Our Bright Young Librarians series continues today with Rebecca Hopman, Outreach Librarian with the Corning Museum of Glass in Corning, New York.

How did you get started in rare books?

I entered Augustana College planning to become a children's librarian, but that changed when I visited Special Collections with my British literature class. There, Jamie Nelson and Sarah Horowitz introduced us to their collections. I was over the moon when I realized I could explore the collections whenever I wanted, but I was truly converted after they let us touch a leaf from the Gutenberg Bible. Special collections was clearly the place for me; I could combine my interests in history, literature, and librarianship, and, let's be honest, read other people's letters and diaries.

I was fortunate enough to be hired as a student worker in Special Collections a year or so later. Both Jamie and Sarah encouraged their students to explore a variety of special collections work, and my experiences there confirmed my career path.

Where did you earn your MLS/advanced degree?

I earned my MLS, with a specialization in archives and records management, from the University of Maryland, College Park, where I worked with the talented people in the University Archives and Special Collections. I tailored my degree program to include classes on the history of the book, outreach, and programming to suit the work I hoped to do as an archivist/special collections librarian.

What is your role at your institution? (And please introduce our readers to your institution as well, which is a bit different from most of the other institutions we've profiled thus far).

I became the Outreach Librarian for the Rakow Research Library at The Corning Museum of Glass in October 2013. I lead our outreach program, which includes planning and coordinating events, tours, a donor newsletter, and the Library's social media campaigns. I also run our oral history program, which documents the voices of glass artists, those who have worked in the glass industry, and former Museum staff. In addition, I serve on the reference desk and provide instruction to groups including our docents and glass artists.

The Museum's mission is to "Tell the World about Glass." We do so through inviting people to explore the glass galleries, Library collections, and special exhibitions; to watch hot glass demonstrations; to make their own piece of glass at The Studio; and to participate in programs and events throughout the year. The Rakow Library is the research center for the Museum, and we aim to collect everything published on the subject of glass. Our collection spans the 3,500+ year history of glass, covering everything from art and design to science and technology. The Library is open to the public, and although we are a non-circulating special library, we make as much of our collection accessible as possible through our digitization and InterLibrary Loan programs.

Favorite rare book / ephemera that you've handled?

I discover new favorites all the time, and as the Outreach Librarian I enjoy sharing those I think our visitors and followers will connect with. I never run out of interesting finds to include on a tour or in a social media post.

However, there is one collection that remains at the top of my list.  During my first summer working in Augustana Special Collections, I came across a set of diaries written by a former Augustana student and librarian, Lydia Olsson (1874-1958). I was immediately hooked on her descriptions of classes, social events, and her relationships with friends and family members. As a history lover, it was intriguing to see my college campus 100+ years ago through another female student's eyes. I realized that Lydia's writing might also be compelling to others, so I decided to transcribe her diaries. In addition, I proposed using them as part of an exhibition on early female student life at Augustana College, and the resulting exhibit remains one of my favorite accomplishments.

What do you personally collect?

Lack of space and students loans have kept me from acquiring too much, but I do own several editions of Lucile by Owen Meredith, inspired by Sid Huttner's Lucile Project.

What do you like to do outside of work?

I'm a pop culture nerd, so I consume lots of movies, TV shows, graphic novels, etc. I also embroider, knit, and crochet - I'm currently embroidering a series of 16th-century woodcuts. During warmer months I enjoy hiking and spending time outdoors.

What excites you about rare book librarianship?

The books, of course, but even more so I love sharing those books with our community. The best part of my job is when I can connect someone with a book, document, or collection that inspires them.

In addition, I'm always excited to see what my colleagues in the special collections and archives community are up to. Whether they are using technology creatively to enhance access to their collections, creating popular programming, or sharing fun images of #hatsinthelibrary, I draw inspiration from them for my own projects.

Thoughts on the future of special collections / rare book librarianship?

I am happy to see more special collections doing outreach. To many people, we are still keepers of the restricted section where you wear white gloves to touch dusty old books and boxes. Thanks to the work of many of my colleagues, however, people are beginning to understand how much we have to offer them in the digital age.

Any unusual or interesting collection at your library you'd like to draw our attention to?

As with every special library, we have any number of unique collections. Some of my personal favorites include the design drawings in the Blaschka Archive, the Whitefriars stained glass cartoon collection, and our collection of handwritten batch books (or glass recipe books). The easiest way to take a peek inside our collections is to check out the #RakowLibrary hashtag on Instagram. You'll also see us pop up on all of the Museum's social media channels.

Any upcoming exhibitions at your library?

Our most recent exhibition, "America's Favorite Dish: Celebrating a Century of Pyrex," commemorates the history of Pyrex wares, the brand's development, and its place in the American household. Much of the research done for the exhibition, along with the Museum's collection of Pyrex, can be found on our Pyrex Potluck website. Our next exhibition, "Revealing the Invisible: The History of Glass and the Microscope," opens April 23rd and will explore the history of the microscope and depictions of the microscopic world in books and periodicals between the 17th century and the late 19th century. "Revealing the Invisible" will run at the same time as the Museum's upcoming special exhibition, "Fragile Legacy: The Marine Invertebrate Models of Leopold and Rudolf Blaschka," which features a number of drawings and archival materials from the Library's Blaschka collection.

Who knew Charlton Heston collected rare books? If not an "aggressive" collector, still the actor amassed a small and varied collection that included some rare Shakespeare imprints, as well as some other surprising volumes, all set to go to auction at Bonhams on March 22. Held in collaboration with Turner Classic Movies, the "Charlton Heston Collection" offers its fair share of typical celebrity memorabilia--e.g, movie scripts, costumes, directors' chairs, Heston's 14K Screen Actors Guild membership card--as well as home furnishings and jewelry. But the Academy Award winner also had a two-story library in his Beverly Hills home, in which there resided a shelf or two of truly collectible volumes.

It seems the five-term National Rifle Association (NRA) president favored Jane Austen. Seen here at left is lot 112, the first collected edition of Austen's novels (1833), estimated at $3,000-5,000. It is preceded in the auction by lot 110, a second edition of Austen's Sense and Sensibility (1813), estimated at $5,000-7,000, and by lot 111, a first American edition in original boards of Austen's Mansfield Park (1832), estimated at $3,000-5,000.

                                                                                                                                                 There's also quite a spectacular limited first edition (with family provenance) of Hemingway's In Our Time, Lewis & Clark's first English edition of Travels to the Source of the Missouri River..., and a first edition of Ann Radcliffe's The Mysteries of Udolpho, A Romance. Again, who knew?!

                                                                                                                                             Image courtesy of Bonhams.

The mass market edition of To Kill a Mockingbird, long a staple in classrooms across the country, will soon be discontinued. The cheap version of the classic novel, which retailed from Hachette for $8.99, was sold en masse (and at a discount) to schools around America. Over twenty million copies have sold in that format. At the wishes of the Lee estate, however, the mass market edition will be discontinued after April. Instead buyers, including schools, will be forced to purchase the more expensive trade paperback editions ($14.99 to $16.99) from HarperCollins.

It's a curious move from Lee's estate, who issued a statement to Hachette that the license for the mass market paperback would not be renewed "at the wishes of the author." The estate may instead renegotiate a new mass market paperback contract (and enjoy its accompanying advance) with HarperCollins, who also published Go Set a Watchman.

Claudia Durst Johnson, a friend of Lee and the author of Understanding To Kill a Mockingbird was quoted in The New York Times expressing her frustration with the decision.  "This book is a standard in our schools, which are struggling financially now."

Whispered about by hopeful collectors and scholars for decades, the manuscript of H.P. Lovecraft's The Cancer of Superstition, commisssioned and co-written by magician Harry Houdini, has finally come to light. It was rather incredibly "discovered by a private collector among the records of a now-defunct magic shop," according to Chicago's Potter & Potter Auctions, which will auction the 31-page typewritten story on April 9.

In the manuscript, the sci-fi master and the magician delve into ancient and modern superstitions, writing about werewolves, cannibals, and black magic, and advancing a "primitivist theory of the development of superstition." The proposed book-length project came to a halt when Houdini unexpectedly died in 1926 at the age of 52. Prior to this discovery, only an outline and part of a first chapter were known to exist. 

                                                                                                                                                                      Potter & Potter will open the bidding at $13,000, although it is estimated to make $25,000-40,000.

                                                                                                                                             The two-part auction of Houdiniana and the Davenport Magic Collection will also feature personal scrapbooks annotated by Houdini, rare photos and posters of him, handcuffs, keys, autographs, lockpicks, and original film footage. An archive of early correspondence to Houdini from the vaudeville impresario Martin Beck, who helped transform Houdini into the "Handcuff King," is another highlight.

                                                                                                                                                                             Image Courtesy of Potter & Potter Auctions.

Today would have been the 100th birthday of author-illustrator Ezra Jack Keats (1916-1983), whose groundbreaking work incorporating minorities as protagonists in children's books earned him worldwide admiration and acclaim. Keats, a lifelong New Yorker and child of poor Polish-Jewish immigrant parents, saw diversity everywhere--except in children's books, and made it his life's work to bring the vibrant world around him to the printed page.

EJK at work. Reproduced with permission from the Ezra Jack Keats Foundation.

That moment came in 1962, when Keats wrote and illustrated the Caldecott Medal-winning The Snowy Day, where Peter, an adorable, snowsuit-wearing black boy, enjoys the wintery wonderland before him. Charming and deceptively simple, it was one of the earliest picture books featuring a child of color as the hero. When asked in a 1974 interview with the Milwaukee Journal what prompted him to create Peter, Keats offered an honest assessment of what kids look for in their books, saying, "I think that children look at Peter first of all as a child, who is like themselves in some ways, whether they are a boy or girl, black, brown or white, fat or skinny or what." The Snowy Day broke the color barrier for mainstream children's picture books, and remains a cultural touchstone--look no further than this year's Newbery Medal and Caldecott Honor-winner, Matt de la Peña's Last Stop on Market Street, to see Keats' continued impact on contemporary picture-book illustration.  

Covers for The Snowy Day and Last Stop on Market Street. The Snowy Day reproduced with permission from the Ezra Jack Keats Foundation.

To promote arts and literacy programs for children, the artist founded the Ezra Jack Keats Foundation (EJKF) in 1964, using his book royalties to fund the annual Ezra Jack Keats Book Award and numerous performance scholarships and grants. (This was particularly important to Keats, who had earned three scholarships to attend art school as a teenager, but still couldn't afford to attend.) This year, the foundation is celebrating Keats' centennial with projects and activities coast to coast. There's even a birthday kit lesson plan, complete with games and animated read-alouds, available on the foundation's website.

2015 Bookmaking award winners. Image reproduced with permission from the Ezra Jack Keats Foundation.

Since 1986, the Keats foundation has organized a bookmaking competition in conjunction with the New York City Department of Education. Students participating in the yearlong project learn research methods and critical analysis skills while creating their book, and the ultimate goal is to ignite a profound, lifelong relationship with books. The program is growing, too: Since 2013, the San Francisco Unified School District and the Contemporary Jewish Museum have partnered with the EJKF to provide a similar program to their students. This year's New York winners will be announced in April during the Children's Book Festival in Hattiesburg, Mississippi, and the San Francisco award ceremony takes place this Sunday (see below).

Want to get in on the celebration? Check out some of the events happening in New York and San Francisco over the coming weeks:

Ezra Jack Keats Read-a-Thon at Books of Wonder, NYC, today from 10 a.m to 1p.m. Readers include Pat Cummings, Sean Qualls, Caldecott Honor-winner David Ezra Stein and Coretta-Scott King Award-winner Andrea Pinkney
March 13: "Celebrating Authors Big and Small," Contemporary Jewish Museum, San Francisco, 11-3, incorporating Keats birthday festivities and a viewing of books from the EJK Bookmaking Competition. The EJK Bookmaking Awards follow
March 24: Bedtime Stories at the Brooklyn Public Library
April 6-8: Keats Centennial Lecture and EJK Book Awards at the Children's Book Festival, Hattiesburg, Mississippi

A full calendar of events is at the EJKF website: http://www.ezra-jack-keats.org/h/100-days-of-ezra/.

Our Bright Young Librarians series continues today with Sarah Minegar, Special Collections Archivst and Museum Educator at Morristown National Historic Park.

Let's start by learning about Morristown National Historic Park and its research library. Please introduce us to the institution and its history:

Instituted in 1933 as the first historical park in the Park Service, Morristown NHP marks a watershed moment in Park history and its involvement in the preservation movement of the early twentieth century.  Morristown represents a "coming of age" of sorts for the Park Service--when the agency joined an effort to expand its capacity as a protector of natural and cultural resources of national significance. In the process of acquiring public lands and structures of historical importance, Park Service director Horace Albright stumbled upon a fortuitous preservation project in development in Morristown, New Jersey. Together with Albright, wealthy investment banker Lloyd W. Smith, Morristown Mayor Clyde Potts, and the Washington Association of New Jersey helped secure the sites of George Washington's 1779-1780 winter encampment, establishing the first historical park. Smith's affinity for the site and his involvement in the Washington Association led to the eventual establishment of a museum, library, and archives featuring Smith's personal collections as the foundational research materials. The Lloyd W. Smith Collection, spanning seven centuries and covering thousands of topic areas, is why I am here today.

What is your role at Morristown?

In my official capacity, I serve as special collections archivist and museum educator. The reality of a small institution means those roles encompass a whole host of interesting "duties as assigned." I have had the good fortune of being able to dabble in everything: collections care, cataloging, exhibit prep, minor conservation, internships, packing and rehousing, loans, reference, and historical housekeeping. I am one of three people representing the division of cultural resources and thus a custodian for all things related to research, collections care, and the use of resources.

How did you get started in rare books?

I'd have to say my unofficial journey began while accompanying my parents to many an antique shop as a child. I would rummage through crates of tintypes and thumb stacks of books while I waited. But it wasn't until graduate school that I even set foot in an archives or rare book repository. Coming from a teaching background, I was intrigued by the potential I saw in this "alternative classroom" setting. I got my first real taste when I responded to a posting for a summer position at Morristown NHP. That summer job became a permanent position and I continued refining my role throughout grad school and continue to do so today. Part of that cultivation process has been to supplement my doctorate in history and literature with specific archival and rare book training courses. It has also involved flexing my educator muscles by piloting new collections-based learning opportunities for patrons.

Where did you earn your degrees?

I earned my undergraduate degrees in education from Oakland City University, a small private liberal arts college in my home state of Indiana. For two years, I taught high school English and social studies. I then moved to New Jersey to pursue my graduate degrees in Modern History and Literature. Both my M.Phil. and Ph.D. are from Drew University. 

Favorite rare book / ephemera that you've handled?

This is a tough one, especially since I work with so many manuscripts and printed works, but the book that really puts a sparkle in my eye is our 1896 microminiature of Galileo's letter to Madame Christina di Lorena. This book, measuring 3/4 by 1/2 inch, features 2-point "fly's eye" type, decorative endpapers, hand-sewn gatherings, and a gold embossed cover. Ruth Adomeit once remarked that this edition was the "greatest marvel of book making in the history of miniature books." As a scholar, I am drawn in by the craftsmanship and attention to detail--a truly astonishing example of microscopic type foundry and imposition. As an educator, I love how it commands the attention of the room and almost demands intrigue.

What do you personally collect?

I have a personal fascination with literary utopia and amassed numerous volumes of English language utopian/dystopian works while writing my dissertation. As a graduation gift, my husband bought me a first edition Walden Two and I proudly display it with my other copies. Though this book is rather contemporary and may not be considered "rare" by any sense, I am delighted to own an early imprint of this controversial tome that ruffled so many feathers. 

What do you like to do outside of work?

I spend most of my weekends outdoors with my husband and dog. If we aren't out on a trail somewhere, you can find us roaming the halls of a museum. We keep our eyes peeled for temporary exhibits both in the city and more locally. The recent Picasso Sculpture exhibit at the MOMA was a real treat.

What excites you about working with a special collection?

For me, the connection I feel to history is never stronger than when I'm processing or teaching with collections. I find it very empowering to be entrusted with these treasures and I try to endow a little of that charge to my students and researchers. As a collections manager, I get the satisfaction of knowing the work I do today will assist future scholars in their intellectual pursuits--and maybe even contribute to profound historical realizations. I love that my geeky passions are part of a continuum of learning. 

You're in a unique position working with a special collection located in a National Historic Park. What are your thoughts on working with special collections in atypical settings? How can we bring these "hidden collections" into the light?

One of the biggest obstacles we face is one of awareness. Researchers simply do not expect a National Park that commemorates a six month period of the American Revolution to have a diverse library and archival collection. We get a lot of requests for muster roles and Hessian manuscripts while our Susan B. Anthony, Darwin, Louis XVI, Mark Twain, Louisa May Alcott, Booker T. Washington, and Alessandro Scarlatti wait unnoticed. Conversely, some military historians assume we are a more traditional repository with large holdings of materials falling under consecutive series. While we do house small series of family and business papers, we do not actively accession or manage large record groups. Our most unique collection, the Lloyd W. Smith Collection, was the lifetime pursuit of a personal collector and it is sometimes difficult to explain to patrons that as such there are "gaps" in the topics it covers. To mitigate some of these misunderstandings, we maintain a special collections blog featuring unique artifacts and researcher and intern projects. This has not only helped us clarify our holdings but has also provided a space for us to celebrate and share aspects of the collection that are beyond the scope of our traditional gallery exhibit narrative. The other way we bring recognition to a relatively "hidden" resource is through stewardship programming. We have an active internship program and we work with classroom teachers to develop educator-led, place-based object labs and tours. We have found that investing in students directly has the most return. 

Any unusual or interesting part of the collection at your library you'd like to draw our attention to?

I would like to simply advocate for our library and archives. Nestled within an historical park that is part of a large agency, I think our fascinating collection gets overlooked. 

Our collections and education blogs might be the best place to get acquainted with our holdings:

http://morristownnhpmuseum.blogspot.com/

http://primarysourceseminar.blogspot.com/

Any upcoming exhibitions?

This year the National Park celebrates its centennial. As part of the centennial #findyourpark mission, we have put together a series of talks, concerts, and exhibits that highlight our collections. This May we will celebrate Alessandro Scarlatti's La Giuditta by inviting The Baroque Orchestra of New Jersey to perform the transcribed 1693 score. This score is one of three known versions of La Giuditta. The two other versions of this oratorio are housed at the National Library of Naples and the University of Cambridge, but the earliest and unabridged version is part of the Morristown NHP collection.  

Ah, the beloved Encyclopaedia Britannica. Since it ceased publication in 2012 after 241 years, our nostalgia for these volumes has only increased. (Even my born-digital children have requested a set.) So I find it exciting that a first edition of this most cherished of encyclopedias, published in Edinburgh in 1771, will appear at auction later this month. Addison & Sarova will offer the three-volume set, bound in later half-calf with a little rubbing, but, more importantly, retaining all 160 plates. According to the auctioneer, "The set is scarcely seen containing all of the plates--particularly the child-birthing plates, present in the third volume, which caused an outcry when the book was first published and thus were not included in many issues." The estimate is $6,000-8,000.

(For some history on EB, see Britannica's own entry on the first edition.)

Also of particular interest in the March 19 sale: A copy of "Double Falshood," a play "strongly" believed to have been written by William Shakespeare. Printed in 1728, the disputed play is bound here with other eighteenth-century plays (cropped in the early sheep re-bind). It has not been seen at auction "in many decades," according to Addison & Sarova. The estimate is $1,500-2,500. A scarce, early Erasmus -- Moriae Encomium (Strasbourg, 1511) -- is another highlight. It is estimated to go for $30,000-40,000.

Image courtesy of Addison & Sarova.

The Special Collections Library at the University of Delaware will host a special talk in conjunction with its ongoing Easter Rising exhibition. Irish scholar Anne M. Boylan, professor emerita at the University of Delaware, will present a lecture entitled "20th-Century Ireland: A Family Odyssey" on March 15, at 4:30 p.m. in the Reading Room. The event is free and open to the public and will be followed by a reception.

                                                                                                                                                                     Image: Eva Gore-Booth. The Death of Fionavar: From the Triumph of Maeve. London: E. MacDonald, 1916. Decorations by Constance Gore-Booth (Countess Markievicz). Special Collections Department, University of Delaware Library.

                                                                                                                                                                         The accompanying Easter Rising exhibition, entitled A terrible beauty is born: the Easter Rising at 100, will remain on view until June 12. The exhibition commemorates the centenary of the Irish rebellion during Easter Week, 1916, which was violently quelled by the British. The exhibition examines events and attitudes before and after the Easter Rising, including the rise of Irish Nationalism and literature produced during the Troubles. Highlights include a rare first edition of William Butler Yeats' poem Easter, 1916 as well as a variety of unique broadsides, pamphlets, and letters.

                                                                                                                                                                          A terrible beauty is born was curated by senior assistant librarian Maureen Cech. An online version is available here.                                                                                                                                             

It can be no easy task to re-hash Brontë lore--whether in fiction or non-fiction--and yet, occasionally a reader finds reason to rejoice. Catherine Lowell's debut novel, The Madwoman Upstairs (Touchstone, $25.99), is utterly absorbing, a lighthearted read that appeals to those of us who unwind with TV adaptations of Victorian novels (almost any will do) and who might be still be sobbing this morning over the demise of Downton Abbey.

Twenty-year-old American Samantha Whipple is the last of the Brontë line and thus the center of much unwanted public scrutiny. The world seems to believe that Samantha's family is hiding a hoard of Brontë treasures. Samantha's enigmatic father--who home-schooled her, primarily in literature--died young, but not before planting clues to Samantha's "inheritance." She sets off to attend Oxford University, where she feels quite lonely, until her father's annotated copies of Brontë novels (believed to have burned in a house fire years before) begin appearing in her room.

Lowell's plot moves along at a brisk pace, introducing characters who upstage Whipple, the men in particular. Her father, Tristan, is either a genius or a loon; her professor, James Orville, is a taskmaster we warm to; and her adversary, Sir John, has a dark side that borrows a bit from A.S. Byatt's unscrupulous collector Mortimer Cropper in Possession. Sir John is on the hunt for the Brontë relics--a brooch, a quill, a manuscript, items that will give him a "deeper understand of their novels, of course." (He surely would have enjoyed The Brontë Cabinet--having written a similar book about Brontë objects.)      

There's loads of literary banter and a smidge of romance--a lark that can keep one awake well past her bedtime, and The Madwoman Upstairs does just that.

Image: Courtesy of Touchstone Books. 

Tales of Mystery and Imagination by Edgar Allen Poe bound by Susan Allix, estimated at £1,000-1,500.

A collection of rare books, many in unique bindings, goes under the hammer at the Bonhams Books and Manuscripts sale in London on March 16. Offered in 130 separate lots, these books were owned by bibliophile Denis Collins (1948-2015), who had commisioned many of the books to be bound by some of today's leading designer bookbinders, such as Susan Allix and Mark Cockram.

                                                                                                                                                                                     Handling the sale is Bonhams' book and manuscript valuer Simon Roberts, who sees the Collins items as a rarity in the auction world. "It is certainly very unusual for a major auction to have such a good selection of art bindings--it tends to be a retail-dominated world."

                                                                                                                                                                                               New York-based Abby Schoolman is a representative of contemporary art bookbinders (including Mark Cockram) and sees the auction as something of a sea-change in the marketplace. "This auction is particularly exciting because I believe it is the first time a big three auction house has featured a group of bindings by living art binders," Schoolman said. "All of these artists are very much alive and still working. You can commision them and buy their books from dealers. That is new."

                                                                                                                                                                                            "Other than the first twelve lots where the binder is also the author and illustrator, the contemporary binder is the headliner, not the illustrators or authors," Schoolman added. One such example is Mark Cockram's binding of the signed limited edition of The Tempest by Shakespeare, illustrated by Edmund Dulac. "If this were a typical illustrated books auction, this title would be catalogued under Dulac, the illustrator," Schoolman explained. "In an English literature auction, it might be listed under Shakespeare. Instead, the artist-binder is featured. It is extremely interesting and exciting to see."

                                                                                                                                                                                         Roberts offered further clarity into how the works were headlined: "Denis Collins was quite unusual in that many of the books were valuable even before he had the special bindings commissioned. For example, there are limited editions of works illustrated by Barbier, Dulac, and so on, and we have put them under a heading of the binder--some of Susan Allix's letters discuss at length how her bindings were inspired by the illustrator," he said, which offer insight into how the bindings developed to represent the work as a whole.

                                                                                                                                                                                "Perhaps without intending to, this sale could be a step towards the renaissance of art binding," said Schoolman. "Bonhams is featuring these books, not burying them deep in the sale. From where I'm sitting, it's a good thing." Roberts agrees--"though we'll have to wait until the sale to see how much of a renewed interest there acutally is, it certainly feels as if the auction catalogue has captured people's imaginations--it makes a refreshing change to see genuinely unique objects in a book catalogue."

James Brockman's red goatskin binding for Tanglewood Tales by Nathaniel Hawthorne, with illustrations by Edmund Dulac.

Mark Cockram's flotage-dyed goatskin binding for The Tempest, with illustrations by Edmund Dulac.