Friday, December 9, 2011

Modern Books Are Not Edible: A Farewell To Bookworms

by Stephen J. Gertz

The Bodleian Library.

"Great is bookishness and the love of books."

So declares Augustine Birrell (1850-1933), whose In the Name of the Bodleian and Other Essays was published in London by Elliot Stock and in New York by Charles Scribner's Sons in 1905.

The sentence opens his essay on Bookworms in the Bodleian Library and wherever books are shelved, chewed, and digested. He refers not to those of us who live inside of books but Anobium pertinax, that other lover of books. We read 'em, they eat 'em.

They're one of the many enemies of books cited by Birrell in his overview of printer and Caxonist William Blade's The Enemies of Books, published in London by Elliot Stock in 1902.

After upbraiding  the Charity Commissioners of the Bodleian  for selling off books that were water-logged and rotten, and declaring these public servants to be of a lower order of primate and  sworn enemies of books, he begins As the Worm Squirms, a squiggly science travelogue including  the care  and feeding of a bookworm on the edge of darkness, hitchhiking in Hebrew, an ill-fated bookworm's meeting of the Central Pacific and Union Pacific Railroads, and a doomsday eulogy for the cruel fate of the bookworm in the modern world:

From: The Enemies of Books by William Blades.

"By the side of these anthropoid apes, the genuine bookworm, the paper-eating insect, ravenous as he once was, has done comparatively little mischief.  Very little seems known of the creature, though the purchaser of Mr. Blades’s book becomes the owner of a life-size portrait of the miscreant in one, at all events, of his many shapes.  Mr. Birdsall, of Northampton [Birdsall's of Northampton, bookbinders*], sent Mr. Blades, in 1879, by post, a fat little worm he had found in an old volume.  Mr. Blades did all, and more than all, that could be expected of a humane man to keep the creature alive, actually feeding him with fragments of Caxtons and seventeenth-century literature; but it availed not, for in three weeks the thing died, and as the result of a post-mortem was declared to be Aecophera pseudopretella

"Some years later Dr. [Richard] Garnett, who has spent a long life obliging men of letters, sent Mr. Blades two Athenian worms, which had travelled to this country in a Hebrew Commentary; but, lovely and pleasant in their lives, in their deaths they were not far divided.  Mr. Blades, at least, mourned their loss.  The energy of bookworms, like that of men, greatly varies.  Some go much farther than others.  However fair they may start on the same folio, they end very differently.

 "Once upon a time 212 worms began to eat their way through a stout folio printed in the year 1477, by Peter Schoeffer of Mentz [Novellae constitutiones, etc.?]. It was an ungodly race they ran, but let me trace their progress.  By the time the sixty-first page was reached all but four had given in, either slinking back the way they came, or perishing en route.  By the time the eighty-sixth page had been reached but one was left, and he evidently on his last legs, for he failed to pierce his way through page 87.  At the other end of the same book another lot of worms began to bore, hoping, I presume, to meet in the middle, like the makers of submarine tunnels, but the last survivor of this gang only reached the sixty ninth page from the end.  Mr. Blades was of opinion that all these worms belonged to the Anobium pertinax

"Worms have fallen upon evil days, for, whether modern books are readable or not, they have long since ceased to be edible.  The worm’s instinct forbids him to ’eat the china clay, the bleaches, the plaster of Paris, the sulphate of barytes, the scores of adulterants now used to mix with the fibre.’  Alas, poor worm!  Alas, poor author!  Neglected by the Anobium pertinax, what chance is there of anyone, man or beast, a hundred years hence reaching his eighty-seventh page!"

Cue Samuel Barber's Adagio for Strings, his mournful, heartrending elegy now, unfortunately,  so stale from over-exposure in movies, particularly Platoon, that it could fairly be re-titled, Sad Schmaltz for Bad Violins.

Anobium pertinax aka Bookworm, RIP in open casket.

Having thrown a rose on the coffin of Anobium pertinax, Birrell ends his anti-encomium to the pest of all pulp with a parting shot at other book vermin:

"Time fails me to refer to bookbinders, frontispiece collectors, servants and children, and other enemies of books; but the volume I refer to is to be had of the booksellers, and is a pleasant volume, worthy of all commendation.  Its last words set me thinking; they are:

"’Even a millionaire will ease his toils, lengthen his life, and add 100 percent to his daily pleasures, if he becomes a bibliophile; while to the man of business with a taste for books, who through the day has struggled in the battle of life, with all its irritating rebuffs and anxieties, what a blessed season of pleasurable repose opens upon him as he enters his sanctum, where every article wafts him a welcome and every book is a personal friend!’"

Particularly on rye, with mustard. After ingestion, the personal friend is chased by a snifter of brandy, then, after digestion, an exegesis is excreted and read for prophecies. I anthropomorphically refer to Lord Wriggle of Wessex and his taste for books, his favorites tales, naturally, being The Conquering Worm by Edgar Allan Poe;  The Lair of the White Worm by Bram Stoker; The Worm and the Ring by Anthony Burgess; The Early Worm by Robert Benchley; Eye Worm Flower by Allen Ginsberg; and Dr. J.H. Snoddy's horrific tale of The Worminator - Snoddy's Treatise on Hog Cholera and Swine Plague: Symptoms and Cure Fully Explained: A Complete Worm Exterminator.

True,  swine worms don't eat books but all bookworms are swine. Unless they're human, of course, and thus divine. But if suffering from pica they're definitely pigs, and a tasty book hasn't a prayer.
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BIRRELL, Augustine. In the Name of the Bodleian and Other Essays. New York: Charles Scribner's Sons, 1905. First American Edition. Octavo. 312 pp.
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*The roots of Birdsall of Northampton "stretch back to the early eighteenth century but it was in 1792 that John Lacy's Northampton bindery was acquired by William Birdsall, continuing in his family until 1961...In Birdsall's heyday, Gerring (Notes on Bookbinding, 1899) reported a staff of 250 engaged in making ladies handbags, fancy boxes, and stationary; as well as all types of bookbinding. The firm seemed always ready to experiment and careful records and samples were kept by Richard Birdsall, great-great-nephew of the founder, until he died in 1909...The firm's collection of over 3,000 finishing tools passed to the University of Toronto" (Maggs, Bookbinding in the British Isles II, #262, and #321).
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Thursday, December 8, 2011

Tycho Brahe's Sculpture Garden of Scientific Instruments

by Stephen J. Gertz


Tycho Brahe (1546-1601), a Danish nobleman and gentleman scientist,  made the most precise astronomical and planetary observations to date by designing and building the best, most sophisticated scientific instruments available until  the invention of the earliest known telescope in 1608.



His discoveries in astronomy were made from  Uranibourg, an observatory on an estate on the island of Hveen in the sound between Denmark and Sweden, which King Frederick II of Denmark had granted him, with funding as well for construction of the observatory and its instruments.



His observations of planetary motion, particularly that of Mars, provided the crucial data for later astronomers like Johannes Kepler, who was Brahe's assistant, to construct our present model of the solar system.



Brahe's observatory and his scientific instruments were splendidly documented by Joan Blaeu in his Grand Atlas. Blaeu’s magnificent hand-colored copperplate engravings were revised from wood-cuts originally published in Brahe’s own Astronomiae Instauratiae Mechanicae (1598).



Joan (John) Blaeu (1596-1673) was born a cartographer and died as one in Amsterdam. He was the son of Willem Blaeu, who established the family business as a globe and instrument maker in 1599 and soon expanded into maps and atlases. Joan shared his father's passion for this work. After Willem died in 1638, Joan and his brother, Cornelius, continued to expand the business. After Cornelius's death Joan continued to direct the work alone.



He produced a whole series of 6 volumes of maps (1655), which completed the work that his father had begun. The next, massive project resulted in the production of the 'Atlas Major', or Grande Atlas. This extended to eleven volumes (later editions ranged from 9-12 volumes), the first publication being in 1662. The work contained 3,000 pages of text and near 600 double-page maps.


It was and remains the most extraordinary cartographic work ever produced. The engraving was exquisite as was the calligraphy, coloring, heraldic detail, pictorial work and the intricate cartouches, which dramatically added to the Grande Atlas's appeal. Some of the maps produced by Blaeu are considered to be the finest published during the seventeenth century.


The hand-colored engravings of Brahe's instruments and observatory are unforgetable. They stand out not only as sophisticated scientific instruments of the period but as works of art, bold geometric constructions that would be welcome and admired in any sculpture garden.


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BLAEU, Johan (1596-1673). Le grand atlas ou cosmographie Blaviane, en laquelle est exactement descritte la terre, la mer et le ciel.  Amsterdam: chez Jean Blaeu, 1663. 12 folio volumes. 

Title from half-title to volume 1. Title of volume 1: Geographie qui est la première partie de la Cosmographie Blaviane. Title of vols. 2-12: Second [etc.] volume de la Geographie Blaviane./ Vol. 1 has general half title for the complete work, and special t.p. with imprint date 1663./ Some parts have additional engraved title page, some with imprint in Latin: Amsterdami : Apud Ionnanem Blaeu, 1662.

Cf. Potter, p. 171.
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Images courtesy of Bruun Rasmussen Auctions of Denmark, which recently offered this edition of the Blaeu Grande Atlas, with our thanks.
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Wednesday, December 7, 2011

Gavarni's Paris Mornings and Mailbox (1839)

by Stephen J. Gertz


Two incredibly scarce  albums from 1839 by Paul Gavarni, bound together, and with a total of forty-three marvelous hand-colored lithographs, recently came to market. This two-albums-in-one set sold immediately for $7,500.


The albums, Paris le Matin (Paris Morning) and La Boite aux Lettres (Mailbox), are typical - if exceedingly scarce - examples of Gavarni turning his satiric eye on the customs and manners of the French petit bourgeoisie.


Paris le Matin limns the morning activities of  Parisians; La Boite aux Lettres is a charmingly amusing survey of writing, sending, and receiving letters in Paris of the era.


The American Book Prices Current (ABPC) Index, 1923-present, records no copies of Paris le Matin at auction within the last eighty-eight years. Only one copy of La Boite ux Lettres has come to auction within the last thirty-six years but it contained only fourteen thirty-four called-for plates.


Only one copy of Paris le Matin is found in institutional collections worldwide, at the Getty Research Library, but it contains only five of the twelve plates in the series. OCLC records only five copies of La Boite aux Lettres in libraries throughout the world.


This copy of La Boite aux Lettres lacks the last three plates,  XXXI, XXXIII, and XXXIV. 


The institutional copies, however, appear to be incomplete, as well, and it seems that the copy under notice is as complete as has ever been seen within our lifetime and is likely remain so for many years to come.
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GAVARNI, Paul [pseudonym of Guillaume Sulpice Chevallier]. Paris le Matin. Paris: Chez Aubert, 1838-1839.  [bound with] La Boite aux Lettres. Paris: Caboche Gregoire / Chez Aubert, 1839.

First editions. Folio (13 1/8 x 9 5/8 in; 334 x 245 mm). Paris le Matin with twelve, and La Boite aux Lettres with thirty-one (of thirty-four) hand-colored lithographed plates; a total of forty-three plates, most heightened with gum arabic.

Armelhault & Bocher 902-913 (Paris le Matin). Armelhault & Bocher, p. 88 (La Boite aux Lettres, one unnumbered + 348-397).

Tuesday, December 6, 2011

A Regency Home Library Bookcase, 1808

by Stephen J. Gertz


One of 158 hand-colored aquatint plates from:

SMITH, George. A Collection of Designs for Household Furniture and Interior Decoration. London: J. Taylor, n.d. [1808]. Quarto (279 x 220 mm). First edition.

Abbey, Life 71.
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Image courtesy of Christie's, who recently offered this volume, with our thanks.
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Monday, December 5, 2011

Deck the Halls With Fore Edge Paintings

by Stephen J. Gertz

SHAKESPEARE, William. The Works...
1867: London: Macmillan, 1867. 1075pp. 170x120mm.
Full binding in grained goatskin, extra-gilt spine,
marbled endpapers, all edges gilt. Matching thumbhole slipcase.

Double panelled FEP with portrait and a view of the Globe theatre in
London. Monogrammed by Frost with an authentication ticket.

Martin Frost, the modern master of fore-edge painting, has just released his catalog for Christmas 2012.

WILBERFORCE, Samuel. Heroes of Hebrew History.
Edinburgh: John Grant, 1898. 368pp. 180x125mm.
Bound in half calf, extra gilt spine wih  later hand marbled
paper covers and endpapers, all edges gilt.
Matching thumbhole slipcase.

FEP of the the Ark of the Covenant in a procession led by
King David. Monogrammed by Frost with an authentication ticket.

The fore-edge paintings range from the sacred, above...

STEVENSON, Robert Louis. Dr Jekyll and Mr Hyde.
London: Heron, (c. 1960). 475pp. 210x120mm.
Matching thumbhole slipcase.

Vertical FEP of Jekyll reflected in Hyde’s blade.
Monogrammed by Frost with an authentication ticket.

...to the profane.


The Holy Bible, containing the Old & New Tesataments.
Oxford: Rivington, 1814. 1290pp. 240x160mm.
Full straight-grained goatskin binding with extra-gilt finishing,
rebacked retaining the original spine, replacement
marbled endpapers, all edges gilt. Matching thumbhole slipcase.

Split-double FEP. The book is divided and fans to show panels
from the old and new testaments. Monogrammed by Frost with
an authentication ticket.

...back to the sacred...

MILTON,John. Poetical Works.
London: Warne, (c. 1880).  581pp, numerous plates by Dalziel Bros.
190x140mm. Fully bound in grained goatskin with extra-gilt
spine, marbled endpapers, all edges gilt. Matching thumbhole slipcase.

All edge painting showing Milton’s portrait flanked by views of old London
bridge and his birthplace. Top and bottom edges show Eden scenes from
Paradise Lost. Monogrammed by Frost with an authentication ticket. .

Bottom edge.
Top edge.

...and original sin.

WHITTIER, John Greenleaf. Poetical Works.
London: (c. 1960).  576pp,. 200 x140mm. Superior Art Nouveau
style vellum spine with later clothcovered boards and gilded page
edges, vellum style endpapers, Matching thumbhole slipcase.

Vertical FEP of a baseball player taking his stance for a strike.
Monogrammed by Frost with an authentication ticket

And from original sin to the batting box and strike zone.

WALKER, W.S. Gustavus Vasa & other Poems.
London: Longmans et al, 1813. 2nd edition.
 230+34 pp. 220x140mm. Full straight grained goatskin,
sumptuous extra-gilt spine and boards, all edges gilt.
 Matching thumbhole slipcase.

Two-way double FEP showing the emperor’s portrait set over
a scene of his army, and on the other fan, his entrance to
Stockholm. Monogrammed by Frost with an authentication ticket.

Then from the strike zone to Stockholm and the triumphant return of King Gustavus Adolphus (1594-1632) of Sweden.

REYNOLD Sir Joshua. Discourses given to the Royal Acamedy of Art.
London: Walter Scott, 1867. 283pp, 170x120mm.
Fully bound in calf, extra-gilt spine, marbled endpapers, all edges gilt.
Matching thumbhole slipcase.

Rambunctious Thomas Rowlandson scene set in a 1780 life drawing studio.
Monogrammed by Frost with an authentication ticket..

A hard left turn takes us from the Swedish empire to sweetish hellfire in an art studies atelier of dubious art scholarship after Thomas Rowlandson, who understood that the model was not a student of art anymore than the adult male students were models of art. They wished nothing more than to stroke their brush on another sort of canvas altogether and, with any luck, life-draw their brains out after class.

COOPER, Rev William M. History of the Rod.
London: Reeves, (c.1880). Bew edition, revised,
544pp. 175x125mm. Profusely illustrated with appropriate
illustrations and diagrams. Splendidly bound in new full
crimson goatskin leather with gilt black skiver spine title and Rod &
Birch motif labels. Suitably spiky endpapers, all edges gilt, with a
matching thumbhole slipcase.

Upright fore-edge painting of cupid being soundly thrashed, and
apparently enjoying it. Monogrammed by Frost with an
authentification ticket.

The naughty result, of course, requires tough love. Spare the rod, spoil the "life studies" art student; it's Cupid's corporal punishment. 

Frost is offering a few other erotic fore-edge paintings for the 2011 holiday season but this is Christmas, not Passover, Easter and the Spring solstice, life overcoming death, fertility rites, wildly reproducing rabbits, and the orgy at the foot of Mt. Sinai  in the two-birds-with-one-stone  holiday rerun of the Judeo-Christian cinema warhorse, The Ten Commandments, so enough in that direction.

You can download the full Martin Frost 2011 Christmas Catalog on his home page.

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All images courtesy of Martin Frost, with our thanks.
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Friday, December 2, 2011

TIme For Vintage Book Clocks This Christmas

by Stephen J. Gertz


The good folks at Vintage Book Clocks have created a series of timepieces fashioned from old books, from pulp fiction to an exposé of the beauty industry and from there to, of all things, a history of the Jewish labor movement.















We have a few suggestions for future Vintage Book Clocks that flog the horology for all it's worth:

The Big Clock by Kenneth Fearing

Master Humphrey's Clock by Charles Dickens

The Clock Winder by Anne Tyler

The King of The Great Clock Tower by Wm. Butler Yeats

Thirty Clocks Strike the Hour by Vita Sackville-West

What's O'Clock? by Vincent Starrett

The Thirteen Clocks by James Thurber

The Secret of the Old Clock. A Nancy Drew Mystery by Carolyn Keene

If they want to get into conceptual art with a surreal, existential twist, the best title they could adapt into a clock would surely be Carson McCuller's last novel, The Clock With No Hands (1961),  not to be confused with Oliver Sacks' apocryphal book, The Clock That Didn't Know What Time It Was).
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All of Vintage Book Clocks' vintage book clocks are available through the Vintage Book Clocks Etsy store. 
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A tip o' the hat to the Annamese lotus-woman of intrigue and mystery, Phung Tran Humphreys, for the lead.
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All images courtesy of Vintage Book Clocks at Etsy, with our thanks.
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Thursday, December 1, 2011

When Field and Stream Magazine Reviewed Lady Chatterley's Lover

by Stephen J. Gertz

Coming in November:
• Secrets of an English Gamekeeper, or The Lady Bags a Stag.

It isn't often that magazines extolling the virtues and lore of the Great Outdoors feature book reviews. It's rarer still for them to review a book thirty-one years old. It's positively unheard of to review a thirty-one year old literary novel. In Guns and Ammo, maybe. But Field and Stream?

Yes, indeed. And there's proof. Below, we reprint a Field and Stream book review from 1959 in its entirety.

"Although written many years ago, Lady Chatterley's Lover has just been reissued by the Grove Press, and this fictional account of the day-to-day life of an English gamekeeper is still of considerable interest to outdoor minded readers, as it contains many passages on pheasant raising, the apprehending of poachers, ways to control vermin, and other chores and duties of the professional gamekeeper.

"Unfortunately, one is obliged to wade through many pages of extraneous material in order to discover and savor these sidelights on the management of a Midlands shooting estate, and in this reviewer's opinion this book cannot take the place of J.R. Miller's Practical Gamekeeping" (Ed Zern, Field and Stream, November 1959, p. 142).

According to Roberts & Poplawski's bibliography of D.H. Lawrence (pp. 152-153),  Hugh Grey, editor of Field and Stream, requested that Zern choose an outdoors-oriented book for review as a "sort of test case." This was their first.

R&P note that "hereafter no Lawrence collection can said to be complete without a copy of Miller's Practical Gamekeeping to place alongside Lady Chatterley's Lover!"

No such book, however, exists; J.R. Miller's Practical Gamekeeeping was (and remains) a figment of Zern's fertile imagination, a book that can now be safely added to the list of great non-existent books in literature. If Roberts and Poplawski were ignorant of this and serious, Lawrence collectors can now relax - and have a laugh. If R&P were aware, have a bigger laugh - after cursing them out for sending you, with cruel glee, on a wild-goose chase.

Zern's deadpan-tongue-in-cheek review was a delightfully wacky, if not widely known, literary hoax. Hats off to Field and Stream's editor and publisher for running with the prank.

But why did they bother?

1959 was the year of Lady Chatterley; it was big news; the talk of the nation. More than any  other novel, perhaps, it was, because of its decades-old notoriety as a novel with hot parts, the most widely known book in the country, the title familiar to everyone, even those who had little interest in reading or literature. The Grove Press issue (published May 4, 1959 with three printings of 15,000 copies each, before publication), was the first complete, unexpurgated, legal, openly distributed and sold American edition published, and it was a signal event in the contemporary United States. The erotic walls of Jericho came tumbling down - or, at least, began to crumble - in the wake of the Supreme Court's Roth decision of 1957.

Roth was a landmark case that redefined the Constitutional test for determining obscene material under the First Amendment. The conviction of publisher Samuel Roth, the defendant (who had been clandestinely publishing literature with suggestive or explicit sexual content since the 1920s), was upheld and Roth went to jail. Ironically, "redeeming social importance," the vague rule that the Supreme Court determined a requisite for Constitutional protection, not only allowed literary classics of merit that had formerly been banned but paved the way for erotic literature in general to be freely published. And it was, invariably with a legitimate or patently phony Introduction by a real or imaginary social scientist, psychiatrist, or other "expert" to provide the redeeming social importance that kept the authorities at bay.

It should come as no surprise that Samuel Roth's 1930 abridged piracy of Lady Chatterley's Lover (through his William Faro imprint) and his subsequent unexpurgated piracies were, from 1930 until the Grove Press edition of 1959,  the most widely available in England and the United States.

Lady Chatterley's Lover has lent itself well to parody and sequel, temptations as irresistible as Zern's review for Field and StreamLady Chatterley's Husbands (1931); Lady Chatterley's Friends (1932); Sadie Chatterley's Cover (1933); Lady Chatterley's Second Husband (1935);  Lady Loverley's Chatter (1945); Lady Chatterley's Daughter (1961); Lady Chatterley, Latterly (1963); and Lady Loverley's Chattel (1968) are but a few.

The concept of niche magazines reviewing novels in some way associated with their particular subject is ripe and worthy of further development. We eagerly await, for instance, Horticulture's belated review of Octave Mirbeau's The Torture Garden (Le Jardin des supplices, 1899), and what it might say about the following passage in which Mirbeau appears to have dipped his pen in Miracle-Gro, then mainlined it as an aphrodisiac:

"'Why, flowers are violent, cruel, terrible and splendid... like love!'  He picked a ranunculus which gently swayed its golden head above the grass beside him, and with infinite delicacy, slowly and amorously, he turned it between his fat red fingers, from which the dried blood scaled off in places:  'Isn't it adorable?' he repeated, looking at it.  'It's so little, so fragile, and besides, it's all of nature; all the beauty and power of nature.  It contains the world.  A puny and relentless organism which goes straight to the goal of its desire!  Ah, milady, flowers do not indulge in sentiment.  They indulge in passion, nothing but passion.  And they make love all the time, and in every fashion.  They think of nothing else; and how right they are!  Perverse?  Because they obey the only law of life; because they are satisfied with the only need of life, which is love?  But consider, milady, the flower is only a reproductive organ.  Is there anything healthier, stronger, or more beautiful than that?  These marvelous petals, those silks, these velvets... these soft, supple, and caressing materials are the curtains of the alcove, the draperies of the bridal chamber, the perfumed bed where they unite, where they pass their ephemeral and immortal life, swooning with love.  What an admirable example for us!'"  (The Torture Garden, Ch. 6, trans. by Alvah C. Bessie). 
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