Showing posts with label Handwriting. Show all posts
Showing posts with label Handwriting. Show all posts

Monday, July 16, 2012

Autograph In The Rue Morgue: A Tell-Tale Poe Forgery

By Stephen J. Gertz

The signature in question.
Poe used two styles of handwriting, a fluent script in his letters to intimate friends, and a painstakingly legible hand in his formal letters and the manuscripts he prepared for publication. Poe's is the most avidly sought of American literary autographs. Anything in his hand, signed or unsigned, commands an awe-inspiring price (Charles Hamilton, Collecting Autographs and Manuscripts, p. 116).

Hamilton's samples.

It was Pavlov's dog-time when a beautifully rebound first edition copy of Poe's Tales (1845) landed on my desk with a breathtaking slip tipped-in to one of the preliminary blanks.

The slip was addressed, To Col. Richard B. Mason / Holmes Island / Lustrins Calf., and signed, in the lower left corner, From Edgar A. Poe.

Mother of Mercy!

Then I looked closely and my salivary glands withered like grapes into raisins.

The tipped-in slip.

First, the hand that wrote the signature and that which addressed the slip are completely different, beyond those variations noted by Hamilton. The address bears little if any resemblance to samples of Poe's casual or formal penmanship. Poe did not write that address.

Authenticated examples of Poe's signature.
Note informal style at center.
 Courtesy of TomFolio.

Furthermore, it makes no sense that, if Poe had written the address, he would have used his formal and painstakingly written signature as sender. He would have likely used his informal autograph as seen above at center. Note, too, that, based upon authentic samples, when Poe wrote his formal signature he invariably added a final, usually decorative, underline. That flourish is absent from this formal autograph.

Authentic Poe letter.
Courtesy of Bauman's Rare Books.

But more than the general differences in handwriting, the weird mix of formal and informal styles on the same slip, and the absence of an underscore to the signature, there is a nearly invisible sign that this autograph was obviously monkeyed with. The lower left corner of the slip upon which  the Poe autograph is found has been washed. It is not obvious unless viewed at the proper angle in the right light. When the slip was recently photographed it was lit so that the washing would be apparent.

Detail of signature from above letter.

This copy of Tales was rebound c. 1920s by Curtis Walters of New York. That approximate date of rebinding, when the slip was likely tipped-in, provides a tantalizing possibility about the origin of this forgery. It suggests that it was the work of Martin Coneely, aka Joseph Cosey (1887-?1950).

Joseph Cosey.

At some point during the early 1920s Cosey visited the Library of Congress and stole a pay warrant signed by Benjamin Franklin dated 1786. Shortly thereafter and broke, he attempted to sell the document to a dealer. The dealer rejected it, claiming it to be a fake. Indignant, Cosey went home and carefully, after studying examples, forged Abraham Lincoln's signature and presented it to the same dealer, who bought it. Cosey felt triumphant.

Franklin, Lincoln, and Poe became his favorite subjects; Cosey had a deep affection for Poe's work. Cosey was good, very, very good. He used period ink, paper, and writing instruments. It is known that he used modern chemicals to treat paper when necessary.

I strongly suspect that this example of Poe's signature to this addressed slip was the work of Cosey, perhaps an early exercise at a time when Poe autograph and manuscript material was hot (it still is),  he was beginning to experiment with paper-treating chemicals, and curious about what he could get away with. 

Part of Cosey's genius was that when he offered his work he never claimed it to be authentic; he left it up to the buyer to decide. If the work was subsequently judged to be faked he was in the clear; it was the dealers who erred in their evaluation. I imagine that he offered this early exercise as a test to see if it would fly. It, apparently, did. At the time the unknown duped buyer (perhaps Walters, or the bookseller or collector who commissioned the binding) purchased it autograph and manuscript forensics were in adolescence, few dealers had deep experience with Poe autograph material (there was not much genuine material recorded at the time - nor now), and the quest for Poe material likely blinded those involved to err on the side of hope.

Authenticated Poe addressed envelope.

All forgers have a "tell,' something that gives them away. For Cosey, it was the simple fact that signatures evolve over time. He was appending Franklin autographs forged from samples from early in Franklin's life to documents written later when Franklin's handwriting had deteriorated. His Lincoln forgeries were revealed by "A. Lincoln" being on the same plane; genuine Lincoln signatures have "Lincoln" slightly raised above the initial "A."

Authentic Poe manuscript sample.Courtesy of Cornell University.

In the hierarchy of autograph material an author's direct signature to one their books is valued higher than a tipped-in envelope with autograph. A tipped-in "clipped" signature (the autograph excised from an original document) is valued even lower. If this tipped-in slip with autograph had been authentic it would have likely added at least $5,000 to the book. As it turns out, because of his notoriety, skill, and chutzpah, Coesy forgeries have become collectible in their own right. There remain samples not yet firmly identified, and this may be one of them.

If it can be firmly attributed to Cosey it may add $500-$750 to the book's market value.

At this point, however, what we have is a very interesting and lovely first edition of Poe's Tales with an obviously fake autograph, one that may be significant as an early example in the development of a notorious master forger.

It's certainly not the story I hoped for when I first laid eyes upon this copy of Poe's Tales. But it's still a pretty good one, a latter-day Poe tale of mystery and imagination.
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Monday, January 10, 2011

The Art of 18th Century Handwriting

The Peter A. Wick Collection of rare writing manuals and calligraphy books celebrates a dying form of visual art.

by Stephen J. Gertz

Title Page.

TORIO DE LA RIVA Y HERRERO, Torcuato. Arte de escribir
por reglas y con muestras, segun la doctrina de los mejores
autores antiguos y modernos...
Madrid: [La Viuda de Don Joaquin Ibarra], 1802.
Palau 334356. Brunet V, 885. Graesse VII, 174.


When New York City's P.S.2 third-grade teacher Mrs. Stallone patrolled the aisles during penmanship classwork in 1960 we all sat in abject fear of the martinet with piercing eyes and tight, red hair bun.  She was a stern mistress of cursive script and the scourge of poor hand-writers. Her mandate: to transition us from block-lettering to graceful flowing lines and turn  illegible doodles into legible writing.

"Round, curve, and glide, Mr. Gertz!" she despaired of me. And, alas, to this day, an hour after I've hand-written something, I can't decipher what I wrote.

Proper position for holding stylus.

SANTIAGO Y PALOMARES, Francisco Javier de. Arte nueva
de escribir,
inventada por el insigne maestro Pedro Diaz Morante...
Madrid: [En la Imprenta de D. Antonio de Sancha], 1776.
Palau 299945. Berlin 5248. Bonacini 1353.

Correct posture for writing.

ROSSIGNOL, Louis. L'art d'écrire.
Paris: [Chez la Veuve de Pierre Fessard, ca. 1775].
Cf. Bonacini 1567. Berlin 5136. Jessen 2430.


Prior to the dominance of keyboard-based writing, clear, legible cursive penmanship was a necessary skill to communicate. Beyond legibility, however, an artful hand demonstrated good breeding and a cultivated and civilized mind. You were how you wrote as much as what you wrote.

And so as the literacy rate increased in the late seventeenth -through the eighteenth and nineteenth  centuries so did the need for writing manuals for those with lofty goals seeking instruction.

Many of the instructionals carried titles that proclaimed penmanship as an art form - Lucas' Arte de escrevir (1608), L'art d'escrirer par Alais (1698), Araujo's Nova arte de escrever (1794), Arte nuevo de escribir por preceptos geometricos y reglas mathematicas (1719), Rossignol's L'art d'écrire (1775), Torio's Arte de escibir...(1803) are examples - and so it was. Function developed into art form, an evolution of aesthetics.

"S" with calligraphic border.

SCHWANDNER, Johann Georg von. 
Disertatio epistolaris de calligraphiae
nomenclationem, cultu, praæstantia, utilitate.
Viennæ [Ex typographeo Kaliwodiano], 1756.
Bonacini 1663. Berlin 4908. Graesse VIII, 468.

Calligraphy is the art of beautiful handwriting taken to its logical extreme, and is found in all developed cultures. After the Roman Empire fell, each of its former regions in the West evolved their own handwriting standards, generally those of an area's primary monastery, the sites to which writing had retreated along with scholarship, and was preserved, essentially, for the copying of religious manuscripts, particularly the Bible. Most scripts were of a sacred nature, pretty yet near unreadable.

Calligraphic abbreviated names.

OLOD, Luis de. Tratado del origen, y arte de escribir bien.
Gerona [En la Imprenta de Narciso Oliva..., ca. post-1768].
Bonacini 1310. Berlin 5247. Palau 201092.

The rise of the Carolingian Empire in Europe during the Dark Ages led to a new, standardized calligraphy. During the eleventh century, Carolingian script developed into Gothic ("blackletter," aka the script that makes readers want to scream for mercy), and in the fifteenth century, Gothic calligraphy was adapted by Gutenberg to become the first movable typeface.

Engraved portrait head of Frederik III
atop calligraphic body and horse.

Lex Regia, Det Er: Den Souveraine Konge-Lov...

København 1709.
Bibliotheca Danica II, 739. Graeese IV, 192.

But type cannot replicate what an artful individual's hand can create, nor was type practical for everyday, pre-keyboard writing. A graceful and elegant handwriting style still spoke to the character of the person wielding the stylus, and, until the advent of the ball-point pen, writing instruments allowed for artful variations in  the thinness and thickness of each stroke. Attractive, visually  impressive handwriting, once a routine aspect of one's education and cultivation, has ebbed to its present status as an arts & craft activity.

Facing archers.

TENSINI, Agostino. La uera regola dello scriuere vtile à giouani.
Bassano: [Remondini, ca. 1790].
Cf. Bonacini 1860. Jammes 30. Ekström, p. 26.



For several decades Peter A. Wick (1920 - 2004) amassed a collection of books focusing exclusively old and rare writing, calligraphy, and pictorial alphabet books, as well as early studies and histories of the development of writing.

Calligraphic initial.

ALBRECHT, Johann Christoph. Vollkkommene
Gründ- und Regulmässige Anweisung...

Nürnberg: {In Verlegung Joh: And: Endterischer Handlung, 1776].
Bonacini 16. Berlin 4921

The Wick Library of writing and calligraphy was acquired by old and rare art book specialist Ars Libri Ltd of Boston, which placed the majority of the Wick volumes with the Library of Congress in September of 2010. Its current Catalogue 155 features of portion of the Wick Collection not adopted for foster care by an institution.

"The most important work on calligraphy...printed in Holland."

VELDE, Jan van den. Spieghel der schrijfkonste
in den welken ghesien worden veelderhande gheschriften
met hare fondementen ende oderrichtinghe wtghegeven.

Amsterdam: [bÿ Willem Iansz, ca. 1609].
Bonacini 1931. Berlin 5010-12.

The collection is another example of a book collector staking out a subject heretofore unexamined, staying sharply focused, building and, in the end, bequeathing a singular and important research library that without the collector's interest would not have existed.

If Mrs. Stallone, long since deceased, is trapped in the hell that we third-graders cruelly consigned her to, one look at these books will cast her immediately into Heaven. They certainly make me ashamed of my chicken-scratches.
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The International Association of Master Penmen, Engrossers, and Teachers of Handwriting (IAMPETH), over 500-members strong, has an excellent website, and has scanned and mounted the texts to many old and rare handwriting and penmanship books from the nineteenth and early twentieth centuries here.

Wikipedia feaures an excellent primer about calligraphy from around the world.
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All images courtesy of Ars Libri Ltd, with our thanks.
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