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1SophyWestern
I thought I'd start this thread for those titbits and snippets that don't deserve a thread of their own, all those thoughts beginning "Now that reminds me ... " or "Funny you should say that".
Do others like me love Mr Majure's checklist? He asks that anyone who spots a mistake should let him know. I think I have spotted two teeny ones - in the 5th and 7 series - before I embarrass myself, can anyone else see them?
PS: see if you can spot them without the aid of the Quarto-Millenary!
Do others like me love Mr Majure's checklist? He asks that anyone who spots a mistake should let him know. I think I have spotted two teeny ones - in the 5th and 7 series - before I embarrass myself, can anyone else see them?
PS: see if you can spot them without the aid of the Quarto-Millenary!
2Django6924
Hmmmm, well, I'm pretty sure The Way of All Flesh preceded the Rubaiyat, but I can't see anything amiss in the Fifth Series listings (and I'm away from home so I can't check the Q-M to find out). Are you going to leave us in suspense???
Mr. Majure's checklist is great, but when I was trying to figure the contents of my relatives 5 years of unwrapped LEC's by comparing the shipping dates to the Checklist order, I was wrong about 60% of the time. I didn't really know what was inside util I unwrapped each one.
Mr. Majure's checklist is great, but when I was trying to figure the contents of my relatives 5 years of unwrapped LEC's by comparing the shipping dates to the Checklist order, I was wrong about 60% of the time. I didn't really know what was inside util I unwrapped each one.
3featherwate
2 >
"I didn't really know what was inside until I unwrapped each one."
Few people can have been granted such a suspenseful revelation of treasurable objects. By my reckoning the last was probably Howard Carter !
"I didn't really know what was inside until I unwrapped each one."
Few people can have been granted such a suspenseful revelation of treasurable objects. By my reckoning the last was probably Howard Carter !
4SophyWestern
>2 Django6924: I have rather oversold these, I fear, the errors are miniscule. In the 5th series, #55, e and i are transposed in Ulenspiegl. And in the 7th series, # 76, Imaginary Conversations is signed by Hans Mardersteig, not Giovanni, I do believe.
I came across a lovely edition of Ulenspiegl last week - illustrated with a 100 or so woodcuts by Frans Masereel and published by Pantheon Books in 1943. The DJ was present, as booksellers quaintly say - but rather a ghostly presence in this case, folded inside the back cover. Pantheon Books, I learn, was established in 1942 by a group of intellectuals who were refugees from Nazism. I was tempted - going for only $6 dollars or so - and Abe seems awash with them too. But resisted.
I came across a lovely edition of Ulenspiegl last week - illustrated with a 100 or so woodcuts by Frans Masereel and published by Pantheon Books in 1943. The DJ was present, as booksellers quaintly say - but rather a ghostly presence in this case, folded inside the back cover. Pantheon Books, I learn, was established in 1942 by a group of intellectuals who were refugees from Nazism. I was tempted - going for only $6 dollars or so - and Abe seems awash with them too. But resisted.
5Django6924
>4 SophyWestern:
You have a proofreader's eye Miss Western--indeed my copy is signed by Hans Mardersteig, with a broad-nibbed pen in a most legible hand. I think we can cut Mr. Majure a little slack seeing as "Hans" and "Giovanni" are the same person.
I am not familiar with the Masereel Til, but I'd like to compare it with THe LEC version, which is wonderfully illustrated by Floethe.
You have a proofreader's eye Miss Western--indeed my copy is signed by Hans Mardersteig, with a broad-nibbed pen in a most legible hand. I think we can cut Mr. Majure a little slack seeing as "Hans" and "Giovanni" are the same person.
I am not familiar with the Masereel Til, but I'd like to compare it with THe LEC version, which is wonderfully illustrated by Floethe.
6SophyWestern
> 5
Aha! - Giovanni after 1946, when he took Italian nationality, I see. Oak Knoll Press have announced the publication of Ms Grossman's book on the LEC for 2013 and I do hope she goes into some detail about the various artists, designers and printers used by Macy.
Aha! - Giovanni after 1946, when he took Italian nationality, I see. Oak Knoll Press have announced the publication of Ms Grossman's book on the LEC for 2013 and I do hope she goes into some detail about the various artists, designers and printers used by Macy.
7busywine
>7 busywine: Ms. Grossman's book will be marvelous, with tons of info! When things are a bit further along, i hope to have her write an article on B&V's where she will share a bit more. Having talked to her, she has almost unlimited knowledge hear -- all of us will love this book!
8Django6924
>7 busywine:
Not everyone! I've had my own book in the works for years, and I'm shocked--shocked that someone else should have sneaked in ahead of me!
Not everyone! I've had my own book in the works for years, and I'm shocked--shocked that someone else should have sneaked in ahead of me!
9SophyWestern
>8 Django6924: Do not be deterred, Mr D! I am sure both books are quite indispensable. I am not sure how one would tackle it - would Macy's life be the emphasis, or the books? And if the books, how to avoid a catalogue of titles and contents?
10Django6924
Well, the great story would be Macy's role in shaping the LEC, some of which is told in the Monthly Letters, but a lot of which must reside in his private papers, and in interviews with the various illustrators, printers, and personal friends.
For example, in the private correspondence of John Steuart Curry, we find that Macy paid $2000 to Curry for illustrating The Literary Works of Abraham Lincoln, double the usual amount for an LEC illustration job (accounting for inflation, that would be approximately $32,000 in 2012 currency). Also, in a copy of the contract itself, we learn that the LEC's standard deal with an illustrator stipulates that the original art belongs to, and is to be returned to, the artist: "The right to possession and sale of the original illustrations is vested in the Illustrator...." This book was originally planned to be issued in a series "Ten Great American Classics," but when Curry's schedule became too demanding, he asked for extra time, and Macy (who was called by someone in one of these posts, "a control freak"), decided to withdraw the Lincoln book from that series and issue it as part of the regular publication schedule the following year. (I wonder how many publishers would that accommodating today?) There is also some interesting input from Macy about some of Curry's ideas for some of the smaller illustrations: Curry had sent some smaller illustrations (which he characterized as "spots"), which symbolized Lincoln's words; Macy responded:
I think this is something we should not have done. For instance, to illustrate the House Divided Speech, showing a temple falling into bits, might strike many people as banal.
Further correspondence between the two reveal that neither were entirely satisfied with the Lincoln volume (this in a letter a year later offering Curry the job of illustrating The Red Badge of Courage for the Heritage Press). The friendship was not damaged and 3 years later Macy is asking Curry to illustrate John Brown's Body for the LEC for $4000 ($47,000 adjusted for inflation). Curry's response was that he "is pleased as Hell!", and he goes on to say "you are the only publisher so far for whom I have been able to do my best work." This commission and the generous increase over the standard LEC illustrator's deal is particularly significant of Macy's character when one knows that Curry was in considerable turmoil at the time: he had been hospitalized for high blood pressure (which would kill him before he was able to sign any copies of John Brown's Body), and was engaged in a bitter dispute with the Kansas Legislature over his now-famous murals in the Kansas Statehouse. The dramatic mural depicting a gun-wielding John Brown in front of a tornado was seen by Kansans as everything from a depiction of a traitor and murderer who wasn't representative of real Kansans, to a comment on the state's bad weather. Curry in anger left the finished murals unsigned, and the emotional stress probably had much to do with his untimely death. The Monthly Letter for John Brown's Body includes a sympathetic eulogy.
It is from details such as this that the picture of the man, George Macy, takes shape. The more one knows about the man, the more one sees the unifying force and commitment to excellence in the books, and in the institutions he created, the LEC, the Heritage Club, the Readers Club, etc.
For example, in the private correspondence of John Steuart Curry, we find that Macy paid $2000 to Curry for illustrating The Literary Works of Abraham Lincoln, double the usual amount for an LEC illustration job (accounting for inflation, that would be approximately $32,000 in 2012 currency). Also, in a copy of the contract itself, we learn that the LEC's standard deal with an illustrator stipulates that the original art belongs to, and is to be returned to, the artist: "The right to possession and sale of the original illustrations is vested in the Illustrator...." This book was originally planned to be issued in a series "Ten Great American Classics," but when Curry's schedule became too demanding, he asked for extra time, and Macy (who was called by someone in one of these posts, "a control freak"), decided to withdraw the Lincoln book from that series and issue it as part of the regular publication schedule the following year. (I wonder how many publishers would that accommodating today?) There is also some interesting input from Macy about some of Curry's ideas for some of the smaller illustrations: Curry had sent some smaller illustrations (which he characterized as "spots"), which symbolized Lincoln's words; Macy responded:
I think this is something we should not have done. For instance, to illustrate the House Divided Speech, showing a temple falling into bits, might strike many people as banal.
Further correspondence between the two reveal that neither were entirely satisfied with the Lincoln volume (this in a letter a year later offering Curry the job of illustrating The Red Badge of Courage for the Heritage Press). The friendship was not damaged and 3 years later Macy is asking Curry to illustrate John Brown's Body for the LEC for $4000 ($47,000 adjusted for inflation). Curry's response was that he "is pleased as Hell!", and he goes on to say "you are the only publisher so far for whom I have been able to do my best work." This commission and the generous increase over the standard LEC illustrator's deal is particularly significant of Macy's character when one knows that Curry was in considerable turmoil at the time: he had been hospitalized for high blood pressure (which would kill him before he was able to sign any copies of John Brown's Body), and was engaged in a bitter dispute with the Kansas Legislature over his now-famous murals in the Kansas Statehouse. The dramatic mural depicting a gun-wielding John Brown in front of a tornado was seen by Kansans as everything from a depiction of a traitor and murderer who wasn't representative of real Kansans, to a comment on the state's bad weather. Curry in anger left the finished murals unsigned, and the emotional stress probably had much to do with his untimely death. The Monthly Letter for John Brown's Body includes a sympathetic eulogy.
It is from details such as this that the picture of the man, George Macy, takes shape. The more one knows about the man, the more one sees the unifying force and commitment to excellence in the books, and in the institutions he created, the LEC, the Heritage Club, the Readers Club, etc.
11UK_History_Fan
> 10
I know nothing about this other person but I would buy your book in a heartbeat!
I know nothing about this other person but I would buy your book in a heartbeat!
12Django6924
>11 UK_History_Fan:
Thank you for your kind thoughts! Actually my feigned dismay over the announcement of Ms. Grossman's book was masking my genuine pleasure that George Macy will be getting his due at last. In 4 more years it will be 3 score years since his death, and yet his influence is still felt among bibliophiles, and the works he supervised and created still bring pleasure to those who love fine press books. Trust I will be one of the first buyers of her book!
Thank you for your kind thoughts! Actually my feigned dismay over the announcement of Ms. Grossman's book was masking my genuine pleasure that George Macy will be getting his due at last. In 4 more years it will be 3 score years since his death, and yet his influence is still felt among bibliophiles, and the works he supervised and created still bring pleasure to those who love fine press books. Trust I will be one of the first buyers of her book!
13SophyWestern
This message has been deleted by its author.
14SophyWestern
Grrr- why is my post deleted the moment I post it? - here goes again
>10 Django6924: Oh that is so interresting - the very sort of thing I do hope Ms Grossman goes into.
I see she is speaking on the Limited Editions Club at Oak Knoll's symposium in October, when one might expect a run on their stock. They seem to have some bargains - Zenda for $30, Shagpat for $35 or $25, Ibbetson for $15 or $10. I read an article somewhere recently by the proprietor of Oak Knoll explaining how a year or two ago he repriced his entire stock (mostly downwards) after comparison with online prices. But their stock of LECs seems to be diminishing and I wonder is this a trend: Oak Knoll and Different Drummer at about2/3 of stock levels of a year ago, and Mr Majure must have sold 80% of his current stock without much sign of replenishment.
>10 Django6924: Oh that is so interresting - the very sort of thing I do hope Ms Grossman goes into.
I see she is speaking on the Limited Editions Club at Oak Knoll's symposium in October, when one might expect a run on their stock. They seem to have some bargains - Zenda for $30, Shagpat for $35 or $25, Ibbetson for $15 or $10. I read an article somewhere recently by the proprietor of Oak Knoll explaining how a year or two ago he repriced his entire stock (mostly downwards) after comparison with online prices. But their stock of LECs seems to be diminishing and I wonder is this a trend: Oak Knoll and Different Drummer at about2/3 of stock levels of a year ago, and Mr Majure must have sold 80% of his current stock without much sign of replenishment.
15Django6924
Actually, I do think there has been a sizable increase in the selling activity of LECs in the past year--the key to this conclusion is that the more highly desirable ones are showing up on eBay--which they hardly ever did a few years ago. Just in the last week I've seen the Steichen Walden, the Masereel Notre Dame de Paris and the monumental War & Peace--not to mention the Szyk Arabian Nights, which I bid on in a moment of uncontrollable acquisitiveness. Luckily for my bank account, someone outbid me (by more than double!)
The bargains you mentioned are quite frequently traded, which is why their price is so (undeservedly) low, but the heavy hitters are being traded much more often these days tahn few years ago--and not at bargain prices.
The bargains you mentioned are quite frequently traded, which is why their price is so (undeservedly) low, but the heavy hitters are being traded much more often these days tahn few years ago--and not at bargain prices.
17Maretzo
Sorry Django, I bid against you, but in fact I won by a tiny $0.85 against another bidder who jumped on me at the last second!
The edition I am expecting at any moment here in Switzerland is in 4-vol, and I could find several versions with Szyk's illustrations but in 2 volumes. Are they 4-v rebound in 2-v or lacking the additional notes?
The day after, I won the Devil's Dictionary and few days before that Ramona.
My collection, which I started mid 2011, is made of 140 volumes with 100 titles, including the 39 Vol of Shakespeare's Works! One child left for sale and I will be at the 200 mark!
The edition I am expecting at any moment here in Switzerland is in 4-vol, and I could find several versions with Szyk's illustrations but in 2 volumes. Are they 4-v rebound in 2-v or lacking the additional notes?
The day after, I won the Devil's Dictionary and few days before that Ramona.
My collection, which I started mid 2011, is made of 140 volumes with 100 titles, including the 39 Vol of Shakespeare's Works! One child left for sale and I will be at the 200 mark!
18Django6924
>17 Maretzo:
Congratulations! I think you will consider that $0.85 well spent when you see the illustrations.
The LEC Arabian Nights Entertainments with Szyk's illustrations was issued in 4 volumes containing 65 selected tales; the tales themselves were split into two of the four volumes and each of these had a supplemental volume of notes (by Burton himself, and three other scholars). When Heritage reprinted the work, they combined the supplementary volumes of notes into the volume of stories to which it pertained, thus keeping the division of the stories as in the LEC but dispensing with the necessity of a second binding for the notes. This is very convenient for those who like to have recourse to the notes to the stories as they read them, but I suspect many of the LEC subscribers had little interest in critical exegesis and never really paid attention to the supplemental volumes. I have sometimes seen just 2 volumes of the LEC edition for sale, and don't know whether this constitutes a single volume of stories and its supplemental volume, or whether a previous owner discarded the supplemental volumes, preferring just to retain the stories.
Congratulations! I think you will consider that $0.85 well spent when you see the illustrations.
The LEC Arabian Nights Entertainments with Szyk's illustrations was issued in 4 volumes containing 65 selected tales; the tales themselves were split into two of the four volumes and each of these had a supplemental volume of notes (by Burton himself, and three other scholars). When Heritage reprinted the work, they combined the supplementary volumes of notes into the volume of stories to which it pertained, thus keeping the division of the stories as in the LEC but dispensing with the necessity of a second binding for the notes. This is very convenient for those who like to have recourse to the notes to the stories as they read them, but I suspect many of the LEC subscribers had little interest in critical exegesis and never really paid attention to the supplemental volumes. I have sometimes seen just 2 volumes of the LEC edition for sale, and don't know whether this constitutes a single volume of stories and its supplemental volume, or whether a previous owner discarded the supplemental volumes, preferring just to retain the stories.
19SophyWestern
> 3
Golly - talk about Tutankhamun etc - a hitherto unknown LEC has just come to light - well, almost unknown. Mr Majure's checklist says that there were no books issued in 1999. But apparently there was one - The Jean Giono Suite comprising five photographs by the Belgian photograper Martine Franck, widow of Henri Cartier-Bresson. Only 45 sets issued. Just listed on Abe by Appledore Books for $10,000. Comes with curse.
Later: Mr Majure 1, Appledore 0. This must be a suite of the photographs for The Man Who Planted Trees, 1995.
Golly - talk about Tutankhamun etc - a hitherto unknown LEC has just come to light - well, almost unknown. Mr Majure's checklist says that there were no books issued in 1999. But apparently there was one - The Jean Giono Suite comprising five photographs by the Belgian photograper Martine Franck, widow of Henri Cartier-Bresson. Only 45 sets issued. Just listed on Abe by Appledore Books for $10,000. Comes with curse.
Later: Mr Majure 1, Appledore 0. This must be a suite of the photographs for The Man Who Planted Trees, 1995.
20Django6924
The curse of great wealth for those who can afford to pay $2000 for a photo! (By an admittedly brilliant artist, still....)
21busywine
Hi All, talked with Carol Grossman yesterday, with some more information on her upcoming LEC book. See:
http://booksandvines.com/fine-press-news/
http://booksandvines.com/fine-press-news/
22SophyWestern
A few days ago I came across a Heritage edition of The Ambassadors by Henry James , quite reasonable condition, spine sunned, but with slipcase and Sandglass. I know that this novel dates from James's late period and is notoriously hard to read. I couldn't quite fall in love with the illustrations by Leslie Saalburg, and then I got a copy out of the library and the illustrations, as I read on, seemed even more incongruous. I think there are five LEC Henry James - Daisy Miller, Washington Square, Turn of the Screw, Portrait of a Lady, and Ambassadors, yet they are seldom mentioned on this site, if at all, and I do believe that neither Busywine nor Wildcat have featured a James among their reviews. I wonder why the James LECs seem to be so neglected - is there anyone to plead their case?
23Django6924
>22 SophyWestern:
Well, I don't understand the lack of enthusiasm for these books. At least two of them are the best editions imaginable, in my opinion: Daisy Miller and The Turn of the Screw, which has been mentioned on this site at least a few times. The Turn of the Screw is the best of them, (and the only one published during George Macy's tenure), and is one of those books that is a triumphant amalgamation of great story, great illustrations (that are not only beautiful art but which really get to the heart of the characters), and inspired book design. Daisy Miller is scarcely less so--a small gem of a book with lovely, though perhaps less insightful illustrations, which is oddly somewhat appropriate for these beautiful, though less than profound characters, and gorgeous red leather binding and printing--a volume that would look totally appropriate being read by one of these wealthy society types from the Gilded Age.
The other James novels are also very desirable: my favorite of these is Washington Square, which is one of James' most readable stories, and to which I am especially partial because of memories of the great William Wyler film version of the stage adaptation--"The Heiress," with one of the finest acting jobs ever by Sir Ralph Richardson as the well-intentioned but cold-hearted father and Olivia de Havilland's Oscar-winning performance in the titular role, ("Bolt the door, Maria!") The illustrations by Lawrence Beall Smith are exceptionally fine (he was a great artist and illustrator who did my favorite illustrations for Fielding's Tom Jones), though I have a hard time seeing any depiction of Austin Sloper that doesn't look like Ralph Richardson (his Catherine is much more aligned to James' description of the heiress than the impossible-to-make-look-plain Ms. de Havilland). If I have reservations, it is the look of the book itself: the designer, Bert Clarke must have taken his cue from Catherine's plainness; this is the drabbest-looking LEC ever, in my opinion, though up to the quality standards of the LEC and printed at the Thistle Press.
Drabness is not an issue with The Ambasadors. This was one of my first books when I was a young member of the Heritage Club, and I still have that edition and love it, though pride of place on the shelves has been taken my the more recently-acquired LEC version. Both are beautifully designed, by the incomparable Richard Ellis, though the LEC has a sumptuousness worthy of James' superrich characters. The Garamond Press binding is flawless. Leslie Saalburg's illustrations are impeccably accurate to the period and the detail of the book and pretty to look at, but as illustrations for James' most deeply psychological works (and my favorite of all his novels), they are like ads culled from period magazines (or "rotogravures"). Philip Bannister's illustrations for the Folio Society's edition are much more to my taste, though the FS's quality of production in no way compares.
The Portrait of a Lady is likewise superb in execution; however I find the illustrations by Colleen Browning somewhat disappointing. This was another book I received as a member of the Heritage Club (and which I still have), and after discovering the LEC, and that there were potential difference in the quality of reproduction processes, I assumed the muddiness I saw may be due to less than ideal offset printing. A few years ago I bought the LEC version and found very little difference. The fact is there are no dense blacks in Ms. Browning's palette--the closest she comes is a somewhat light charcoal on the mourners' clothes at Ralph's graveside service. Her character insight is very good, and her colors are beautiful and well-reproduced, but without the grounding of a rich, dense black, her pictures just look flat.
I have to say I had a hard time getting through The Portrait of a Lady--the characters do not appeal to me, though limned with James' customary perception; especially the Lady herself: I just want to smack Isabel for being such a fool. That such emotions are so strongly aroused is probably a measure of James' artistry, but an artist who draws characters who provoke impatience on the reader's part is treading a slippery slope. Admittedly, this is one of James' most popular novels, so the fault is probably mine that I don't appreciate it more. I have to say that I love The Ambassadors, though, and did not find it difficult to read at all when I read it in college (perhaps because I strongly identified with poor Strether). I read it 30 years later when I could identify even more with James' confused "ambassador," and it was even more enjoyable, though I know many people don't see the essentially dark humor of the work and are as impatient with it as I am with Isabel Archer.
Probably a much longer answer than you were looking for, so the short version is: have them all, love, or at least admire, them all, and if you want a nice copy, you'd be hard pressed to find better versions.
Well, I don't understand the lack of enthusiasm for these books. At least two of them are the best editions imaginable, in my opinion: Daisy Miller and The Turn of the Screw, which has been mentioned on this site at least a few times. The Turn of the Screw is the best of them, (and the only one published during George Macy's tenure), and is one of those books that is a triumphant amalgamation of great story, great illustrations (that are not only beautiful art but which really get to the heart of the characters), and inspired book design. Daisy Miller is scarcely less so--a small gem of a book with lovely, though perhaps less insightful illustrations, which is oddly somewhat appropriate for these beautiful, though less than profound characters, and gorgeous red leather binding and printing--a volume that would look totally appropriate being read by one of these wealthy society types from the Gilded Age.
The other James novels are also very desirable: my favorite of these is Washington Square, which is one of James' most readable stories, and to which I am especially partial because of memories of the great William Wyler film version of the stage adaptation--"The Heiress," with one of the finest acting jobs ever by Sir Ralph Richardson as the well-intentioned but cold-hearted father and Olivia de Havilland's Oscar-winning performance in the titular role, ("Bolt the door, Maria!") The illustrations by Lawrence Beall Smith are exceptionally fine (he was a great artist and illustrator who did my favorite illustrations for Fielding's Tom Jones), though I have a hard time seeing any depiction of Austin Sloper that doesn't look like Ralph Richardson (his Catherine is much more aligned to James' description of the heiress than the impossible-to-make-look-plain Ms. de Havilland). If I have reservations, it is the look of the book itself: the designer, Bert Clarke must have taken his cue from Catherine's plainness; this is the drabbest-looking LEC ever, in my opinion, though up to the quality standards of the LEC and printed at the Thistle Press.
Drabness is not an issue with The Ambasadors. This was one of my first books when I was a young member of the Heritage Club, and I still have that edition and love it, though pride of place on the shelves has been taken my the more recently-acquired LEC version. Both are beautifully designed, by the incomparable Richard Ellis, though the LEC has a sumptuousness worthy of James' superrich characters. The Garamond Press binding is flawless. Leslie Saalburg's illustrations are impeccably accurate to the period and the detail of the book and pretty to look at, but as illustrations for James' most deeply psychological works (and my favorite of all his novels), they are like ads culled from period magazines (or "rotogravures"). Philip Bannister's illustrations for the Folio Society's edition are much more to my taste, though the FS's quality of production in no way compares.
The Portrait of a Lady is likewise superb in execution; however I find the illustrations by Colleen Browning somewhat disappointing. This was another book I received as a member of the Heritage Club (and which I still have), and after discovering the LEC, and that there were potential difference in the quality of reproduction processes, I assumed the muddiness I saw may be due to less than ideal offset printing. A few years ago I bought the LEC version and found very little difference. The fact is there are no dense blacks in Ms. Browning's palette--the closest she comes is a somewhat light charcoal on the mourners' clothes at Ralph's graveside service. Her character insight is very good, and her colors are beautiful and well-reproduced, but without the grounding of a rich, dense black, her pictures just look flat.
I have to say I had a hard time getting through The Portrait of a Lady--the characters do not appeal to me, though limned with James' customary perception; especially the Lady herself: I just want to smack Isabel for being such a fool. That such emotions are so strongly aroused is probably a measure of James' artistry, but an artist who draws characters who provoke impatience on the reader's part is treading a slippery slope. Admittedly, this is one of James' most popular novels, so the fault is probably mine that I don't appreciate it more. I have to say that I love The Ambassadors, though, and did not find it difficult to read at all when I read it in college (perhaps because I strongly identified with poor Strether). I read it 30 years later when I could identify even more with James' confused "ambassador," and it was even more enjoyable, though I know many people don't see the essentially dark humor of the work and are as impatient with it as I am with Isabel Archer.
Probably a much longer answer than you were looking for, so the short version is: have them all, love, or at least admire, them all, and if you want a nice copy, you'd be hard pressed to find better versions.
24WildcatJF
22) It's not a lack of excitement for James in my case. I have The Ambassadors as a Heritage, but I just haven't gotten around to it yet. I've seen quite a few books by James in my travels, but for one reason or another I've not acquired them all quite yet.
25busywine
I will try to do Washington Square soon, which I do like! Good reminder! Will also try to do a couple of the others. I do not have Daisy Miller, though do have the EP. I like the story!
26Django6924
Addendum to >23 Django6924:
I forgot to mention that the Heritage Press, under the management of MBI, Inc., issued James' novels The Europeans and The Bostonians--both with impressionistic black & white illustrations by Alan Phillips, and colored frontispieces by Richard Sparks, somewhat in the same style of P. Bannister. The illustrations are actually quite good, though again somewhat thin when it comes to blacks on Phillips' pictures, which is very insightful into the stories. Unfortunately, as is the case with the later Norwalk HP editions, the printing and design have somewhat of an assembly-line quality: the design, size, and layout of the books is interchangeable. When you look at the publications of the New York era HP, it's enough to make you weep. Why were these works chosen and not the more accomplished later books like The Wings of the Dove or The Golden Bowl? Still, with all the drawbacks, the best edition of these early books you are likely to find. Obviously there are no LEC counterparst.
I forgot to mention that the Heritage Press, under the management of MBI, Inc., issued James' novels The Europeans and The Bostonians--both with impressionistic black & white illustrations by Alan Phillips, and colored frontispieces by Richard Sparks, somewhat in the same style of P. Bannister. The illustrations are actually quite good, though again somewhat thin when it comes to blacks on Phillips' pictures, which is very insightful into the stories. Unfortunately, as is the case with the later Norwalk HP editions, the printing and design have somewhat of an assembly-line quality: the design, size, and layout of the books is interchangeable. When you look at the publications of the New York era HP, it's enough to make you weep. Why were these works chosen and not the more accomplished later books like The Wings of the Dove or The Golden Bowl? Still, with all the drawbacks, the best edition of these early books you are likely to find. Obviously there are no LEC counterparst.
27SophyWestern
>23 Django6924: and 26 Thank you ever so much, that is a feast of a post. I do like the Saalburg illustrations very much, most especially the frontispiece of Strether on board ship, but James's characters are drawn with such subtlety and the dialogue is so nuanced that Saalburg's drawings with strong lines and colours seemed just slightly off song. But oh dear, after reading these posts and a little online research, it is plain that nothing compares with the gorgeous LEC edition and nothing less will do.
According to the introduction to my reading (ie library) copy, the book was first published in 12 numbers in an American periodical but when it came to be issued in book form two chapters towards the end were inadvertently reversed in order. This error went unnoticed until the 50's, and had bypassed even James himself when preparing the book for a uniform edition of his novels. Presumably the Macy editions corrected the mistake.
>25 busywine: A review of Washington Square would be marvelous!
According to the introduction to my reading (ie library) copy, the book was first published in 12 numbers in an American periodical but when it came to be issued in book form two chapters towards the end were inadvertently reversed in order. This error went unnoticed until the 50's, and had bypassed even James himself when preparing the book for a uniform edition of his novels. Presumably the Macy editions corrected the mistake.
>25 busywine: A review of Washington Square would be marvelous!
28Django6924
>27 SophyWestern:
From the Monthly Letter for The Ambassadors:
Our book follows, in the main, that of the original edition in book form, printed in London in 1903; this was the only edition that James himself saw through the press. By a series of later mishaps all later editions of the novel, in both England and America, appeared with Chapter 28 and 29 transposed--an error that was not rectified until 1957. Naturally we have adopted the correct sequence. An important deviation from the text as originally printed will be found in Chapter 35, where we have inserted a half-page of dialogue which James added in the first American edition. (The addition was discovered by Professor R.W. Stallman of the University of Connecticut, to whom our deep gratitude.)
However (from Wikipedia):
...the textual and bibliographical scholar Jerome McGann reopened the question in 1992. He noted that the publishing history revealed by Birch3 made it unlikely that James had the order wrong in the editions he closely supervised. Moreover, he controversially claimed that when James wrote to novelist Mrs Humphry Ward mentioning a "fearful ... weakness" he was referring to the chapter order in her Methuen edition copy. McGann explained the chronological discrepancies by noting that the start of (the Harper edition) chapter 28 tells that it will describe a conversation that will occur in the 'future' (relative to the juncture reached in the story), and that the 'that evening' line, at the start of chapter 29, refers not to the evening just described in chapter 28, but to the previous one.
Since 1992 few publishers of new editions of The Ambassadors have followed McGann's research and restored James's apparently preferred order, but, in characteristic postmodern way, it is now up to the reader to decide in which order these chapters should be read.
The series of mishaps were caused by the fact that James deleted three chapters from his original manuscript of the novel to make the work fit into the publishing schedule for the magazine serialization it first appeared as (he couldn't find a book publisher willing to take it on.) A copy of the serialization proofs went to the American publishers (Harper) but James provided a carbon copy of his unrevised manuscript to the British publishers, Methuen.
I have read the section in question both ways, and find it makes very little difference (a seemingly shocking statement, but for a character- rather than plot-driven novel such as this, not really). At any rate, I keep with the order used by the LEC since it makes sense.
From the Monthly Letter for The Ambassadors:
Our book follows, in the main, that of the original edition in book form, printed in London in 1903; this was the only edition that James himself saw through the press. By a series of later mishaps all later editions of the novel, in both England and America, appeared with Chapter 28 and 29 transposed--an error that was not rectified until 1957. Naturally we have adopted the correct sequence. An important deviation from the text as originally printed will be found in Chapter 35, where we have inserted a half-page of dialogue which James added in the first American edition. (The addition was discovered by Professor R.W. Stallman of the University of Connecticut, to whom our deep gratitude.)
However (from Wikipedia):
...the textual and bibliographical scholar Jerome McGann reopened the question in 1992. He noted that the publishing history revealed by Birch3 made it unlikely that James had the order wrong in the editions he closely supervised. Moreover, he controversially claimed that when James wrote to novelist Mrs Humphry Ward mentioning a "fearful ... weakness" he was referring to the chapter order in her Methuen edition copy. McGann explained the chronological discrepancies by noting that the start of (the Harper edition) chapter 28 tells that it will describe a conversation that will occur in the 'future' (relative to the juncture reached in the story), and that the 'that evening' line, at the start of chapter 29, refers not to the evening just described in chapter 28, but to the previous one.
Since 1992 few publishers of new editions of The Ambassadors have followed McGann's research and restored James's apparently preferred order, but, in characteristic postmodern way, it is now up to the reader to decide in which order these chapters should be read.
The series of mishaps were caused by the fact that James deleted three chapters from his original manuscript of the novel to make the work fit into the publishing schedule for the magazine serialization it first appeared as (he couldn't find a book publisher willing to take it on.) A copy of the serialization proofs went to the American publishers (Harper) but James provided a carbon copy of his unrevised manuscript to the British publishers, Methuen.
I have read the section in question both ways, and find it makes very little difference (a seemingly shocking statement, but for a character- rather than plot-driven novel such as this, not really). At any rate, I keep with the order used by the LEC since it makes sense.
29leccol
I have all the LEC editions of Henry James; books, but the one I haven't read as of yet is The Ambassadors. I do have a Heritage Press edition in near mint condition with a Fine slipcase and Sandglas. Any one interested, email me donald.floyd1741@att.net.
30SophyWestern
> 28 Thank you, I find that all so very interesting. I do love the appearance of the LEC edition. If I knew anything about motor cars, which I certainly don't, I might want to compare it to one of those voluptuous 1960s American convertibles with white-walled tyres and extravagant fins and flourishes.
31SophyWestern
We were talking about Henry James earlier - well, I had a small stroke of luck a few days ago. In a local bookshop I happened to notice a volume of The Aspern Papers. It looked unusual and on closer inspection appeared to be published by the Folio Press. That turns out be a discontinued imprint of the Folio Society, from what I can gather. But more to the point - it is like a mini LEC. Printed on Magnani mould-made paper at the Stampera Valdenago, Verona, with lithographs by Edward Piper printed at the Senecio Press, Oxfordshire. Bound by Legatoria Toriani, Milan, in quarter cloth and patterned paper sides printed on Fabriano Ingres. Gorgeous! Unlike an LEC, it is not signed, has no limitation number (altho I have read somewhere that these books were only printed in editions of 1000 or so), and has no slipcase (but does have a glassine wrapper). The dear man who sold it so me gave me a discount I believe because it had no slipcase - and now I discover that it was never issued with one. Edward Piper was the son of John Piper - as far as I know neither illustrated for Macy. And the choice of Edward for The Aspern Papers was daring since he seems to be best known for his paintings of nudes in rather unrestrained poses. The Stampera Valdenago I learn is the home of Martino Mardersteig, who I imagine must be the son of the late Hans, latterly Giovanni, Mardersteig, and Martino I seem to recall himself designed an LEC or two.
32featherwate
..."he seems to be best known for his paintings of nudes in rather unrestrained poses"
Yep, that's a pretty fair description ! One might have expected Folio to have chosen him to illustrate Perfect and Imperfect Enjoyments: Poems by John Wilmot, Earl of Rochester which was a Folio Press limited edition (540 copies) that came out in 1992 and was illustrated with lithographs by the rather more restrained and elegant Richard Shirley Smith. But confounding expectations often produces a good result, and it sounds as if the Piper/Aspern Papers is as successful as the RSS/Rochester, which is probably the favourite of my FS books.
Like The Aspern Papers, the Rochester was printed at the Stampera Valdenago and the Senecio Press, but was not officially part of the Folio Press Fine Editions series, which had ended the previous year with a volume of Emily Dickinson's poems. According to Folio 50 the series began in 1987 to mark the Society's fortieth anniversary but was not sufficiently popular with members to run to more than 20 titles - although to persevere in producing 20 books to such a high standard in just five years is, if a failure, a fairly glorious one. And a score of books is a temptingly manageable Folio sub-set to think of collecting. (If anyone's interested I can post a list of the titles.)
Folio could not, in fact, have commissioned Edward Piper to illustrate the Rochester as he died soon after seeing the Aspern lithographs through the press. Perhaps a certain devilment induced them to choose him for the Henry James: Folio 50 catalogues The Aspern Papers as title Number 666....
Yep, that's a pretty fair description ! One might have expected Folio to have chosen him to illustrate Perfect and Imperfect Enjoyments: Poems by John Wilmot, Earl of Rochester which was a Folio Press limited edition (540 copies) that came out in 1992 and was illustrated with lithographs by the rather more restrained and elegant Richard Shirley Smith. But confounding expectations often produces a good result, and it sounds as if the Piper/Aspern Papers is as successful as the RSS/Rochester, which is probably the favourite of my FS books.
Like The Aspern Papers, the Rochester was printed at the Stampera Valdenago and the Senecio Press, but was not officially part of the Folio Press Fine Editions series, which had ended the previous year with a volume of Emily Dickinson's poems. According to Folio 50 the series began in 1987 to mark the Society's fortieth anniversary but was not sufficiently popular with members to run to more than 20 titles - although to persevere in producing 20 books to such a high standard in just five years is, if a failure, a fairly glorious one. And a score of books is a temptingly manageable Folio sub-set to think of collecting. (If anyone's interested I can post a list of the titles.)
Folio could not, in fact, have commissioned Edward Piper to illustrate the Rochester as he died soon after seeing the Aspern lithographs through the press. Perhaps a certain devilment induced them to choose him for the Henry James: Folio 50 catalogues The Aspern Papers as title Number 666....
33Django6924
The Rochester volume is glorious, and I am deeply indebted to a very dear friend here for making it possible for me to have in my library. I did not know about the FS limited The Aspern Papers, but this is one I would like to find, as it is one of my favorite of James' shorter works.
I would very much like to see a list of these limited edition Folios--one of them, which I have long wanted, is the Apuleius The Golden Ass in Robert Graves' translation (which I don't prefer to the one Jack Lindsay did for the LEC, but which offers interesting variant readings and is informed with Graves' recondite, though not always authoritative, scholarship). The real draw here would be Michael Ayrton's illustrations. He did such marvelous jobs on the Greek plays published by the LEC I'm dying to see what he did with Apuleius.
I would very much like to see a list of these limited edition Folios--one of them, which I have long wanted, is the Apuleius The Golden Ass in Robert Graves' translation (which I don't prefer to the one Jack Lindsay did for the LEC, but which offers interesting variant readings and is informed with Graves' recondite, though not always authoritative, scholarship). The real draw here would be Michael Ayrton's illustrations. He did such marvelous jobs on the Greek plays published by the LEC I'm dying to see what he did with Apuleius.
34featherwate
> 33 Here are the first dozen, all Royal octavo volumes of between 50 and 90 pages, protected by transparent plastic (not glassine) dust-jackets, except the Medium octavo Norse Myths, which has nearly 300 pages and a slip case. They have contrasting cover labels (and, in the case of those quarter bound in silk, spine labels also).
I have used Folio 50 as a reference as I am not in touch with my Folio 60 at present; the descriptions and numbering may differ in the later volume.
From Folio 50:
"The aim of The Folio Press Fine Editions series was to produce slim volumes to the highest stand, using mould-made paper and letterpress printing, with bindings and, where appropriate, illustrations in the private press tradition."
1987, Folio 50 Nos. 592-595
On the morning of Christ's nativity, & other poems, by John Milton. Five small copper engraved vignettes by Brian Hanscombe, printed in red-brown and black from line blocks Quarter black buckram, Rackenmarmor Swedish marbled paper boards, and brown endleaves..
Domestic manners and private life of Sir Walter Scott, by James Hogg, the Ettrick Shepherd. Preface and notes by Ettrick. Portrait by Peter Reddick (Folio 50 comments that the portrait did not reproduce well on the rather rough, heavy paper used which should have been damped but wasn't.) Quarter brown buckram, Rackenmarmor Swedish marbled paper boards, and pale yellow endleaves.
The tower, by W. B Yeats. Introduction by Bel Mooney. Typographical design by Sebastian Carter. Folio 50: ...his typography makes this one of the most successful and attractive books in the series.. Note: Sebastian succeeded his father, Will, as owner of the Rampant Lions Press “among the most highly-regarded letterpress printing-offices in Britain”). Quarter blue buckram, Rackenmarmor Swedish marbled paper boards, and blue-grey endleaves.
Poems by Charlotte, Emily Jane & Anne Bronte Selected by Stevie Davies. Quarter black buckram, Rackenmarmor Swedish marbled paper boards, and brown endleaves.
1988, Folio 50 Nos. 616-619
These things also are spring's, poems by Edward Thomas. Selected and introduced by Patrick Garland. Wood-engravings by James Bostock (Folio 50: For the first time in many years, the wood-engravings were printed directly from the wooden blocks.) Quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and brown endleaves.
The life of Dr John Donne, late Dean of St Paul's Church, London, by Izaak Walton. Introduction by Colin Ward. Typographical design by Malcolm Harvey Young (designer of the FS Trollope series). (Folio 50: The frontispiece reproduces an etched portrait of Donne.) Quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and blue-grey endleaves.
The Anglo-Saxon elegies. Translated and introduced by Kevin Crossley-Holland, with vinyl engravings by Hannah Firmin. (Folio 50: The vinyl-engravings consist of eight large designs, one used for each divisional title, and a smaller title-page decoration ). Quarter dark brown moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and pale brown endleaves.
Lays of ancient Rome, by Thomas Babington Macaulay. Typographical design by Humphrey Stone (son of Reynolds Stone; trained at the OUP and in Verona “sitting at the feet of Giovanni Mardesteig”). Quarter dark red moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and pink flecked endleaves.
1989, Folio 50 Nos. 642-645
William Barnes, Dorset poems.Translations by Pauline Tennant, introduction by Peter Levi, engravings by William Barnes. (Folio 50: ...nine wood-engraved vignettes, printed from line-blocks, and a lithographic frontispiece reproducing Barnes's engraved trade card advertising his skills as an engraver.) Quarter pale orange cloth, pale grey moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
The wonderful year 1603, by Thomas Dekker. Introduction by A. L. Rowse. Typographical design by Bernard Roberts (one-time proprietor of the John Roberts Press, where a notable re-creation of The Kelmscott Chaucer was printed in 1975; in 2002, he allowed the Folio Society to disbind and photograph his personal copy to produce their LE facsimile). Quarter brown cloth, purple moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
The Norse myths. Introduced and retold by Kevin Crossley-Holland, with wood engravings by Jane Lydbury. Typographical design by Bernard Roberts. (Folio 50: There are 11 splendid half-page wood-engravings, and seven equally splendid vignette head-pieces – each repeated three or four times.) Quarter dark red leather, white paper boards with a pattern in grey by Robert Scott Simon, and grey endleaves. NB Has a slip case matching the boards.
The rape of the lock, an heroi-comical poem in five canto's, by Alexander Pope. Illustrated by Peter Forster (Folio 50: There are 12 remarkable wood-engravings, printed in pink, yellow and blue by lithography, with two of the putti used again in black on the title-page.) Quarter blue cloth, pink moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
To be continued !
I have used Folio 50 as a reference as I am not in touch with my Folio 60 at present; the descriptions and numbering may differ in the later volume.
From Folio 50:
"The aim of The Folio Press Fine Editions series was to produce slim volumes to the highest stand, using mould-made paper and letterpress printing, with bindings and, where appropriate, illustrations in the private press tradition."
1987, Folio 50 Nos. 592-595
On the morning of Christ's nativity, & other poems, by John Milton. Five small copper engraved vignettes by Brian Hanscombe, printed in red-brown and black from line blocks Quarter black buckram, Rackenmarmor Swedish marbled paper boards, and brown endleaves..
Domestic manners and private life of Sir Walter Scott, by James Hogg, the Ettrick Shepherd. Preface and notes by Ettrick. Portrait by Peter Reddick (Folio 50 comments that the portrait did not reproduce well on the rather rough, heavy paper used which should have been damped but wasn't.) Quarter brown buckram, Rackenmarmor Swedish marbled paper boards, and pale yellow endleaves.
The tower, by W. B Yeats. Introduction by Bel Mooney. Typographical design by Sebastian Carter. Folio 50: ...his typography makes this one of the most successful and attractive books in the series.. Note: Sebastian succeeded his father, Will, as owner of the Rampant Lions Press “among the most highly-regarded letterpress printing-offices in Britain”). Quarter blue buckram, Rackenmarmor Swedish marbled paper boards, and blue-grey endleaves.
Poems by Charlotte, Emily Jane & Anne Bronte Selected by Stevie Davies. Quarter black buckram, Rackenmarmor Swedish marbled paper boards, and brown endleaves.
1988, Folio 50 Nos. 616-619
These things also are spring's, poems by Edward Thomas. Selected and introduced by Patrick Garland. Wood-engravings by James Bostock (Folio 50: For the first time in many years, the wood-engravings were printed directly from the wooden blocks.) Quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and brown endleaves.
The life of Dr John Donne, late Dean of St Paul's Church, London, by Izaak Walton. Introduction by Colin Ward. Typographical design by Malcolm Harvey Young (designer of the FS Trollope series). (Folio 50: The frontispiece reproduces an etched portrait of Donne.) Quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and blue-grey endleaves.
The Anglo-Saxon elegies. Translated and introduced by Kevin Crossley-Holland, with vinyl engravings by Hannah Firmin. (Folio 50: The vinyl-engravings consist of eight large designs, one used for each divisional title, and a smaller title-page decoration ). Quarter dark brown moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and pale brown endleaves.
Lays of ancient Rome, by Thomas Babington Macaulay. Typographical design by Humphrey Stone (son of Reynolds Stone; trained at the OUP and in Verona “sitting at the feet of Giovanni Mardesteig”). Quarter dark red moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, and pink flecked endleaves.
1989, Folio 50 Nos. 642-645
William Barnes, Dorset poems.Translations by Pauline Tennant, introduction by Peter Levi, engravings by William Barnes. (Folio 50: ...nine wood-engraved vignettes, printed from line-blocks, and a lithographic frontispiece reproducing Barnes's engraved trade card advertising his skills as an engraver.) Quarter pale orange cloth, pale grey moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
The wonderful year 1603, by Thomas Dekker. Introduction by A. L. Rowse. Typographical design by Bernard Roberts (one-time proprietor of the John Roberts Press, where a notable re-creation of The Kelmscott Chaucer was printed in 1975; in 2002, he allowed the Folio Society to disbind and photograph his personal copy to produce their LE facsimile). Quarter brown cloth, purple moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
The Norse myths. Introduced and retold by Kevin Crossley-Holland, with wood engravings by Jane Lydbury. Typographical design by Bernard Roberts. (Folio 50: There are 11 splendid half-page wood-engravings, and seven equally splendid vignette head-pieces – each repeated three or four times.) Quarter dark red leather, white paper boards with a pattern in grey by Robert Scott Simon, and grey endleaves. NB Has a slip case matching the boards.
The rape of the lock, an heroi-comical poem in five canto's, by Alexander Pope. Illustrated by Peter Forster (Folio 50: There are 12 remarkable wood-engravings, printed in pink, yellow and blue by lithography, with two of the putti used again in black on the title-page.) Quarter blue cloth, pink moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves.
To be continued !
35Django6924
This is a great resource, featherwate--thanks so much! In addition to the Yeats, the two that set my acquisitive faculties to itch are the Norse Myths volume (for my son who just studied them in 4th grade) and The Rape of the Lock, one of the finest poems in English literature.
36WildcatJF
Speaking of Alexander Pope, I wonder why The Rape of the Lock never was turned into a LEC. One of those odd omissions.
37featherwate
Here are the remaining eight; again all slim Royal octavo volumes, protected by transparent plastic dust-jackets:
1989, Folio 50 No. 649 :
Wilfred Owen, poems of war. No design or typographic credit listed. Quarter black cloth, dark green moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves. The poems are over-printed in black on war photographs printed in green-brown; the complexity of combining the letterpress and the lithography apparently delayed publication for several weeks. (I wish I could say it was worth the trouble. I haven't yet seen all the books in series, but of those I have it's my least favourite. Can't now imagine why I bought it.)
1990, Folio 50 No. 664-667
George Crabbe, Peter Grimes, the poor of the borough. Introduced by Kevin Crossley-Holland, with seven lithographs by Alan Powers. Typographical design by Martino Mardesteig. This and all the remaining books in the series were printed at the Stamperia Valdonega and bound by Legatoria Torriani. Quarter dark grey cloth, pale blue-green paper boards patterned in blue and red by the Stamperia Valdonega, and pale blue-green endleaves.
Robert Graves, love poems. Selected and introduced by Sue Bradbury. Typographical design by Sebastian Carter. Quarter red cloth, pale grey paper boards patterned in blue and red by the Stamperia Valdonega, and pale grey endleaves.
Henry James, the Aspern papers. Lithographs by Edward Piper. Typographical design by Malcolm Harvey Young. Quarter dark green cloth, pale green-brown paper boards patterned in green and red by the Stamperia Valdonega, and pale green-brown endleaves. The book is dedicated to Edward Piper.
Poems from the Greek anthology. Translated by James Michie, introduction by Peter Levi. Quarter brown cloth, pale brown paper boards patterned in green and red by the Stamperia Valdonega, and pale brown endleaves. Decorative borders designed by Giovanni Mastersteig (presumably Folio 50 meant Mardesteig).
1991, Folio 50 Nos 690-692
Oscar Wilde, de profundis. Edited & illustrated by Peter Forster. Quarter black cloth, white paper boards patterned in black by Forster, and black endleaves. (Folio 50: Forster's plates are a combination of pen-and-ink drawing and wood-engraving, reproduced by lithography.)
Walter de la Mare, motley and other poems. Introduced by Giles de la Mare, and illustrated with two-colour lithographs by Ian Archie Beck. Five smaller decorations printed in the text. Typographical design by Sebastian Carter. Quarter dark blue cloth, white paper boards patterned in blue-green and blue by Beck, and blue-green endleaves.
Barrack-room ballads, by Rudyard Kipling. Introduced by Sue Bradbury, and illustrated by Ian Ribbons with two-colour drawings in the text. Quarter dark brown cloth, yellow paper boards patterned in brown by Ribbons, brown endleaves.
1992, Folio 50 No. 707
Woman in white, poems by Emily Dickinson. Selected, edited and introduced by J. D. McClatchy. Wood-engravings by Jane Lydbury. Typographical design by Bernard Roberts. Quarter dark green cloth, cream paper boards patterned in green by Lydbury, dark green endleaves.
1989, Folio 50 No. 649 :
Wilfred Owen, poems of war. No design or typographic credit listed. Quarter black cloth, dark green moiré silk boards, and Mitchell and Malik (Ann Muir) marbled endleaves. The poems are over-printed in black on war photographs printed in green-brown; the complexity of combining the letterpress and the lithography apparently delayed publication for several weeks. (I wish I could say it was worth the trouble. I haven't yet seen all the books in series, but of those I have it's my least favourite. Can't now imagine why I bought it.)
1990, Folio 50 No. 664-667
George Crabbe, Peter Grimes, the poor of the borough. Introduced by Kevin Crossley-Holland, with seven lithographs by Alan Powers. Typographical design by Martino Mardesteig. This and all the remaining books in the series were printed at the Stamperia Valdonega and bound by Legatoria Torriani. Quarter dark grey cloth, pale blue-green paper boards patterned in blue and red by the Stamperia Valdonega, and pale blue-green endleaves.
Robert Graves, love poems. Selected and introduced by Sue Bradbury. Typographical design by Sebastian Carter. Quarter red cloth, pale grey paper boards patterned in blue and red by the Stamperia Valdonega, and pale grey endleaves.
Henry James, the Aspern papers. Lithographs by Edward Piper. Typographical design by Malcolm Harvey Young. Quarter dark green cloth, pale green-brown paper boards patterned in green and red by the Stamperia Valdonega, and pale green-brown endleaves. The book is dedicated to Edward Piper.
Poems from the Greek anthology. Translated by James Michie, introduction by Peter Levi. Quarter brown cloth, pale brown paper boards patterned in green and red by the Stamperia Valdonega, and pale brown endleaves. Decorative borders designed by Giovanni Mastersteig (presumably Folio 50 meant Mardesteig).
1991, Folio 50 Nos 690-692
Oscar Wilde, de profundis. Edited & illustrated by Peter Forster. Quarter black cloth, white paper boards patterned in black by Forster, and black endleaves. (Folio 50: Forster's plates are a combination of pen-and-ink drawing and wood-engraving, reproduced by lithography.)
Walter de la Mare, motley and other poems. Introduced by Giles de la Mare, and illustrated with two-colour lithographs by Ian Archie Beck. Five smaller decorations printed in the text. Typographical design by Sebastian Carter. Quarter dark blue cloth, white paper boards patterned in blue-green and blue by Beck, and blue-green endleaves.
Barrack-room ballads, by Rudyard Kipling. Introduced by Sue Bradbury, and illustrated by Ian Ribbons with two-colour drawings in the text. Quarter dark brown cloth, yellow paper boards patterned in brown by Ribbons, brown endleaves.
1992, Folio 50 No. 707
Woman in white, poems by Emily Dickinson. Selected, edited and introduced by J. D. McClatchy. Wood-engravings by Jane Lydbury. Typographical design by Bernard Roberts. Quarter dark green cloth, cream paper boards patterned in green by Lydbury, dark green endleaves.
38Django6924
De Profundis and the de la Mare poems are also very tempting. I don't know Michie's translation of the Greek Anthology, but will have to look it up as I will never be able to afford the wonderful Golden Cockerell edition.
39SophyWestern
Well! I am pleased. Henry James again, in a roundabout sort of a way. On my usual secondhand bookshop beat I spotted Letters from America by Rupert Brooke, with a long preface by Henry James, the first edition, published in London in 1916 by Sidgwick and Jackson, on lovely thick paper and with the spine label intact. I don't think it is an especially rare book, but what arrested my attention was that it bears the bookmark of Sidney Colvin, the lifelong friend of RL Stevenson. I have verified the bookmark - the London dealer Henry Sotheran had or has one for sale, mounted. Apart from the fact that the book was owned by Colvin, the bookmark itself is notable for being designed by Charles W Sherborn. Sotheran's blurb quotes the American collector Charles Dexter Allen to the effect that "Among the most prized of Sherborn's plates are ...the plate for Sidney Colvin, friend and biographer of the lamented Robert Louis Stevenson".
I often bemoan to myself that I do not live in North America where I imagine every second street has a bookstore stuffed with LECs at ridiculously low prices. But perhaps there are minor compensations ....
I often bemoan to myself that I do not live in North America where I imagine every second street has a bookstore stuffed with LECs at ridiculously low prices. But perhaps there are minor compensations ....
40WildcatJF
39) I have to travel three hours to hit the two major cities I've bought LEC's at, so America isn't quite so loaded down with these books as you might imagine. ;)
41Django6924
>39 SophyWestern:
Indeed, the ones at the brick & mortar stores are usually not in good condition or highly priced--or both.
Any chance, Miss Western, that you could share a picture of this interesting bookplate?
Indeed, the ones at the brick & mortar stores are usually not in good condition or highly priced--or both.
Any chance, Miss Western, that you could share a picture of this interesting bookplate?
42SophyWestern
> 41 Oh yes gladly I will, once I have worked out how. In the meantime googling "Sidney Colvin bookplate" brings up the Sotheran listing for the mounted bookplate, which looks pristine.
43jveezer
I just saw the new Anna Karenina movie, which was I thought was interestingly staged and quite good. How true to the story it is I'm not totally sure since I last read this book back in the '80's. It did remind me that I don't have a copy of this classic at home and that it has been on my wish list for a while. The Folio Society trade edition is a possibility but a fine press edition would be preferred, of course. LEC did two editions, one in 1933 with illustrations by Piskarov and one in 1951 with illustrations by Freedman. Not sure of the other differences between the editions. What are your feelings on one vs. the other?
44leccol
The Barnett Freedman is the best and the one to get. The Piskarov edition with its b&W illustrations doesn't come up to the Freedman illustrations. If you can get the Freedman one and obtain the earlier Freedman War and Peace, you will have a fine Tolstoy collection in eight volumes (6 vols War and Peace and 2 vols Anna Karenina). The AK Freedman is done in the same manner as W&P with illustrated covers and end pages. Be prepared to pay $300 to $450 for the Freedman AK in Fine condition. I would forget about the Folio edition. Pay the higher price and don't buy any books for a couple of months.
To get a feel for how AK was previously handled, watch the b&w movie with Frederic March as Vronsky and Greta garbo as Anna. Karenine is played by Sherlock Holmes. I haven't seen the new AK, but I will as soon as it is available on dvd. My feeling is that the newer version can't match the earlier one because of the acting ability of the 30s actors.
To get a feel for how AK was previously handled, watch the b&w movie with Frederic March as Vronsky and Greta garbo as Anna. Karenine is played by Sherlock Holmes. I haven't seen the new AK, but I will as soon as it is available on dvd. My feeling is that the newer version can't match the earlier one because of the acting ability of the 30s actors.
45Django6924
Well, both are desirable, but in terms of quality, no edition surpasses the 1951 edition with Barnett Freedman's illustrations, which to my way of thinking even surpass those he did for the LEC's War and Peace, which Macy considered in the same league with Delacroix's Faust illustrations. The 1933 edition is echt Russian--the illustrations have a certain prissiness that fits in well with the design of the book overall, and suggest the shallower nature of several of the characters, though they fall short of conveying the darker nature of the work. The binding is rather nice, but oddly, my copy of the work--and every other copy I've seen--has a very slight but noticeable color mismatch between volumes one and two. Also, if you are a fan of typography, you can't help but notice the greater elegance in the page layout of the 1951 version. The 1933 has journeyman kerning of the typeset and while the text runs very close to the gutter, the outside page margin is quite wide. These are items that probably wouldn't bother most people in these days of computer-set page layout, and compared with most books, it's an attractive page; but if you open the book and put it next to the 1951 version, I feel certain most readers would choose the later edition for a more pleasurable reading experience.
Since you mention the new film, which I haven't seen, I'd like to hear a comparison of it to the two filmed versions I've seen: the 1933 Greta Garbo-Frederic March version and the 1948 version with Vivien Leigh. Both of those films completely dispensed with the novel's broad picture of Russian society to focus on Anna's doomed love affair with Vronsky (the important parallel story of Kitty and Levin is virtually non-existent). I imagine the new film does so too, and though I should never judge a film by the trailer, it looks like another example of a production infected by the belief that the audience won't sit still unless you keep the camera constantly swooping around, and never let any shot linger for more than a few seconds before cutting--even though there may be no motivation for either camera movement or cutting in what's happening onscreen. Some of the reviews I've seen keep talking about how "cinematic" this version is; unfortunately, for many reviewers the term has come to mean willy-nilly camera movement and coffee-nerves cutting. Such techniques may be fine for video game entertainments and music videos, but I think they hamper any film that attempts to portray real human situations involving real human beings. For this reason, I generally tend to prefer the British television adaptations of classic novels--in general they are multi-episode versions, which permit a more faithful rendition of the novel's complexities, and they are usually not star vehicles for directors who want to upstage actors and script to display their own "genius" by elaborate camera choreography and re-arranging a linear time sequence.
Keira Knightly seems a better choice for Anna than she was for Elizabeth Bennett, and it seems the role is effective played in many interpretive styles (like Hamlet). I doubt there will ever be a better Karenin than Ralph Richardson's in the Vivien Leigh version. As yet, no film version I've seen has ever been able to do well by the troublesome character Vronsky, and the Garbo version tried to make Anna's obsession with the character believable by making Rathbone's Karenin a cold-blooded martinet. I suspect James Dean would have made an ideal Vronsky if he could have mastered the diction. His characteristic sexual magnetism, coupled with an emotionally overwrought, adolescent nature that seems to bring out the mothering instinct in women seems just right.
Although I haven't found time to re-read War and Peace since I read it in college I have twice gone back to re-read AK, and my admiration for it grows stronger with time. People have started to call it the greatest novel ever written, and though I usually ignore such encomiums, I can't say I've ever read a better-crafted novel of this scope.
Since you mention the new film, which I haven't seen, I'd like to hear a comparison of it to the two filmed versions I've seen: the 1933 Greta Garbo-Frederic March version and the 1948 version with Vivien Leigh. Both of those films completely dispensed with the novel's broad picture of Russian society to focus on Anna's doomed love affair with Vronsky (the important parallel story of Kitty and Levin is virtually non-existent). I imagine the new film does so too, and though I should never judge a film by the trailer, it looks like another example of a production infected by the belief that the audience won't sit still unless you keep the camera constantly swooping around, and never let any shot linger for more than a few seconds before cutting--even though there may be no motivation for either camera movement or cutting in what's happening onscreen. Some of the reviews I've seen keep talking about how "cinematic" this version is; unfortunately, for many reviewers the term has come to mean willy-nilly camera movement and coffee-nerves cutting. Such techniques may be fine for video game entertainments and music videos, but I think they hamper any film that attempts to portray real human situations involving real human beings. For this reason, I generally tend to prefer the British television adaptations of classic novels--in general they are multi-episode versions, which permit a more faithful rendition of the novel's complexities, and they are usually not star vehicles for directors who want to upstage actors and script to display their own "genius" by elaborate camera choreography and re-arranging a linear time sequence.
Keira Knightly seems a better choice for Anna than she was for Elizabeth Bennett, and it seems the role is effective played in many interpretive styles (like Hamlet). I doubt there will ever be a better Karenin than Ralph Richardson's in the Vivien Leigh version. As yet, no film version I've seen has ever been able to do well by the troublesome character Vronsky, and the Garbo version tried to make Anna's obsession with the character believable by making Rathbone's Karenin a cold-blooded martinet. I suspect James Dean would have made an ideal Vronsky if he could have mastered the diction. His characteristic sexual magnetism, coupled with an emotionally overwrought, adolescent nature that seems to bring out the mothering instinct in women seems just right.
Although I haven't found time to re-read War and Peace since I read it in college I have twice gone back to re-read AK, and my admiration for it grows stronger with time. People have started to call it the greatest novel ever written, and though I usually ignore such encomiums, I can't say I've ever read a better-crafted novel of this scope.
46leccol
I had forgoten about the 1948 version of AK, but it has been so long since I've viewed it that .I really can't compare it to the March-Garbo one which I have seen recently. I saw a version made by the BBC, but it wasn't a long many episode version as they usually make.
I've seen most of Garbo's classic films including her Camille with Robert Taylor, and I have to say I admire her work, especially when one considers her films to be about seventy years old.
I've seen most of Garbo's classic films including her Camille with Robert Taylor, and I have to say I admire her work, especially when one considers her films to be about seventy years old.
47HuxleyTheCat
>45 Django6924: "looks like another example of a production infected by the belief that the audience won't sit still unless you keep the camera constantly swooping around, and never let any shot linger for more than a few seconds before cutting"
A bit O/T but I was just thinking about comparing this with the opening scenes of Aguirre, Wrath of God: four minutes of lingering shots of conquistadors descending through cloud forest (without dialogue), two lines of dialogue then a fifty second shot of turbulent water. I guess audiences in 1972 were expected to have a longer attention span than the 2012 vintage.
A bit O/T but I was just thinking about comparing this with the opening scenes of Aguirre, Wrath of God: four minutes of lingering shots of conquistadors descending through cloud forest (without dialogue), two lines of dialogue then a fifty second shot of turbulent water. I guess audiences in 1972 were expected to have a longer attention span than the 2012 vintage.
48leccol
That's why I like the older movies. By the way, do you like the feline movie Cat on a Hot Tine Roof?
49featherwate
"I saw a version made by the BBC, but it wasn't a long many episode version as they usually make."
That sounds as if it was the 1961 production starring the exquisitely lovely Claire Bloom and a just-pre-Dr No young(ish) Sean Connery:
Such a pairing should have sparked some sexual magnetism (well, as much as Auntie BBC would have allowed in those days), but as it was presented as a one-off drama (probably under two hours), the other strands of the story must have been ruthlessly attenuated.
The next, and as far as I know last, BBC version was made in 1977 and that was indeed a long - and well-regarded - one: 10 60-minute episodes. I didn't see it at the time, as I was working overseas, but I'm tempted to give it a try. It was released as a Region 2 DVD set earlier this year (having been released in Region 1 as far back as 2003). Even if the acting may have dated (it may not, of course), one can be pretty sure that back then no BBC director would have been allowed to indulge himself in what Django rightly calls "willy-nilly camera movement and coffee-nerves cutting"!
That sounds as if it was the 1961 production starring the exquisitely lovely Claire Bloom and a just-pre-Dr No young(ish) Sean Connery:
Such a pairing should have sparked some sexual magnetism (well, as much as Auntie BBC would have allowed in those days), but as it was presented as a one-off drama (probably under two hours), the other strands of the story must have been ruthlessly attenuated.
The next, and as far as I know last, BBC version was made in 1977 and that was indeed a long - and well-regarded - one: 10 60-minute episodes. I didn't see it at the time, as I was working overseas, but I'm tempted to give it a try. It was released as a Region 2 DVD set earlier this year (having been released in Region 1 as far back as 2003). Even if the acting may have dated (it may not, of course), one can be pretty sure that back then no BBC director would have been allowed to indulge himself in what Django rightly calls "willy-nilly camera movement and coffee-nerves cutting"!
50Django6924
>47 HuxleyTheCat:
Yes! "Aguirre" is the type of movie no one has the guts to make today (and, truth to tell, not many did then). Slow pacing, even when it's majestic, is anathema to filmmakers today. Of course in 30 years people will still want to see "Aguirre" and I'd be very surprised if many then will have the patience to sit through "The Dark Knight."
>48 leccol:
I do like the movie, but it's been at least 30 years since I've seen it and would hesitate to make any pronouncements about its merits other than to say Elizabeth Taylor in that famous slip would have me crawling over broken glass on the freeway at rush hour, and that Burl Ives was the only man who could give Orson Welles competition when playing the grand patriarch. Having never read the play before seeing the film, I was surprised when I did read it at how Brick's homosexuality in the original was virtually eliminated.
>>49 featherwate:
You're right--the Bloom-Connery AK is as truncated as the other versions but Bloom is a wonderful Anna, and Connery, though I feel too much an alpha male for the weakling Vronsky--would James Bond shoot himself because his lover's husband forgave him?--at least generates the sexual heat with Anna that neither Frederic March nor Kieron Moore did in the earlier versions.
Yes! "Aguirre" is the type of movie no one has the guts to make today (and, truth to tell, not many did then). Slow pacing, even when it's majestic, is anathema to filmmakers today. Of course in 30 years people will still want to see "Aguirre" and I'd be very surprised if many then will have the patience to sit through "The Dark Knight."
>48 leccol:
I do like the movie, but it's been at least 30 years since I've seen it and would hesitate to make any pronouncements about its merits other than to say Elizabeth Taylor in that famous slip would have me crawling over broken glass on the freeway at rush hour, and that Burl Ives was the only man who could give Orson Welles competition when playing the grand patriarch. Having never read the play before seeing the film, I was surprised when I did read it at how Brick's homosexuality in the original was virtually eliminated.
>>49 featherwate:
You're right--the Bloom-Connery AK is as truncated as the other versions but Bloom is a wonderful Anna, and Connery, though I feel too much an alpha male for the weakling Vronsky--would James Bond shoot himself because his lover's husband forgave him?--at least generates the sexual heat with Anna that neither Frederic March nor Kieron Moore did in the earlier versions.
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