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The Private Library

Quarterly Journal of the Private Libraries Association

Hon. Editors: Roderick Cave and Geoffrey Wakeman

Vol. 8 No. 2 Summer 1967

THE BOOK WORLD

PRIVATE LIBRARIES ASSOCIATION AFFAIRS

The eleventh Annual General Meeting was held by courtesy of the

Library Association at their premises in Ridgemount Street, London,

on the 11th April. We are most grateful to Sir Arthur Elton for his

most entertaining, extempore talk on his collection of Railway

Books and Prints, and for his generosity in allowing members to

handle some fine examples from it.

The A.G.M. followed, and reports from the Hon. Secretary and Hon.

Treasurer having been received, there was considerable discussion of

the proposed increase in subscriptions for 1968. It was explained that

most of the increase would be used to double the size of the Journal,

and that the greater funds available would also enable the Association to

finance more and better separate publications. These latter would some-

times be issued free to members, and would sometimes be issued on a

subscription basis; in either case copies would be sold to non-members

at economic prices, eventually making separate publications self-

supporting. Extracts were read from letters from country members who

were opposed to the increase. Several members held the Journal to be

of little value, and thought the Exchange List to be the more vital

part of the Association's work; others objected to the proposed

expansion of the publishing programme; and yet others complained of

a bias towards the physical aspects of book collecting, alleging that the

controlling cliquewere not interested in the content of their books. On

a vote being taken among the twenty or so members present, however,

all but one were in favour of the Council's proposals for next year.

Guy Powell was thanked for his work as Hon. Treasurer over the

past three years. Group Captain Pratt, our Hon. Membership Secretary,


was elected in his stead, and will servc the Association in this dual

capacity in future.

Thanks were also expressed to Mr Feather, our Hon. Auditor, and to

Mr Broome and Miss Hardy who respectively prepare and distribute the

Exchange List-both most onerous tasks.

RECENT PUBLICATIONS

The Council of the Association is grateful to Mr E. J. O'Dwyer for his

work in preparing the essay on Thomas Frognall Dibdin which has

recently been distributed to members. This is amore substantialvolume

than PLA has hitherto published, and serves as the free publication for

1966 and 1967. Its elegant dress is due to the care expended on it by

Iain Bain, to whom the Council's thanks are also due. Additional

copies if required may be bought by members for 15s. or $2.50.

To non-members the price is 30s. or $4.50.

As neither of the editors was concerned in any way with the

production of the book, we wondered whether we should review it in

the same way as a non-PLA publication would be noticed, but decided

as a matter of policy that we should not do so. We believe that most

members will agree with us in finding it interesting and useful, and not

with the member we are told complained that he had been sent a book

he did not want about a man he hadn't heard of. . .

A number of other books have recently appeared with which the

Association is in a sense connected, although it was in no way concerned

in their publication. The Honorary Membership Secretary, R. D.

Pratt-whose article on collecting books about books members will

remember in a recent issue-has drawn on his extensive collection to

compile his 1000 books about boob. As with any personal selection,

there are some omissions and some inclusions on which we would

differ, and it would have been an asset had Mr Pratt had room for more

annotations. On Rogers' Manual of bibliography (1891) for example;

those readers who like us enjoy browsing through early volumes of

The Library may recollect the ferocious attack made on it as 'Biblio-

graphy as she is wrote'. Mr Pratt's selection, well printed for him by

John Mountford at the Merrythought Press, will be useful to all

interested in the literature of book production and collecting.

From another member, James 0116, comes Library history. Published

by Clive Bingley Ltd. at ISS, his short guide to the literature of the

34 The Private Library

history of libraries though closely geared to the needs of those studying

to become professional librarians contains a good deal of background

material of interest to the amateur.

Through the good ofices of another PLA member our attention has

been drawn to a history and bibliography of The Tullis Press, Cupar,

1803-1849 by D. W. Doughty which has been published by the

Abcrtay Historical Society. It is a well printed and amply illustrated

little book, which presents an interesting and informative study of the

firm which was at one time the printer, officially or quasi-oficially,

to the University of St Andrews and is the direct ancestor of the

modern firm of papermakers Tullis Russell. Copies, reasonably priced

at ~os., may be obtained from Abertay's Publications Secretary, Mr

C. J. Davey, Department of History, Queens College, Dundee.

SILVER JUBILEE

It comes as something of a suprise to realise that Harvard's Houghton

Library is already (or should one say only?) twenty-five years old. In

its quarter century the library has become firmly established as one of

the most important of rare book collections. This has been due in the

main to three men: to Arthur H. Houghton Jr who donatedbooks and

funds for the building which was a landmark in the exploration of air

conditioning, lighting etc. for the preservation of rare books; to Philip

Hofer for his work in the domain of printing and graphic arts, and

above all to the late lamented William A. Jackson. Few PLA members

can have had the opportunity of visiting the exhibition which was

held to celebrate the occasion, but those who have the opportunity to

see The Houghton Library 1942-1967: a selection of books and manuscripts

in Harvard collections will be able to appreciate something of the riches

of the library in such various fields as Canadiana, Erasmus, theatrical

ephemera, and fine printing, to name only a very few of the areas in

which the Library's resources are outstanding. The catalogue, with the

letterpress produced by the Stinehour Press and the 370 plates by the

Meriden Gravure Co., is as one would expect a magnificent production.

It is published for the Library by Harvard University Press at $50.00;

a price which seems high but is in fact below the production costs as

the volume was financed by a friend of the Houghton Library.

To think about the achievements in Cambridge and compare them

with those in erecting the National Reference Library in London is not

recommended to those who have a tendency to melancholia.

Summer 1967 35


FACILIS DESCENSUS HELICONIS

We recently purchased for five shillings the Report ofthe Trustees Ofthe

British Museum and hasten to say that it is very good value for the

money, 94 pages 10" x 7" with fifty four illustrations, some of them in

colour. It covers the period since 1939 when the Museum

strains and distractions from which it has never recovered. ft Was a

courageous act on the part of the Trustees, ladies and gentlede" who

are all of eminence, to publish this report which admits their failure to

establish an institution worthy of Great Britain. The fact sees"s to be

that they are no match for the astute politicians and smooth civil

servants who control the money which is needed to provide dhive

facilities. Far from the Museum being able to expand, it is smaller

than it was thirty years ago.

Our main concern is with the library, and we cannot escape the

conclusion that it would be better off separated from the antiPities-

It would then be fighting only the government for money and not

other departments for space as well. It often loses the latter battle. At

three o'clock in the afternoon there is not a seat to be had in the peading

Room; we could not help comparing this, recently, with tbe

Marbles at the same time of day, occupying a vast lofty hall with a

scattering of viewers in it.

To the user the library presents a strange mixture of the niceteenth

and twentieth centuries. The outlook of the former is exemplified in

the Catalogtie ojjijeenth century books. This reflects the view of inc"nabula

of the Roxburghe Club in its heyday -- that Italian and German

books are the only really worth while ones. Publication started in 1908 ;

sixty years later it still does not cover English books. In c0ntra5~ to this

we have the photolitho reprint of the General catalogue, a reflarkable

feat utilising the most up-to-date techniques and carried out wichrapidity

and to schedule. It is a pity the opportunity was not taken c0 delete

from it the 200,000 volumes destroyed during the war. To travel

from Scotland, as we once did to consult one of these, and then be

informed that it has been missing for over twenty years is an exasperating

experience.

Although we now have a Ministry of Technology and a Department

of Science we appear to be further away from a National ~ ~~e~ence

Library of Science and Invention than if the project had neqer been

broached. Part of this library is the old Patent Office Library housed in

a delightful construction in the cast iron gothic tradition, perhaps

more appropriate to what is actually going on than the converted Ware-

36 The Private

house in Bayswatcr where the rest of it is thought to be. Its South

Bank accommodation never existed even as a drawing.

It is a sad experience to browse through this report, adnziring the

illustrations of what the Nation hasinanaged to buy and regretting that

the job cannot be done properly. We be nlust grateful to the Trustees

for publishing it and to both them and their staff for endeavouring to

persevere in trying circun~stances.

LIBRARY HISTORY

We have just seen the first number of a new periodical-Lil~rary Jiistory,

published by the Library History Group of the Library Association.

It contains an illustrated article on the Library of Edinb~r~h University

from I 580 to 1710, which takes LIP most of the issue, followed by one

on Hagberg Wright and the London Library. There is an interesting

scction of notes on recent publications relevant to library history, and

some book reviews. The subscription to non-members of the Group ic

AI a year for two issues.

BAXTER CENTENARY

It was late in 1866 that George Baxter was struck the blow by a horse

omnibus from which he died in 1867. Leiccstcr City Museums co111-

menlorated the centenary of his death very enterprisingly with an

exhibition of his work as a colour printer. The examples were drawn

from the collection of Mr W. C. Reeves who also coinpiled an eleven

page catalogue of this exhibition. The opportunity to see so man)-

Baxter prints together does not often occur, which madc this exhibition

additionally welcomc.

Book illustration was well reprewnted with a nice copy of the

Cnhiizrt of'paintin'q5 and a number of prints fronl Mudie's books. Thc

diversity of Baxter's output was well illustrated, varying from very

small needle box prints to quite large pictorial work. It was in the

subjcct matter of many of the latter that we could see excn~plificd

Baxter's desire to 'bring taste of a refined and intellectual nature to the

working people'. A lot of them represent much that was worst in

Victorian art and presumably would not have survived but for

Baxter's name on them. The technical skill of the printing contrasts

sharply with the sloppiness and sentimentality of the original pictures.

The most interesting prints were the historical ones, the Great Exhi-

bition crowded with visitors, and spirited actions in the Crimean war;

an un~~sual portrait showed Queen Victoria looking a little haggard

in 18 58. Mr Reeves and the Museum arc to be congratulated on an

exccllcnt exhibition.


I

A Ballad

Upon a Wedding

TELL thee, Dick, where I have been,

Where I the rarest things have seen;

0, things without compare!

Such sights again cannot be found

In any place on English ground,

Be it at wake or fair.

At Charing Cross, hard by the way,

Where we (thou know'st) do sell our hay,

There is a house with stairs;

And there did I see coming down

Such folk as are not in our town,

Forty at least, in pairs.

[Opening page of the Suckling; slightly reduced. The block on the

cover of this issue is reproduced fuom the Nashe in the 'Songs from the

Dramatists' series]

38 The Private Library

THE WALPOLE PRESS OF

OLD COSTESSEY, NORWICH

by Ann Barrett

HERE have been many articles on private presses published in the

T Private Library. The presses which have been described range from

the very small presses operated by one man as a weekend hobby to the

semi-institutional undertakings such as the press run by the Nuns of

Stanbrook Abbey, and the books which they produce are as varied as

the reasons for their establishment. Yet readers must have noticed how

the majority of them seem to have come into being in the past ten or

twenty years during the current boom in amateur printing, although

there is a sprinkling of presses-like those of H. G. Dixey and Count

Potocki-which hark back to the activity of the interwar years. Most

are however of comparatively recent foundation, and it is therefore as

pleasant as it is surprising to find a press still at work which was founded

before the first world war; a press which for all I know may be the

oldest still surviving. Mr Martin Kinder's Walpole Press is very little

known today outside Norwich, and seems to have escaped the notice

of most private press bibliographers in the past: it is not, for example,

recorded by either Ransom or Tomkinson, and the only references

that I have been able to find-in The book of the private press, in the

Manchester Reference Library's Catalogue ofprivate press books and in

The Times Bookshop's English private presses 1757-1961-are brief

indeed. Yet the Walpole Press provides a direct living link with the

era of Kelmscott, Doves and Ashendene, for its foundation was inspired

by a visit to another of the great private presses of the time.

In 1912 Mr Kinder was visiting the Abbey Theatre, Dublin, where

Nugent Monck, the founder of the Norwich Players, was producing

for the Irish Players. During his stay in Ireland, he went to

Dundrum, Co. Dublin, where the two sisters of W. B. Yeats had been

running a press since 1902, initially as the Dun Emer Press, then, from

1908, as the Cuala Press. A large part of their output was of the poems

and essays of their brother, although it also included other works,

such as the poems and translations of J. M. Synge, and the ancient

songs and legends of Ireland.

Mr Kinder was suficiently impressed by the activities of the Cuala

Press to consider taking up printing himself. On their return to England,

Summer 1967 39


he and Nugent Monck obtaiilcd a case of fourteen point Caslon Old

Face-which rcnlained the favourite type of the Walpole Press for

books throughout its history-and a Crown Folio Albion hand press,

and Mr Kinder began to teach himself the techniques of printing. The

'press' thus created was named the 'St William Press' after St William of

Norwich, and production began in 1913. Its early output consisted

mainly of playbills, prograinines and tickets for Nugent Monck's

productions for the Norwich Players at the Old Music House, King

Street, Norwich, but they also included a play by Nugent Monck,

The Itlterh~rk of Holly aid Ivy, based on fifteenth century sources,

which had been perfornd by the Norwich Players in May 1911 and

was printed in 1913.

After the First World War, Mr Kinder moved to Walpole House,

Thorpe, near Norwich; hence the 'Walpole Press', although Mr

Kinder was also influenced in his choice of name by the example of

Horace Walpole. At about this time he acquired a treadle press and the

stock of type faces was augmented by the addition of twelve point

Caslon and gradually built up until the range of Caslon extended to

seventy-two point. The range now coinprises Caslon Old Face from

eight point to eight line, the larger sizes being in wood and used for

window bills for plays etc; Poliphilus ten, twelve and fourteen point,

with Blado italic; Centaur (a Bruce Rogers design based on that of

Jenson at Venice 1470); Bologna and Nicholas Cochin, the latter two

being calligraphic faces used mainly for such work as Christmas cards.

The press used now is a Golding Jobber.

There was an interruption in the activities of the press for a year in

1923 when Mr Kinder moved to Peterborough, where soine playbills

and notices of concerts ctc. were produced. By 1929 the Walpole

Press had moved to Elin Hill, Norwich, and two more books had

appeared. One was a work by Thomas Brownc (1605-1682), On

Dreaim. AS in the first book produced at the press, there was a local

connection, Brownc having lived in Norwich from 1636. The other

book was a volume of poems by Thomas Nashe, which was intended

as the first of a series of 'Songs from the Dramatists' ranging over

English draiilatic literature of the sixteenth and seventeenth centuries.

Lyrics containcdin the plays of this period were available only in antho-

logies, outside their original context, and it was the aim of this series to

'supply in an attractive form and at a reasonable price a complete

collection of a dramatist's songs, with the single exception of Shake-

speare'. The volume on Thomas Nashe contained a short biographical

40 The Private Library

Songs from the Dramatiits

Thomas Dekker

Norwich

Printed and Publifhed by Martin Kinder

at the Walpole Prefs, 36 Elm Hill

Title page; reproduced full size

Summer 1967

1931


note, nine verses from 'Summer's last will and testament' and short

notes on points of interest and obscure vocabulary.

This was followed in 1931 by a similar volume devoted to verses by

Thomas Dekker, again with biographical and textual notes. Uniform

volumes of verse by John Lyly and George Peele were planned but

never printed. The aims behind the intended series illustrate very well

Mr Kinder's great interest in literature, especially dramatic works.

One feels that he would not be content to produce merely a piece of

fine printing, although this in itself is an admirable aim, if the contents

were not worthy of the effort.

The next book produced at the Walpole Press was A ballad upon a

wedding by Sir John Suckling, with three line illustrations by H. W.

Tuck of the Norwich Art School. It is interesting to note that this

Ballad seems to be a favourite subject for private press work, having

been printed by at least two apart from the Walpole Press: James E.

Masters of the High House Press, Shaftesbury, Dorset, produced it in

1925, and Robert Gibbings printed a version in 1927, with wood

engravings by Eric Ravilious.

In 1932 the Walpole Press produced a pleasant little book of drawings

of Norwich, again by H. W. Tuck, and printed from wood blocks.

The last book produced (1945) was The book of Tobit, from the

Authorised Version of the Apocrypha, with four photogravure repro-

ductions of paintings of the subject by Domenichino, Pereda, Rem-

brandt and an unknown artist of the School of Verrochio; which were

executed by Hoods of Middlesbrough. Ths is the only book produced

at the present home of the Walpole Press, at Old Costessey, Norwich.

It is unique among the book output of the press in that the text is set in

Poliphilus and Blado italic, all the others having been set in Caslon.

As in the others, ligatures and the long 's' have been used, to good

effect, but not 'u' for 'v' as in the 'Songs from the Dramatists' volumes.

A large proportion of the Walpole Press output, including such items

as programmes, has a very pleasantly 'antique' flavour, owing to such

touches as swash capitals to italics, rules and decorations of printers'

ornaments, and some very attractive 'classical' blocks. This effect is

achieved without ostentation and sets off admirably the simplicity of

the letterpress work.

As well as books, there was still a steady output of playbills for the

Norwich Players (who in 1921 had moved to their present home at

the Maddermarket Theatre, Norwich,) and for other bodies, and of

many well-designed Christmas cards. These frequently used drawings

42 The Private Library

and paintings of Old Masters, and copies of designs by artists as varied

as Diirer and Thomas Bewick. The combination of simplicity and

pleasant design in these cards is typical of the entire output of the

Walpole Press.

Mr Kinder claims that the success of his playbills is due to the fact

that he has always confined himself to a single typeface in any one

piece of work, using only different sizes to obtain variety, and thus

achieving unity. All the books are simple, even conservative, in

appearance, all, except Tobit, being ornamented, if at all, only by

black line blocks and relying for effect upon typeface, layout and the

texture of the paper. Perhaps the most successful in this respect are the

two volumes from 'Songs from the Dramatists'; it is a pity that econ-

omic reasons prevented the completion of this series.

On my last visit to Mr Kinder, I found him, despite poor health,

still printing, and although he now confines himself to such material

as invitation cards and programmes, his enthusiasm and careful atten-

tion to detail and quality are as great now as they must have been in

1913, when the press began.

AN ABC FOR BOOKSELLERS

by John R. Hethering ton

ABA : American [customers] before anyone.

AMERICA: The most magical word that you can put in a catalogue. 'No

copy in America' added to a catalogue entry for e.g. the L.G.O.C.

Timetables for Easter 1925 is invaluable.

AMERICAN LIST: Always let your American customers have their cata-

logues long before you send them to the humble English. This is

their right; no intelligent Englishman will mind in the least if he

happens to find out. The others, well, what of it?

AMERICANA: Any book which contains the word 'America' on page 9

(or on any other page) should be entered under this heading.

MRS CAUDLE'S CURTAIN LECTURES, 1856; first edition with illustrations

by -. Always put a comma after 'edition.' People having the

real first edition (1846) will not think very much of you, but they

don't count.

COLUMBUS : The patron saint of the British bookseller.

Summer 1967


CURIOUS: Customers are unlikely to return books on the grounds

that they are not 'curious.' If a customer should take this course,

however, you can always say that you do not know what he means.

If he asks you what you meant, ignore him. This is a sound general

rule, but an entry in a recent catalogue of a Hampshire bookseller,

'BOOK OF COMMON PRAYER. With many curious plates' is taking

things a little far.

DEFECTIVE: If a customer reports a book as having a serious defect not

noted in your catalogue, perhaps because your knowledge of the

book is shorter than your knowledge - of its 'value', tell him to

send it back as you have many other orders for it . . . The same rule

applies if he offers to retain it at a lower price.

DEPORTMENT: If you have 'entered the trade for mere amusement

and immense profit, make it your constant endeavour to be con-

tinuously idle. Never let vulgar business draw you away from your

toilet (many a fashionable fellow has burst his silk stay lace in hurry-

ing to serve an insignificant customer) but stay before your long

glass at least two hours after you are dressed, practice every elegant

attitude you can think of, nod, bow, ogle, simper, and endeavour

to look bewitching. Habit is second nature, so that by a long and

successful practice of these accomplishments, you soon arrive to a

perfection which most young fellows know the advantage of.

When absolutely obliged to serve in the shop, if a customer

enters, an old prosey-fellow perhaps, and begins to converse learnedly,

supposing yourself, as every Dandy of your profession ought to be,

destitute of learning, look excessively sagacious, with your mouth

open as though you were swallowing every word, seize seasonable I

intervals for exclaiming yes-oh! ah! certainly-just the very

authority I was going to quote-ah! Horace does hint at that I well

remember-yes-yes-ah-I was about to make the same con-

clusion myself-strange coincidence of idea, and so forth; taking

care, by the apparent sensibility of your answers, to make the

person who converses with you believe that you are as skilled in

learning and reasoning as himself.

When a lady enters, show her some of the warmest books you

can lay your hands on, such as Peregrine Pickle, Tom Brown, or Fanny

Hill, if you have it. Point out the most tempting plates, and by the

flow of your eloquence, endeavour to put the female, if she be

handsome, in a delightful humour . . . '[from Dandyism displayed,

18251.

The Private Library

I

I

DOLLARS: When inserting prices it is still customary, though a little

old-fashioned, to show the equivalents in England money. There is

a risk that this will frighten the English customer.

DOLLY DIALOGUES: If have the 1896 edition of this, call it the First

Edition. You will be in good company. Should you find yourself

in possession of the 1894 edition you had better keep quiet about

it, otherwise you will only make yourself conspicuous. If, further,

you notice that it is illustrated by Arther Rackham, don't believe it.

He ought to have known himself that it was not his style.

DIFFICULT: TO talk of a book being 'Difficult' is genuine jargon, all

right in the back ofice or the back bar. A word sedulously intro-

duced into amateur writings on book collecting.

rnnons IN DESCRIPTION: If a customer explains and proves an error in

your description of a book which he already has, thus taking some

of the shine off its price, thank him. If he repeats the offence, cross

his name off your mailing list.

IMPERFECT: (a) when selling it is as well to note any imperfections

when describing a book, as you do not want it sent back to you by

return. But this is something that can be done discreetly and without

over emphasis. You may for example be able to say that the Christie-

Widener-Saltykov copy was even shabbier. And your customer may

be impressed . . .

(b) when buying burst into tears, and let one of your assistants

ask the would-be seller to leave quietly. If the would-be seller

suggests the Christie-Widener-Saltykov copy, cut him short and tell

him that even if true it is nothing to do with him. It is a bookseller's

point.

(c) stock not so marked. If a customer in the shop points out an

imperfection-obvious or otherwise-which has escaped attention,

thank him politely, and put the book back on the shelf. There is

always the chance that an American will dash in on the way to

the airport.

IMPORTANT: An 'important' book is one in your stock that you want

(a) to get rid of, and (b) at your own price.

MINOR POET: It is an amusing game for the bookseller's cataloguer to

hide books under headings such as this. When he decides that a man

is a Very Minor Poet, of course he must go among the V's.

POETICAL MISCELLANY: A vogue-phrase since c.1945, and to a lesser

extent since 193s. It is believed to have magical qualities, and its

reiteration all the way down the page can in some people have a

Summer 1967 45


genuine hypnotic effect. The rule is that a book must have at least

three sets of verses by different authors; should the work you are

listing have only two sets of qualifying verses in its four hundred

pages of prose you are most unfort~mate. A courageous bookseller

will chance his arm with 'Could almost be called a Poetical Miscellany.'

Prose miscellanies are not mentioned in polite circles.

PRESS BOOKS: These are books which have been printed on presses.

They are valuable and important. Most books are not press books.

Their origin is obscure.

SERVICE TO BIBLIOGRAPHY: If a customer, told that a book hc had

ordered is sold, asks you to transmit a bibli~~raphical enquiry, sent

to you in a stamped unsealed envelope, report him to the police for

importuning, malfeasance, and misprision.

SHAKESPEARE'S HOLINSHED : It is annoying to find that nearly fifty years

ago the proofs were published (in Everyman's Library, too) that thc

Holinshed Shakespeare read was undoubtedly the 1586 edition. If

you therefore feel that you ought to stop calling the 1577 edition

'Shakespeare's Holinshed' say instead that it zlsed to be knozutl as

Shakespeare's Holinshed. But anyway, collectors seldom read, and

librarians have no time to.

WANTED : Tobuy a 'wanted'book for stock is good business. But beware

of telling a customer that a certain book is 'wanted.' Some will

even suggest that those who want it had better have it.

REVIEWS

JOHN LEWIS, The twentieth century book, its illustration and design. London, Studio

Vista, 1967. PP. 270 (mainly plates, some in colour). A6 6s.

In a review of The art nouveau book in Britain in the last issue of the Private

Library R. G. spoke strongly against some ofthe deliberate eccentricities indulged

in by publishers of coffee table books. During the first few moments that one

handles John Lewis's The twentieth century book one is overcome by a despairing

feeling that here is yet another of them-a large square book, which is too

clumsy to be held comfortably in one's lap, whose pages do not lie open comfortably,

filled with illustrations printed in a rather too dark monochrome or else

in somewhat dubious colours, and with the text printed in an uncomfortably

small size of that unloveable typeface inflicted by typefounders and typographers

on the public, the fashionable 'Univers'. Nor does the flat-backed binding

in red leatherette cheer one very much. This is, undoubtedly, a member of the

coffee table family, and was presumably intended as such by its author who also

4 6 The Private Library

designed the volume. Yet as onc perseveres although these feelings do not

disappear one is compelled to admit that it is a very good coffee table book. Mr

Lewis's chosen subject almost coincides with that of Ruari McLean's Modern

book design (Faber, 1958) and it is interesting to compare the way the two

authors have treated it. Mr Lewis is at an advantage with over six times the

number of illustrations (though at six times the price) and he is therefore able

frequently to let his text illustrate his pictures rather than the reverse. And,

with McLean's straightforward account already on the market he was able to

concentrate his attention on particular areas of the twentieth century scene

instead of attempting a more generalised survey. One or two of his on~issions

seem odd-one would have thought that Dutch typography would have

merited some attention-but on the whole his selection of topics is good. Mr

Lewis's survey of the influence of the French edition de luxe on Anglo-Ameri-

can commercial work, of the illustration and design of children's books, and of

the paperback revolution is useful and well thought out, and provides an

excellent counterbalance to McLean's somewhat annalistic and perhaps over

traditional approach. It is howcver highly compressed, Sunday supplement

prose and for continuous reading has a rather staccato quality. The illustrations

on closer examination are by no means as bad as one had feared. The colours

still remain rather dubious, as in the reproduction of the Eragny Press title-page

on page 18, and the wood-engravings in particular among the monochrome

reproductions lose a great deal in reduction. A comparison of John Farleigh's

engravings for The adventures of the black girl in her search for God with the

reproductions on pages 168-9 shows this very clearly. Again, the reproduction

of one of David Jones' engravings on page 164 is most unpleasant. Christopher

Sandford writing in Cockalorum said that he had included two of Jones's

engravings there 'only because I have a passionate admiration for the concept-

ions of this great artist. Owing to his shallow engraving of the wood, these

blocks are virtually unprintable'. One must assume that Lewis's reproduction

was made from a very poor print. Elsewhere however there is no doubt that

the velvety blackness of the lit110 printing pays off admirably in a selection of

illustrations whlch is excellent and includes many relatively unfamiliar and

exciting things. There is no bibliography, but a good index.

These comments may appear severe, and were Mr Lewis's book not of very

real interest and value one would not bother to comment. Despite the lapses in

quality of reproduction and mannerisms which one is not alone in fmhg

tiresome, The twentieth century book by today's standards gives a good deal for

one's money.

R.C.

DAVID DIRINGER, The illuiriinated book, its history and production. London, Faber,

new edition 1967. Pp.514, 254 monochrome illustrations and 16 plates in

colour. 9 gns.

The opportunity has been taken in producing this new edition to enlarge the

format from 9%" x 6 to 9H" x 6v and to reduce the number of pages by ten.

This edition has an additional ten colour plates, very attractively printed, and

has been revised with the assistance of Dr R. Regensburger. The range of

Summer 1967 47


material covered is enormous, from the Ancient World to the fifteenth century,

and includes middle eastern illumination as well as that of western Europe.

Every chapter has allotted to it thirty to forty small illustrations-generally

three or four manuscripts per plate.

Obviously a book of this scope cannot hope to be very original and Dr

Diringer has no hesitation in quoting authors from whom any particular chapter

is compiled. In fact their names appear in the text, instead of in footnotes, in a

manner which does nothing for the author's prose, which is of the Ph.D.

demotic variety with no pietensions to style. -one cannot imagine anyone

actually reading through this book; to whom it is addressed is an enigma. At

one end of the scale we have such translations as Most Rich Hours: at the other

incomprehensible statements such as 'The following are copies of the Stjdrn:

AM 227, AM35o. . . '. Even to a reader with some knowledge of mediaeval

Icelandic literature this is baffling. There are also unexplained eccentricities in the

text. Why does the manuscript cited on p.375 open St John's Gospel 'In initio'?

It is a pity that the work was not organised as an annotated bibliography,

for it is in the number of illuminations located and illustrated that its value lies.

It is thus doubly unfortunate that the index is so bad; trying to link text with an

illustration is a frustrating experience. Plate V-18a is captioned as Fitzwilliam

Museum Bestiary (MS. 379). There is no reference under this title in the index,

but 'Cambridge: Fitzwilliam Museum: Bestiary' gives this illustration number

and p.277 where the text refers unhelpfully to McClean MS I 23, a completely

different work.

Errors which appeared in the first edition have been allowed to remain

unchanged. Plate VI-~b B.M. Royal MS. 15.C.xi still reads f.15 v. instead of

f.1~6 whlch it shows.

one must admire Dr Diringer's dhgence and application in assembling this

immense mass of material. There are vrobablv more illustrations of illuminations

here than can be found gathered together anywhere else. The conclusion is

nevertheless inescapable that he has tried to put too much into a single volume,

and the book is just not organised for its user. What a pity that the time expended

on these two editions was not devoted to breaking the subject down and

writing two (or more) separate books.

G.W.

GERALD COE, Small booksellc~rs and collectors directory. Coe, Market Harborough,

Leics. 1967. Pp. 1o8+40. Reproduced from typewriter script by offset-litho.

Paver wravvers. Stabbed 21s.

I L

Bookcollectors in strange haunts are often at a loss to discover the local

booksellers. This Small booksellers and collectors directory will enable the boolush

traveller to seek out and purchase from the five hundred or so small booksellers.

The Sheppard Press Directory of antiquarian and secondhand booksellers has

enabled us for some time to find the bigger ones, but not the smaller ones.

The Small booksellers and collectors directory could then rank as a Good Book Guide.

Following the list of sellers is a list of collectors; two hundred and fifty of them.

It's nice to know who has your interests, and for the dealer it is useful as a

4 8 The Private Library

guide to whom to send his specialist catalogues. In each of the two sections there

is a small international list, which brings us into contact with our overseas friends.

Well done Gerald Coe for this at Icast. There was a first edition last year

that was much smaller (somc three hundrcd sellers, and on~itting the collectors),

produced by good honest stencil duplicator. This second and greatly enlarged

edition is produced by offset-litho, which is a pity, as it is not a great success.

The quality of the print is very uneven and the side stapling makes it difficult to

consult; there is a garish red cover, with gold bocking that tends to rub off. Do

Dillon's University Bookshop count as small? And how many books docs Jean

Straker sell? But all this petty criticism is by the way. This book ought to be

on every collcctor's shelf: as a native of Bristol I havc discovcrcd two local

booksellers that I did not know of before, and for the rest of you, up and down

the country, you too will probably uncarth many more, so go and buy it, and

good hunting.

P.K.W.

STUART MASON, Bihli?graph)l of Oscar I Vildc. London: Bertram Rota 1967.

Pp. 6 (unnumbered) -t-- xsxix $- 605,r4 platcs, 91 facsindes. Photolithography.

k,X 8s.

Serious students ofthc I 890's will be familiar with Stuart Masons' Bihlir!graphy

?f Owar IW'iIdc. Published in 1914, it has long been out of print and for many

years it has not been casy to find a second hand copy. It is a highly desirable

book as it is not confilled to strictly bibli~gra~hical information; for example

much bioeravllical material is included.

O l

Now Bertram Rota Ltd, the antiquarian book scllcrs who spccialisc in modern

first editions, have issucd a photo-lithographic reprint of Mason's book with 'an

1,800 word critical introduction by Timothy d'Arch Smith'. This introduction

occupiesjust over five pages: ofthese approximately three and a half are dcvotcd

to a bionrauhv of the l>iblioeravhcr.

a i c, L

s he justitication for the uncorrected re-issue is partly based upon the fact that

exceptionally few errors and omissions liavc been brought to light since 1914

and Mr &Arch Smith has, I believe, rcpaircd the more important omissions in

his introduction.

But when Mr &Arch Smith states 'only two significant ucw publicntious

would havc been addcd (to an entirely new edition)' - the original four-act

version of Thc I~nport~r~rc~ '4 hciry Errwst (1956) and the collected edition of

Wildc's letters (1962) and Abrdnin Horo&sch's Oscar LViIdc's Ballad qflic~adirlgr

Gaol: a Biblio~yraPhical Study (1954) -his opinion is open to question. Whilst the

significance of the relevant contents of the following books and periodicals may

be debatable, a good case can be made for, at least, mentioning them in the

introduction. ~c~asrrs Vol I. No. I. Nov 191s (Calcutta) contains two stories

said to be by Wilde; Cotcric Winter 1920-1931 iuclud~s a poem 'To M.B.'

attributed to Wildc; Two Worlds (Junc 1926), The Dnhh Review (July 1938),

Horizon (April & May 1941), Adanr (Nos 241-243, 1954), The Adelphi (second

quarter 1954), B&tir~ ofthe Nc~v YO& Ptrblic Lihmry (August 1956), for example,

contain valuable articles relating to Wilde. The biographies and studies of

Boris Brascn (New York 1938), Vincent O'Sullivan (Constable 1930), Frances


Winwar (New York 1940, riot 1941, cdition with introduction by Lord Alfred

Douglas) could have been mentioned. The sixth chapter of Jacob Epstein's

Let There be Scrrlpture (1940) on the tomb of Oscar Wilde would have been

included by Mason. And what about the plays about Wilde; for example

Oscar Wilde by Leslie and Sewell Stokes, first produced, I believe, at the

Boltons Theatre, Kensington, London, in August 1948, and the musical

version by Noel Coward of Lady Windermere's Fan entitled AfZer the Ball,

produced in London in 1g54?

The omission of C. J. Finzi's Oscar Wilde and his literary circle (University of

California Press 1951) and the two catalogues of the Aubrey Beardsley Exhib-

ition (Victoria and Albert Museum London 1966 and the Museum of Modern

Art 1967) is disappointing; and there is not even a brief reference to Vyvyan

Holland's Son of Oscar Wilde (1954).

The price of this reprint--eight guineas-is to be regretted. As one who also

publishes books by photo-lit110 I believe it could have been less. I am only sorry

that many modest collectors and students will be unable to afford to purchase

a copy and will have to rely on borrowing one from their local library. But

perhaps we will now be able to obtain a copy of the original edition more easily

and for less. M.A.P.

HELLMUT LEHMANN-HAUPT, Gutetibry ad the Master cgtlie Playirtg Cards.

New Haven and London, Yale University Press, 1967. Pp. xii $- 83, 38 fascimiles,

chart in pocket. 5 gns.

The first thing which strikes the reader of this book is the meticulous care

with which it has been produced. The casing is quarter black cloth with red

sides, on which is blocked in gold a grazing deer. The dust jacket has been done

away with and replaced by transparent plastic. It is a pity more publishers do

not do this, as it might result in a revival of more decorative casings, which are

more durable than jackets. The text is printed with extra wide outside margins

to allow for the shoulder notes set in black letter and printed in red. There are

black and white tone illustrations printed with the text and a number of coloured

half-tones, beautifully printed.

This monograph is an expanded version of an article which first appeared in

the Gt~tc.t~berg-Jahrbuch in 1962, and is divided into two parts, the first being

devoted to factual information whch is interpreted in the second. The Master

of the Playing Cards was the earliest known copper engraver, whose work has

survived largely in the first intaglio printed playing cards. By comparing these

illustrations with a number of contemporary manuscripts Mr Lehmanli-Haupt

is able to postulate that they were produced at Mainz about the same time that

Gutenberg was at work there. He believes that Gutenberg intended to produce

not only printed books but printed illuminations as well, as was in fact done in

the Mainz Psalter. The Author suggests that Gutenberg was involved in thc

production of this colour printing and goes in considerable detail into the way

in whch the printing surfaces might have been produced. Some of these tech-

niques were not in fact realised until the nineteenth century. In this field, as in

that of the fifteenth century book the author's wide knowledge is amply

demonstrated and his hypothesis makes fascinating reading. G.W.

50 The Private Library

W. W. GREG, A contpatiior~ to Arber. Oxford. Clarendon Press. 1967.

Pp. xi-451. 2(;5 15s 6d.

Edward Arber's Transcript of the Registers of the Coriipatzy of Stationers of

Lorzdorr, 1554-1640 was published between 1875 and 1894. It is an important,

yet frustrating, book. Naturally important because the archives of the Stationers'

Company constitute the most important single source of information regarding

the book trade of ths country, Frustrating because of the lack of organisation of

much of the evidence. In his introduction to the Transcript Arber wrote that the

future historian of the Company would be 'grateful for the first-fruits here

ingathered'. 'This', wrote Cyprian Blagden, 'is an understatement. Not only

did he transcribe and annotate many hundreds of pages of the early records,

but he dug out of the British Museum and the Public Record Office many

pieces of relevant material-some printed but most in manuscript-which he

incorporated (on a highly idiosyncratic plan) in the Transcript.'

The most idiosyncratic part of the plan was that the documentary evidence

produced as 'illustrative matter' was neither in chronological order nor indexed.

Sir Walter Greg concerned himself with the Stationers' Company over many

years. His transcript, with Miss Boswell, of the Records of the Court of the Stat-

ioners' Company, 1576-1602 appeared in 1930, whde Some aspects and problems

ofLotzdon publishing betweerl ISSO and 1650 and Licensersfor the press . . . to 1640

came at the very end of his long life. His use of Arber during thls time, and

especially his intensive study of it during the War, led him to compile a chrono-

logical calendar of Arber's illustrative documents together with supplementary

ones whlch Sir Walter unearthed, primarily in the B.M. and the P.R.O. This

it is which he called his supplement to Arber and it has now been published

under this title.

The book now makes easily available, and much for the first time, a fascin-

ating amount of detail relating to the trade. To take one particular aspect;

information regardmg book prices is notoriously difficult to obtain, yet it is

central to much of our understanding of the problems of the times. Entries

for the years of the late 1570's and the early 1580's stress some of the problems

of monopolistic printing; especially high prices and poor workmanship. By

1614 it is being suggested that these two factors are aggravated by the excessive

use of apprentice labour. In their turn printers deny having raised the price of

books (1621) while a spirited document of 1583 had suggested that book

prices were not excessive 'considering the great losse that printers beare when

bokes unsolde' came to be merely waste paper.

A faintly modem, if discordant, note was sounded in 1625. Scholarly books

which had been first printed in Oxford or Cambridge were being printed

abroad. They were, so the Universities alleged, 'inferior and incorrect reprints'

and they were being imported into this country. Less likely (one hopes!) to be

parallelled in modem times was the occasion in 1605 when the Archbishop of

Canterbury was called upon to fix the price of a book the privilege for which

had been granted at his recommendation.

Systematic reading of the book, together with related works, provides

the background to the booktrade; inconsequential browsing produces endless

hours of enjoyment. Scholarship and serendipity alike are served. In the

Bookman's Litany thanks are chanted endlessly to the Oxford University Press.

Summer 1967 51


This book provides J-ct another reason why this should be so. It presents us

with a book which over the \vllolc of its 3 j5 pages of tcxt is chock-full of detail.

To this lras been grafted an indcx of nearly loo pages; an indcx which is so

good as to be an early claimant for the Wheatlcy Medal for 1967. Terms of

absolute quality are 6.w in any langu'~gc, Hristol hshion, AI at Lloyds, Jennings

condition. To tllcsc must be added-(;reg accuracy and metic~do~s scholar~hip

-and this edition shows why.

ROY STOKES

A. F. JOHNSON, Typc Dcs(ps. 3rd revised ed. Londo~l, Andre Deutsch, 1966.

Pp. viii, I 84, illus. 42s.

The tcxt of this new edition appears at first to be identical with the last, but

a careful comparison of the two reveals a considerable number of new attributions

of faces, and references to rcccntly work, lnrgcly basd on

rcscarches at Antwerp and Oxford. Critical comment on thc tcxt of a clnssic

such as this is hardly called for in a notice of its third edition: thirty-three ymrs

after its first appearance it remains csscntial reading for the student of typc

faces within the period it covers, and it is beside the point to wish that this

cstcnded into the twentieth century.

Some criticism of the illustrations would however sccm to be justified.

A setting in Monotype (to display Baskcrville) plus 42 facsimiles has

seemed vcry inadequate for the treatment of four and a half centuries of type

design, and with the doubling of the price of this new edition we might havc

expected considerably more illustrations. Instead, we have to make do with

what we had before, with the old blocks over-inked, and in some cases even

offset onto facing pages.

The binding is fortunately much improved, a sinlple dark blue cloth replacing

the two-tonc, ova- gold-blocked affL1ir that disfigured the last edition.

D.J.C.

M. J. SOMMERLAD, Scclftish '11~'l!c~l' aid 'Hc,rriiiy-iion~') Bii~dii~s in tlw Bodkinii

Librnry, an illustrated handlist. Oxford Hibliosrapl~ical Society, ~967. (Occas-

ional Publications no. I.) Pp.10, 4 plates (28 illustrations.) Wrappers otfset

10s 6d.

This, the first of a wclconle sciics of occasional publications from the Oxford

Bibliographical Socicty, is a llandlist ofthc two peculiar Scottish styles of binding

decoration which flourished in the eighteenth century and have becon~e known

as 'wheel' and 'herring-bonc' bindings. Sommcrlad points out the obvious

relationship between these wheel dcsips and the fan bindnlgs which werc

common in the continent of Europe a ccntury earlier. The author acknowledges

his debt to the section in G. D. Hobson's G!qlislz Bindi~ys ill the Library ojj. R.

Ahhey (1940)~ but points o ~ that ~ t most of the bindings in the present handlist

are in the Buchanan or Sibson collections and were therefore likely to havc bccn

unknown to Mr Hobson as they came to the Bodleian after the publication of

that book. This therefore is an extension of Mr Hobson's book and in this rcsvect

it is intercstin~ a and useful to have these additions. It is intended. as Mr Somnlerlad

points out, to be nothing more than a handy guide, and it is certainly this.

R.G.

RECENT PRIVATE PRESS BOOKS

The beqireathing ofthe Doves types, excerpts from the Journals of Thomas James

Cobden-Sanderson, 1879-1922. (Pp. 17, 68x4; inches. Quarter cloth with

marbledpaper boards. soo copies, price U.S. $5.00. Magpie Press, 2418 Sonoma

Street, Honolulu, Hawaii, U.S.A.) A series of some of the most interesting

passages in wluch C-S. described how he destroyed the famous Doves type

which should have descended to his erstwhile partner Emery Walker, vcry well

printed under difficult conditions by Margarct Taylor in Honolulu and Roberta

Nixon in Santa Monica, California, using Benlbo and Narrow Bcmbo.

New Wings.for Icarns, a poem by Henry Bcisscl, with ten coloured lithographs

by Nornlan Yates. (Pp. 47, 94 x 5) inches. Stapled into black paper covers,

with wrappcrs tipped on. 500 copies price $2.50. Coach House Press, 317

Bathurst Strcct, Toronto 2B, Canada.) Interesting modern verse very well

Jlustrated.

The LSD Leacock, by Joe Rosenblatt, with twenty drawings by Bob Daigneault.

(Pp. 52, 78 x6P inches. Sewn into paper covers with wrappers tipped on. 500

copies price $2.50. Coach House Press, 317 Bathurst Street, Toronto 2B,

Canada.) Experimental verse, evocatively set, with thc drawings reproduced

by offset.

El Toro and other poems by Helena Turunen, with six drawings by George

R. McDonagh. (Pp. 72,9 x 5+ inches. Fabroleen boards. 48 copies price $15.00.

Roger Ascham Press, 87 Ridge Drive, Toronto 7, Canada.) Well printed and

illustrated; spoiled by a rather clumsy binding in yellow Fabroleen blocked

rather too heavily in terracotta.

The poetry of Demetrios Capetanakis. (Pp. 22, 11 x 8 inches. Sewn into boards

with Fabriano paper wrappers tipped on. IOO copies, price U.S. $10.00. Janus

Press, RFD 2, West Burke, Vermont, U.S.A.) A severcly classical layout from

what is often one of the most experimental of American prcsscs. Set in an

unhappy choice of typefacc, Century Expanded, but immaculately printed in

black and silver on Rives Paper.

Experiments with the Bradley Ornanzents, arrangements by Leonard Bahr, with

quotations from the writings of Frederic Wardc and other typographers.

(Pp. 16, 9% ~ 6 inches. % Black papcr wrappers. 473 numbered copies, price

U.S. $10.00. Adagio Press, 19972 Lochmoor Drive, Harper Woods, Michigan,

U.S.A.) The ornaments, designed by Bradley in 1952, are displayed in various

colours and many combinations which took some 41 press runs to print.

Printed on four colours of Italian Fabriano paper. Immaculate presswork.

The Myths ofCal@rnia Isle, by Frank J. Thomas. (Pp. 48,24 ~2 inches. Quarter

linen with French paper boards. 200 numbered copies, price U.S. $10.00.

Ten Fingers Press, 2271 Cheremoya Avenue, Los Angeles, Cakfornia 90028,

U.S.A.) A miniature book printed on damped Rives paper in Bembo, Narrow

Bembo and Centaur. Tipped-in frontispiece map and several miniature illustrations.

The type is really a little too large for the page, and the paper a little too

thick, but nevertheless this is a pleasant chunky book, and has the merit of an

original and interesting text into the bargain.

Summer 1967 53


A Babylonian anthology, translated from Akkadian by William White Jr., with

twelve he illustrations; mostly in three colours. (Pp. 84, 102 x88 inches.

Quarter bound in niger morocco with cloth covered boards. 200 copies, of

whch 150 for sale at U.S. $60.00. Bird and Bull Press, 321 Elm Avenue, North

ms, Pennsylvania 19038, U.S.A.) A press book it1 the grand tradition. The

3500 sheets of paper took the printer twenty-two weekends to make, and the

printing, begun in August 1965 was finished early in the following year. All

copies were sewn at the press, but only 66 were fmished by the printer, the

remainder going to Sangorski and SutclifXe. The early d&culties experienced

both in paper making and printing have all been triumphantly overcome in

ths, the fifth book from the press. The texts translated include The Epic of

Gilgamish, The Descent of Ishtar, The Lament of the Righteous Sufferer, and

extensive selections from historical and legal documents, cuneiform correspondence

and other commonplace pieces of the period.

Firstpoems, by J. Farquharson. (Pp. 16,8$ x 5+ inches. Sewn into paper wrappers.

160 numbered copies, price 7s.6d. Garamond Press, Crown House, Stoke Ferry,

Norfolk, England.) Attractive poems, nicely printed. A welcome opportunity

to buy some of Juhet Standing's work.

A story, by Vic Atkins, with four illustrations by Pete Harper. (Pp. 10, 4 x4A

inches. Paper covers. IOO copies, of which 30 for sale, price 8s. Black Knight

Press, 39 Connaught Street, Leicester, England.) A gruesome new legend; a

very slight piece of printing, but very well done.

Till the Leaves Come, by Vic Atkins. With four wood-engravings by Jean Cecil

and two line-block reproductions of leaf prints by Duine Campbell. (18 leaves,

printed on one side only, folded at fore-edges, 62 ~ 4inches. 4 Natural canvas

boards. 70 copies, of which 40 for sale, price ;I;I IS. Black Knight Press.) Poems

and essays inspired by the author's experiences as a road-sweeper. Coarse

wood-engravings. Printed on Barcham Green's Bodleian paper; side-stitched,

with apple-green Japanese end-papers.

Twenty jive poems, by Brian Waters. (Pp. 27,94 x 6t inches. Stapled into paper

wrappers. 130 copies: 65 for members of the Society of Private Printers, 65 for

sale at 18s. The Martlet Press, Hutton House, Suffolk Place, Cheltenham,

Gloucestershire, England.) Simple typography, nicely printed. Most of the

poems are here printed for the first time, though written between 1925 and 1957.

Weather of Stars, by Neil Spratling, with seven lino cuts by Paul Peter Piech.

(Pp. 14, 10 x3& inches. Stapled into black paper covers. 200 copies, price 5s.

Taurus Press, 2Willow Dene, Bushey Heath, Herts., England.) Number 3 of

the Taurus Poems. An attractive tall narrow format. The cuts printed in black,

the text in blue.

Eleven engravings by Edward Calvert, with a prefatory note by Raymond

Lister. (Pp. 7+11 plates, 11 x 89 inches. Quarter cloth. 225 copies, price ;I;3 3s.

Golden Head Press, 513 Coldham's Lane, Cambridge, England.) Calvert's

plates, executed between 1827 and 1831, are reproduced by collotype from the

set issued in 1904 by Carfax and Co. Ltd.

An impression of autumn, a landscape panorama by Morris Cox. (Pp. 26, 8 x 48

inches. Bound in decorated paper boards. IOO copies, price A2. Gogmagog Press,

distributed by Bertram Rota Ltd., 4,5 & 6 Savile Row, London W.1, England.)

Triumphant autumnal conclusion to Cox's seasons. Ridiculously underpriced.

The Private Library

Passing Scene, eighteen images of Southern Africa, by Rupert Shepherd.

(Pp. I I + I 8 prints, I 5 x I I 3 inches. Orange buckram, printed with a two-colour

design by the illustrator. 220 copies, of which 170 for sale, price E18 18s.

Stourton Press, 39 New Broad Street, London EC2, England.) Founded in

1931, the press moved to Cape Town in 1949, and has printed two books since

its return to London in 1961. The first was a ma@cent portfolio of reproductions

of paintings by Harold Gilman and Charles Ginner. This new book

has eighteen perfectly printed multi-colour lino cuts, many of which were

originally issued in South Africa in small editions at eight to twelve guineas a

print. Gathered together in a book they make a most impressive showing.

Prelims and notes are set in Aries, designed for the press in the thirties. Bound

in fd buckram, one could have wishcd that the boards were rather stouter,

but this is the only possible fault in an otherwise exceptionally fine production.

Nine poems, by Robert Burlinghame, with woodcuts by George Bachman.

Pp. 19, 8g x6 inches. Full cloth. 75 copies, price U.S. $3.00. Cibola Press,

P.O. Box 238, Wheat Ridge, Colorado, U.S.A.) The first book from ths press,

well printed on Rives paper in Centaur and Arrighi types, and with a splendid

abstract woodcut by the owner of the press exploiting the grain of the wood to

the full. Slightly spoiled by the choice of the red leatherette cloth for the binding,

but an excellent foretaste of the press's work.

The dream of the Rood. (Pp. 25, 10 x 8 inches. Quarter calf with Taiten paper

boards. 150 copies, price U.S. $20.00. St. Teresa's Press, Carmelite Monastery,

Flemington, N.J., U.S.A.) The second substantial work from the Carmelite

Nuns of Flemington, well printed in Solemnis type and with many initials

illuminated in the manner of the Book of Kells. An interesting and successful

essay in an unusual form, marred only by the unsatisfactory quality of the

binding leather. Inspired by the work of the Stanbrook Abbey Press, St

Teresa's Press has here moved very far from the close imitation of the Stanbrook

style evident in their earlier book The Prince $Peace.

Equality of opportunity and discrimination, by Dwight Agner. With a lino cut by

Margaret Agner. (Pp. 16, 7 x ~ inches. B Sewn into paper covers. IIO copies,

price U.S. $1.00. Press of the Nightowl, 337 Algoma Drive, Pittsburgh,

Pennsylvania, U.S.A.) A thoughtful comment on some of the features of

racialism, very well printed in the little seen Ile Roos Roman. An unpretentious

production, carefully designcd and well executed.

Falstafland his companions. With twelve silhouettes by Paul Konewka. (Pp.42,

2f x 13. Full cloth. 375 copies, price U.S. $4.50.)

briefs: poems by Tram Combs. With seven drawings by Dorothy Clark.

(Pp. 82,24 x 1%. Full cloth. 425 copies, price U.S. $4.50. Both books published

by the Hillside Press, P.O. Box 204, Franklin, New Hampshire, U.S.A.) Two

further volumes in the by now familiar Hdlside miniature format, as usual well

executed. For the present writer Tram Comb's poems with their strong West

Indian interest make briefs the most successful of Hillside books so far published.

Summer 1967


Titles now published in Gale's distinguished

list of REPRINTED CLASSICS

AUTHOR BIOGRAPHY SERIES

Latham, Edward. Dictionary of Names, Nicknames,

and Surnames of Persons, Places, and

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