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.
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.
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.
Take a peek inside the new library:
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.
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.
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.
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.
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.
