July 2017 Archives

Guest post by Catherine Batac Walder

JamesStanierClarke-Watercolor.jpgThe Mysterious Miss Austen exhibition at the Discovery Centre in Winchester, Hampshire, ran from May 13-July 24 and brought together visitors from all over who loved Jane Austen’s prose but have always been curious about her physical appearance. As the curators of the exhibit said, this is the first time that five known (if still debated) portraits of Jane Austen were ever in one place, and it’s probably the only time that this will ever happen as they have been loaned from private collections here and abroad. I joined the others who, after seeing the portraits, felt that the mystery only deepened. Who is Jane Austen? Why do we like her so much? Would we like her less had we read the bulk of her letters that were destroyed by her sister Cassandra and contained her sometimes forthright comments on neighbors or family members?

Two portraits were loaned from the National Portrait Gallery in London: the hollow cut silhouette by an unknown artist (ca. 1810-15) and the pencil and watercolor sketch of Jane by Cassandra (ca. 1810). The latter is what we believe Jane would have looked like, but it never always seemed to be enough, as though we would like for this single woman whose intellect and wit we greatly admire to look different, perhaps to be more glamorous and more worldly.

But there was a glamorous Jane, depicted in one of the lesser known portraits of her, a watercolor painting by James Stanier Clarke (pictured above), one of her admirers and librarian to the Prince Regent. The picture was a totally different representation of Jane compared to her sister’s sketch. But Clarke’s painting was of Jane’s visit to Carlton House, the London home of the Prince Regent, therefore Jane would have worn her best clothes. There was some convincing scientific evidence that Clarke’s painting is indeed of Jane Austen, based on examination of the portrait that the face showed pigmentation related to her fatal illness, Addison’s disease. She was probably ill around the time of that visit, yet we also saw a fashionable Jane; from the few facts known about her, it does seem that she was a woman who treated herself to nice things once in a while. Take that silk pelisse coat, one of a handful of items that survived and could be traced directly back to her. The pelisse also gives us an approximation of how tall she might have been (5’6” to 5’8”) and what her shoe size was (UK 4 to 6). Around 80 items were included in the exhibit, including the manuscript of an alternative ending to her final novel, Persuasion, in her own hand, and a volume of teenage writings that she herself entitled “Volume the Second.”

Walder Jane Austen house in Winchester.JPGThe Mysterious Miss Austen ran alongside another exhibit on the ground floor of the Discovery Centre called Jane’s Winchester: Malady and Medicine, which explored her arrival in Winchester in 1817 to receive treatment for her illness and painted a vivid picture of the city in that fateful year. Jane died in Winchester 200 years ago, and she was buried in Winchester Cathedral.

--Catherine Batac Walder is a writer who lives in the UK. She has contributed several posts from abroad over the years, most recently “Sitting with Jane: Celebrating Jane Austen’s Life in Hampshire.” Find her at: http://gaslighthouse.blogspot.com.

Images: (Above) Watercolor by James Stanier Clarke, thought to be of Jane Austen, c. 1816, via JASNA; (Below) The house where Jane Austen died in Winchester, credit: Catherine Batac Walder.


                                                                                                                                                                            Fans of 90s-era alternative rock will rejoice at a new autobiography by the band Garbage. Published by Akashic Books earlier this month, This Is the Noise That Keeps Me Awake was co-authored by the band’s original four members--Shirley Manson, Butch Vig, Duke Erikson, and Steve Marker--along with journalist Jason Cohen, who first profiled the group for Rolling Stone on the eve of their debut album’s release in 1995. The helfy folio-sized photo-montage retrospective was three years in the making.                                                                                                                                                                                             While chronicling the band’s meteoric rise to fame, This Is the Noise That Keeps Me Awake also includes cocktail recipes, favorite songs, surprising personal anecdotes, and every gig Garbage ever played. An examination of the drastic changes within the music industry over the past two decades is unexpectedly engaging and offers a nuanced insider’s perspective on the turn to digital music consumption.



                                                                                                                                                                                   The trade edition hardcover is impressive; matte art paper tinted hot pink on the edges and would delight any Garbage fan, but for the truly devoted with $125 to burn, Akashic is offering a limited edition version housed in a clamshell box accompanied by a vinyl record that includes six live, previously unreleased recordings of Garbage hits like “Beloved Freak” and “Cup of Coffee.”


Formed in Madison, Wisconsin, Garbage’s debut eponymous album sold four million copies worldwide and went double platinum in the United States. Lead vocalist Shirley Manson came to epitomize the alt-rock angry feminist movement of the 1990s, and remains a beacon for a new generation of performers and listeners.  


Band memorabilia is still doing brisk business, too: an autographed VHS (yes, you read that right) tape cover is currently available at Hollywood Memorabilia for $272.99.


The book’s July 4 release coincided with band’s latest tour, crisscrossing North America along with 80s punk favorite, Blondie. The book and the tour prove that you’re never too old to keep on rockin’.


This Is the Noise That Keeps Me Awake, by Garbage and Jason Cohen; Akashic Books, $39.95, 208 pages.

                                                                                                                                                           Photo credit: Autumn de Wilde. Reproduced with permission from Akashic Books.

9780544866461_lres copy.jpgDid I choose this book by its cover? Yes and no. It would be more fair to say that I chose to read this novel because of a fascinating short essay by the author published last month wherein she talks about the dust jacket art and her quest to determine what type of manuscript (language, century of origin) is featured in its design. But it is a pretty cover--and one that, along with its title, The Weight of Ink, beckons bibliophiles.

Weighing in at 560 pages, Rachel Kadish’s absorbing new novel, published in June by Houghton Mifflin Harcourt, is what we would today call a #longread. There are two main narratives that parallel each other: both set in London, one in the early twenty-first century, the other during the 1660s. It begins with historian Helen Watt’s holy grail tale: a telephone call from a former student describing a cache of old books and manuscripts discovered during a home renovation. Professor Watt’s initial doubts about the find are quickly dispelled by the sight of seventeenth-century documents written in Hebrew and Portuguese. She enlists the help of a young American graduate student and sets to work on the mystery under the staircase.

Enter Ester Velasquez, an orphan from Amsterdam who became that most unlikely of creatures in early modern England: an educated woman, and beyond that even, a scribe for a prominent rabbi in London. Reading philosophy, writing letters, and fetching books from the bindery or booksellers’ stalls, Ester hones her intellect and, consequently, flirts with danger. “Something had sprung alive in her these years--slowly at first, then more powerfully with every passing day. Surely the rabbi must know it? Something had seized her. The city, its books.”   

We know the feeling!

Librarians might gripe at how they are portrayed--playing favorites, wearing ‘archival’ gloves, and confiscating pencils. That aside, Kadish’s cast is bold and complex, particularly the seventeenth-century characters, and she successfully immerses her readers into their lives. As bibliofiction goes, where lingering over marbled paper and leather bindings is always welcome, The Weight of Ink is top-tier.   

Image courtesy of HMH.

New Jersey-based antiquarian bookseller Between the Covers (BTC) Rare Books recently published a full-color catalogue devoted to women. Seventy items items by, for, and about the fairer sex include paintings, pottery, books, and manuscripts hailing from around the globe and across time.

One of the high spots includes a letter written and signed by Helen Keller (1880-1968) when she was seven years old. Believed to be one her earliest missives, this one was composed only two months after she began instruction with Anne Sullivan (1866-1936) the woman who would become her lifelong instructor and friend. Writing to her cousin Anna Turner, Keller is describing a train trip she recently took to Huntsville, Alabama. Keller made rapid progress under Sullivan’s careful tutelage; according to Michael Anagnos, director of the Perkins Institute for the Blind during Keller’s lifetime, she had already mastered 450 words “which she could use correctly and spell with perfect accuracy” after only four months spent working with Sullivan.


                                                                                                                                                         Keller’s handwriting is remarkably neat, legible, and reflects her early writing style of omitting articles and using the word “did” in past tense constructions. Keller made tremendous gains in communication and graduated from Radcliffe College in 1904--the first blind-deaf person to receive a Bachelor of Arts--and eventually authored twelve books, including her autobiography, The Story of My Life.

Throughout her life, Keller championed for the blind and the unfortunate, and served as a beacon of hope to those facing overwhelming odds, believing, as she put it, that “although the world is full of suffering, it is also full of the overcoming of it.”

Accompanied by a cabinet card of Keller as well as twenty other members of her family, this piece of history is available for $28,000. Contact Between the Covers for more information.

Photo of Helen Keller with Anne Sullivan on vacation in Brewster, Massachusetts in 1888 credit: Part of the R. Stanton Avery Special Collections at the New England Historic Genealogical Society, via Wikimedia Commons.

On July 10, the cable network TNT premiered “Will,” an exuberant new drama series based on the undocumented early life of William Shakespeare. Here’s the Bard before he became famous; aged 25, married with three children, and about to leave Stratford (alone) to see if he can make it as a writer in the big city. He quickly falls in with theater owner James Burbage, his son, actor Richard Burbage, and playwright Christopher Marlowe. Plus, this being a twenty-first-century drama, the young, beautiful, and educated Alice Burbage, is also a central player.             

TNT-Will.jpgThe series has been billed as a “punk-rock” Shakespeare, mainly because of its soundtrack and some cross-over costuming, e.g. Will embarks for London to the tune of The Clash’s “London Calling,” and the audience at Burbage’s theater sports multi-colored mohawks. If not entirely apt, it’s an amusing conceit. As the show’s creator, Craig Pearce, explained to the New York Times last month, “[Theatre] wasn’t this polite thing ... It was 3,000 people crammed into these wooden structures. They were fighting and they were drinking and they were eating.”

The entire season is already available for binge-watching, and episode three holds some noteworthy moments for book-lovers. One is set in an underground Catholic publishing outfit run by the Jesuit missionary Robert Southwell--likely a distant relation of Shakespeare’s, although in “Will,” the two are made to be close cousins. Southwell shows Will his printing press calling it a “modern marvel.” Another scene, set in St. Paul’s Churchyard, where Will and Alice are browsing new books for sale, was tantalizing, though short--and underscoring it with Iggy Pop’s “Lust for Life” was tepid at best.

Still the series is great fun to watch. Shakespeare in a poetry slam? Kit Marlowe, a hedonist with writer’s block? Alice Burbage as co-author of “The Two Gentlemen of Verona”? It’s a brave new world in made-for-TV Shakespeare.    

To hear more about “Will” from the producers of the show from the Folger Shakespeare Library’s “Shakespeare Unlimited” podcast, listen in here.

Image from “Will” via TNT.

This past Tuesday, May 18, the London rare booksellers Maggs Bros. Ltd.--“antiquarian booksellers by appointment to the Queen”--launched its second exhibition to mark the opening of a new store after its recent relocation to 48 Bedford Square from its 80-year-long home 50 Berkeley Square.


To a bustling crowd of bibliophiles and collectors, Managing Director Ed Maggs briskly handed out white wine and led newcomers over to a simple and unusual untitled original pen and ink drawing by Evelyn Waugh, that he then declared the inspiration for the entire exhibition.



Signed and dated 1929, the illustration depicts a hotel lounge of assorted denizens: a reader, a waiter, a cephalopod in a fish tank, and a bare-bottomed statue being prickled by a cactus--Maggs noted it is a possible unused illustration for Waugh’s novel Vile Bodies.

In his introductory remarks, Maggs said of picture, “This [exhibition] began with this drawing. I am a dealer not a collector and I am seldom consumed by envy of others’ books and objects. I sold this drawing 25 years ago and Mark Everett bought it from under my nose last year. I was fuming. I was incandescent with jealousy. I, of course, would have probably sold it to him, but I would have had it for a few minutes. It is a tremendous thing.”

                                                                                                                                                       The drawing, Maggs explained, led to the idea of bringing together as much original artwork and printed material featuring the graphic art of Evelyn Waugh as possible, as Waugh was an avid bibliophile. He was addicted to fine editions, planned and released special and limited editions of his own books, and put incredible thought and design into his books’ designs.


Running through July 28, 2017, the exhibition features what is thought to be the first such exhibition devoted to Waugh’s ambitions as an artist--his work often uniquely combining an unfashionable Victorian aesthetic with that of the Jazz Age, and includes the dust jacket design from Scoop, a manuscript of Vile Bodies, a painting of Napoleon by the artist “Bruno Hat,” an invented persona that tricked many in British high society and was partly concocted by Waugh, and drawings by Waugh done for his college magazines including a series illustrating the “Seven Deadly Sins”--his entry for No. 1 being “The intolerable wickedness of him who drinks alone.” 

                                                                                                                                          Images: Evelyn Waugh, Untitled, pen and ink drawing, 1929; Vile Bodies dust jacket, 1930. Courtesy of Maggs.

The third International Bookbinding Competition, hosted by Designer Bookbinders and Oxford’s Bodleian Libraries, recognized top contemporary bookbinders from around the globe at a ceremony on July 17 at the Weston Library in Oxford. This year’s theme was “Myths, Heroes & Legends,” and drew participants from over thirty countries.



First prize of approximately $13,000 (£10,000) went to Germany’s Andrea Odametey for a tissue-paper binding entitled “Daedalus and Icarus” that resembles burnt wings. The piece is now part of the Bodleain’s permanent collections.


                                                                                                                                     Inspired by broken Greek pottery and a Japanese technique of applying precious metals to enhance repairs, “The Homeric Hymn to Aphrodite” by British bookbinder Rachel Ward-Sale took second place and a roughly $7,700 (£6,000) prize. This piece will go to the Getty Collection at Wormsley Park in Buckinghamshire, England.                                                                                                                   

The two top prizes are sponsored by Getty Images co-founder Mark Getty in memory of his father, collector and bookbinding advocate, Sir Paul Getty. (A full list of prizewinners may be found here.)  

A display showcasing both the prizewinners and participants remains on display until August 20th at the Weston Library. In total, seventy-four designer bindings, including the twenty-eight prize-winners, highlight the creativity and diversity of the world’s artisan bookbinders. 

                                                                                                                                  “Throughout the ages, every culture has created myths and legends that recount the great deeds of its heroes,” said competition organizer Jeanette Koch. “This year’s entries reflect a remarkable range of styles, materials and approaches to great classics of world literature, as well as modern texts. The imagination in form and structure, and the variety of materials used will capture the attention of audiences of all ages and display the wonderful and intricate art and craft of a unique handmade book.”

Can’t make it to the Weston Library to see the bindings? Heroic Works will be traveling to the Library of Birmingham from August 23 to September 28; the St. Bride Foundation in London from October 2-14, while the prize winners and American bindings head stateside to Boston’s North Bennet Street School from November 2 to December 22.

A full color catalogue, Heroic Works, is available online for £30 from www.bodleianshop.co.uk or www.designerbookbinders.org.uk.

                                                                                                                                                                       Images courtesy of the BL.

Guest Post by Catherine Batac Walder

                                                                                                                                                                             We saw our first “Sitting with Jane” BookBench during a recent visit to Chawton, Hampshire. It was positioned outside the Jane Austen House Museum, where Jane spent the last years of her life. I’d never seen this bench during our previous visits and thought it might be a permanent fixture. Further research indicated that it is one of twenty-four BookBenches that comprise the Sitting With Jane Public Art Trail to celebrate Austen’s connections with her birthplace, Steventon, and forms part of a global commemoration of her life in 2017, the 200th anniversary of her death (July 18).

Walder_Jane Austen House Museum.JPGAbove: Jane Austen House Museum, with the “Chawton Woodwalk” BookBench in the distance.

                                                                                                                                                                                 Having always associated Austen with Chawton, Winchester, and Bath, I never thought much of where she was born, in Steventon, a few miles from Basingstoke. I’ve always considered Basingstoke a sleepy town; we often visited the area for theatre and concerts (understandably much cheaper than going to London) and a train shop, other than these we thought nothing much went on in the area. So learning more of Austen’s association with Basingstoke, that it was there where she went to shop and dance, prompted me to look at this town in a different light. Around the area was, essentially, where her writing career began. As the organizers said, “This local heritage is not well-known, Sitting With Jane is about to change this.”

Over the next few weeks we followed some of the BookBenches in and around Basingstoke, using a free app and a trail guide available on sittingwithjane.com. The locations all have free public access, but there were a few that we couldn’t find and/or were inaccessible at certain hours, e.g., after 5:00 pm. Each bench was uniquely designed and painted by a professional artist with their personal interpretation of a Jane Austen theme.

Walder_Waiting for Mr. Darcy.JPGI’m partial to the BookBench in Chawton, simply because of my familiarity with this countryside setting. The benches at the busy Festival Place in the Basingstoke town center didn’t feel at home there, but perhaps the area had the same hectic vibe more than two centuries ago. Predictably, my favorite is the “Waiting for Mr. Darcy” bench (seen at left) at Oakley Hall. It’s simple, it’s an art doodle of red, black, and white by artist Traci Moss. The fun design is attributed to the hero of Pride and Prejudice - ‘The Perfect Man’ - a happy doodle-like androgynous figure sits on a sofa waiting for their Mr. Right. “Jane Austen was a frequent guest of the Bramston Family at Oakley Hall. Cherished memories of the hospitality and splendor at Oakley Hall are described in many of Jane’s letters.” Like in other places I’ve visited that were Austen-related, there was certainly an inspiring feeling about setting foot on a place like Oakley Hall that has been around hundreds of years, and one that Austen knew so well.

Walder_The house that Jane built.JPGOther benches we encountered included “The House that Jane Built,” (seen above) a representation of a Regency dollhouse; “Jane Talk,” a modern graphic art style design that uses popular quotes from Austen novels and films; “The Golden Peacock” (seen below), which celebrates the famous cover of the 1894 edition of Pride and Prejudice; and “Promenade” inspired by the Regency streets of Bath, where she lived for a few years in her late 20s.

Walder_The Golden Peacock.JPGThe benches are on display till August 31, 2017, after which they will be individually auctioned for a local charity.

                                                                                                                                                                              --Catherine Batac Walder is a writer who lives in the UK. She has contributed several posts from abroad over the years, most recently: “James Joyce’s ‘Years of Bloom’ in Trieste,” “Hilary Mantel at the Oxford Literary Festival,” and “Roald Dahl’s Great Missenden.” Find her at: http://gaslighthouse.blogspot.com.

Images credit: Catherine Batac Walder.

Photographer Mathew Brady (1822-1896) is mostly remembered today for his Civil War images--wounded soldiers resting under trees, prisoners awaiting transportation, scores of dead combatants lying in bloody fields--and is considered one of the pioneers of photojournalism. Yet Brady had already secured his status as a premier photographer prior to the outbreak of war, having founded a flourishing daguerreotype studio in New York in 1844 where he photographed the best and the brightest of the Antebellum Era, such as Martin Van Buren, former first lady Dolly Madison, and then-presidential hopeful Abraham Lincoln.                                                                                                                                                                                                                     

A sampling of Brady’s pre-war portraits are currently the subject of an exhibition at the Smithsonian National Portrait Gallery in Washington, D.C. (A comprehensive virtual tour of all of NPG’s Brady portraits, including an index of sitters, is available here.) The show features historic engravings, advertising broadsides that marketed Brady’s studio, and the portraits themselves--some daguerreotypes, others done via ambrotype, a next-generation daguerreotype done on glass and viewed by reflective light. Ambrotypes were considered the height of photographic innovation, and Brady made sure that he was at the vanguard of this innovative industry.                                                                                                                                                                                                                                        

Antebellum Portraits by Mathew Brady takes up a small corner of the first floor of the National Portrait Gallery, where a dozen sensitive images are shielded from light--daguerreotypes are incredibly light-sensitive and must stay shrouded in shadow to remain intact--yet these tiny treasures reveal volumes about the people who sat for these portraits as well as the shrewd businessman who took them. A common request was to create cartes de visite, small photographs mounted on thick paper and used as visiting cards. Portraits of celebrities were even traded among fans, much like baseball cards are today. Brady’s cartes de visite were lush affairs: double-sided ambrotypes nestled in velvet-lined leather cases with brass mats.                                                                                                                                                                                                                                                                                    

Perhaps the black tulip of the lot is the salted-paper print of senatorial candidate Abraham Lincoln. It is a rare, large-format, salted-paper print. (Salted paper prints were another photographic technique popular in the 1860s that involved wetting paper with ordinary table salt and silver nitrate.) Brady took this photo on February 27, 1860, the day Lincoln was set to address a crowd of Republicans at Cooper Union’s Great Hall. Up to this point, Lincoln was considered a backwater long-shot for the presidency, but Brady’s portrait of a well dressed, clean-shaven candidate helped change Lincoln’s image.                                                                  

“We chose to focus on Mathew Brady’s pre-Civil War portraiture because it was during the period from 1844 to1860 that Brady built his reputation as one the nation’s most successful camera artists,” said Ann Shumard, exhibition curator and senior curator of photographs. 



Brady eventually opened a studio in Washington, D.C. near the National Mall at 625 Pennsylvania Avenue. The free show runs from now until June 2018 at the Center for American Portraiture in Washington, D.C. More information may be found at npg.si.edu.


photo credit: M. Brady

DSCN3195 copy.jpgOn the first of Mark Twain’s trips to Bermuda--the last port of call in the 1867 voyage he chronicled in The Innocents Abroad--the author stopped to check out this tree. Yes, this very tree, a rubber tree (ficus elastica), was imported from Guyana and planted in 1847 by William Perot, the city of Hamilton’s postmaster. According to Fodor’s, “Twain lamented that it didn’t bear rubbery fruit in the form of overshoes and hot-water bottles.”

The tree still stands on the grounds of what is now Par-la-Ville Park, in front of the Bermuda Historical Society and the National Library of Bermuda.   

What other authors sought inspiration on this quaint and beautiful island? Playwrights Eugene O’Neill and Terrance Rattigan used a guest cottage on this $9.95-million estate as a “writing den,” according to Sinclair Realty. (And it’s for sale!)

Photo credit: C. Barry

The Godmersham Lost Sheep Society (GLOSS) is on the hunt for wayward books out on the lamb that once belonged to Jane Austen’s brother, Edward Austen Knight and has put out the call for help.


First, the facts: Edward inherited three estates from his adoptive parents, Thomas and Catherine Knight: Godmersham Park in Kent, Chawton House, and Steventon, both in the English coastal town of Hampshire. A catalogue Edward prepared in 1818 lists over 1250 volumes for Godmersham alone. Jane frequently consulted these books, and to recover them could potentially provide new insight into the Pride and Prejudice author’s research methods and inspiration.

Most of the Godmersham books were sold in the years following Jane and Edward’s death, but the ones that remained were embellished with one of three bookplates inserted by Edward’s grandson, Montagu George Knight.

“Please help us return these books to the fold,” implored GLOSS board member Deb Barnum in a recent posting on the EX-LIBRIS listserv. What should you look for if you think you’ve come across a stray? Montagu Knight commissioned three bookplates from artist Charles Sherborn in 1900. All three bear an image of Saint Peter, referred to in the image as Saint Pierre, and include Knight’s full name and the year of creation. (Photos of the bookplates may be found here.)

If you happen upon such a volume, GLOSS would very much like to hear about it. The search has already yielded positive results and some books have been donated to Chawton House Library, which does not have funding to make acquisitions but happily accepts verified donations.

Got a tip? Contact Deb Barnum at jasnavermont@gmail.com or (802) 343-2294

sheep image: stock photo public domain

This fall, the Morgan Library will be exhibiting some of its most bejeweled medieval books in the show Magnificent Gems: Medieval Treasure Bindings. The exhibition, which is running September 2017 through January 2018, will include a dazzling collection of treasure bindings adorned with sapphires, diamonds, emeralds, pearls, and garnets and other precious stones.


Treasure binding is a practice that dates back to the end of the Roman Empire but became more popular in Medieval Europe and the Byzantine Empire. Gemstones and precious metals were incorporated into the bindings of Christian texts as a way to venerate the word of God. Treasure bindings may also have been allusions to the prophesized heavenly Third Temple of Jerusalem, which will be built in a coming Messianic age. In addition to all of this, treasure bindings served the more Earthly purpose of signposting the wealth and status of their owners.


Among the most important works to be exhibited at the Morgan Library will be Lindau Gospels. J.P. Morgan’s first major medieval purchase, the Lindau Gospels have become a staple of any Western Art History survey course. The book, a conglomeration of several outstanding, independently-produced pieces, represents the best of the Carolingian Renaissance. The back cover was likely produced in modern-day Austria in the late eighth century. The front cover dates to about a century later. The text of the Lindau Gospels are believed to have been created shortly after the front cover at the Abbey of Saint Gall. It is unclear when the pieces of the Lindau Gospel came together in their present form.


The Lindau Gospel’s most striking element is its elaborate front cover. The front cover is adorned with gems and features gold repoussé embellishments. Gems frame a gold crucifixion scene at the center of the cover. The surrounding gems appear in a plant motif, something not unusual for the Carolingian period.


While the front cover is sure to make visitors gawk, one cannot forget that the text in the Lindau Gospel is also exceptionally beautiful. The beginning of each of the works’ four Gospels are marked by elaborate two page embellishments of their opening verses. The Morgan Library reports that “as many as seven different scribes were engaged in the copying of the [Lindau] texts, and it is thought that a monk named Folchart--one of St. Gall’s preeminent artists--was personally responsible for some of the manuscript’s illuminated pages.”


Anyone interested in medieval art or the history of luxurious objects won’t want to miss this show. For more information about the Lindau Gospels or the upcoming Magnificent Gems: Medieval Treasure Bindings exhibition, visit The Morgan Library online.


Images Courtesy of The Morgan Library

As part of a year-long celebration of two decades in existence, the National Center for Children’s Illustrated Literature of Abilene, Texas, is hosting a summer exhibition dedicated to beloved children’s picture book illustrator Garth Williams (1912-1996).


                                                                                                                                                           Showcasing over one hundred works of original art, including preliminary drawings for various children’s books and other drafts, Garth Williams: Illustrator of the Century offers visitors an unexpected glimpse at the work of a perfectionist whose renderings of people, places, and things continue to elicit powerful emotional responses from readers of all ages.

Born in New York City and raised in London, Williams illustrated dozens of now-classic children’s books such as E.B. White’s Charlotte’s Web and Stuart Little as well as the Little House series by Laura Ingalls Wilder. For a while, Williams also illustrated for the New Yorker and various postwar advertising campaigns, which the exhibition explores as well.

“Williams made it all look so easy,” said children’s picture book critic Leonard Marcus. It certainly seems all great masters have that gift.

Garth Williams: Illustrator of the Century is on view at the National Center for Children’s Illustrated Literature at 12 Cedar Street in Abilene. Why Abliene? The city has spent the last twenty years transforming itself into a mecca for children’s book aficionados. For example, the city touts its impressive collection of outdoor storybook-themed sculptures and regularly hosts children’s literature-centric festivals and events.

More information about the exhibit is available at https://www.nccil.org/.

Our Bright Young Collectors series continues today with Edwin D. Rose of Cambridge, England, who collects natural history and natural philosophy:

LHL face shot 1.jpgWhere are you from / where do you live?

I am originally from Cardiff (Wales) and now live in Cambridge, UK.

What do you study at University?

I am currently a PhD student in the History and Philosophy of Science Department at the University of Cambridge. My research is on the relationship between natural history collections and libraries during the period between c.1740 and 1830. Before this, I completed an MPhil. in History and Philosophy of Science at the University of Cambridge, with a thesis looking at the botanical collections of Sir Hans Sloane (1660-1753), part of which has recently been published in The Journal of the History of Collections.

Please introduce us to your book collection.  What areas do you collect in?

I collect natural history and natural philosophy books (a field which became known as ‘science’ by the late nineteenth century) which date from the late seventeenth century to the third quarter of the nineteenth century, although the majority of these date from the period between 1750 and 1820. My main interests are in natural history, in particular those books which relate to my research. A central line of my collecting relates to the provenance and the subject of a book, not necessarily its state of preservation or completeness. I have a particular interest in working copies of books owned by important natural historians and natural philosophers of the late eighteenth and early nineteenth centuries. Many of my books have distinct signs of being heavily used by former owners, resulting in many of them being in a fairly poor level of condition, especially as many of these are still held in their original publishers’ bindings.

How many books are in your collection?

I currently have 116 books in my collection.

DSC01326 (1).JPGWhat was the first book you bought for your collection?

The first book I purchased was the fifth and sixth volumes from a six volume set, R. Brookes, A New and Accurate System of Natural History (London, J. Newbery, 1763). These classify both fossils and plants and reflect the relative controversies the Linnaean system of naming and classifying nature awoke in Britain during the 1760s. These books contain a number of copper plates, including one which names a fossilised bone ‘Scrotum Humanum’, as a joke to mock Linnaean binomial naming practices.    

DSC01328.JPGHow about the most recent book?

My most recent book was a copy of George B. Emerson’s A Report on the Trees and Shrubs growing naturally n the Forests of Massachusetts (Boston, 1846) which comes from the library of the Prussian explorer and polymath Alexander Von Humboldt (1769-1859). This book was sent to Humboldt by Emerson and reflects a number of Humboldt’s main interests, such as Americana. However, Humboldt did not pay a huge amount of interest to this particular book, as evidenced by the leaves remaining uncut and it still being in its original paper covers. Following his death, Humboldt’s collection was sold at Sotheby, London, in 1865. During the sale a fire destroyed much of Humboldt’s collection. Sotheby issued a new Catalogue of the Remains of the Humboldt Library in 1871which contained only 574 items out of the original 11,164. This is one of the few surviving books from Humboldt’s collection and has traces of burning on many of the pages. It appears to have been given a new binding in the late nineteenth century, although the original covers have been retained which include the inscription. This copy can be found in the sale catalogue of Humboldt’s collection, listed as ‘2663 Emerson (G. B.) Report on the Trees and Shrubs of Massachusetts, author’s autograph inscription, royal 8vo. Boston 1846’.


And your favourite book in your collection?

My favourite book is a relatively recent acquisition--an extensively annotated, interleaved copy of the third volume of Thomas Pennant’s British Zoology (1812).  This copy is Thomas Pennant’s son, David Pennant’s personal working copy, and many of the additions and annotations reflect revisions he was making to this work in order to prepare it for a new edition--which never appeared. This copy contains numerous letters which refer to specimens; newspaper cuttings on fish and reptiles; and notes, some of which are David Pennant’s field notes from when he was observing various fish in and around his local parish of Whitford, near Holywell, North Wales. This particular book is of central importance for my research (Pennant’s is one of the main collections I study) and this work gives an impression of how David Pennant was used his library in relation to his natural history collection.


Best bargain you’ve found?

Probably my best bargain was an annotated and interleaved copy of Francis Bacon’s Novum Organum (London, 1856). I purchased this book for approximately £5. The annotator was John Grote (1813-66), Knightsbridge professor of moral Philosophy at the University of Cambridge. This was Grote’s working copy.


How about The One that Got Away?

I once saw a signed presentation copy of Richard Owen’s Description of the skeleton of an extinct gigantic sloth (1842) for a very small amount of money. I left it and once I returned to buy it, it had already been sold.

What would be the Holy Grail for your collection?

Probably my annotated copy of Pennant’s British Zoology.

Who is your favourite bookseller / bookstore?

My favourite bookstore is David’s bookshop in Cambridge. They frequently have exceptional rarities turn up in the rare books room.  

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

I would collect natural history specimens -I have a particular interest in palaeontology and already have a small fossil collection. This is nicely complimented by the early natural history and geology books in my collection. 


Lawrence of Arabia Exhibit at Maggs Bros.

On July 6, 1917, the disparate Bedouin tribes of the Arabian Peninsula joined forces against the Ottoman Empire in the Battle of Aqaba, made famous by the 1962 motion picture Lawrence of Arabia. Seeing a strategic opportunity to break open the war against the Ottomans, the British military sent T.E. Lawrence to advise Emir Faisal I, king of Greater Syria. But Lawrence did more than just provide counsel: he was an active leader in the attack. The battle represented a turning point in the war in the Middle East, and the story and images of Lawrence on camelback with Bedouin cavalry charging across the desert have captivated the public imagination ever since.



image credit: Lowell Thomas. Public domain. 

Thursday marked the centennial of the Battle of Aqaba, and antiquarian bookseller Maggs Bros. Ltd. is exhibiting material relating to Lawrence and his exploits while also celebrating the firm’s move to 48 Bedford Square, a stone’s throw away from the British Museum.

“Lawrence is a fascinating target for the book collector,” said Ed Maggs, managing director for the company. “To have written two books, translated a few extra, and to have a bibliography of some 8000 items, is remarkable.” Admirers and collectors are drawn to the romantic wartime figure, whose “dash, brio, and unconventionality of the Arab Revolt was in stark contrast to the clumsy mechanised brutalities of the Western Front,” said Maggs. “He was painfully aware that the dream of complete independence for the Arab nation or nations that he was pitching to the Arabs was not deliverable because of the existence of the Sykes-Picot treaty, but he went to great lengths after the war to compensate for this.”

Others connect with Lawrence because of his ability to keep cool under pressure. “He consciously kept his emotional core closely guarded, while subjecting himself to pretty scorching self-examination of his motives and his being,” Maggs explained. “There are few people of his period who were so self-aware and so eloquent on the subject of their own failings: as a model for the postmodern male, he led from the front.”

Entitled To Aqaba, the exhibition features items from various moments of Lawrence’s life. Highlights include a 1919 pencil portrait of Lawrence by Welsh artist Augustus John and the bloodstained map Lawrence carried with him on his walking tour of Syria in 1909. A unique proof copy of Lawrence’s best-selling Seven Pillars of Wisdom includes an inscription from Lawrence to his literary agent, Raymond Savage. Notes prepared by Winston Churchill, who addressed mourners at Lawrence’s funeral in 1935, reads, “What a tragedy it is that we have not got Lawrence with us to settle up Palestine. He alone could have done it and everybody would have taken his decision.”



image credit: Maggs Bros. Ltd.

Maggs also reports that he and his team have adjusted perfectly to the new location. “We’re loving our new digs, and it’s been a very easy transition to the more bookish milieu of Bloomsbury, where we’re surrounded by publishers, agents and academics: on one side we have Bloomsbury Publishing, on the other we have Yale University Press. Our first walk in customer, just a few minutes after we opened for the first time, was a charming man whose wife, a successful novelist, was having a meeting at Bloomsbury,” enthused Maggs. “The building itself is magnificent and we’ve done (in all humility) a first rate job of restoration of a first rate building. It is something of a palace of rare books, and I encourage people to come and visit.” The firm is retaining its impeccable shop in London’s Mayfair for the time being.

                                                                                                                                                                       We all wish Maggs Bros. many happy years in Bloomsbury. To Aqaba will be open to the public through July 14th. For more information, contact Maggs Bros. Ltd. here.

As we gear up for the 17th Library of Congress National Book Festival on September 2, take a look at this year’s poster, designed by Roz Chast. The New Yorker cartoonist was chosen for the job by a team of graphic specialists at the LOC. Its whimsical design depicts the festival from the books’ point of view, wondering what is going to happen to them today.

NBF17-Poster-April-sm-581x1024.jpg“Books have always been a major part of my life from the time I learned to read,” explained Chast. “They are a way to escape from the world, but also a way to feel more deeply connected to it. I wanted to make a poster that expressed the excitement, appreciation, and delight I have for the books of my life.”

Last month, the LOC announced the festival’s Main Stage line-up, which includes historian David McCullough and novelist David Baldacci, and yesterday, the Library announced the “Booklovers Circle,” a fundraising program that provides perks to donors. For a $1,000 gift, a “Booklover” will receive two badges for reserved seating in any of the festival stages; expedited entry; invitations to literary events at the LOC throughout the year; and a signed limited edition of Chast’s poster.

Image courtesy of the Library of Congress

Potter & Potter, the Chicago auction house that has until now focused mainly on magic, is officially entering the book biz, with its inaugural books and manuscripts auction on July 8. With a few notable exceptions--e.g., this Lovecraft-Houdini typescript--Potter & Potter has previously focused its efforts on music and movie memorabilia, posters, circus ephemera, and other collectibles. This first books and manuscripts sale will, according to Potter & Potter, “feature high spots in a number of collecting categories, including printed and manuscript Americana, modern first editions, travel and exploration, natural history, fine bindings and continental books from the 16th century to present day.”

There’s a lot of ground to cover in this 564-lot sale. Here are a few highlights:

Screen Shot 2017-07-04 at 8.32.47 AM.pngA complete run of Street & Smith’s The Shadow (1931-1944), in forty-eight bound volumes, from the library of Walter B. Gibson, creator of “The Shadow” character. The estimate is $8,000-12,000.

A Peter Force engraving of the Declaration of Independence on rice paper, from Force’s 1837-53 series of books, “American Archives.” The estimate is $15,000-20,000.

A first edition of Andy Warhol’s Children’s Book (1983), signed five times by Warhol. The estimate is $5,000-7,000.

A signed check from Samuel Clemens (Mark Twain) to his brother, Orion, in the amount of $82 on July 26, 1875. A related letter at the Bancroft Library tells us that the money was to rent a church pew, which didn’t sit well with Twain. “I am willing to lend you money to procure the needs of life, but not to procure so useless a luxury as a church pew.” The estimate is $1,200-1,800.

Image via Potter & Potter Auctions

Lot 65.jpgComing to auction later this month at Christie’s in London is an early nineteenth-century walking stick that belonged to the Scottish novelist and poet Sir Walter Scott. Made of malacca, or East Indian rattan palm, this walking stick was given by Scott to the Scottish painter, William Allan in 1831, just a year before the author’s death. According to Christie’s, “The stick is recognisable from well-known portraits of Scott, including one painted by Allan himself (Edinburgh, Scottish National Portrait Gallery), and the portrait by Sir Thomas Lawrence, commissioned by George IV (Royal Collection).” It is estimated to fetch £3,000-5,000 ($3,800-$6,500) at auction on July 12.

Lot 65 a copy.jpgWalking sticks are the kind of personal artifacts that interest collectors. Those once owned by Charles Dickens, Henry David Thoreau, Max Beerbohm, and Branwell Brontë are all in institutional collections (Thoreau’s is currently on view at the Morgan Library). Desks are also coveted objets d’ auteur; one of Scott’s sold back in 2014 for $8,500.

Images courtesy of Christie’s Images Ltd. 2017

Auction Guide