Vol 8 Number 1 - The Private Libraries Association

plabooks.org

Vol 8 Number 1 - The Private Libraries Association

@{: E38: Pc!E N.E9: Pe{qFi#Ei$g:LIiia ilig giFi is iE F'iiiE Ei Fif i; ss,EE* Ei flottIDorgiFgg;. ' IFlr-rzFJ ' )fd


this is not so in the case of Private Press Books. If my surmise is correct,how do you defend the distinction?'Are the physical and aesthetic values of the comn~ercially producedbook of no significance to the potential purchaser? Has he no interestin, say, the quality ofthe paper? Does he not care about the typography?If the margins between the text and the edges of the page have beenbutchered by the guillotine does it really make no difference to him?(I have here a book issued in 1960 by a very well-known Londonpublisher. The space between the illustration on one of the plates andthe foredge is one thirty-second part of an inch. On the opposite sideof the plate there is no space at all: the illustration disappears into thejoint.) Is he concerned that, after the early disintegration of a paperdust jackct - which may or may not be designed in good taste - therewill be exposed an aesthetically dull, unadorned (almost) and lifelesscase bindmg? What a lfference from - to quote one example - thegold-blocked covers of Macmillans 'Cranford' series issued around theturn of the century! ('Crown Octavo. Cloth Elegant, Gilt Edges. 3/6d.per vol.') Elegant! Already a generation exists which knows not theword except through its retention in the dictionary . . . Other people,better qualified than I, could elaborate this theme.'The publisher will say, rightly, it is a matter of economics. But theproducer of any article will produce only what will sell, so it comesround, as always, to the purchaser. The buying public can get, in anycommodity, anything it wants if it, in sufficiently large numbers,demands that thing. It is here that the reviewer can play a vital partby helping to create an interest in, and therefore a demand for, qualityin all aspects of the book, but how many do so?'Perhaps, eventually, we might get a very much larger number ofbooks whose physical properties would be a credit to the publishers -and to the nation - and whose case bindings would be decorated ingood contemporary taste by first-class artists of whom there are manyready for the opportunity should it arise. And after that, who knows?,we might even see a revival of interest in the hand-bound leathercovered book, skilfully put together and ornamented in equally goodtaste - an article to give improvement to the mind (for it should beused) and delight to the eye for 300 years, maybe.' Would otherreaders wish our reviewers to comment more fully on productiondetails?The Private LibraryHETHERINGTON v. CARTERMany readers of the TLS as well as the present writer have beendelighted with the increasingly acrimonious correspondence, whichappeared a few weeks ago, about the value for money represented byVictoriarz detectivejction, the catalogue of the GloverlGrcene collection.Our own sympathies lie with Mr Hetherington, who was performinga uscful service to the book-buying public by complaining in printrather than by writing to thc publisher. Mr Max Reinhart's suggestionthat Mr Hetherington should return his copy to the Bodley Head asthey 'have a long waiting list of people wanting the book' is a lesstelling blow than it seems: there are libraries aplenty which believeit is their responsibility to obtain bad bibliographies as well as goodones. Did Mr Reinhart underestimate the demand when placing hisprint order, or was the edition deliberately made smaller than thedemand? [See the article 'Limited editions' in Carter's ABC for bookrollectors.]Those readers of the Private Library who read Mr Hetherington'sSrlirla's Attizt, by the way, will be interested in his 'Vernon HouseMiscellany no. 1'; for 4s. a 'genuine variorum edition' of Don, Dan(obtainable from him at Vernon House, 26 Vernon Road, Birmingham16.) The cxteixive critical apparatus, with the references to Q~totes nrrdflrrorics, to the Lambeth and Bodley mss, etc., is particularly good.A PRINTER IN HIS OWN COUNTRYIn common with all who have any concern for English books wecannot survey the affair of the Caxton Ovid manuscript with anythingbut alarm and despondency. It will be recalled that half of this manuscriptwas sold at the end of June 1966 to El Dieff for L90,ooo. It wasnot ~ultil September that the Reviewing Committee on the Export ofWorks of Art issued its decision for a three-months' delay in the grantingof an export licence. It was not until 12 November that Miss JennieLee, the Government's spokesman in this sphere, announced herdeplorable decision to contribute nothing towards the cost of preservingthe manuscript in this country. It would be interesting to know thereason for this decision; it could hardly be shortage of money sinceL5,700 was readily available in January for the purchase of an Italianjug. The story of how the manuscript was actually saved by theinitiative of a private citizen - of America - Mr George Braziller isnow well known and presents a sharp contrast to the inert and futilebehaviom of Miss Jennie Lee and her civil servants. The purchase of


the manuscript is to be financed by a facsimile cdition. It is to be hopedthat this will be published abroad thus enabling the copyright librariesto contribute to the cost of the manuscript whcn they purchase theircopes.OXFORD LIBRARIESOne of the most remarkable things lately about that rcnlarkablc institutionthe Univcrsity of Oxford has been an increasing tcndency toworry about itsclf. It is only a year since it burst into print in two quartovolun~es ('The Franks Rcport7) which worried about what the Universitywas all about. Now we have a shorter stout single volume,the Report of the Corr~r~zittee ow University libraries. This committeecollected opinions from a divcrsity of sources from the Council ofJunior Members - is it significant that thcy are listed last? - to thesinister sounding Sub-faculty of Politics - what subterranean intrigueswcre they up to?To thc outside observer a fascinating vista of book provision (andlack of it) is presented. No one knows, apparently, exactly how manybooks the Bodleian actually contains, until 1934 thcy wcrc counted in'notional octavos', which the report informs us in its matter of factway 'is an unrcal unit'. Apart from csotcric snippcts like this the bookuser gets real information from the report. We did not know thatacccss to the stacks is willingly granted, for example, and the reportreinforces in this rcspcct a feature of the adn~inistration of thc Libraryin rccent years - a tendency to give its readers more gratuitous information.When wc joincd the Library many years ago the introduction toits workings was limited to an injunction that we should not 'bringinto the Library or kindle therein any fire or flame'. Nowadays guidesfor undergraduates arc lcft around at strategic points in the readingrooms. It was while reading one of these recently that we discoveredwhat we had often wondered about in the preccding eighteen-oddycars as a user - the precise location of the gentlemen's lavatory in thcOld Schools quadrangle.A telling section early in the report comparcs the book acquisitionof various American universities with our own. Oxford, which con~essecond only to London in this country is eighth in a comparableAmerican list. No one should miss section 66 which says 'It is a nationaldisgrace that British University libraries arc so starved of money forbooks'.It is indccd a sign of changing timcs that thc Bodleian should beginto fcel that it ought to supplement tutorial instruction by providing4 The Private Librarysubject indexes and other bibliographical aids. We think this report hassome of the sanest observations on the use of computers in librariesthat we have read for a long time. The idea that an effective up-to-datecatalogue of thc library might be produccd in a very short time bythis means is a heartening one to anyone who bas tried to run booksto ground in the present onc. If the moncy can be provided and thestaff found to do the tedious work involved this could be a major aidto scholarship. It would presulnably be possible to print the catalogueand sell scts of as has been done with the British Museum catalogue,thus providing for otllcr librarics an invaluable refcrcncc tool.OFFSET LlTHO KEPRINTSAt a conferellcc on 'The book trade and librarics' held at Lciccsteron 14 February Mr D. Allen asked two pertincnt questions in hisinteresting paper on book acquisition in academic librarics. How, hcasked, do publishers arrive at the prices to bc charged for facsimiles andrcprints; why are they so cxpensive? And why are expensive reprintsso frequently advertised, and advance orders solicited at advantageousprices only for thc plan to publish to be abandoned silently nlonthsor even ycars later? Nobody attempted to answcr thcse questions,yet these problems are very scverc for the learned library and alsoaffect the book collector. For us the enormous delay between announcementand ultimate publication is tiresome, but we do not havc to facethc problem of funds committed from one financial year to anotherwith all the attendant difficulty this entails for the academic librarian.But we arc faced with the same apparently high priccs. Are these infact inflatcd! It is very difficult to draw valid comparisons in this field,but it may be instructive to look at two recent examples. The facsimilecdition of Horace Hart's Earl Sta~zhope and the O5ford University Pressissued by the Printing Historical Society last year (and reviewed inthe Winter 1966 PL) contained some 86pp. and cost 15s. to members,or a fraction ovcr 2d. a page, which one may presuniably take as aminimum cost covering materials and machining only. The Gregg/Archve reprint of Watson's History ofprinting in a rather smaller pagesizc was offcrcd at the pre-publication pricc of A2 zs., or approximatelythreepence three-farthings for each of its 136 pages. At the pricccurrently bcirlg quoted by Gregg/Archive for Watson, A3 10s. or 6d.a page it would seem that they are covering their overheads verycomfortably. However, although there have been at least two reprintsof the most valuable part of Watson, his Prejice, in the past sixty years,Spring 1967 5


this is ulidoubtedly a book worth reprinting and even at its higher pricenot expensive if one compares with the cost of the original cdltion.Prcsunlably the London firm which is currently advertising facsiinilci-cprints of Bolin's ed~tion of Lowndes' Bibliographer's ~rlnr~ual at L39knows the market price for second-hand copies and is still coilfidcritthat thcy will find enough customers to make a profit. Caveat etrrytor.LIBRARY HISTORYThe Library History Group of the Library Association is venturing outinto publishing, and the first issue of a regular journal is rnmoured tobe appearing shortly. The Group's first pamphlet, Norzvich PublicLibrary: a select bibliography compiled by Denis F. Keeling was publishedlate last ycar, price 3s., and is a useful brief list of references to one ofthe most venerable city libraries.We learn from Mr John Allred of 28 Park Place, Lceds r that aNorthern Division of the Group has recently been iliauguratcd; hcinvites any local history societies or individuals interestcd in tlie cadydevelopment of libraries (privatc as wcll as public) in thc North tocontact him.WHY POTOCKI?Count I'otocki of Montalk first came to my attention nearly six yearsago, when his Prison poems published by 'The Montalk Prcss for theDivine Right of Kings' was included in the catalogue of the cxccllcntexhibition of English private presses 1757-1961 held at The TimcsUookshop in April 1961. At that time I was living in Trinidad, whichdespite its many colnpensations meant that I was of coursc unable tovisit the exhibition, or to find out more about this press M 7 h' ic 1 intriguedme because of the cryptic note in the catalogue that 'thc authorwas scntenccd to a term in gaol as a result of information laid by thcprintcr of some of his poems'. But the matter would probably haverested there, and the Montalk Press have faded from my mind, had Inot by the purest chance happened to notice YTT YZZ 'by CountGeoffrey Potoclu of Montalk' listed in The British izatioizal bibliographyfor 1961 while I was browsing through its lists of new volumes ofpoetry loolung in a rather desultory and inefficient way for presseswhich ought to be recorded in PLA'S Private press books. Thcrc wassomething a little odd about the BNB entry - I cannot now recollectwhat it was - whch made me think it might be a piece of privatcprinting. And there was certainly something very odd in the presenceof the entry at all, as the imprint clearly showed that the publishers,6 The Private Librarythe Mtlissa I'rcss, wcrc at Draguig~lan in France. Whatever was itdoing in a bibliography recording thc output of British publishers?Further investigation seemed worthwhle, particularly after I hadfound, by a familiar and happy process of serendipity, the account ofPotoch's trial and iniprisonlnent in Akc Craig's The bnrrrled books oj-Eizglaizd (2nd ed., London, Allen & Unwin, 1962, pp. 85-91). So whileI was home on leave in 1962, putting in some time in the BritishMuseum Reading Room, I took the opportunity of looking at suchof Potocki's books as were listed in the General Catalogue. I was notas lucky as I had hoped, as several were reported to me as missing asa result of war damage, but those I inanaged to see impressed me.Potocki was obviously a poet of real if minor talent; in politics he hadapparently moved to the extreme right wing during the thirties in theway that other antipodean writers such as Jack Lindsay had moved asfar left. His publishing hstory seeined confused in thc extreme [RigbyGraham's pioneering work in the Checklist which follows his articleclears away much of the confusion but as one can see there is yet agreat deal to be done]. Altogether Potocki was obviously an interestingman, and it seeined likely that the MClissa Press which was currentlyissuing his work would prove to be a private press. I therefore wroteto him at Draguignan telling him that I had become interested in hiswork and asking if we might list his current output in Private pressbooks. His reply was prompt and it was courteous.Over the next two or three years, when I was back in the WestIndies and later when I was in Nigeria we engaged in a corresp ondencewhich gradually petered out in the way such exchanges so often do. Itwas splendid, but always alarming to receive one of his letters as hewas always free in expressing his extreme right-wing views on self-rulefor the colonies, what should be done with Dr Jagan etc. and one fcltthat if the lctters fell into the wrong hands one would find oneselfunceremoniously on the ncxt plane homc. But while it lasted it wasfull of fascinating things. And even f~~llcr of unanswered questions :why was Potocki's BM reader's ticket withdrawn? Why did hc sendspoiled copies of his books inscribed 'Good copy presented free to theUniversity of Tokyo' to the Alexander Turnbull Library in NewZealand? Why was he blackguarded by the Daily Worker to the extentthat he was in the forties? Did MIS really arrange for his presses to bcstolen during his period of 1 8 internment? ~To some of these many questions I received an answer during thememorable visit to Count Potocki which Rigby Graham describes soSpriizg 1967 7


well in his articlc which follows. But nlany renlin u~nanswercd. Thereare certainly plenty of good stories about Potocki, and yet surprisinglylittle has appeared on him in print. Maclaren-Ross planned a chaptcron hill1 for his Memoirs qf theforties but it was never written. To thebest of my knowledge apart from Craig's chapter the articles whichfollow are the only serious studies of this strange figure from thelitcrary world of the thirties and forties. Geoffrey Potocki or WladislawV, a good poet, a splcndid pamphleteer, a magnificent enemy. Thosecollectors who are fascinated by that in many ways similar figureFr Rolfc Baron Corvo will find the collection of Potockiana a rewardingand very lnuch cheapcr if not easier pursuit.R.C.The Editorial Ofice - Loitelm's CopPOTOCKIby Rigby GrahanrLONG the high banked winding rodd from I'iddletrenthidc toA Hazelbury Bryan, the signposts carry the most inlyrobablc nanlcsof Mappowdcr, Folly and Plush Bottom. It was this last place I waslooking for, and herc I hopcd to find Wladislas V of Poland, CountPotocki of Montalk. His picturesque address conjured up visions ofgracious living and I was most anxious to meet this man of whonl Ihad heard so much. The road twisted over a high ridge of land andthcn dropycd steeply away into this lovely wooded Vale of Blackmoor.From herc one looked out over the historic and splendid ridge of8 The Private LibraryBulbarrow on top of which stood the ancient British Camp of RawlsburyRings. The hills hcre are scarred with earthworks and remains.Soon the road bent sharply to the right past a public house, The Braceof Pheasants, the clcgant sign of which was a glass case containing twomagnificent stuffed spccilnc~ls and that sccmcd to be all there was ofPlush. I was later to learn that Potocki invariably referred to this pubas the Brace of Peasants. I asked the way of an unshaven though helpfulfarmer who stuck his head through the top half of a barn door, andwas told that Potocki's place was the first gateway on the right alongthe road. I reached a five-barred gate leaning drunkenly open, halfwayup a steep slope leading into a field. Turning in before quite rcalisingwhere I was, the car lmchcd and bounced to a shuddering halt, hubdeep in a rut, beside an assortment of corrugated and asbestos sheetedhuts, and a heap of brick ends, broken pipes, bits of wire, wood andold iron bars. An outburst of frenzied barking from a bevy of alsatianskennelled in an engineless old Austin reverberated across the vale.It did not seem at all likely that this could be the place, so reversinghastily to escape the noisy dogs, I started to slip and slide back down theslope. But as I passed the gatepost I noticed a small fluttering piece ofpaper tacked above a small wooden letter box and this bore in fadedtyping the legend 'Thc MClissa Press'. This was the right placc after all.Spring 1967 9


Coztrlt Potocki clfMorltalkPotocki a sm~ll press so that he might p~lblisll his Right Review. Thcfirst number was publishcd in 1936, and over the next eleven yearshc published seventeen numbers. He writcs on one occasion, 'I printedthis paper in unbelievably miserable circumstances, and without almosteverything one should have, includmg often sixpence to put in theelectric light meter.' As well as containing reviews of books, and concerts,wood cuts, and poems by Potocki and other poets, many portions14 The Private Libraryof the Right Rcuicw are autobiographical. The design of these pamphletshas a distinct pcriod flavour, the printing and production are appalling,they have to be seen to be believed. The content however is lively,stimulating and provocative. Count Potocki in his Foreword to hisreprint of Charles Maurras' Mt~sic Within Me describes the difficultiesof his early printing- 'We were still using the old proto-Adana, whichcould scarcely be called a printing press at all, and upon which it wasquite impossible to do goodOf the Right Review, CharlesMaurras wrote in the Actiori Frari~ais, 6 November 1939 '. . . J'aiadmirt personnellement avec quelle veritt elegantc et precise, qui enserrait le sells et aussi la ligne du rythmc, u11 trts grand nombre de mesvcrs ont ett traduits dam the Right Review en ces derniers temps'.An interesting account of Potoch appearedin oneLondon newspaper


Cottilt Potocki at the presscious of mortals. After the proto-Adana he writes 'We had just boughta really fine printing press and were about to issue the poems as a book,together with a small essay about the great Poet who wrote thein(Maurras), when We were prevented, not merely by the Fall of France,(when, as we used to say Paris fell upwards) and by the ghoulistshaving control of all French matters here, but also by the circumstancesthat the British Authorities with the sneaking brutality that characterisesthem, caused our printing plant and all our paper supplies to bestolen (not confiscated but stolen, which is quite different) and saw toit that We were unable to obtain any real redress.' By that time CountPotocki had enough nioilcy to buy another printing plant he says, 'Wewere in the thick of the fight about 18s and the like, and thcn aboutKatyn and all the other atrocities against Poland, as a result of whichWe were involved in f~~rthcr illegal persecution and were gaoled byunlawful means, exiled in a forced labour camp in the British Soviet"punishment republic" of Northumberland, and were cut off fromaccess to our printing press by one means or another for nearly a year,one of the most fateful years in the history of the world.'16 The Private LibraryIIIIPotocki, keenly aware of the liinitatioiis of his own printing saysthat 'it is true that in 1938, 1939 and part of I940 and from mid-1942-1948 I had an ever improving printing plant.' But he was concernedmainly with what he describes as 'resisting demonocratic tyranny,printing stuff concerned with 1 8 and ~ the Martyrs of Katyn. . ..'In a recent letter to me (28:9:66) he writes 'At Bookham I tried toprint on one of those ridiculous cylinder things, with slots, but it washopeless. Then thank goodness my Father died, which made me thehead of the Family and put some money into my hands from a settlement.I bought a new press, a Crown Folio Harrild Platen, and hadpower fitted to it. Besides the things you mention, I printed a lot ofadvertisements, i.e. for customers, a series of pamphlets for the 18sDependents' Fund, i.e. the British Union of Fascists, a pamphlet forsome Hindus, etc., also a long poem for one Marie Carmichael Stopes.'He has continued jobbing printing up to the present time and amongsome bits and pieces I havc before me are cake shop advertisements,The National Socialist (the last I believe before his recent fracas withColin Jordan) and a card for the 'Chaff Pronlotion Society'. In anycase, unlike so many private press enthusiasts who are primarily orindeed often concerned only with how they print rather than whatthey print, when it comes to the Mdissa Press publications, as opposedto hack printing, Count Potocki is concerned very inuch with whathe prints. In his Foreword to Music Within Me he wrote: '. . . . theFrench who, unlike the English, have too much sense to judge a poemby the price of the printing machine used to print it, at once respondedwith the most glowing praise of the translations ....'His press in Dorset is an ancient demy folio which stands right upto the sloping ceiling of his little press room. There are shelves allround, and between the windows, and these are packed with all theparaphernalia coininon to those who practise this ancient craft - tins,canisters, bottles, jars, packets of paper, boxes, containing all the bitsand pieces so necessary for the continuance of this trade. His trays oftype arc on a low bench and he himself has to sit low down under theslope of the roof to compose. His type is mainly Garamond in varioussizes - Roman and Italic, and he also has most of the sorts necessaryfor Polish, French, German, etc. (though sometimes accents are addedby hand), and also some Greek. He also uses on occasion, en quads andother spacing materials which he builds up to type high and prints his'pilewa' from these, a trick he developed many years ago when tryingto print swastikas. He sets quickly and carelessly and it is understandableSpring 1967 17


Cowt Potocki - ill the cotrtp. rootnthat the odd wrong fount crceps in, Italic into Roman and vice vcrsa.If he is careless at the setting and proofing end, his respect for languageis such that he is scrupulously careful when it comes to literals in thefinishedjob. Many ofhis books and panlphlets carry corrigenda - placedprominently and printed in the book - not on a slip of paper to be tuckedin apologetically. Some of his productions are carefully and laboriouslycorrected with a pen. My copy of the slim pamphlet, A Tourist's Romeby Richard Aldington, carries twenty-two such amendments. CountPotocki has printed fairly regularly from 193 I onwards Poenls for theFeast of Satusn. These were popular and one in particular he n~entionsin a letter - The Geiztle Wine $Flattery 1935, the first one he printedhimself - as being the 'one which Caitlin Thomas (then Macnamara,later the wife of Dylan Tho~nas) conlplained Augustus John had madeher read aloud 35 times'.The Count has also produced surrealist poems, the first of which,YTT YZZ, went out of print very quickly, bought up so Potockibelieves because of a review which he claims was by Dr Lazar Wankoftin the Literanzaya Glupiaya of Omsk, whch Count Potocki subscq~~entlyreprinted. As a result of this he announces in A New DorsetWorthy, '. . . . our next surrealist poem Lolita's Lolly will be charged forby the metric system' (an interesting comparison with Rolf Hennequel18 The Private Libraryof the Wattle Grove Press - who because nlost of his custonl is by postsells his books by weight) 'five ccntiincs the square ccntimetre,overall ineasureinent. This will work out at about eight shillings, butit wlll be worth it, on account of the high erotogcnlc value'. However,in The Kiri


Worthy . . . 'I have installed a printing plant in Dorset. I am writingand translating here, I own a couple of cows and a bit of land in thecounty, and can show over 150 descents from the First Marquess ofDorset (grandson of Edward 111) which I propose shortly to set out inprint. Moreover as my name will be stuck up all over Dorset after Iam dead (and tourists duly charged for it) it is only fair to me that itSince completing this account, however, the Count has returned tothe Villa Vigoni at Draguignan, where he continues to print and onoccasions to write informative and lively letters to the many friendshe has left behind. Since returning to France he has published The Kilq?f Poland's Plnn for Rhodesia and The Blood Royal - the latter as staggeringand lively a piece of genealogy as one is ever likely to encounter.The bulk of The Blood Royal was in fact printed by the Count in Plushbut published from Draguignan. At present he is printing his owntranslations from Petofi, more poems, and I am sure more vituperativeattacks on those who annoy him.POEM FOR THE FEAST OF SATURN MCMLXVshould be publicized a bit while I am still here. I do not claim to be asgood a Poet as William Shakespear, but hc had nothing to do withDorset anyway and I am a good deal more like him than anyone whosevoice has been heard on the BBC during its disgracefd existence. It istrue that I am opposed to virtually every movement or line of thoughttriumphant at the moment, but docs not the fearsome and uncertainstate of the world show that I am right in this? Besides, no genius wasever born to advertise the successful follies of the time: a genius alwayshas something genuinely new and newly genuine and this is why heusually has a lot of trouble.'Watching the wheels and levers of my press,watching its moving surfaces and bandsafter this lapse of time no man can guesswhat printer took it from the maker's hands.How many made their living from it, orhow many failed, how many flourished welland grew to have a richly-furnished floorfull of machines, no person now can tell.What nonsense or what wisdom has been spreador dull shop-keeper's rubbish, by your inklaid with the toil of printers long since dead,what good or harmful notions, none can think.That you should print the truths destined to changethe distant f~~ture, none could foresee this thingnor that your poetry and prose should rangeo'er myriad matters, wielded by a king.Count Potocki of MontalkThe Private Library


THE TYPOGRAPHY OF POTOCKIBY DR ORPHEUSPrivate printers fall into two categories: those who have nothing oftheir own to say but who have a pedantic concern for precious priiiting;and those who have something to shout about but who arc quiteunconcerned about appearances. At first sight, Count Potocki ofMontalk would appear to be the doyen of thc latter breed.In the Postscript to Me1 Meuin he asks: 'Would the Guido Morrisses*of this world kindly note before making their sneering little remarks,that we are still short of spacing material etc., which is unbelievablydifficult to procure nearer than Lyons: and have therefore not beenable to use the traditional four ms(sic) in the corners of the chase whileadjusting the platen. Won. Clients can bc assured that ourprinting will improve, which Guido's cannot, seeing it is alrcadypurrfect, . . .!'These words were printed in Scptcmbcr 1959, well over a quarter ofa century since his first efforts, and later editions exhibit littlc or nothingof the promised iniprovcment.Those familiar with his output would be astounded by change orimprovcmcnt, for the typographic standards which he apparentlyfinds adequate for the expression of his ideas (and who is to say thatthey are not?) have remaincd at a surprisingly static level throughouthis career. The greatest variable is the standard of presswork, and thishe thoughtfully varies from forme to forme to provide the range oftone and texture which aficionados have come to expect. This procedureis generally sufficient to bsguise the utilisation of MonotypeGaramond, machine and handset, and Linotype Garamond within thesame pamphlet, as in A Tourist's Rome by Richard Aldington. MrDavid Chambers is to be commended on this discovery, which adds anew dimension to the narrow range of Potocki studies.If his approach to typography is summarised by his catch phrase:'Badly printed, well written' (Whited Sepulchres), then there would belittle point in cataloguing his errors and shortcomings, except perhapsin order to give him the offence on which he apparently thrives. Whyshould one pay more attention to his heedless style than to that of anyother in the distinguished line of free thinking or scurrilous pamphleteers?*An article on Guido Morris and the Latin Prcss is in preparation forThe Private Library.22 The Private LibraryA TENTATIVE CHECKLISTOF THE WORK OF GEOFFREY COUNT POTOCKIcompiled by Rigby GrahamI923The Opal Stilddcd Diaderrr, Auckland, New Zcalnnd. A leaflet of romanticpoems.1927Wtld Oats - a sheaf of poems. Published by Clifton, Sumncr in Christcllurch,New Zealand.1930Strrprisin'q Songs. An Odyssea~l tale in poetry. Of Surprising So~lgs lhZbigniew Grabowsk~ wrote In Ilustrozc~any Kurjer Codzicnny (Krakow):'111 thesum of these poems, written with eminent mastery and craftsmanslip . . . andimmense economy of words, there is no lack of declarations of love nor ofconfessions of faith in hfe. His erotic poems are lit through with thoughtf~dness... not blurred pastels, but decided sweeps, revealing everywl~erc a tende~lcytowards synthesis akke in image as in thought. He enriches English poetrywith his own valuable qu&ties, as much in imagery as in coimnand of words.'Against Cresswell, Montalk Press, Maidinent Press, 2 New Kings Road, S.W.6.This was written 4 a.m. 12 June 1930. It was issued as 'Incidents in NewZealand History 11. Agamst Cresswell.' Count Potocki has no knowlcdgc ormemory of I or any later volurnes.1931Lordly Lovcsonqs, Columbia Prms. Poem for Christmas (Feast of Saturn), BlueMoon Press, London.1932Here Lies SirJohn P. . . . [Publ~shedby a friend without Potocki's knowledge orconsent].Cray's L-ane, Blue Moon Press.Snobbrvy with Viol~rtcc (A Poet in Gaol). A Here and Now P~nlphlet, WishartPress. Of this book Aldous Huxley was to write: 'I think it a very interestingand at the same time, spirited and well written account of prisoll life as itappears to a man of intelligence and sensibility.'I933Here in Vietrnn tvhelz Kirr'qJohrz Carwe Dowil, Warsaw.Prison P[I)OPMIS, Molltalk Prcss. For the Divine Right of Kings.J934Erotic Iiiiagrs, Wars~w.1935I Have Rcen Well Ncqh Sil~nrrd hy My Foes. (Poem for the Feast of Saturn),London.1936The Getde Wine ojFlattery. Poem for the Feast of Saturn. The first he printedhimself for the Right Review.Whited Sepulchres, the Right Review. 'Being an account of my trial and iinprisonmentfor a parody of Verlaine and some other verses.'The Right Review (from 1936 to 1947). Seventeen issues and a n~unber ofpolitical pamphlets. The official Orgvi of the Royal House of Poland. It was


founded in 1936 and was published 'as often as democratic oppression allowsof.' It was described in The Criterion, I Jan. 1939, as being 'the only uncompromisinglyright review in this country.'The Unconstitutional Crisis. On the constitutional crises preceding the abdicationof Edward VIII. This was printed and published on the day of the abdicationitself. It was limited to twenty signed copies and was offered for sale atLI IS. od. each. Count Potocki in a letter to me from Draguignan (28. ix. 66)writes 'I and Nigel Heseltine had the honour of being in the lockup over it. Ithink it is called Cannon Row, anyway the one just off Whitehall. The onlyother person, except dr~mks, who was inside over it was, as far as I know,Dunlop.'I937Cari in Memoriam. On hand made paper, not for sale.Blest Clay. Right Review.Abdication ofthe Sun. Saturn Poem. The title poem of a booklet he later printed(1935).1935Abdication ofthe snn.Oh Starry Gods who shone o'er Greece ofold. Right Review.Maurras Poems. No definite trace can be found of the actual date of this firstedition, but it must have appeared about this time for on 13 April 1939, thecritic, Orion, writing in L'Action Frangaise said 'Le comte Potocki a traduit cespoems, vers par vers, en verse de m&me mesure que les originaux et rimes, quitransposent dans la langue anglaise, beaucoup mieux qu'on n'eut roulu croirepossible, le sens, le son, le rythine des strophes de Charlcs Maurras ct en donncnturn Cquivalent incroyablcment fidi.le.'I939Social Climbers in Bloontsbury, Donefrom the Life. Right Review. This book wasdescribed as a 'scathing and amusing satire on the people you hate, Joad, EllenWilkinson and the like.' Of this Ruthvcn Todd in a letter to Anthony Bakerwrites: ' . . . That lunatic Geoffrey Potocki (born, I think, Smith, the son of ainilkman in New Zealand), who called himself Count Potocki of Montalk, andthen, later King Geoffrey I of Poland and actually got some support from theFree Poles, or a section of them, ran a press. This was called the Right ReviewPress, and put out some odd badly produced things, including a book calledSocial Climbers in Bloomsbury in which I appear as Driven Mud. I had offendedthe royal presence and was too amused to thnk of a libel action.'Ch+t was Apollo in his Weakest While. Saturn Poem. R~'yht Review. Writtenin Stare Lazy in Poland.Forejit/rers.Forefatlws, Part 11.I942Part I. Translated fro111 thc Polish of Michiewicz.I943I945His Majesty Wladydas the Fifth . . . to his Britanrtic Majesty's H ow ofLovds . . .(a petition). 'Started printing the Saturn poems again, wishing a Merry Christmasto all men of good will and cspccially to William Joyce, holder of the24 The Private LibraryKriegsvcrd~c~istkreuz, - l'ctitiorr to tlrc Kirrg cf-Kirrys, printcd on card from thePolish Ministry of Education.'1946Partition oJEnyland. Printed fronl stereos madc by Count potocki.N11ts and Cutsfrorn the Wood. A new book of poc~ns by Siegfried Robert with Jforeword by Potocki.Forejuthers, Part 111. Trdatcd from the Polish of Michicwicz, in four booklets.I947A Lessort in Magic, offered for sale at EI or 2 Polish zl6te:- 'It brought theauthorities to I d . I got my ration books back, plus identity card all with mytitle wl~ich is what the dispute was about.'Saturrz Poem. Two lines from Florus dedicated to Our Hm~garians.1948Two Marzifestoes in l'olish in Gill because this was the only type for which llchad Polish accents.Saturn Poem. As yet untraced.1950Saturn Poerri, Friends arrd Frierrds. 'A poem written 111 the train from Bookhamto London 20-2-44. . .. refere~lccs to the wanton betrayal of Poland wlich tookplace at that time.'1956Czas ciecze, cue wszcchswiat wsiaka. Written in London in 1947, printcd for himin Draguignan.I957Nad wada zielorra txarodzitj stoi. l'rintcd in red ink in Uraguigna~l.1958Apollo. In Greek letters cut by Potocki in wood and printed on u lawyer'scopying press.I959Me1 Meum.Christmas is sr11~. 011 tll~ Marinoili.music is Inztrlovtal.Corrrrterpoint. OLI~ of McI MCLII~, this was in fjct the first Mdissa l'rcss Publication.A Dray of'Rcadirrgfor Wcc Chairlic MacUis/rop.1960YTT YZZ cz)-li - JAIC WIEKSZ I'OWSTAJE. Described as 'the first surrealistpoem to be issued by this anti surrealist press: as such it is offered to bibliophilesand biblioPoles at the prices hereinafter set out. But the surrealists need notimagine that they have heard the cnd of the matter, for Wc have several moresurrealist poems down our sleeve and the worst is, an exegis will follow. Theysuggested it themselves. Tariff post free to Japanese 3d., to Hungarians, Balts,Germans, Eighteen Bees, and sexy women 6d., otherwise 1/6d.'A Tourist's Rome. Richard Aldington.The Fifth Columnist. A Short Story by Jim Goodleboodle (Co~u~t Potocki ofMontak). Draguignan.Spring 1967 25


1y61A L,etterjurri Richard Aldiugton and a summary bibliography of Count l'otocki'spublished works. Reprinted 1963.1y62Bds and Another Bookfor Strppressiorr. Ricllard Aldington. Balls was in fict asecond edition. It first appeared as 131~~Moon l'amphlct No. 7, 1930. E. Lahr,68, Red Lion Street, W.C.I.1963One More Folly. Observations on the Hinton St Mary Mosaic. ?'his is tlic firstpublication from Lovclace's Copse.1964The Whirling River. Mtlissa Press. Poems written betweal 1933 (in Poland) and1944.Lulu's Lullaby. Czyli JAK WIEISZ POWTAJE. Another surrealist poem byCount Potocki of Montalk.Two Blacks Don't Make a White. Remarks about Apartheid.196.5Thornas Hardy jiorn Behirzd and Other Memories. 1'. J. Platts.Uqqallant Gallantry. A reply to an article on Count Potocki wllich appcarcd inthe Bristol Weekend 21 October 1964.A New Dorset Worthy.Dear Garn~ent. Translations by Count Potocki of six poems by Charlcs Maurrasand one by Charles d'orleans.1966The Blood Royal ofEngland, Scofland, lrelarrd, Walcs a d othcr Coirrltries. l'rintcdin England, bound and issued from France.The King ujPoland's Plan for Rhodesia. France.I'oerru and Translations by Count Potocki. Pandora l'rcss, 1966.REVIEWSCARL J. WEBER, Fore-~d~~pairrtii~. New York, Harvey House, 1966. l'p. xvi f-223, 6 colour plates, f 29 black and whlte. $20.I have long considered nlyself more than fortunatc to have obtdined when itfirst came out eighteen years ago, one of the thousand copies of Carl Weber'sA Thousand and One Fore Edge Paintings. This book very quickly and understandablywent out of print for it was the work of a man who was both scholarand enthusiast, and one whose scholarship was easily comprellensible and whoseentllusiasn~ was infectious. Now this completely rewritten version has appearedcontaining far more 111ustrations, and a wealth of inforn~ation - the large proportionof which is quite new, and presented with scrupulous are for accuracyof detail and in a manner which makes this volume compelling reading. TheGods have been kind to Weber in that he has been able to examine some threethousand books with fore-edge paintings most of them produced during whatmust seem to us to have been a halcyon period for so many crafts, 1650 toI 8.50. Howcvcr he describes vividly the agonizing way in which he was forced26 The Private Libraryto stand by and watch otliers demonstrate examples to him, wllcn so m~1c11 ofthc appeal of this peculiar art lies in physical contact and the pleasure of sccingthe paintings appear and vanisll under the pressure of one's own fingers. Hedeals understandably enough but splendidly nevertheless with the Edwardsesof Halifax, the origins of this curious 'vanishing' art, imitators and amateurs,and with the 20th century fore-edge decorations. The scholarly research isevident but not obtrusive, the whole is presented with humility, love andreverence for the subject which many might well emulate. He quotes andcorrects earlier and now so obviously inaccurate or slipshod researchers withkindliness. $20 may seem a hgh price but the book is very well written andfairly well produced - it is a considerable asset to any bibliopegic bookshelf, agodsend to those unfortunate enough not to have the earlier volume, whilcthose who have the first will need no persuasion to add this second.The book is written with wit and gentleness and Weber's comments arecryptic and reveal a wide knowledge of the byeways of this curious craft andthe fashions and influences which played so large a part in its development.It saddens and infuriates me, as it must do so many, when one realises too latealas that so many examples of our rich heritage have disappeared for ever fromthese shores. But in the case of these fore-edges and the bindings of craftsmenlike the Edwardses and other practitioners of this mysterious craft it is morethan reassuring and heartening to know that there are men like Weber whounderstand and love these strange, ingenious and curious en~bellislnnents.From n production point of view, there are one or two factors which detractfrom this volume. The difference between the reproduction of the colours ofthe frontispiece and the dustwrapper is so great that one immediately doubtsthe qu&y of the other colour reproductions contained in the book. When onecompares for instance the colour plates of the 'white towered castle' on theTaylor-and-Hessey Anthology (Edinburgh 1810) - opposite page 111 in theprescnt volume with that opposite page 8s in the earlier, or the reproductionopposite page 207 in this book with the frontispiece in the earlier, one's suspicionsare nlore than confirmed. These colour plates only give the haziestsuggestion of what the colour of the originals may be like. Finally, the tasteand appropriateness of the designs of Edwards of Hahfax where the decorationon the cover reflected tlie period and the age in which it was produced, thedecorative treatment employed bearing some relevance to what was betweenthe covers, has not extended to the designer of this book. The use of Sapllir onthe front and spine of the wrapper on glossy art papcr is one thing, whereas touse it for gold stamping on the buckram case is singularly inappropriate, for itloses its crispness on which its decorative qualities so much depend. Wcber'scdrlicr volume with its venetian red lettcring piece was in this respect so nluclithe more refined and tasteful.R.G.JOHN L. TIIORNTON, Selected readir~~ys in the history clf librarianship. London,Library Association, 1966. Pp. 408, 16 plates. 88s. (66s. to members of the LA).This volume is a collection of extracts from the writings of forty-ninelibrarians and library benefactors of the past, most of them British. Eachextract has a short biographical introduction by the editor.


Library history is of little appeal to thc general public, but the cordial rcceptiongiven by the general reviewing journals to Raymond Irwin's The Euglishlibrary and ?Be Heritage of the Ellglish library suggests that library history canbe inadc interesting to at least a sinall number of people outside the libraryprofession, provided that it is written by an author with wide historical knowledgeand some literary skd. Mr Thornton's book is not an anthology ofwritings on library history. It is a collectioil of essays and extracts froin bookswhich have now become of historical interest. Neither the professional librariannor tlie layman will be completely satisfied with it, but that is no fault of MrThornton's. Some of the greatest librarianswrote little or nothing; others wrotein such a pedestrian style that they can be read only out of interest in the topicsthey discuss. Having made ths reservation, I am glad to say that the nonlibrarianmembers of the Private Libraries Association are likely to find inorcof interest to them in this volunie than they may suppose.A few of the authors wd be familiar, at least by name, c.g., Richard dc Bury,Sir Thonias Bodley, WAam Blades, Richard Garnett and H. B. Wbeatley.What of the others? I particularly recommend attention to John Dmie, authorof The Rdormed librarie-keeper, to the learned Gabriel Naudt, whose Advispourdresser ttne bibliothhque is one of the few undoubted classics of library literature,to the Rev. James Kirkwood, vigorously expounding his ambitious scl~eine forparochial libraries in Scotland, to Wdliam Brown, blithely optinlistic aboutthe future of 'itinerating libraries', whch had been pioneered by his brotherSamuel in East ~othian, to Henry Bradshaw, the great scholar-librarian ofCambridge University Library, speakmg on the hbraries of Cambridge, toStanley Jast, for his drily lnniiorous paper on 'The perfect librarian' and toArundell Esdaile and Berwick Sayers, recalling how they first becdine interestedin books and libraries. Oddly one of the most interesting contributions is froma librarian now little remembered, namely, Thomas Mason, represented by hisfascinating biographical study of the unfortunate Dr Robert Watt, whosacrificed his health and ruined limself and liis family in the conlpilation of hisfamous bibliography, the Bibliotheca Britannica.J.G.O.ANDREW G. WATSON, The Library nfSir Syr~ronds D'Ewes, London. Thc Truteesof the British Museum, 1966. Pp. xiv f 379; 9 plates. ss.This is the second volu~ne to appear in a serics of studies of the history of tllcBritish Museum col~cctions known as the British Museum biceutenary publications.The first appeared ten years ago and one wonders whcthcr the serics will bccomplete by the tercentenary, now only eighty seven years away; therc iscertainly plenty of work to be done.Symonds D'Ewes was born in Dorsct and spent much of his early life inBury St. Edmunds, but after Cambridge he gravitated to London and wasstudying law at tlie Middle Temple by 1620. He eventually took up tlie studyof history rather than law, not being under the necessity of earning his living.He was afflicted with that mild eccentricity for tracing his ancestors which hasobsessed so many antiquaries and book collectors. They were of continentalorigin and, D'Ewes hked to think, of noble descent. Whatever their antecedents,his iininediate progenitor had provided him with s~~cient resources to pursueThe Private Libraryhis book collecting interests and in 1626 he married an heiress of suitable pedigreeandwas knighted in the same year, becoming a baronct in 1641. He becamean M.P. in 1640, at first with some success owing to his historical knowledge,but his humourless pedantry proved too much even for his contcnlporaries.He fell into neglect and was eventually removed from Parliament by Pride'sPurge in 1648. He died in 1650.D'Ewes's serious collecting dated from the sixteen twenties when there werestill good opportunities for collectors of n~anuscripts in spite of what had disappearedinto the great collections after the Dissolution. The library wasprincipally history, theology, law and classics. In discussing its purpose MrWatson gives us an interesting concise note on the facilities available to scholarsin the libraries of the period; they were few.The most important part of the collectioli was thc manuscripts and part of thepleasure which D'Ewes derived as a collector can be seen in the title pages whichhc wrote for soinc of them. He was also not above breaking them up and evencutting . . out leaves occasionally. Mr Watson rccords Wanley's censmc on hirnfor this.After the collector's death the library remained in the family, largely unappreciatedit appears until 1705 when it was bought by Robert Harley. Someinteresting correspondence between Wanlcy, D'Ewes and Harley is printedrelating to this episode. The printed books were absorbed into the HarleianLibrary and, cxcept for six, have had no recorded survival of the sale toOsborne. The manuscripts, charters and rolls went to thc British Museum withthe rest of Harley's matiuscripts and it has been Mr Watson's task to distinguishwhich they are. For this he has used a number of surviving lists, only two ofthein D'Ewes's own and the greater part of the book consists of this catalogue,the separate sequences being carefully cross-referenced and indexed.The printing of thc book is slightly marred by a palc grey impressioll onsome pages (v and gg for example in the copy examined). Otherwise a pleasingstandard of prodnction has been maintained. The maroon buckram casing withD'Ewes's arms on the front cover contrasts well with grey end papers to givethe volume an attractive appearance.G.W.VICTOR SCHOLDERER, Fifty essays in fiftfenth- and sixfeewtk-century bibliography,edited by De~lnis E. Rhodes. Amsterdam, Menno Hertzbergcr, 1966. Pp. 302,front., text figures. L8.The production of a volumc of the bibliographical cssays of the greatestliving incunabulist nceds no review in the sense that most books are noticed inthese columns. Ever since he joined the staff of the Department of Printed Booksat thc British Museum in 1904 - and dcspite liis official retirenlent iu 194.4 - DrScholderer has mapped the path sketched out by Robert Proctor who had diedin a climbing accident the previous year. Proctor laid the foundations, butPollard and Scholderer erected the structure of the British Museum's CatalogueoJjjeenth century books and of its Short-title catalogues. A happy by-product ofhis o&cial activities has been the steady stream of over two hundred articles,


eviews and bibliographical notes on kindred topics. Scholdercr always writeswell, and though he lacks Curt Biihler's marvellous ability to breathe life intothe most esoteric and apparently dull lines of research, his essays seldom lackinterest or fail to reveal his own entlmsiasm for the subject.This volume contains those essays which the author considers most worthy ofpreservation. They contain much that one would wish, though one is inevitablygreedy for more, and it is very convenient to have them assembled together inone volume instead of scattered in the files of the Gutenbeug-lahrbuch, TheLibrary and elsewhere. The production of the volume is excellent, the figuresbeing well produced and the text clear and easy on the eye, and the binding asworkmanlike as it is aesthetically satisfying. One's only complaint is the indexeqwhicli could usefully have been much fi~ller; but it is a handsomc productionof a worthy text.JOHN RUSSELL TAYLOR. Tke Art NOUI~UII Book iu Britain. London, Methuen,1966. Pp. 176, lavishly illustrated. 84s.This book is a result, we are told, of ten years study. It comes at the end of along h e of books, and an even greater number of catalogues, on art nouveau,most of which have appeared during these very years. Amongst these havebeen Robert Schmutzler's splendid Art Nouveau, 1964 and Mario Amayn'slively introduction to the subject, Dutton Vista, 1966.The sad result is that so much of what is dealt with by Mr Taylor, forinstance the pre-Raphaelites and William Morris, has already been coveredmore than adequately and so frequently elsewhere. The illustrations chosen tosupport the text appear to be a somewhat arbitrary selection and the s~~pplcnientof examples of private press types little more than space filling. Like inany anenthusiast Mr Taylor has attempted to stretch his subject rather further thmit wdl comfortably go.Unfortunately, the most striking feature of the whole book is the way inwhich its designer betrays his ignorance of the period. The production is ahopeless muddle. The book is phototypeset in Monotype Erliardt with headingsin Cooper Black -not a particularly sensitive choice or combination for a bookdealing with this period.Tlie assymetrical measure and the usual affectations such as the typographicornament used as paragraph marks gives a very unpleasant spotty appearance tothe book, which is complemented by the white gaps of the word spacing whichis atrocious throughout.Tlie book is badly printed on good quality cartridge. The five colour printings(there may well be more) are a complete waste. This does not add to thereproductions of the originals, rather it detracts from them, and the captions inthe second colour are pointless. In fact the cost of the book seems to have beenforced up by the multiple colour printing from which the reader derives nobenefit.The inner margins arc very wide - a current fashion particularly in the artcatalogue and the coffee-table-book field. In Mr Taylor's book, however, someof this space has been used to include reproductions, many of which have beenforced most uncomfortably right into the gutter.30 The Private LibraryH.C.In all thiq is ;,I] cxpcnsivc and unworthy production of a fairly scholarly butuninspired lmok. 'rhosc who know about this subject are very ulllikcly to wantto buy thiq I~ook a d thosc who don't, won't.JOHN L. TIIORNTON, Medical books, libraries aud collectors. and. rev. ed. London,Andri. I>cntsch, 1966. Pp. 445, 16 plates. 84s.Mr Tliornton's book, first published in 1949, now appears in a greatly enlqcdcdition. It bears the sub-title 'A study of bibliography and the book tradein relation to the medical sciences.' In a short introduction the distinguishedmedical bibliographer Sir Geoffrey Keynes points out that there are severalmethods of presenting medical history to the student. At opposite extremes heplaces the 'unreadable' works, such as Garrison and Morton's Medical bibliography,and 'readable' books, of which there are many, a recent example beingDr D. Guthrie's History of medicine (1st ed. 194s). Others, including MrThornton's book, he places in an intermcdiatc category, as 'partially' and 'semireadable'.A book of this latter type, he suggests, taken up by a student in searchof enlightenment on a particular subject, may tempt him to turn over the pagesand absorb more of the history. This seems fair comment on Mr Thornton'sbook, for it is certainly not one to be read straight through without riskingmental indigestion; on the other hand, opened almost anywhere, the readerintercstcd in the history of medicine and allied sciences will find something toentertain or instruct him.Approximately half the book, the first six chapters, describe medical booksand the history of medicine chronologically, from the period before the inventionof printing until the nineteenth century. The later chapters deal successivelywith the risc of medical societies, the gowth of periodical medical literature,inedicd bibliographies and bibliographers, medical libraries, both private andinstitutional, and medical publishing and bookselling. Finally there is a fiftypage bibliography of literature on the history of medicine, and an extensiveindex.Sir Geoffrey Keynes points out that the compiler of a book such as this m ~stbe eclectic, and its author, as Librarian at St Bartholonlew's Hospital MedicalCollege, can be assumed to be qualified in this respect. One minor criticism mayperhaps be made. Rather more emphasis might have been placed on the valueof studying the catalogues of the more prominent antiquarian booksellersspecialising in old medical books, which are often a source of bibliographicaland other information valuable to a collector. At the same time one can sympathisewith Mr Thornton's lament that the attraction of some of the moreelegant of these catalogues - is diminished after studying the prices asked for thera&ies listed.The fact that a second editiou of this book has been called for indicates thedemand for such a work, and it undoubtedly provides a rich mine of informationfor studcnts on thchistory of medicine, andcollectorsof books on thesubject.V.A.E.R.G.


Titles now published in Gale's distinguishedlist of REPRINTED CLASSICSAUTHOR BIOGRAPHY SERIESAllibone, S. Austin. CriticalDictionary ofEnglishLiterature and British and American Authors.1858-1871.3 v. 3,140~. $84.00Kirk, John Foster. Supplement lo All~bone's Cri-t~c~lDict~onur! ot Engl~sh I irerurureand Britishand American Authors. 1891.2 \.. 1.562 1,. 543.00Dayckinck, E. A. and G. L. Cyclopedia of~mericanLiterature. 1875 revision 2 v. 2,044 p. 943.00Lawrence, Alberta. Who's Who Among LivingAuthors of Older Nations. 1931.482 p. $15.00Warner, Charles Dudley. Biographical Dictionaryand Synopsis of Books Ancient and Modern.Vol. 1. Biographical Dictionary of Authors.1902.619 p. $17.00International Bibliophile Society. BibliophileLibrary of Literature, Art, and Rare Manscripts.Vols. 29-30. Bibliophile Dictionary. 1904.767 p.1 v. 767 p. $22.00Biographical Dictionary of the Living Authorsof Great Britain and Ireland. 1816.499 p. $47.00ASSOCIATION REFERENCE SERIESCarnegie Institution of Washington. Handbookof Learned Societies and Institutions: America.1908. 592 p. (Publication No. 39.) $17.00Griffin, A. P. C. Bibliography of American His-torical Societies. 2nd ed. 1907. 1,374~. 135.00Hume, Abraham. Learned Societies and PrintingClubsoftheUnitedKingdom.1853.380p. $12.50Illustrated Catalog of Society Emblems Pinsand Charms. 1885 Catalog of Charles F.'~rons:Manufacturing Jeweler. 176p. $6.00Prenss. Arthur. Dictionary of Secret and OtherSocieties. 1924.543 p. $15.00Stevens, Albert C. Cyclopedia of Fraternities.1907.444~. $12.50LITERARY AND HISTORICALDICTIONARY SERIESAdams, W. Davenport. Dictionary of EnglishLiterature. 188-. 708 p. $21.00Brewer, E. Cobham. A Dictionary of Miracles.1884.582~. $13.50Brewer, E. Cohbam. The Historic Note-Book,1896. 997 p. $27.50Brewer, E. Cobham. Reader's Handbook ofFamous Names in Fiction, Allusions . . . 1898.2v. 1,243 p. 129.50Chambers, Robert. Book of Days. 1899. 2 V.1,671 p. $38.50Frey, Albert R. Sobriquets and Nicknames. 1887.482 p. $14.00Harbottle, Thomas Beufield. Dictionary ofBattles. 1905.298 p. $8.00Hone, William. The Every-Day Book. Vol. 1(1826); 860 p. 2 (1827) 856 p. Each $22.50Hone, William. The Table Book, 1827-28.2 v. in1.874 p. $22.50Hone,William.TheYearBook.l832.824p.S22 50Wrife for fhe complete lisf of reprint fiflesLatham, Edward. Dictionary of Names, Nicknames,and Surnames of Persons, Places, andThings. 1904.334~. 89.50Phyfe, William Henry P. 5000 Facts and Fancies.1901.816p. $23.00Walsh, William S. Curiosities of Popular Customsand of Rites. Ceren~onies. Observance?and Miscellaneous Antiquities. 1898. 1,018 p:$27.50Walsh, William S. Heroes and Heroines of Fiction.Vol. 1: Classical Mediaeval. Legendary.1915. 379 p. Vol. 2: ~'odern Prose and Poetry.1914.391 p. Each $12.00Walsh, Williams S. Handy-Book of LiteraryCuriosities. 1892. 1,104p. $28.50Wheeler, William A. Dictionary of the NotedNames of Fiction. 1917.440 p. 812.00Wheeler, William A. Faniiliar Allusions. 1882.584 p. $16.00A Few of the OtherImportant Titles AvailableLowe Robert W. A Bibliographical Account of~ngliih Theatrical Literature From the EarliestTimes to the Present Day. 1888.384 p. $14.00Trubner, Nikolaus. Trubner's BibliographicalGuideto AmericanLiterature. 1859.554p.fo27.50.Smith, Elsdon C. Personal Names: A Bibliography.1952.226 p. $9.00Burke, W. J. The Literature of Slang. 1939.180 p. $9.00Nares, Robert. Glossary of Words, Phrases,Names, and Allusions in the Works of EnglishAuthors. Reissue of the 1858 revision. 981 p.822 50 .O'Callaghan, Edmund Bnilry. A Lict of F~litionsof the Holy Scripture5 and Parts1 Itereol'Printedin America Previous to 1860. 1861.415 p. sl5.00Gough, Henry. A Glossary of Terms Used inHeraldry. 1894. 659 p. $14.50Davis. Edward Zieglcr. Translations oi GermanPoetry In American .M;ig.irine\. 1741-Id10 IUOj.229 p. id.00Yonge, CharlotteM. History ofChristian Names.1884.484~. $13.50Rogers, May. Waverley Dictionary. 2nd ed.1885. 357 p. $16.00Mcyncn. Emil. Bibliography on German ScrtlementsIn Colonial North .\rneric.i. 1'137. 636 p.820.00DobeU, Bertram. Catalogue of Books Printed forPrivate Circulation. 1906.240 p. $10.00John Crerar Library. List of Books on the Historyof Industry and the Industrial Arts. 1915.486 p. $18.50U. S. Bureau of Labor Statistics. History ofWages In the United States from Colonial Timesto 1928 (with supplement). 1934. (Bulletin 604).574 p. $21 .OO1400 BOOK TOWERGale Research Company DETROIT, MICHIGAN, 48226

More magazines by this user
Similar magazines