Showing posts with label New York Public Library. Show all posts
Showing posts with label New York Public Library. Show all posts

Monday, July 15, 2013

Book Heisters & Gangbusters: The Notorious Rare Book Thieves of New York And Their Nemesis

by Stephen J. Gertz


There was Babyface Mahoney, who made the libraries of New England his playground; the Swede; Harry Gold, whose scouts were not Baden-Powell boys yet still tied the cops into knots; "Doctor" Harold Clarke, whose Ph.D was in larceny and logorrhea; the Southerner Dupree, who'd steal almost anything; the thief known only as Paul, a nimble lifter who could jump through a library window with the loot if need be; Ben Harris, the Dane who sold illegal erotica, was savvy, fearless, and knew the score. There was Jack Brocher, who hijacked Connecticut, tipped it over, and poured its rare books into New York; Oscar the fence Chudnowsky; the shadowy master thief known as Hilderwald, Hilderman, or Hilderbrand, a literary tourist on the wrong path who checked into the Library of Congress and checked out with rarities purloined as if they were hotel toiletries and towels; and more members of the crew, desperado biblioklepts all.

And then there was Charles Romm, who, with fire hydrant physique and the face and temperament of Al Capone, led this gang responsible for a five year tsunami of rare book thievery at Columbia University Library, Harvard Library, the New York Public Library, Boston Public Library, and almost every other public and private library in the Northeast, the many small town libraries easy pickin's. The books were scoured of obvious ID and then made their way to Book Row on New York City's Fourth Avenue, six long city blocks lined with the greatest concentration of secondhand book shops in the world. From Book Row the literary swag went up the food chain onto the shelves or into the back rooms of upscale rare and antiquarian booksellers in uptown Manhattan who weren't too picky about provenance, looked the other way, or were duped. The years 1926-1931 were open season for book hunters of dubious character stealing and/or dealing in hot rare books.

But G. William Bergquist, Special Investigator for the NYPL with a bloodhound nose and terrier disposition, was on their trail.

The beginning of the end for the outfit began with a copy of Poe's scarce Al Aaraaf, Tamerlane, and Minor Poems (1829). On Saturday, January, 10, 1931 Harry Gold sent the Southerner Dupree to the NYPL to steal the library's precious copy with the Swede and Paul as back-up in case Dupree, on his first caper, got the willies. That he did but managed to make a mad dash for the exit without slipping on the sweat flooding out of his pores and onto the floor; library staff were right behind him. But not right enough. An hour after the Southerner's close call  Al Aaraaf  was in Gold's hands.

As Travis McDade, author of The Book Thief: The True Crimes of Daniel Spiegelman, and curator of rare books at the University of Illinois College of Law writes in his new book, Thieves of Book Row: New York's Most Notorious Rare Book Ring and the Man Who Stopped It, Bergquist's pursuit of Al Aaraaf  (he was as anxious to retrieve it as he was to nail the perp) led to the unraveling of the Romm Gang. Significantly, the case spurred libraries across the country to beef up security, which, at the time, was, to put it delicately, in its infancy.

And book theft had been, until this episode, casually treated by the police and lightly prosecuted. Book thieves were considered to be mentally ill, at the mercy of an uncontrollable passion, the "gentle madness" that Nicholas A. Basbanes has written so well about. Book thieves were finally considered to be criminals and, in New York, accommodations at Sing-Sing now awaited the convicted.

As McDade makes clear in this exhaustively researched book - 185 pages of text with twenty-three pages of notes - book theft was nothing new. Its roots stretch back to the mid-nineteenth century when the first public libraries in the U.S. were established, and library theft has always attracted colorful characters. No less so were the rare and antiquarian booksellers who were actively or passively complicit in the traffic in stolen books. Those with a nose for trade history may be startled to see many familiar names from the past and learn that some of those, amongst the most respected dealers in the U.S., were not averse to acquiring books warm to the touch. The rare book trade has always been a capital-intensive, feast or famine business with even the most successful dealers often on the brink of disaster. It's a great passion but a tough way to earn a living. The temptation to acquire books at suspiciously low prices once loomed large and the quest for legitimate bargains remains an ongoing imperative. Idealists who enter the trade are soon disillusioned; purity is for Ivory soap. This is hard commerce.

Thieves of Book Row, published by Oxford University Press, is a scholastic book that wants to be a popular true crime narrative and, to a large extent, it succeeds. There is rough going at first as McDade tries to wrestle the wealth of material into submission and draw us in. The sins of academic writing are difficult to exorcise but McDade, who teaches a class at University of Illinois on Rare Books, Crime & Punishment, soon loosens up, hits his stride, and the story takes off with a delightful dose of wit, a broad splash of color, and rich details and anecdotes.

Example: Adolf Stager, owner, with his son, of the Cadmus Bookshop, routinely and curiously wore his hat and coat at all times while in the shop. Why? He was on disability insurance and not allowed to work so he maintained a full-time facade that he was simply visiting his son at the store in case the authorities dropped by to check on him.

Bandits, rascals and rogues; good guys, scholars, and strugglers; individualists, misfits, and the melancholy: the rare book trade's personnel department never has to recruit, we just show up. The feral bandits have been tamed, if not domesticated, since trade associations emerged in the mid-20th century and established codes of ethics, which even non-association members tend to follow; it's just good business. The fact that book theft is now considered a serious crime with serious consequences has tempered the temptation for stealer and receiving dealer alike. The overwhelming number of rare and antiquarian booksellers are on the square and perhaps the worst that can be said about a dealer's behavior reiterates Chico Marx's reply in A Day At The Races when Groucho asks if he can trust Harpo.

"Sure, he's honest," Chico says, "but you gotta watch him a little."

I love the trade and our cast of characters. And I loved this book, a chronicle of Booktown's  Depression-era mean streets when literary culture met organized crime.
__________

McDADE, Travis. Thieves of Book Row. New York's Notorious Rare Book Ring and the Man Who Stopped It. New York: Oxford University Press, (June) 2013. First edition. Octavo. xi, [1], 216 pp. Black cloth, gilt-lettered spine. Dust jacket. $27.95.
__________
__________

Friday, December 3, 2010

Enduring Power Of Frankenstein Inspires Two Monstrous Exhibitions

By Nancy Mattoon


An 1857 Portrait of Mary Shelley
By Reginald Easton,

Allegedly Based On Her Death Mask.

(Image Courtesy of National Library of Medicine.)

It seems impossible that a single exhibit could appeal to fans of science fiction, Gothic novels, Romantic poetry, radical philosophies, horror movies, monsters and early feminism. But the announcement of the opening on December 3, 2010 of a new show at the Bodleian Library of the University of Oxford, Shelley’s Ghost: Reshaping the Image of a Literary Family, will have them all lining up for a chance to learn more about one of Britain's most renowned clan of writers.

A Page From Mary Shelley's
Original Manuscript Of Frankenstein.
(Image Courtesy of Wikipedia Commons.)

The writings of Romantic poet Percy Bysshe Shelley; his wife, pioneering science fiction and Gothic novelist Mary Shelley; and Mary’s parents, radical philosopher William Godwin; and early feminist Mary Wollstonecraft will all be on display. But the most talked about piece in the show is the original manuscript of Mary Shelley's Frankenstein; or, The Modern Prometheus (1818).

An 1819 Portrait of Percy Shelley
By Alfred Clint.
(Image Courtesy of National Library of Medicine.)

The handwritten notebook containing Mary Shelley's classic tale of scientist Victor Frankenstein and his monstrous creation is one of the great treasures of the Bodleian's collections, and has never before been on display in Great Britain. It contains not only Mary's first draft of the novel, but also many handwritten corrections, suggestions, and other marginalia from her first reader, her poet husband, Percy. After the display at Oxford closes on March 27, 2011, it will travel to New York City. The New York Public Library is a co-sponsor of the show, which includes many artifacts from its The Carl H. Pforzheimer Collection of Shelley and His Circle.

Frontispiece And Title Page
From The Third Edition of
Frankenstein;
Or The Modern Prometheus, 1831.
(Image Courtesy of The National Library of Medicine.)

A virtual version of the Shelley’s Ghost exhibition will also be made available on December 3. It promises to include digitized leaves from the Frankenstein manuscript, along with pages from the three-volume, first edition of the novel, and an image of the frontispiece of the novel's third edition, which marked the first time that Dr. Frankenstein and his creature were ever depicted visually.

Poster For The Classic 1931
Film Version of Frankenstein,

Directed By James Whale.

(Image Courtesy of The National Library of Medicine.)

Oxford's virtual exhibition was not online as this piece was written, so the images here are from an earlier, but no less interesting, Frankenstein-inspired exhibit from the American National Library of Medicine (NLM). Frankenstein: Penetrating The Secrets of Nature "looks at the world from which Mary Shelley came, at how popular culture has embraced the Frankenstein story, and at how Shelley's creation continues to illuminate the blurred, uncertain boundaries of what we consider 'acceptable' science." It includes a detailed exploration of the ways in which well-intentioned men of science have unwittingly developed technology which, in the wrong hands, leads to "monstrous" creations. The exhibit connects Frankenstein, both in Shelley's novel and in popular culture offshoots, with genetic engineering, human-animal organ transplantation, eugenics, cloning, and other bioethical issues.

A 1935 Article From Popular Science Magazine,
Clearly Influenced By Images
From
The Film Version Of Frankenstein.
(Image Courtesy of The National Library of Medicine.)

The combination of the new Oxford exhibit and the previous NLM exhibit reinforce the brilliance and continued relevance of Mary Shelley's tale of "the modern Prometheus." In Greek mythology Prometheus, one of the Titans vanquished by the Olympian Gods, stole fire from Zeus with the best of intentions, and returned it to mere mortals. But ultimately the well-meaning deeds of Prometheus led to the opening of Pandora's box, and the unleashing of all of the troubles of the world. Dr. Frankenstein also maintains that his attempts at reanimating the dead are motivated by "benevolent intentions" and an unquenchable thirst "for the moment when I should put them in practice." But the ultimate result of the scientist's attempt to "mock the stupendous Creator of the world," is an endless spiral of misunderstandings, cruelty,violence, savagery, and death.

Actor Boris Karloff Transformed By Make-Up Artists
Into The 1931 Film Version Of Dr. Frankenstein's Creature.

(Image Courtesy of The National Library of Medicine.)

The unceasing echoes of the timeless themes of Frankenstein through nearly two centuries are all the more remarkable when one considers the age of its author. Mary Shelley began writing the story as a teenager, age 18, and published it just as she reached her twenties.

__________

Friday, November 20, 2009

NYPL Goes Underground


The Velvet Underground with Nico (far left) and Andy Warhol (left).

Nearly 45 years after their formation, The Velvet Underground, the most influential band to emerge from the New York City rock scene of the 60's, is reuniting at the city's public library. On December 8 three of the group's surviving members, singer-songwriter-guitarist Lou Reed, drummer Maureen Tucker, and bassist Doug Yule will come together for a question and answer session, and appropriately, to promote a new book celebrating the band's history.

LEIGH, Michael. The Velvet Underground.
NY: Macfadden, [1963].

While the library might seem an unlikely place for the reunion of an experimental rock group, The Velvets have always been a bookish band. They chose their name from a mass market paperback documenting the 60's sexual subculture of The Big Apple. A filmmaker friend of Reed's reportedly found a copy of the tome on the street, and the subject matter resonated with the songwriter who had already penned a tune called "Venus In Furs," inspired by Leopold von Sacher-Masoch's book of the same name.


KUGELBERG, Johan. The Velvet Underground: New York Art.
NY: Rizzoli, 2009.

In a further indication of The Velvets' love of the written word, the Library event is timed to coincide with the release of a new book detailing the band's history. The Velvet Underground: New York Art is short on text, but according to Raw Magazine: "[contains] more full-color images than a strong acid trip." The book's publisher, Rizzoli, promises: "an astonishing assembly of rare objects and artworks...from never-before-seen photographs of the band's first live show in New York to Andy Warhol's cover and poster designs, Lou Reed's hand written music and lyrics, underground press clippings and controversial reviews, flyers, handbills, and posters."

Since tickets for New York Public Library's evening with The Velvets sold out as soon as they hit the library's website, most of us hungering for a walk on the wild side will have to be content with the heroin-like rush delivered by those beautiful images from Rizzoli. That printed satellite of love will have to supply enough white heat and white light for our pale blue eyes to make up for the fact that we're left waiting for the man.

Thursday, November 5, 2009

From The Tippy-Top Floor Of The Plaza Hotel To NYPL: Eloise Makes A Move


New York Public Library better ramp up security: a gum chewing six-year-old holy terror is about to take up permanent residence in their archive. Yes, Eloise is prepped and ready to write on the walls and skate down the halls, thanks to the only man who'll ever own up to being her father, illustrator Hilary Knight. On November 3, 2009, Knight donated his personal papers, including sketches for over 60 books, theatrical posters, contracts, and publicity materials to the Library.


Knight is the co-creator of Eloise, along with author Kay Thompson. Thompson has long held the spotlight as Eloise's literary mother, but no less a luminary than Maurice Sendak, author/illustrator of Where The Wild Things Are, credited Knight with making her famous: "My first happy response to Eloise was entirely due to the brilliant, iconic images. That brazen, loose-limbed, delicious little girl monster is Hilary Knight at his best."


Eloise was born in 1955, but she is forever six years old. She lives in the penthouse of the Plaza with her nameless nanny, her pug dog Weenie, and her turtle, Skipperdee. Eloise's father is never seen or spoken of in any of the five books in which she appears. Her mother is perpetually absent. She never goes to school. (She does have a "boring boring boring" tutor who she listens to, but "not very often.") All of her meals are charged to Room Service. (A typical order is: "Planked Medallion of Beef Tenderloin with Fresh Vegetable Maison, two raisins, one strawberry and one clams in season.") She would be the original anti-heroine of children's literature, except that author Thompson insisted that the Eloise stories were: "Books for precocious grown-ups." And nobody with a brain challenged Kay Thompson. Including Hilary Knight.


According to Marie Brenner of Vanity Fair, Knight and Thompson were introduced by a mutual friend in 1954. Thompson had already created the character of Eloise, which was based more than a little on the author herself. At first the relationship between author and illustrator was a pleasant one, according to Thompson: "Hilary and I had immediate understanding.... We wrote, edited, laughed, outlined, cut, pasted, laughed again, read out loud, laughed and suddenly we had a book." Shortly before the publication of Kay Thompson's Eloise (make a note of the exact title--it's important), Knight caught his first glimpse of the less than friendly side of his collaborator. At a meeting with their publisher, Knight was given a one-page contract. He recalls: "I totally trusted her. I signed it without really looking at it. I totally signed my rights away." The contract gave Thompson the copyright to Knight's drawings, and 70 percent of the royalties not just on Kay Thompson's Eloise but on any future books that featured the Eloise character.


Knight and Thompson went on to collaborate on three more Eloise books, but their relationship grew increasingly strained. In 1966 Knight arrived in Rome to work with Thompson on fifth Eloise story. Knight had drawn hundreds of sketches of Eloise in an overflowing bathtub, creating a flood which engulfed everyone from visiting movie stars to the Plaza's manager. Thompson hung his drawings haphazardly snarled:"Think of this as a movie." She would compliment Knight's work at night, but the next morning, he recalled: "That drawing that was so glorious would have a big clot of rubber cement on it, and there would be a piece of paper over the drawing." At Thompson's request the book was yanked just before publication. It remained unpublished until after the author's death in 1998, when her estate released it as Kay Thompson's Eloise Takes A Bawth.

Knight wasn't the only one to feel the wrath of Thompson. A few years before Thompson took up permanent residence in the heavenly version of the Plaza, the New York City's Books Of Wonder featured a window display celebrating Eloise's 40th anniversary. An employee working late one night received a phone call from Thompson inquiring: "What is the title of the book in the window?" "Well, it's Eloise," replied the hapless clerk. Thompson shouted: "That is incorrect! The title of the book is Kay Thompson's Eloise!!" Thompson's obituary in The New York Times put her age at "between 92 and 95." But like Eloise, it appears she was in many ways perpetually six years old.

 
Subscribe to BOOKTRYST by Email