hear about our work this year, then maybe next year they’ll join us. It only takes one to start a movement.” One stone at a time, good fences continue to make good neighbors.

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Gerald Croteau at Allandale Farm. Photo Credit: American Stonecraft

More about the company and Mending Wall Day below:
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The largest collection of daguerreotypes of Venice in the world--and probably the earliest surviving photographs of the Alps--have been officially confirmed as taken by John Ruskin, the famous 19th-century art critic, writer, and artist.

The photographs were uncovered at Cumbrian auction house Penrith Farmers’ & Kidd’s PLC in 2006 by photographic dealers Ken and Jenny Jacobson. The daguerreotypes sold for £75,000 after an original estimate of just £80. Following extensive conservation and research over the next eight years, the Jacobsons were able to confirm that the daguerreotypes were indeed photographed by Ruskin.

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The Jacobsons published a book yesterday with Bernard Quaritch about their remarkable discovery. Entitled Carrying Off the Palaces: John Ruskin’s Lost Daguerreotypes, the book contains all 325 known Ruskin daguerreotypes. Many of the photographs discovered by the Jacobsons appear in print for the first time with this publication. The book also explores Ruskin’s complicated relationship with the new photographic arts in the 19th century.

Ruskin Cover.jpg
At the book launch yesterday Ken Jacobson said, “The discovery of 188 previously unknown John Ruskin daguerreotypes has been the most exciting of our career. The propitious circumstances of this find were truly magnified many times over by the fascinating discoveries we made during our research and the generosity, intelligence and friendship we shared with other scholars and our conservators.
We feel that the quality and unorthodox style of many of Ruskin’s daguerreotypes will come as a major surprise to both photographic historians and those in the field of Ruskin scholarship. It is an astonishing accomplishment for a polymath better known for his achievements in so many other disciplines. Ruskin’s daguerreotypes would be a sensational new revelation in the history of photography even if he were completely unknown. We hope the work will be as intriguing to others as it has been to us.”
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Images: Courtesy of Bernard Quaritch.
5479069887_bbae6d5c91_z.jpgThe George Washington University Museum in Washington, D.C. will host its grand opening on Saturday with two exhibits from the Albert H. Small Washingtoniana Collection of historic maps and documents. Small donated the collection to GW in 2011, along with $5 million toward the renovation of the museum on its Foggy Bottom campus. The result is a 53,000-square-foot LEED Gold-certified museum complex housing the Textile Museum, the historic Woodhull House, the Arthur D. Jenkins Library, and the Small Center for National Capital Area Studies.

To inaugurate the complex, two exhibits of Small material will go on display. Seat of Empire: Planning Washington, 1790-1801 will consider urban design and the landscape of early D.C. through rare maps and related images. The Civil War and the Making of Modern Washington will track the city’s evolution from war-time encampment through Reconstruction with prints, maps, and illustrations from the period.  

The Smithsonian Press has also issued a new illustrated book, The Evolution of Washington, D.C.: Historical Selections from the Albert H. Small Washingtoniana Collection at the George Washington University, featuring 90 pieces of memorabilia from the collection.
You can read more about Small’s “Capital Collection” and GW’s new museum in our spring issue.

Image: Map of Future Site of Washington, D.C., 1790. From the Albert H. Small - George Washington University Washingtoniana Collection.
Our Bright Young Collectors series continues today with Madison Rootenberg of Durham, North Carolina, who collects unicorn books.

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Where are you from / where do you live?

Born and raised in Los Angeles, CA and currently living in Durham, NC.

What did you study at University? What do you do now for an occupation?

I went to Emerson College for Writing, Literature and Publishing and I am currently the Assistant Youth, Family and Camp Director at the Levin Jewish Community Center in Durham-Chapel Hill.
Please introduce us to your book collection.  What areas do you collect in? 

When I was 5 years old I was in London with my grandparents for a book fair, and they had asked me what I wanted to start collecting. I found a sticker on the side of a building as we were leaving saying, “Save the Unicorns” and decided the only way to do that was to collect all of the books on them ever written!

How many books are in your collection? 

Oh goodness, over 100, I’ve lost count.

What was the first book you bought for your collection? 

I believe it was an Animal Encyclopedia from the 1400’s that had a section on unicorns.

How about the most recent book? 

A collection of hand-painted pages from children’s books that all contain a unicorn. 

And your favorite book in your collection? 

A miniature book that is less than an inch big!

How about the One that Got Away? 

Still looking for a manuscript of “The Last Unicorn.” I have it on both VHS and DVD though. 

What would be the Holy Grail for your collection? 

Supposedly the British Library recently found a cook book from medieval times containing a section on how to cook a unicorn. This proves they were real, right?!

Who is your favorite bookseller? 

My dad and grandparents of course! B & L Rootenberg Rare Books and Manuscripts.

What would you collect if you didn’t collect books? 

If I had the space, dogs! Every pitbull on the street or in a pound. Hopefully I’ll have a farm one day and can start rescuing more. 

Thanks to Madison for participating in our series.  Nominations for Bright Young Collectors (including self-nominations) are welcome at
Around this time each year, a stack accumulates on my desk of post-holiday, pre-beach reads, all of which would be of interest to FB&C readers. Here are five non-fiction titles, in brief, that deserve your attention. 

9781616893668.jpgMore than Words: Illustrated Letters from the Smithsonian’s Archives of American Art by Liza Kirwin (Princeton Architectural Press, $24.95). Out this month is the paperback edition of this popular compendium of letters written by artists--e.g., Alfred Joseph Frueh sent his fiancee a pop-up gallery of art on the back of a 1913 letter and Andy Warhol drew a smiley face with speech bubble on his 1949 letter to a Harper’s editor. From pen-and-ink caricatures to almost fully realized scenic watercolors, each correspondent illuminated his or her note with something other than text. The result is endlessly enticing. And for a bonus track: full transcripts of all the letters.

The Pebble Chance: Feuilletons & Other Prose by Marius Kociejowski (Biblioasis, $18.95). This is a collection of intelligent and charming essays on poetry, art, and books, at least two of which, “A Factotum in the Book Trade” and “The Testament of Charlotte B.,” will have direct appeal for antiquarian book-collector types. The author has long worked as a book dealer in London, and he is also a poet and a travel writer. Plus, Michael Dirda raved about the book in the Washington Post. What else could you ask for?

The King Penguin Series: A Survey by Michael Lake (Penguin Collectors Society, £12). This new book from the PCS surveys the original King Penguins, a hardback imprint launched by Allen Lane in 1939. The King Penguins were meant to be both affordable and handsome enough to be collectible. This compact and beautifully illustrated book offers a wonderful history of the series, a gallery of cover art, and a full bibliography.

Letter to a Future Lover: Marginalia, Errata, Secrets, Inscriptions, and Other Ephemera Found in Libraries by Ander Monson (Graywolf Press, $22). Taking inspiration from library left-behinds, Monson writes brief essays and snippets of response with the enthusiasm and wit of a poetry slam winner. Contemplating a signed book at the University of Arizona, he writes, “In the age of disassociation and fragmentation, history-free ebooks torrented on the Internet, burger meat from random cows gathered up in drive-thru fast-food burger patties to be liked, live-tweeted as we eat, there’s also this: a thing, an artifact, complete with Hancock and finger trace, which makes it more than other books, we’re meant to know.” Monson has said that this book got started as a series of actual notes he wrote and tucked into volumes returned to the library, like a living book art project. This volume shares that private project with a larger audience.

The War That Used Up Words: American Writers and the First World War by Hazel Hutchinson (Yale University Press, $45). Henry James, Edith Wharton, Grace Fallow Norton, Mary Borden, Ellen La Motte, E. E. Cummings, and John Dos Passos -- how did these seven writers shape American opinions about WWI? Hutchinson focuses her lens not on the “lost generation,” but on the writers who were observing and participating before America even joined the effort.

Mystery Writers of America Cookbook

The Mystery Writers of America Cookbook, edited by Kate White; Quirk Books, $24.95, on sale March 24th

What is a good mystery novel without a sharp kitchen knife and a little culinary mishap? Recall any of Agatha Christie’s poison-soaked meals or Connie Archer’s “Soup Lover’s Mystery” series.   Many of the great case-cracking fictional characters relish their meals too, from Miss Marple’s tea and scones to Alex Cooper’s necessary Dewar’s on the rocks. Food frequently defines character and also offers tantalizing clues and plot twists. 

Now, readers can cook the same meals some of the greatest mystery writers enjoy. Mary Higgins Clark, James Patterson and Peter James are just a handful of of contributors to this volume, providing mouth-watering delights and interesting recipe backstories. All proceeds from the book go towards funding the Mystery Writers of America, an organization that promotes writers in the genre, provides scholarships for writers, and presents the annual Edgar Awards.


With over 100 ‘wickedly good’ entries to savor, from breakfast selections to after-dinner cocktails, editor (and former Cosmopolitan editor-in-chief) Kate White also includes colorful insight about how food and murder often go hand in hand. (Stomach contents can be critical in determining whether a victim’s last meal was more deadly than delicious, for example.) Recipes such as the wonderfully titled Male Chauvinist Pigs in the Blanket from Nelson DeMille, Sue Grafton’s Kinsey Millhone’s Famous Peanut Butter & Pickle Sandwich and Alison Gaylin’s The ‘Smoking Gun’ Margherita are sure to delight the mystery aficionado with gastronomic tendencies. 

Who’s ready for dessert? Why not try James Patterson’s ‘killer’ chocolate cake recipe below, provided courtesy of Quirk Books. 

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photo credit: Steve Legato


Grandma’s Killer Chocolate Cake

Here’s one “killer” Alex Cross always loves to catch--Grandma’s Killer Cake! A special family recipe dating from the 1940s, this decadent cake seems to get better with age; it is tastier on day two. And you need to be a good detective around the house after it has been made, sitting there in its glass-domed cake stand, staring back at you with deadly temptation, because a piece seems to mysteriously disappear every time I go into the kitchen. Not to be caught red-handed, so looms the “Killer Cake Killer”!



2⁄3 cup butter

2 cups granulated sugar

2 eggs

2 cups flour

11⁄3 cups buttermilk

11⁄3 teaspoons baking soda dissolved in 2 ⁄ 5 cup hot water

31⁄2 squares bitter chocolate, melted gently

1 teaspoon vanilla extract


1⁄2 cup butter

3 squares bitter chocolate

 2 cups granulated sugar

 2⁄3 cup milk
1 teaspoon vanilla extract

1 teaspoon almond extract

1. Preheat oven to 350°F. Cream butter and sugar together. Add eggs. 

2. Blend in flour and buttermilk in alternating additions, starting and ending with the flour. Add baking soda mixture, followed by chocolate and vanilla extract. 

3. Pour batter into one 9-by-12-inch pan or two round 9-inch springform pans. Bake for 30 minutes, or until a toothpick inserted into the center comes out clean. Remove from oven and let cool. 

4. Combine all frosting ingredients in a saucepan, bring to a full boil, and boil for 2 minutes. Let cool. You can put saucepan on ice if necessary to cool quickly. 

5. Remove the cake from the pan, frost, and serve. 

James Patterson has sold 300 million books worldwide, including the Alex Cross, Michael Bennett, Women’s Murder Club, Maximum Ride, and Middle School series. He supports getting kids reading through scholarship, Book Bucks programs, book donations, and his website, He lives in Palm Beach with his wife, Sue, and his son, Jack.


Excerpted from The Mystery Writers of America Cookbook edited by Kate White. Reprinted with permission from Quirk Books.





In an excellent conversation piece posted on BBC’s Culture page, journalist Jane Ciabattari argues that 1925 was the greatest year for books.

The year 1925 was a golden moment in literary history. Ernest Hemingway’s first book, In Our Time, Virginia Woolf’s Mrs Dalloway and F Scott Fitzgerald’s The Great Gatsby were all published that year. As were Gertrude Stein’s The Making of Americans, John Dos Passos’ Manhattan Transfer, Theodore Dreiser’s An American Tragedy and Sinclair Lewis’s Arrowsmith, among others.” 

Ciabatarri cites 1862, 1899, and 1950 as other strong contenders but concludes that 1925 takes the cake:

...1925 brought something unique - a vibrant cultural outpouring, multiple landmark books and a paradigm shift in prose style.

I thought we’d examine the books cited by Ciabatarri from a collectable lens.

1) “In Our Time” by Ernest Hemingway. Published by Boni & Liveright in New York City in 1925 in an edition limited to a scant 1335 copies. If you want to purchase one of those copies today, expect to dish out roughly $1k. And if you want the dust jacket - one of the rarest Hemingway jackets to find - you’ll need a bit over $20k.

2) “Mrs Dalloway” by Virginia Woolf. Published by The Hogarth Press in London in 1925 in an edition of 2000 copies. You’ll need about $1k to pick up the first edition of “Mrs Dalloway” as well. The first edition is extremely rare with a dust jacket. The only copy I could find online was priced at $75k.

3) “The Great Gatsby” by F. Scott Fitzgerald. One of the high spots of 20th-century literature collecting and famously rare and expensive in the original dust jacket. Published by Scribner’s in New York in 1925, a first edition of “The Great Gatsby” with dust jacket is a six figure purchase. You’ll need at least $125,000 for this beauty.

4) “The Making of Americans” by Gertrude Stein. Published by Contact Editions and Three Mountains Press in Paris in 1925 in an edition of 500 copies. $1200 will get you a first edition.

5) “Manhattan Transfer” by John Dos Passos. Published in New York by Harper, Manhattan Transfer is less expensive. A copy without dust jacket can be had for $30, although if you want the rare dust jacket as well expect to pay a few grand.

6) “An American Tragedy” by Theodore Dreiser. Published by Boni & Liveright in New York (who also published “In Our Time”), this is the cheapest book on this list. A copy can be had for $25. A first edition with dust jacket will set you back about $200.

7) “Arrowsmith” by Sinclair Lewis. Published in New York by Harcourt Brace, you can buy a first edition of Arrowsmith for less than $10 without the dust jacket. If you want the dust jacket, however, which is quite rare, you’ll need about $750.

So the books cited by Ciabatarri hold up quite well on the collectable side of the equation as well. A fine collection of first editions with dust jackets of 1925’s high spots will set you back about a quarter of a million dollars.  

And that’s just for these seven books alone.

What do you think? Any other contenders for best literature year?

[Image from Wikipedia]

image001.pngToday FB&C launches the second annual Rare Book Week, a coordinated effort to focus attention on the antiquarian book fairs, book & manuscript auctions, rare book & fine art exhibits, and bookish browsing available in New York City from April 7-15 this year.

Don McLean’s “American Pie” manuscript will be offered at Christie’s on April 7, and Alan Turing’s notebook will be turned over to a new owner at Bonhams on April 13. Each are expected to reach $1 million--it’s a show you don’t want to miss! 

And then there are the book fairs. In addition to the ABAA’s New York Antiquarian Book Fair, which opens for a preview night on Thursday, April 9, and runs all weekend, two ‘shadow shows’ will entice collectors on Saturday, April 11.

If you’re looking to go exhibit-hopping, there are at least a dozen to choose from, e.g., the Grolier Club celebrating Aldus Manutius; the New York Society Library showcasing marginalia; and the New-York History Society’s Final Flight of Audubon watercolors.

For browsers, there are clearly several great bookstores to choose from in New York, but what about the more “offbeat” places, like Printed Matter, the Center for Book Arts, or Bowne & Co. Stationers? Check them out.

All this & more on the Rare Book Week site. The spring issue of Fine Books, in mailboxes now, also contains an illustrated guide to Rare Book Week, featuring a selection of highlights from booksellers and auction houses.

Book your plans for Rare Book Week 2015! 
Our Bright Young Booksellers series continues today with Nelson Harst of Antifurniture in New York City:


How did you get started in rare books?

I’ve always worked in books, including great independent bookstores like the University Book Store in Seattle and Book Culture in New York. I’ve also sold extensively online. At some point in those book selling roles, I began to focus more on the rare and collectible. 

My particular interest is in display, curation and arrangement of books. For several years, I’ve been involved in the Bidoun Library project. We did shows at the New Museum, Serpentine Gallery and most recently the Carnegie Museums’s last International show in 2013. The Bidoun Library was about presenting books about/from/around the “Middle East.” We included some very rare and valuable items, such as Iranian revolutionary magazines and propaganda photobooks. We had an incredible archive of posters, stickers and flyers that circulated around Tahir Square during the spring of 2010. But then we’d also do things like buy every book on Amazon priced under a dollar that had “Arab” or “Veil” in the title. There’s a lot of them. 

We’d juxtapose the cheap, crap books next to the rare items. In the exhibit, most of the books could be picked up and flipped through; I like to make books accessible and get them out from under the glass vitrines whenever possible. Though as I’ve had access to better books, I’ve learned something about this great contradiction of accessibility. On one hand, rare books maintain their value by not being handled; on the other hand the key to engaging a new generation of collectors and book users is literally getting the best books into people’s hands.

My real break into dealing truly rare books came in summer of 2014. Two things happened, almost at the exact same time. First of all, I enrolled in CABS that summer and learned massively about the inside mechanics of the trade. Completely by coincidence, Harper of Harper’s Books contacted me a week prior to CABS. He had no idea I was attending CABS. But Harper had noticed what I was doing on Instagram and on the streets of NYC. Since then I’ve been working as a sort of traveling medicine show for his books as well as my own. Harper has incredible material and a creative and eclectic taste; I’ve been very lucky to have had the chance to work with him and his team.

When did you open Antifurniture and what do you specialize in?

I started Antifurniture in the spring of 2014. It started as a sort of social media experiment on Instagram and then evolved into a NYC book table on the corner of Howard and Broadway in SoHo. My focus has always been visual books. I sum up the scope as as “Visual Culture, Pop to Post Modern.” Some of the subjects I stock include photography, fashion, architecture, art and commercial illustration. Many of my customers are designers, artists and stylists. Often, they are buying my books primarily as reference material rather than as collectible objects-- though often, the impulse to collect does run parallel to creative work.

Please introduce us to your mobile bookstore model:

I like to appear in unlikely places with my books. Last summer, my main spot was in SoHo on the corner of Broadway and Howard Street, just above Canal. But I also appeared in the East Village, Chinatown and Chelsea. My set up is compact enough to fit in even the smallest NYC cab. Two fold up tables, four crates and a directors chair. I also pack a clock, because I think its important to take time into account when dealing with books. Sometimes I also bring a little camp stool too if I’m expecting friends to stop by and hang out. Since the onset of winter though I’ve had to abandon the street model. I’m experimenting now with open house Sunday’s at my apartment in Williamsburg as well as hotel room pop up shops, an idea Harper invented along with Fulton Ryder a couple years prior. 

We also understand you use Instagram in a creative way to advertise your business.  Please tell us about that as well:

I post daily, sometimes several times daily, to my Instagram account, @antifurniture. I always do three posts. A cover shot of course, and two interiors. Sometimes if a book is really great, I do a series of six posts. Aside from my table and pop up shops, my bookstore is virtual and appears on your phone, anywhere in the world. Instagram is not just am advertising tool, it’s an actual marketplace where I buy and sell and chat with other like minded dealers and collectors. It’s also what I do instead of a website, searchable inventory or lists. 

What do you love about the book trade?

It’s an exceptionally cordial and fun profession. It’s also a very creative and open field; anything could be a book. I love being part of the visual culture ecosystem of artists, designers, editors, museums and libraries. But what I love most of all is the space a bookstore creates. When I set up my table on the street, the most fantastic and unrelated people start congregating and browsing and chatting. Something about a selection of books creatives a conversation place, a salon bubble that’s really very special.

Favorite rare book (or ephemera) that you’ve handled?

A nearly unknown fashion forecast journal called Presage by an nearly unknown creative director named Rosita Fanto. It’s one of Harper’s. He has a massive archive of the journal, over 80 installments in total. Each installment is a hand made book arts piece that functions as a swatch book, color palate and inspiration object for designers. It ran from 1962 through 1986 and had a small but dedicated audience of people working in the fashion trade. I’ve never seen anything like it before. Because the audience was international, with subscribers everywhere from Paris to Taiwan, Fanto created a non-verbal language that is both visual and tactile. It’s a vastly under appreciated creation.

What do you personally collect?

Not books! But I do rather haphazardly collect LPs and postcards. 

Thoughts on the present state and/or future of the rare book trade?

The book trade is obviously at a transitional moment. It’s probably a transition that will never resolve entirely. People think they need books less, but the most active users of books (artists, designers and writers) understand that the print object remains a unique and valuable storage technology. If the book trade is going to remain vibrant, that interest in books must be stimulated. Rare books must function both as collectible objects, cultural totems, but must also continue to exist and be created as useful active objects. 

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