Robert E. Lee, Gentleman & George McClellan, Jerk

by Stephen J. Gertz

Two signed autograph letters by the American Civil War's commanding generals, Robert E. Lee of the Confederate Army and George B. McClellan, commander of the Union Army at the war's onset, are coming to auction at Swann Galleries Autograph sale, November 26, 2013.

The Lee letter, dated March 13, 1855
, is estimated to sell for $25,000-$35,000. The McClellan letter, composed May 14, 1854, is estimated for $100-$200. Both were written to Captain George W. Callum (1809-1892), a supervisor in the Corps of Engineers and instructor of engineering at West Point.

Each is indicative of their personalities. Lee is humble and gracious; McClellan is stilted, egotistical, and condescending, deigning to accept an offer.

Lee, a colonel at the time and Superintendent of West Point, expresses regret at his departure from the Corps of Engineers to accept an appointment as Lt. Colonel of the 2nd Cavalry, stating his preference for Engineer duty to that of Cavalry during peacetime, and remarking on West Point business including his assurance to Callum that he will continue his work on the Register of [the Officers and] Graduates.

...I assure you my separation from the Corps of Engrs is attended with bitter regret…


While acknowledging the compliment bestowed on me by the Pres: as unexpected as undeserved, I confess my preference in time of peace for Engr duty over that of Cavalry; But so long as I continue an Officer of the Army, I can neither decline promotion or service...


...The item introduced into my estimate for the Register of Graduates has been granted. I shall give to my successor your Mem: & inform him of our understanding as to your undertaking its preparation…


"Mr. Newlands has not yet been able to finish the record of changes in the Register he loaned us. I will endeavor to have it completed and returned to you before I leave...

I am as yours,

REL

McClellan, then a lieutenant and writing from Philadelphia, was bored to tears with peacetime service. He commanded an engineering company while serving at West Point. In 1853, at the behest of Jefferson Davis, then U.S. Secretary of War, he was assigned to survey an appropriate route for the nascent transcontinental railway. He flubbed the job, overlooking three hugely superior routes. He was insubordinate to political figures: when the governor of the Washington Territories ordered McClellan to turn over his expedition logbooks so he could determine just what the hell had happened, the short in stature, long on ego lieutenant refused. It is believed that he did so because of embarrassing comments he recorded throughout the log.  He had a big mouth.


After mature deliberation upon the testimony adduced I have come to the conclusion that if you still want my very valuable assistance at the Assay office I am perfectly willing to accede to your offer. It is desirable for me, for many reasons, to be in the East for a while. I would be glad if you would move in the matter as soon as possible, for should this project fail I will apply for a leave of absence for six months [...] before I am bagged for any out of the way service...

Sincerely your friend,

Geo B. McClellan

Translation: "After condescending to think about it I've decided that if you still require the wonderfulness of myself and all that my majesty can contribute, I will deign to accept your request."

McClellan's desire to to stay in the East (Philadelphia) for a while refers to his courtship of Mary Ellen Marcy, his future wife. The reference to applying for a six-month leave "before I am bagged for any out of the way service" was prescient. In June 1854, a month after this letter was written,  he was bagged for out of the way service by Jefferson Davis, who ordered him to embark on a secret reconnaissance mission in Santo Domingo in Haiti. Jefferson Davis saw something in McClellan that others failed to observe, and in 1855 McClellan was promoted to Captain.

The estimates for the letters reflect the value and esteem that collectors (and history) have placed upon these two major figures. Robert E. Lee is considered to be one of the greatest generals of all time. His brilliant, often audacious maneuvers and battlefield instincts led to victory after victory - as long as George B. McClellan commanded the Union forces.

McClellan knew how to build an army but was reluctant to use it. Insecure behind a facade of confidence, he was loathe to admit mistakes and accept responsibility; he offered President Lincoln nothing by excuses for his inaction and timidity, and he never hid his disdain for his Commander-in-Chief. Until Lincoln relieved him of duty, the position of the Union army was dire.

How badly has McClellan fared in the marketplace? The letter offered above is one of two being offered in the same lot estimated at $100-$200. Only his Civil War correspondence fetches decent prices but compared to Lee, Grant, Sherman, Stonewall Jackson, and other War Between the States luminaries, prices for McClellan letters are lame. According to ABPC, $8,500 is the top price paid for a McClellan ALS within the last thirty-seven years (To Gen. Ambrose Burnside on May 21, 1862, expressing pride in his past victories & preparing for battle at Richmond). In 2004, a McClellan autograph letter signed fetched $3,200. Two years later, in 2006, the same letter sold at auction for 3,000.

In 2011, a signed copy of Robert E. Lee's farewell letter to his troops ("General Order #9), dated April 10, 1865, sold at Christie's for $80,000. "After 4 years of ardous service...I bid you all an affectionate farewell. [Sgd] R.E. Lee Genl.

McClellan never seemed to accept responsibility for his failures; he blamed others. Lee, in contrast, wore his shortcomings - such as they were - heavily. When Robert E. Lee was appointed Commander of the Army of Northern Virginia he accepted with solemnity. When George B. McCellan was promoted to Commander of the Army of the Potomac he reveled in his newly acquired power and fame.

One was a gentleman, the other a jerk.

___________

Images courtesy of Swann Galleries, with our thanks.
___________

The Bible Of Unconscious Buffoonery

by Stephen J. Gertz

Extra engraved titlepage.

Imagine that you've written a book that no one will publish; it's considered over-long and looney. So, to pump-up its importance, impress, and tacitly solicit subscriptions, you ask eminent men, oh, around sixty of 'em, to contribute "panegyricke verses upon the Authour and his booke" extolling your wonderfulness and that of your volume. Amazingly, they do. But your contributors ridicule the book.

You include their mockery, anyway. Some attention is better than none. You underwrite the cost of printing the book yourself and in doing so produce one of the great vanity publications ever issued, and if your contributors insult you, well, how flattering to your vanity that these great men took the time to do so.

Such was the case of Thomas Coryat (1577-1617) and his book, Three crude veines are presented in this booke following (besides the foresaid Crudities): no less flowing in the body of the booke, then the Crudities themselues, two of rhetoricke and one of poesie…, popularly known by its title from the engraved titlepage/frontispiece (and subsequent editions) as Coryat's Crudities: Hastily gobled up in five moneths trauells in France, Sauoy, Italy, Rhetia com[m]only called the Grisons county, Heluetia alias Switzerland, some parts of high Germany, and the Netherlands. Newly Digested in the hungry aire of Odcombe in the County of Somerset, now dispersed to the nourishment of the traveling Members of the Kingdome.

Coryat's traveling shoes.

Within, Coryat records his step-by-step 1,975 mile schlep across Western Europe. He didn't intend for it to be funny, it just turned out that way. Outlandish, toilsome and wacky adventures are related with such sober and solemn seriousness that the clod is completely unaware that he is a clown in his own touring circus.

"There probably has never been another such combination of learning and unconscious buffoonery as is here set forth. Coryate was a serious and pedantic traveller who (as he states in his title) in five months toilsome travel wandered, mostly on foot, over a large part (by his own reckoning 1,975 miles) of western Europe. His adventures probably appeared to his contemporaries as more ridiculous than exciting, but at this remove, his chronicle by its very earnestness provides an account of the chief cities of early seventeenth century Europe which is at least valuable as it is amusing. It was probably his difficulties with the booksellers which induced Coryate to solicit the extraordinary sheaf of testimonials prefixed to the volume. Possibly he acted upon the notion apparently now current among publishers of social directories that every person listed is a prospective purchaser of the work. At any rate he secured contributions from more than sixty writers at the time. Among his panegyrists appear the names of Jonson, Chapman, Donne, Campion, Harington, Drayton, Davies of Hereford, and others, each contributor vying to mock poor Coryate with solemn ridicule." (Pforzheimer) 

Now, imagine you're Ben Jonson, one of the contributors. You've read the book, and, after re-inserting your eyeballs - which, as if in an animated cartoon, grew to the size of softballs and popped-out of their sockets - you consider what to make of this. As your contribution you write a verse explanation of the engraved frontispiece, decoding its emblematic illustrations. It reads, in part:

Our Author in France rode on Horse without stirrop,
And in Italic bathed himselfe in their syrrop.

His love to horses he sorteth out strange prettilie,
He rides them in France, and lies with them in Italie.

You get the idea. It's an Elizabethan comedy roast but the roastee (known as the British Ulysseys, with accent on Odd-essy), basking in the attention, is deaf to the jokes. It's Mystery Science Theater 3000, the book edition, with eminent readers hurling written wisecracks at the deliriously ridiculous and over-long text while they peruse it from their reading chair, rather than vocally razzing a deliriously ridiculous and over-long movie from their seats in the theater.

Here's an excerpt from John Donne's panegyric to Coryat and his Crudities:

This Booke, greater than all, producest now,
Infinite worke, which doth so farre extend,
That none can study it to any end.
Tis no one thing; it is not fruite, nor roote;
Nor poorly limited with head or foote.
If man be therefore man, because he can
Reason, and laugh, thy booke doth halfe make man.
One halfe being made, thy modesty was such,
That thou on th' other halfe wouldst never touch.
When wilt thou be at full, great Lunatique?

Ouch!

Coryat apparently experienced this - and the other testimonials - as "Oooh, they like me, they really like me!"

I am sory I can speake so little of so flourishing and beautifull a Citie [as Turin]. For during that little time that I was in the citie, I found so great a distemperature in my body, by drinking the sweete wines of Piemont, that caused a grievous inflammation in my face and hands; so that I had but a smal desire to walke much abroad in the streets. Therefore I would advise all English-men that intend to travell into Italy, to mingle their wine with water as soone as they come into the country, for feare of ensuing inconveniences... 

In short, Coryat was drunk during his entire stay in Turin.

Complete copies of Coryat's Crudities are scarce. "Perfect copies with the plates intact are not common...The D.N.B. has repeated the statement that the Chetham copy is the only perfect one known" (Pforzheimer).

A complete copy has, however, recently come into the marketplace.  Offered by Whitmore Rare Books, the asking price is $25,000. Despite its faults it's one of the great travelogues.

"Coryate drew on his experiences in writing Coryats Crudities (1611), which was intended to encourage courtiers and gallants to enrich their minds by continental travel. It contains illustrations, historical data, architectural descriptions, local customs, prices, exchange rates, and food and drink, but is too diffuse and bulky - there are 864 pages in the 1905 edition - to become a vade-mecum. To solicit ‘panegyric verses’ Coryate circulated copies of the title-page depicting his adventures and his portrait, which had been engraved by William Hole and which he considered a good likeness. About sixty contributors include many illustrious authors, not all in verse, some insulting, some pseudonymous" (DNB).

Coryat Meets Margarita Emiliana bella Cortesana di Venetia,

As for Thomas Coryat, the "great Lunatique" died in 1617 and now permanently sleeps with the horses in Italy, which beats sleeping with the fishes in Sicily. It's the difference among character assassination, corporeal execution, and the bestial joy of equine companionship on an arduous journey; bathing in horse-piss in Italy was a bonus, pass the Purell, please - and a barf-bag and incontinence pad, the better to endure Coryat's voyage to France and his feed to hungry fish as written in chapter one's first sentence:

I was imbarked at Dover, about tenne of the clocke in the morning, the fourteenth of May, being Saturday and Whitsun-eve, Anno 1608, and arrived in Calais (which Caesar calleth Ictius portus, a maritime towne of that of part Picardy, which is commonly called le pais reconquis; that is, the recovered Province, inhabited in former times by the ancient Morini) about five of the clocke in the afternoone, after I had varnished the exterior parts of the ship with the excrementall ebullitions of my tumultuous stomach, as desiring to satiate the gormandizing paunches of the hungry Haddocks (according as I have hieroglyphically expressed it in the front of my booke) with that wherewith I had superfluously stuffed my selfe at land, having made my rumbling belly their capacious aumbrie.

It isn't often that an author opens his book with a tableau presenting the painting of a ship with his (or anyone else's) diarrhea. It's a riveting first sentence with repulsive denouement; readers may spew the contents of their now tumultuous stomachs through their northern orafice. Yes, it was the best of times, it was the worst of times, a dark and stormy night, with emphasis on the dark storm raging at Coryat's southern orafice. Yet sunny skies and silliness await the intrepid reader. Be not afraid. Read on ye armchair traveller, you have nothing to lose but your sanity to this seventeenth century version of your friend's interminable seminar with soporific slideshow about a recent vacation, no detail too picayune to omit. Coryat, for instance, never fails to tell the exact time of day that something occurred, and, it seems, reports on everything he put in his mouth -

 I did eate fried Frogges this citie [Cremona]

- and everything he encountered, with the possible exception of dust motes. He then concludes his exhausting review of each city with a breezy, unintentionally amusing, "so much for Paris;" "so much for Venice;" "so much for Milan." It's so very much.

Yea, verily and alas, the booke lacketh backgrounde musik by the eminent Elizabethan composer and performer, Boots Randolph, playing that olde English aire, Yaketie Saxe, to highlight its slapsticke gravitie and the inadvertent Keystone Cop qualitie of Coryat's adventures chasing after Europe, and enliven his dreary descriptions.

__________

Titlepage.

CORYAT, Thomas. [From engraved title]: Coryats Crudities. Hastily gobled up in five moneths trauells in France, Sauoy, Italy, Rhetia com[m]only called the Grisons county, Heluetia alias Switzerland, some parts of high Germany, and the Netherlands. Newly Digested in the hungry aire of Odcombe in the County of Somerset, now dispersed to the nourishment of the traveling Members of the Kingdome. London: Printed by W[illiam]. S[tansby]., 1611. First edition.  Quarto in eights (8 1/8 x 6 inches; 206 x 153 mm). [-]2; a8-b8 ([-]1 inserted after a3); b4; c8-g8; h4-l4; B8-D8 (D3 inserted after preceding D); E8-3C8; 3D4; [-]2 (first is signed 3E3; both are errata). Extra engraved titlepage (i.e. frontispiece) by William Hole, five engraved plates (three folding), two text engravings and numerous woodcut initials and head-pieces. With two leaves of errata.

Pforzheimer 218. Cox 98. Keynes 70.

__________

Images courtesy of Whitmore Rare Books, currently offering this volume, with our thanks.
__________
__________

$35,000 Melville Letter To G.P. Putnam: "Herewith You Have A Manuscript"

by Stephen J. Gertz

A signed autograph letter written by Herman Melville to publisher G.P. Putnam covering his submission of a manuscript for consideration to appear in Putnam's Magazine is being offered for $35,000.

Written from 780 Holmes Road in Pittsfield, Massachucetts, site of Arrowhead, the farmhouse where Melville spent his most productive years, 1850-1863, the note represents an important juncture in Melville's career as a writer.

Pittsfield May 9th [1854]

Dear Sir -

Herewith you have a manuscript.

As it is short, and in time for your June number, therefore - in case it suits you to publish - you may as well send me your check for it at once, at the rate of $5 per printed page.

- If it don’t suit, I must beg you to trouble yourself so far, as to dispatch it back to me, thro my brother, Allan Melville, No. 14 Wall Street. 

Yours

 H. Melville

At the bottom Melville notes the recipient, G.P. Putnam Esq.

Melville had submitted Two Temples, an unusual short story wherein Melville's protagonist, alone, without money, and lonely in London, retreats to an Anglican parish church for solace. Expecting open arms and sympathy he is instead confronted by a “fat-paunched, beadle-faced man” who refuses him entry simply because he doesn't look right. The man proceeds to a run-down theater presenting a play, finds a comfortable, unobstructed seat, and is offered a free dram of ale from a young spectator seated nearby. Overwhelmed by the welcome and charity he experienced, he reaches the conclusion that this theater is a true church, the other not at all.

Putnam's Magazine rejected it; Charles F. Briggs, its editor, replied to Melville on May 12.

"I am very loth [sic] to reject the Two Temples as the article contains some exquisitely fine description, and some pungent satire, but my editorial experience compels me to be very cautious in offending the religious sensibilities of the public, and the moral of the Two Temples would array against us the whole power of the pulpit, to say nothing of Brown, and the congregation of Grace Church."

At the top of Melville's letter, Briggs wrote a memo to Putnam alluding to his response:

“Melville wants the MS sent to his brother Allan. I have written to him and I think you had better write to him, and get […] to […] Curtis. It will be the best one for his public and the Maga. B.”

Briggs was being careful and the suggestion to Putnam that he also write to Melville indicates the sensitivity of the situation: Melville was a popular writer and they wanted to retain him as a contributor. Briggs is suggesting that to assuage Melville's feelings they should buy another, more appropriate, piece from him.

"The fact that the publisher of the monthly…took it upon himself to write an additional letter to Melville to reassure him of the monthly's interest in and strong support of his ideologically challenging fiction indicates the high status that Melville's tales held for the editors of Putnam's" (Post-Lauria, Correspondent Colorings: Melville in the Marketplace, p. 189).

This letter is highly significant. Two Temples represented the metaphysical path that Melville had begun to travel with Moby-Dick and had further bestrode, deepening his spirituality. His earlier works had been popular; $5 a page was top wage for a short story; he was still in demand. (And Melville desperately needed the money). Beginning, however, with Moby-Dick, religious themes began to rapidly creep into his work. His readership began to slowly creep out, and from then on publishers became increasingly wary to publish Melville. Two Temples, so overtly theological and spiritually rebellious, was, if not the beginning of the end, a definite so long, farewell, auf wiedersehen to Omoo, amen.

Melville autograph material is scarce. Most of his surviving letters defy wakefulness. This letter, one of the few featuring content relating to his writing and with a revealing backstory, opens the eyes and keeps them open.

__________

Image courtesy of Biblioctopus, currently offering this item, with our thanks.
__________
__________

Bob Dylan's Legendary Tarantula Proofs Bite At $10,000

by Stephen J. Gertz

A copy of the pre-production uncorrected galley proofs of Bob Dylan's first book, Tarantula, has come to market. Spiral-bound in the original salmon-colored wrappers, it is being offered by Biblioctopus of Century City, California. The asking price is $10,000.

Why the hefty price tag? Tarantula was published in 1971. These proofs - of which only "a few copies" were produced, according to publisher Macmillan's press release - are dated 3 July, 1966 ("376") with "pub. date: Aug 1966 Price: $3.95 (tent.)" in holograph ink at the top of the front cover. In short, the proofs were printed five years before the book was actually published.

What happened?

Dylan's motorcycle accident happened.

Publication plans were in motion when Dylan had his fateful accident on July 29, 1966. Hospitalization and recovery surely distracted him but Dylan was never really committed to this collection of prose-poetry to begin with. 

"Things were happening wildly in that period," Dylan recalled to an interviewer in 2001. "I never had any intention of writing a book. I had a manager [Albert Grossman] who was asked: he writes all those songs, what else does he write? Maybe he writes books. And he must have replied: obviously, sure he writes books, in fact we're just about to publish one. I think it was on that occassion that he made the deal and then I had to write the book. He often did things like that."

Further movement on the book ground to a halt. 

Except from bookleggers, one of whom was in possession of a stolen copy of these proofs, photocopied it, and printed and published the result. Subsequent pirated editions (over a dozen) followed, each based upon third or later generation photocopies of that first pirated edition of these proofs.

First authorized edition, NY: Macmillan, 1971.

Here, then, is the fabled, earliest and scarcest of all editions of Tarantula in print, one of perhaps only 3-5 copies produced, eleven inches in height, seventy-eight pages in length, and $10,000 in cost.

_
__
___
____
_____
______
_______

here lies bob dylan
demolished by Vienna politeness -
which will now claim to have invented him
the cool people can
now write Fugues about him
& Cupid can now kick over his kerosene lamp -
bob dylan - filled by a discarded Oedipus
who turned
around
to investigate a ghost
& discovered that
the ghost too
was more
than one person

(From Tarantula, ©Bob Dylan).
__________

View some of the Tarantula piracies here.

__________

Images courtesy of Biblioctopus, with our thanks.
__________

Of Related Interest:

Greetings From Bob Dylan On Highway 51.
 
Very Early Bob Dylan Song Manuscripts Surface.
__________
__________

The Book Illustrations Of Humphrey Bogart's Mother

by Stephen J. Gertz

In 1898, Baby's Record was published by Frederick A. Stokes Co. of New York. Issued in three simultaneous editions featuring one, six, or twelve color illustrations (all here), the book was by Maud Humphrey, who, in the same year, married Dr. Belmont De Forest Bogart. A year later, on Christmas Day, she bore a son. The couple named him Humphrey.

Maud Humphrey was born in 1868 to a well-to-do family in Rochester, New York. Demonstrating a precocious talent for drawing, by age twelve she was taking art classes and soon became one of the founding members of the Rochester Art Club. As a teenager she began to receive commissions to provide illustrations for children's magazines.

At age eighteen she went to New York City and enrolled at the new Art Students League, later making the obligatory pilgrimage to Paris to continue her studies at the Julian Academy. Returning to New York, her ambition and ability were rewarded by her era: it was the beginning of what is now known as the golden age of book illustration, which dawned in the mid-late 1890s with the development of improved printing techniques and color-printing processes, and set when World War I began.

She became a highly in-demand illustrator for magazines, children's books, and advertising, her idealized and highly sentimental portraits of rosy-cheeked babies and youngsters very popular. Ivory Soap was a client, as was Mellin's Baby Food. She preferred to use live subjects and master Humphrey clocked many hours as a babe posing for his mother's Mellin's Baby Food illustrations, often dressed-up in little girl's clothing. 

She ultimately became one of the most sought-after and highly paid female illustrators in the United States, her work reproduced for calendars and all manner of merchandise.

Other books illustrated by Maud Humphrey include Sunshine of Little Children (1888); Babes of the Nations (1889); Baby Sweethearts (1890); Bonnie Little People (1890); Ideals of Beauty (1891); Famous Rhymes from Mother Goose (1891); The Light Princess (1893); The Book of Pets (1893); Little Playmates (1894); Old Youngsters (1897); Little Grown-Ups (1897); The Littlest Ones (1898); Little Rosebuds (1898); Sleepy-Time Stories (1899); Gallant Little Patriots (1899); Children of the Revolution (1900); Little Continentals (1900); Little Folk of '76 (1900); Young American Speaker (c. 1900); and many more.

Maud Humphrey, along with Jessie Wilcox Smith, Bessie Pease Gutmann, Queen Holden, and Frances Brundage, was amongst the most sought-after illustrators of the late nineteenth through early twentieth century, her annual income often reaching upwards of $50,000. The average illustrator was earning approximately $4,000.

The combined income of the Bogarts allowed their son, Humphrey, to grow up in prosperity. The family lived in a large, posh apartment on New York City's Upper West Side, and retreated to an elegant "cottage" on their 55-acre estate on the shore of Canandaigua Lake in upstate New York.

Draw it again, Mom. But, please, no more pinafores.

Of all the gin joints, in all the towns, in all the world, Maud Humphrey walks into mine, Café Booktryst, where the suspicious, the dubious, the imperiled, and the dispossessed read at the bar until the worst blows over.

___________

___________

Has An Unrecorded Thackeray MS Gift Book Been Discovered?

by Stephen J. Gertz

Hand-lettered titlepage.

A small manuscript book with original art purportedly written and drawn by William Makepeace Thackeray (1811-1863), the great nineteenth century English novelist, has surfaced. There are no references to it in any bibliography, biography, or collection of Thackeray's letters.

Titled A Wonderfulle, Veritable and Trulye Delectable Hystorye; of a certain flock of sheep that went astray, during ye Shepherde his absence. Together wh. divers wondrous matters wh. are contained in thys little Boke, it was "published" in London by "John Snobbe Gent. at ye Inkpotte and Asse in Fleet Street" in 1848. In 2013 it appeared on my desk and, the object of near total Thackeray immersion, it has been under investigation for the last three months. The case for WMT's authorship is strong yet circumstantial and the jury remains out.

The book is composed of seven leaves of pale blue writing paper, each 7 1/4 x 5 3/16 inches (185 x 127 mm), with recto-only holograph captioning below colored drawings that were rendered on artist's paper, clipped, and pasted in. A gentle satire, with charming wit it tells the story of an English parson who visits the Continent but not before warning his congregation against being led astray by worldly vanities while he is away.  Compelling news from home returns him to England where he discovers that his flock has, indeed, flirted with the devil and succumbed to the vanities that contemporary society draws the unwary into.

The Shepherd, having perused 'the loving ballad of Lord Bateman,' is impressed
like that high-soul'd Nobleman with a desire 'some foreign countree for to see,'
he accordingly inserts his best blacks into a carpet bag -

and in a brief and improving discourse of two hours + fifty nine minutes
admonishes his flock against being led astray by worldly vanities during
his absence -

There are three possibilities as to the book's origin: by Thackeray; a Thackeray pastishe by an anonymous someone; or a forgery.

It is not a forgery; a forger would have signed Thackeray's name or initials in an attempt to deceive. There is no identifying signature, or initials.

He purchaseth an Alpinstock for the better ascent of mountainous regions, and
embarks at Kingstown in the 'Teakettle Royal Mail Steamer' -

On the voyage he meets the Great Sea Serpent, wife and family -

The Case For Thackeray's Authorship

The paper and ink are true to period. Internal text details nail the date to, indeed, 1848.

Thackeray's is known to have created little illustrated gift books for his friends or their children. In The Pen and the Album he wrote:

Caricatures I scribbled have, and rhymes,
And dinner-cards, and picture pantomimes;
And merry little children's books at times.

The title page is a riot of archaic and curious word spellings. From Thackeray's letters we know that he enjoyed playing with spelling, and he commonly used "wh." to abbreviate "with" and "which," as here.

The "John Snobbe" imprint is highly significant. In 1847 Thackeray serially published The Snobs of England; in 1848 a revised book edition was issued as The Book of Snobs. Thackeray created and popularized this class of individual and our current definition of snob is based upon Thackeray's conception. We can chalk-up the imprint's location - "at ye Inkpotte and Asse" - to Thackeray's self-deprecation and his negative feelings about writing. Like Dorothy Parker, he enjoyed having written but didn't enjoy the writing process. "At ye Inkpotte & Asse" is the lightly grumpy and sarcastic equivalent of slaving in the salt-mines.

Text:

In The Book of Snobs, Thackeray devotes a chapter to the clergy, and a clergyman is here the object of the satire.

The allusion to Lord Bateman in the second leaf's first line is significant. Thackeray was a fan of the traditional story of Lord Bateman and wished to adapt a version of his own. He shared this desire with caricaturist George Cruikshank, who warned him not to; Cruikshank was planning his own, and The Loving Ballad of Lord Bateman was published in 1839 with notes by Charles Dickens. Thackeray, however, never got the story out of his head and later composed The Famous History of Lord Bateman, with his own illustrations and text variations.

The second leaf text refers to being "led astray by worldly vanities." We're in Thackeray territory here; Vanity Fair had been serially published 1847-48 and the book edition was issued in 1848.

In the forth leaf reference is made to a trip to Germany. Thackeray visited Germany in 1848 (he had spent time there earlier in life). The parson reading Galignani's newspaper is noteworthy: it was the leading English-language newspaper on the Continent and, significantly, Thackeray had been a contributing writer to it.

The reference to "news of a most horrifying nature" refers to the Young Irelander Rebellion, which occurred in late July 1848.

Reference in the fifth leaf to a Jenny Lind concert - We know from his letters that on June 3, 1848, Thackeray attended a Jenny Lind concert in London.

On the wall in the sixth leaf's illustration is a portrait of French minister Louis-Eugene Cavaignac, the de facto French head of state and dictator in the immediate wake of King Louis-Philip's abdication during the June revolution of 1848.

The final leaf's tableau presents a social scene worthy of Thackeray's wit: is the loud smacking sound that of a kiss or someone smacking their lips in satisfaction of eating a rich dessert? The illustration at far left is amusing - a man seems to be going in for a kiss with a young lady while simultaneously reaching behind her to grab something off a food tray.

IRELAND
FASHIONABLE INTELLIGENCE!

Festivities At Clontarf  Splendid reunion……..
Rank and fashion….elegance and beauty….light fantastic…
Salon de danse…polka…valse…on dit…
Hon. Charles M….hymnal altar…lovely and accomplished…
fair fiancée…eighteenth year…amiable as beautiful…
gallant bridegroom…splendid prospects…immense estates in the Moon
demise of his granduncle the Man thereof…&c. &c.

Arrived at Schmdttronichbrandtt he reads news of a most horrifying
nature, -

Which causeth him to return instantly by Special Extra Express Train -

The Illustrations:

At first glance they appear to not be by Thackeray. They are more developed than is usually the case with his illustrations. Thackeray was, in his mind, first and foremost an artist; it was his first love, what he did for pleasure, and his ambition in life was to become a painter; writing was a chore he did strictly for the money. But as John Buchanan-Brown's The Illustrations of William Makepeace Thackeray demonstrates, Thackeray's artwork varied from simple line drawings to more elaborate compositions. (His draftsmanship and technique were limited; he had to quit his art studies after he squandered his inheritance and had to earn a living, pronto). Given the time and motivation it is entirely possible that he created these illustrations.

Noteworthy in respect to technique is that when he designed crowd scenes or groups of people their facial features were generally rendered as simple dots or dashes, as seen in the second leaf. This same detail is found throughout Thackeray's illustrations.

So, too, Thackeray's variation of visage, often caricatured but sometimes, as here, somewhat straight without exaggeration or grotesquerie.

The Banshee not going fast enough, a boat is sent ahead to help
her on + by which means he gets back in something less than no time!

He goes in search of his flock + finds some of them at Jenny Lind's concert

Provenance

Purchased by John Ruston of the Horace G. Commins Bookshop located at 100 Old Christ's Church Road, Bournemouth, Dorset, from the Chadwick family of Sherborne, Dorset.

Purchased from Ruston by Jack Joseph of E. Joseph Booksellers of London in 1965.

In descent from Jack Joseph to his nephew, bookseller David Brass.

Maj. James Chadwick was an old friend of Thackeray's. Thackeray created his Alphabet Book for Chadwick's son, Edward.

others coortin'!

The Case Against Thackeray's Authorship 

At first glance, the handwriting is not what we expect of Thackeray. Though the penmanship here is as minute and precise as found in Thackeray's letters, there are a few details which concern. Thackeray's downstems (below the line, as "g" or "y"), for instance, are typically straight; here they curve to the left with a flourish.

The illustrations are too well-done.

Thackeray was too busy during 1848 to create this little book. He was up to his inkpotte & asse writing Pendennis.

Counter:

Thackeray used a standard pen nib when writing his letters. The designer here uses an artist's pen with thin nib, allowing for flourish. These illustrations are finer than most that we see of Thackeray's and he might very well have artistically varied his handwriting to suit the occasion.

Variations in penmanship style - sometimes for amusement purposes - are found between his letters, and between captions to his illustrations.

Thackeray used a straight and slanted handwriting style. Both are present here. 

While it is true that Thackeray was deeply immersed in writing Pendennis during 1848 and perhaps too busy to devote his energies elsewhere, it is also known from his letters that Thackeray quit Pendennis for brief periods of time. Again, writing was toil for him and he might very well have taken time to do this book simply for diversion and relaxation to reinvigorate his creative powers.

•  •  •

The question arises: why would someone anonymously create a one-off Thackeray pastiche in the first place? It's too good to not wish to be associated with it; pride of authorship is warranted. Thackeray had no need to sign it; as a gift the recipient (a member of the Chawick family, possibly James) knew who did it. How would an anonymous author (and clearly trained artist) have known of Thackeray's interest in the Lord Bateman ballad? His affection for unusual spellings? His Galigani connection? The Jenny Lind concert? Too many coincidences; the circumstantial evidence piles up.

And some, it is whispered, have been suspected (oh my eye! my eye!)
of kissing under the Misletoe!!, but owing to its being dark at the
time, and a violent cachination caused by the sudden appearance of
a rummy Old Gentleman on the wall the Informant was not able to
declare positively whether the noise heard was the mundane vanity
of a kiss, or that peculiar smack which is oft-times given to express
the satisfaction felt after the mastication of a rich Tart or the like,
and of which description of the period in question - and thus ends this
strange eventful history! -

The flock have now gone back to Sermon and Tract,
There's none of them courted, there's none of them smack'd;
Thus a Proverb's come true we have oft heard rehearsed
Things are certain to mend when they've come to the worst!

What the Scholars Say

John Aplin, Thackeray family biographer and curator of the Thackeray Bicentennial Symposium at Harvard's Houghton Library in 2011; Victorian literature scholar Kurt Harris, Ph.D; and Peter L. Shillingsburg, general editor of the Works of W.M. Thackeray; author of William Makepeace Thackeray: A Literary Life, etc., were consulted.

Mr. Aplin is sanguine about Thackeray's authorship. Dr. Harris wrote, "The drawings and handwriting in the images you sent me appear to be those of W. M. Thackeray." Mr. Shillingsburg is dubious: "I have seen a number of iffy manuscripts and this one did not convince me but 'attributed to' is accurate."

In 1972, Gordon N. Ray (1915-1986), editor of Thackeray's letters, was consulted. It is reported that he glanced at the book's second leaf for a moment and without investigation declared that it was not by Thackeray. The handwriting was, apparently, all he needed to see and he didn't instantly see Thackeray. I am told, however, that Ray, at this point in his life aging, irritable, and cantankerous, was a bit of a cuss about the matter, refusing further and deeper examination of the book. With all due respect to Ray, however, experts after their great successes can sometimes mutate into rigid doctrinaires inflexible to anything that might contradict their experience. Mr. Ray may have been correct. But he may have been completely wrong.

The provenance should definitively settle the issue but, alas, there is no paperwork to document Ruston's purchase from the Chadwick family, nor a bill of sale from Ruston to Jack Joseph. There is no smoking gun, just the scent of gunpowder and traces of it on Thackeray's hand.

I admit to scholastic bias; I want this to be by Thackeray; it excites the latent academic and ignites the thrill of exploration and discovery. It is so very cool. And, without putting too fine a point on it, if accepted as being by Thackeray it's a book whose value is in five-figures. 

The matter is now left to academics, bibliographers, and collectors. Whatever the result, this is one of the most fascinating pieces of Thackerayiana to appear in a very long time.

__________

Images courtesy of David Brass Rare Books, with our thanks. This item is not currently for sale.
__________
__________

Proust Gets Boost at Christie's

by Stephen J. Gertz

Written at age 9, to his grandmother, Feb. 1881.
Est. $6,700-$9,300.

Eight signed autograph letters written by French novelist, critic and essayist Marcel Proust (1871-1922) are being sold by Christie's-Paris in its Importants Livres, Anciens Livres, Livres d'Artistes, et Manuscrits sale November 6, 2013. Offered in eight individual lots, estimates range from $2,000-$12,000.

The charming two-page letter above was written by Proust to his maternal grandmother, Ms. Nathe Weil, on the occasion of her birthday, February 5, 1881. He was nine years old. He signed it "Marcel Proust" in German Gothic, and we smile: children seem to enjoy signing their full name as an exercise in identity and sounding adult, even to members of their immediate family.

To Lucien Daudet, c. late 1897.
Est. $8,700-$12,000.

In this letter, dated "Thursday returning" (likely late 1897-early 1898) Proust writes to "mon rat gentile," Lucien Daudet, shortly after the death of Daudet's father, novelist Alphonse. It is believed that Lucien Daudet and Proust had been lovers.

Unable to attend a dinner, Proust sends his regrets. "[ ... ] And I thought you had considered me cruel for  not being master over my body and unable to go near you, to be in this state of health your father had predicted and he advised me that the vision of genius and goodness with which he lived could probably lead us to all wonderful things [...] I wonder at times [...] if he did not die without you known in the most exquisite depths of his mind fully transmitted [...] not only were you  his flesh and blood, but you were sort of real presence of mind [...]."

To la princesse Soutzo (future wife of Paul Morand).
No date (c. 1917). Est. $5,400-$8,000.

On August 24, 1917, Proust wrote four-pages to his confidant, Princess Hélène Soutzo, the future Mrs. Paul Morand, regretting taking so long to acknowledge her invitation to dinner, to which the princess had also invited Soutzo Scheikevitch Ms., Mrs. Harcourt, Jean de Gaigneron, and Etienne de Beaumont.

"[...] When I woke up at 8am, your words gave me pleasure and pain, by your kindness to invite me for the evening I could love you more, and the impossibility, because of the time, to join. Celeste called on the telephone, you were out. Had we called the hotel [the Ritz] [ ... ] it seems that [...] it could present my excuses. I would have infinitely liked this dinner with you, especially Foyot [a restaurant located at the corner of rue de Vaugirard and Rue de Tournon]..." (Proust Correspondence. Text established and annotated by Philip Kolb . Volume XVI . Paris : Plon, 1988 , letter 108 , p. 218).

To Jean-Louis Vaudoyer, February 11, 1915.
Est. $2,700-$4,000.

On February 11, 1915, Proust wrote to Jean-Louis Vaudoyer asking about his friend and Vaudoyer's brother-in-law, historian Daniel Halevy, and complaining about his health.

"I was told that you had seen Mrs. Wood Rouvray (who I do not know) [ ... ] and you were very good. But a line may bring me great sweetness in these terrible days. [ ... ] I hope you have not been tested too much in your friendships. From the first day my brother [Robert] was in danger, but so far has escaped and everything goes well. I have advice against reform [ ... ] I wanted to tell you that I kept thinking about you and as it happens in disasters one keeps in his heart that which is needed, and you were more intimately mine" (Proust Correspondence. Volume XIV.  Paris: Plon, 1986, letter 18 , p. 51-52) .

To Madame Anatole Catusse, undated (c. Dec. 1917).
Est. $5,400-$8,000.

Mrs. Anatole Catusse was very close to Mrs. Proust with whom she shared a love of music. In December 1917 Marcel wrote her a four-page letter.

"Dear Madam, thank you a thousand times for your letter. The state of my eyes after correcting tests   does not allow me to give many thanks at length." 

He also remembers their meeting in restaurant (very likely the Ritz): "The other night, in the hotel you did me the honor to come to dinner, you had me in the crystal revolving door and gave excellent advice." With the help of Ms. Catusse Proust tried to sell some furniture which he had received offers on to buy.

He goes on describing his financial health, so bad, apparently, that even fruit isn't taking any chances on him. "If I had the idea to ask for a chopped apple, it would make me pay in advance." (Proust Correspondence. Volume XVI . Paris : Plon, 1988 , letter 168 , p. 325-326 .

To Jean-Louis Vaudoyer, no date (early Oct. 1918).
Est. $4,100-$6,700.

In an undated (early October 1918), four-page letter to his friend, novelist and critic Jean-Louis Vaudoyer (1883-1963), that he marked "confidential," Proust amusingly writes about a Proust-pastiche he saw in the magazine Le Crapoullot.

"They sent me a number of the Crapouillot causing me a slight annoyance because it contains a really stupid pastiche of me, but causes me great joy: you do me the honor and friendship to dedicate my wonderful pastiches. That of Gerard de Nerval in particular is an ongoing miracle [ ...] As pastiche that the pretension to forge my way, I am wrong to be indignant. It is only the consequence of Vanderem signs and other items that ignoring the composition of my work seem to say that I am the ' memories and am writing my memories of the fl [ ... ]" (Proust Correspondence.Volume IV. Paris : Plon, 1933 , p. 79).

(“On m’envoie un n° du Crapouillot qui me cause un léger ennui car il contient un pastiche de moi vraiment stupide, mais me cause une joie profonde : vous me faites l’honneur et l’amitié de me dédier des pastiches merveilleux. Celui de Gérard de Nerval en particulier est un miracle continu [...] Quant au pastiche qui a la prétention de contrefaire ma manière, j’ai tort de m’en indigner. Il n’est que la conséquence des articles signés Vandérem et autres, qui méconnaissant la composition de mon ouvrage ont l’air de dire que je fais des ‘mémoires’ et écris au fl de mes souvenirs [...]”).

To Jean-Louis Vaudoyer, n.d. [May 7, 1919].
Est. $2,700-$4,000.

In a three-page letter, Marcel writes to his friend, Jean-Louis Vaudoyer, and alludes to  Les Permissions de Clément Bellin, Vaudoyer's novel published in 1918.

"Wednesday, Reynaldo wrote me that he will probably dine and leave immediately afterward… I suffered so yesterday when I wrote that I have the impression that thinking has extraordinary and silent night with the mulatto, and other overhead of Peahen, I love talking about the Peahen and Peacock. I called this last name or the hero that you are a 'given' papers (you should remove that had given me', nor Paonneaux painted [ ... ]."

(“Mercredi, Reynaldo m’écrit qu’il viendra dîner et il partira sûrement tout de suite après. Vous ne serez que tous les deux (sauf un garçon que j’ai recueili depuis q.q. mois mais qui ne nous gênera pas car il ne dit rien) [...] Je souffrais tellement hier quand je vous écrivis que j’ai l’impression qu’en pensant à la nuit extraordinaire et silencieuse avec la mulâtresse, et d’autre part au pavillon de la Paonne, j’ai parlé des amours de la Paonne et de Paon. Je n’appelle de ce dernier nom ni le héros dont on vous a ‘remis’ les papiers (vous devriez supprimer ce ‘qu’on m’avait remis), ni les Paonneaux peints [...])” (Proust Correspondence. Volume XVIII. Paris : Plon, 1990 , letter 87 , p. 205-206).

To Gustave Geffroy, no date (June 20 or 21, 1920).
Est. $5,400-$8,000.

Here, Proust, in 1920, writes to his friend, the art historian, critic and novelist Gustave Geffroy (1855-1925), who wrote the first biography of Claude Monet in 1922.

"I'll wait a while, what I write is not forbidden and it is almost impossible to thank you for your wonderful tales of the West Country. But I want to tell you again what a delight and punishment they are for me. No longer able to travel I cannot see those places that give me nostalgia [...] But many sites - you really live in your Tales of the West Country - I have not visited, and I never will know them. But thanks to you they surround me much more than the walls between which I am [...]." (Marcel Proust. Correspondence. Volume XIX. Paris: Plon, 1991, letter 147, p. 314-315).

"Everything great in the world comes from neurotics. They alone have founded our religions and composed our masterpieces"

"There are perhaps no days of our childhood we lived so fully as those we spent with a favorite book."

"The only real voyage of discovery consists not in seeking new landscapes but in having new eyes."

__________

Images courtesy of Christie's, with our thanks.
__________
__________