P HOTO BY WM . H . EULER T HE WO RK O F BRUC E RO G ERS

JACK O F ALL TRADES 2 MASTER O F O N E

A CATALOGUE

O F AN E X H I B IT I O N ARRAN G E D BY T H E AM E R I CAN I N ST ITUT E O F GRAP H I C ART S AN D TH E GRO L I E R C LUB O F N E W Y O RK

C B Y D . B PD I K E W ITH AN I NTRO D U T I O N . U M A L ETT E R F ROM J O H N T . C CUT C H E O N

AN D AN ADD R E S S BY MR . RO G E R S

NEW Y ORK O X FORD UNIVERSITY PRESS

1 9 3 9 O I BY O O U N EW O INC . C PYRIGHT, 9 39 , XF RD NIVERSITY PRESS , Y RK ,

PRINTED IN T HE UNITED STATES O F AMERICA P R E F A C E

THIS catalogue was prepared to accompany an exhibition

o The Work o Bruce Ro ers arran ed b a oint com f f g , g y j

mittee of The ri merican Institute of Graphic d rts and — B ai an F d ick . The Grolier Club David Silve, Ch rm , re er

nt and F B H . Ke red Car r . W Adams r Melbert . , y ” y, y ” ,

ic a d It was shown at the house o The Grolier er W r e . f

Club in N ew York rom N ovember 1 6 1 8 to an , f , 9 3 , y

uar 8 1 the two institutions seekin in this wa to y , 9 39 , g y

do honour to the Printer .

The kindness and co-operation of all those who so gener

ous lent m aterial or the exhibition whose names are ly f ,

iven on another a e and o all who hel ed in the re ara g p g , f p p p tion of the exhibition and in the making of the catalogue a at a no d S ia n a du to re gr efully ck wle ged. p ec l tha ks re e

[Miss Ruth She ard Granniss Librarian o The Grolier p , f

Club or th a an m nt o x ibition e rr e e the e h . , f g f

Th e illustrations in the catalogue were assembled by

D avid Silve and their production was contributed by en

raver rin ter and a er- maker riends o Bruce Ro ers g , p , p p f f g , amon them M elbert B Car who ave th in rt . ia e se g y, 7 , g

‘ ’ concernin On Dr - cow Fis in g y h g .

t erever possible the work of Bruce Rogers noted in the catalo ue has been arran ed in chronolo ica o d g g g l r er .

cata o ue ha been r a d b Richard on Th e l s e re Marie L. s g p p y .

However the books o those esses at whic M Ro r h r . ers , f p g

“ worked for considerable time have been segregated under

n o Som at ia a oo the ames the resses . e m er l such s b k f p ,

lates studies desi ns or rinted w ork did n ot lend itsel p , , g f p , f to this treatm ent and has therefore been p ut in alphabetical

o The sketch es a ou h bot eo a ica nd rder . re r g ly h g gr ph lly a

n chronologically arra ged.

‘ ’ The word mark has been inserted in the entry when a

’ ’ o ca i on o Ro er rinte s mark ither on b ok rr es e f Mr . g s p r s e

- o the title page or on the col phon page .

References have been given for those items app earing in

’ i d i o o o T e abbre eviou ubl sh l sts R ers w rk . h pr slyp e fMr . g viations represent:

d F N O F : War e rederic . G D w , BRUCE RO ERS , ESIG ER

KS N o 8 in t i catalo u T e numb re er 2 2 h s e . h ers BOO . ( . g ) f i to the tems .

aa I in A L N o : H s rv . : . . H , BRUCE ROGERS BIB IOGRAPHY (

3 9 2 in this catalogue ) The n umbers refer to the num

bered items; the p age numbers refer to pages on which

in n d i th ere are certa u numbere tems .

’ : T HE C P Se tember PACKET BOOK OLLECTORS ACKET, p ,

1 8 i tic b I vin Haas on a es 1 and 2 0 with . z r le r 9 3 y p g 9 ,

m n u b d and o unnumb d it m so e m ere s me ere e s .

W N H . ATSON KE T L I S T O F L E N D E R S

MR N E LMER ADLER S . SHERMA POST HAIGHT N V HAMILTO . BAIL MRS . WILLIAM HAND A BA KER G . . COMPANY HA RVAR D UNIVERSITY O F R R BO W KER ESTATE . . LIBRARY CAMBRIDGE UNIVERSITY ARVAR D U N IVERSITY PRESS H PRESS T HE CLUB O F O D D VOLUMES H OUGHTON MIFF LIN COMPA N Y D WILFOR S . CONROW W KEN T H . . FRE D ERICK COYKE N DALL A ALFRED . KNOPF C DUSC HN ES PHILIP . LA N ST O N MONOTYPE T HE ELI Z ABET AN C LUB H A N M CHINE COMPA Y , O F YA LE UNI VERSITY PHILA D ELPHIA J OH N FASS T HE MACMIL LA N MAURICE FIRUS K1 COMPANY MARGARET AVERY GASH GEORGE MACY

GEORGE GRADY T HE METROPO LITAN MUSEUM O F A RT MISS RUTH SHEPARD GRANNISS STAN LEY MORIS O N

BEN A T A MUN D ER GRAUER NORM N . . T HE N EW E YORK PUBLIC DAVID . ROSS LIBRARY T HE RO W FA N T CLUB N EW YORK UNIVERSITY

S . R SHAPI RO PRESS . DAVID SILVE HERMAN ORIEL THE CITY LIBRARY L W N A FRED . PAI E T ASSOCIA ION , M A PI ERSO N MRS . . . SPRINGFIELD , MASS .

T G C . D DAVID . POTTIN ER BERTRAN THOMPSON

PUR D UE UNIVERSITY T HE THOMSEN E LLIS LIBRARY C O MPANY

WIL LIAM REY D EL FREDERIC WARDE

DR R B W ET HERI LL BRUCE ROGERS . . .

T E CARL PURING ON . WEYHE R0 LLI NS MR A D MR E O LF N S . C W . . .

N MISS MARIA M . ROOT

I D LESS NG J . ROSENWAL C O N T E N T S

I N T RO DUCT O RY NOTE BY DANIEL BERKE LEY UPDIKE

T HE M BRUCE ROGERS , AN

BY JOH N T . MCCUTCHEON

AN ADD RESS xxvu BY BRUCE ROGERS

CATALOGUE

BO OKS AND PAMPH LETS

STUDIES AND DRAWINGS

GREETING CARD S BOOK—PLATES AND LABELS

O O BR ADSIDES , F LDERS , ANNOUNCEMENTS , ETC .

UN D ATED PIECES FACETIAE

STUDIES AN D DRAWINGS

DESIGNS FO R BINDERS TO O LS A N D BOOK CO VERS S KETCHES IN BLAC K A N D WHITE

S KETCHES IN O I L A N D IN WATER- COLOUR MISCELLANEOUS DESIGNS ADDENDA I N T R O D U C T O R Y N O T E

BY

DAN IEL BERKELEY UPDIKE

IN writing anything wo rth while ab o ut an exhibiti o n of the wo rk of the most distinguished Ame ric an designe r

b o o ks v of in our time, it is not for me to gi e a description of what has been so adequately desc ribed in many quarters, or to praise further what has already been dis

r m k c i in atingly praised b oth here and abroad . The tas — that I propose to myself is to co nsider very b rie fly what appear to me to be the reasons for this work bei n g

fl th e what it is, and how far it re ects the personality of man who produced it .

’ n e k O of the remar able things about Mr . Rogers

k -b - wor is that, without the preliminary trial y error

ffl -b e fin e k which a icts most would designers of boo s, his first boo k issued b y the Riverside Press was the produc

Th o n e tion of an accomplished master of his art . us is unable to see retrogression or progression in the books

b at e shown in this exhi ition, and although first glanc

m u it this see s a dubio s compliment, on consideration

f e will be seen to be very high praise . O course c rtain x11 books have properly and inevitably lent themselves to a k ind of magnificence in typography and design that k ‘ i ’ ma es them automatically exhib tion pieces . But others,

demanding more sober treatment, show no less success

in arriving at what their designer intended them to be .

‘ ’ In short, Rogers at the first step got into his stride and k b there was no learning to wal y distressing tumbles . So without the intermediate stages that many of us have to

er saltum travel, he arrived p at the goal where most men t would be content to finish . This abili y may to some

degree account for, ifit does not explain, the fact that his e b arliest reactions were no less admira le than his latest, and this surprisingly sustained excellence is but one in f stance o his varied talents .

C a th e Again , certain ircumst nces, which in case of ordinary men might be supposed to retard progress early years passed far from the great centres of artistic — cultivation, such as London, Paris, or Rome were not liabilities but actually assets in his career . With mind

e e e c and y unusually sensitiv to beauty, the impa t of great examples of design in printing or in deco ration came upon him with a fresh and vivifying shock that produced immediate fruition ; and (if I am not mistaken)

Th a b ecame a so urce ofstrength . us he sensed cert in pos sib ilities which th e more sophisticated native of Eng

e . land, France, or Italy might hav passed by xm

k e Viewing these boo s from another angl , we also

recognize an enormous versatility ; and this versatility appears to mak e Rogers not so much at home in any o n e

style, as in many a delightful if somewhat disconcert

in l . g y clever guest . That, too, to my mind, has its reason

are Rogers has never been deeply attached, as many , to

particular localities . He has been eclectic in his mode of

th e living, in the variety of places where he has lived, in

i difl e re n t h is friends that he has made, and in varied business associations ; and it would be hard to say whether ff i the land or the sea claims his special a ect on . Just as one cannot feel that in these respects he has marked pre dile c

c an k c tion, neither one see mar ed predile tion for any k particular style in printing . He has wor ed in many

b ut styles and successfully in all, it would not be easy to

‘ — Th is say which style he, at heart, preferred to say, is

’ ‘ ’ k re Rogers . These boo s a all Rogers and no one but he could make them ; but which book he liked best

t — k e tha is his secret and if he li d one best today, to morrowi—perhaps tomorrow he might lik e his model of a ship better and the ship would be as Charming as the book "Thus the diversities of his work are some what

t th e a charac erization of man .

‘ Rogers once said to me, I have no originality ; I am ’— only an imitator one of those exaggerations illustrat ing th e French apothegm that we c an say of ourse lves x1v what we should not like others to say of us because we

. At know where to put the accent the moment I replied,

‘ ’ t Nonsense, and as a matter of fact, wha he said was not true . Certain books assuredly demand a treatment that is imitative—but the originality in such work lay in his ability to see possibilities of adaptation to which others were blind . And some of his minor and more ephemeral work exhibits qualities of ingenuity and originality in the use of type and ornament that are unsurpassed . It is here that he is truly American— for an American

‘ ’ En c an always make one thing do for another . An g lishman opens a bottle with a corkscrew, and without a corkscrew no respectable British bottle will allow itself k to be opened . The more passionate Latin brea s the neck of the bottle, though he may die, perchance, from k imbibing bits of glass with his wine . A Yan ee will k —’ use pin, scissors, po er, pitchfork tis all one to him — if the bottle gets u n c o rk e dl h e is not bound by c o n ve n tio n , takes anything that comes to hand, and sees

b . useful possi ilities in the most unlikely quarters In that, k Rogers is a thoroughgoing Yan ee, and has made gor ge o us the poop of a model seventeenth century ship

- with bits of tawdry gilt comb bought at a ten cent store . Perhaps the only possible criticism of Rogers ’ print

ing was that made long ago by Mr . Alfred Pollard

in his paper Modern Fin e Printing in England and xv

‘ ’ ‘

B uc Ro e s . . Mr . r e r g Can Mr Rogers, he asks, develop a style exc lusively his own and can he (bib liographies and ve rse are a little anaemic) print a full - blooded modern k " ik boo Hitherto, l e all the other experimenters, we have always found him lo ok ing around for a hint . By this method he has achieved all but the very highest success . I am eager to see him aim at the very highest and produce an individual and characteristic book with

’ ’ f n c no antiquarian lavour . Si e then Mr . Pollard s chal lenge has been ably met ; b ut when he made this criticism he forgot the elusive personality of the man he was b Th writing a out . is extraordinary versatility made

Pollard a b it uncomfortab le ; he wished to force Rogers — into a pigeon-h o le then he could be classified and all would be neat and tidy . But if Rogers was to be thus — classified, he would not be Rogers nor the man in whose honour and for the pleasure of others this col

u lection has been assembled, the most exq isitely sensi k tive designer of boo s that this country, or perhaps any country, possesses, whose praise of late is in all the churches and who has something more than that ‘ in ’ — fini te capacity for tak ing pains which so inade — quately de fin e s genius ; that something far higher and k finer, which parta es of genius itself.

The Merr mount Press Boston y ,

Novemb er 1 8 , 9 3

xvm He asked if I was adamant in my desire to be an engi

‘ ’ ’ No neer, and I said , I d prefer to graduate . He then ‘ ’ "’ said, Why don t you switch to a course with less math

I thereupon switched to the Industrial Art course,

o which was much m re humane . Th b is detour enabled me to graduate, proba ly chang ing me from a bridge-builder to a c artoonist ; but of

n o w great importance as I see it, it gave me the privilege of knowing the man who is honored here tonight, the man whose works are treasured gems wherever beautiful b k k oo s are nown .

‘ ’ It was Bert Rogers in those distant Indiana days . He and I were the only two b oys in the Art School "T h e — s c o c . rest were all girl , Purdue being a edu ational college

— n o t Wh I k But as I explained that is y , at least too the

c ourse . Thus began the pleasant relationship which gives me

k c o the authority to spea of Bruce Ro gers on this oc asi n .

c o If I had been good in mathemati s, I surely w uld not k k h im have nown him so well . I suppose I have nown

fo r k a longer time than anyone here . Also I spea with

o f fo r the authority seniority, I happen to be eight days

older than our hero .

LaF tt c We both lived in aye e . We had to rea h the Uni h ’ k b o c . versity, three miles away, y eig t clo , as I recall Th k b is meant a long wal to the Wa ash River, which we x1x

c ro ssed ; then a marc h ac ross a wind-swept half- mile of

C i b levee, a l m up Chauncey Hill, and then another mile

to the Campus .

c It was a Spartan pri e to pay for education, although I

’ don t rec all that we c onsidered ourselves Spartans . It all

Th r o seemed regular . ee miles in th se days was vastly dif

f r n t o o k e e fr m three miles t day . We either wal ed or b drove in a uggy, or else did part of the trip in a herdic, a k ind of horse- drawn b us that held twelve or so shivering students pitting their bodily warmth against the wintry

c b lasts that whistled through every crac k in the vehi le . The Art course was direc ted at first by a tall thin pro fe sso r h i k wit a s l y white beard , mild blue eyes, and a se

c k c o k date fro oat . He l o ed rather like a modern render

o f — ing one of the Early English Kings say, Ethelred th e L c h k Unready as portrayed by John ee . The eystone

‘ o f his teaching was the phrase Learning to draw is

’ ’ learning to see . I m sure we progressed because there was no other direction open to us . Later on , this pro fe sso r c k was su ceeded by a young New Yor er, Ernest

Knaufft b , who was more a reast of the facts of art . He had been Art Critic on the New York Graphic for nine years .

At that early date I do not recall having any serious b intentions a out art . I still thought of artists in terms of

c crayon portraits and pre arious living . Perhaps, too, my xx

’ confidence of success was shaken by Bruce Rogers k early wor . It was so immeasurably better than I could ever hope to do . For by this time, after only very brief

o observation, and with scanty concepti n of what is good in art, I knew instinctively that here was a youth with

t t t grea alen , one who was likely to go far .

- - I remember him as a tall, fair haired and blue eyed youth . He was one you at once liked and respected .

When our association had expanded from weeks into

a b th e frie n dli months, I bec me aware that eneath quiet ness of this rather reserved boy ’s personality lay a firm foundation ofcharacter, unbending ideals, and a sure pur pose to succeed in the thing he took so much to heart . I had a conviction he would never for any reason deviate

t from his chosen code of personal conduc . I knew that

a he could never do a mean thing, and I had unshak ble faith that he would never be other than direct and hon est . Today, after many years, I feel exactly the same

b o a ut him . ’ 8 ’ Our class of 9 issued as a Class Memorial , Purdue s fi D i e br s . rst annual, the Bruce and I did the decorations, headings, and illustrations for it, these being the first of o u r k ffo wor to be reproduced . My e rts were mostly i along humorous l nes, where my technical limitations

i - were not so evident . Bruce did the lovely t tle pages, de — signs, and drawings all beautifully done with that xxr

unmistakable spark of ge nius I have since le arne d to recognize at a glance in the countless drawings of

aspiring cartoonists submitted to me .

’ e drawm It was an excellent training field . Bruc s g ‘ Toiling toward Light ’—the Class Motto—shows

’ members of the c lass of 89 pushing the earth up toward

a e e a benign sun . If you ever c re to try it, you will r aliz

the di fficulties he overcame . His design for Field Sports was good enough to go into a Bruce Rogers ’ collector ’s

item today . It also had an interest to historians . The

- bicycle was a high wheel job of the eighties, the tennis

o player wore a striped blazer, and the f otball player was

k -o jaunty in the headgear of the period, a pea ed Tam

h an t r S e with a long cute tassel on it . For our illustrations we were thanked in the Fore

‘ wo rd of the D ebris in these words : Both these gentle men have added no small amount of interest to our k ’ wor . This was a dignified and restrained acknowledge

a ment, not c lculated to turn our heads .

Even after we left college we continued to do some h ’ work for succeeding annuals . We did a lot for t e 9 1 D b i e r s . , in which we noted a third artist, Mr Booth

k h e c o n Tar ington, a newcomer in the art world . Had ti n ue d e in this promising field, he would have mad a

e great nam for himself, but he got sidetracked and took to writing . xxn

It is of interest to look back and appraise the e vo lu

. Th tion of our honored guest At first it was Bert . en in

’ ‘ I A BRVCE 9 a drawing appeared signed LBERT ROGERS , M D CCCX C ’ a March I , showing budding aspiration for the higher things of life, or as one might say, toward W . h the more abundant life, artistically speaking en one

’ ’ c an U s ff 1 8 1 use V s for , and read o hand the numeral 9

- in letters, he is already half way up Olympus .

‘ ’ A third phase dropped Albert, gently but definitely,

’ and very wisely, I m sure, and we have the pleasing and euphonious Bruce Rogers, the combination that has c ome to have such great significance in the world of k boo s and art . You can learn a good deal about a man in three years of daily companionship . The little faults in character, in ethics, in disposition or habits, if there are any, soon k ma e themselves evident . You gentlemen who have

r k known M . Rogers for many years will now I am sin cere when I say that I remember no faults . I am sure that is why I have always kept him on a pinnacle in my

u tho ghts .

Bruce Rogers was the quiet, reserved leader in our

in Art classes . He had the deep artistic perception, the tuitive good taste, the devotion to his work, the con sc ie n tio us o b ligation to do his best, and the determina tion never to compromise his standards that made suc xx111 cess inevitab le . I feel that he has never put money first, that it has been a mere nec essary incidental in his philo

o f o i sophy life . I cannot imagine him doing a potb ler or a

k k o u m careless piece of wor . Anyone who n ws him will de rstan d why he made nineteen layouts fo r the title- page

b o o k of the Oxford Lectern Bi le, the m numental w r

to do b o h e which England selected him , ef re was satis

fie d fi h . Others less exacting might have stopped at the ft , ‘ ’ h ’ saying, I guess that ll be good enoug .

Nature gave him the divine sixth sense in co mpositi o n

o c k h o f and pr portion, that sense whi h nows a undredth an inch one way or the other is th e difference between perfection and imperfection .

I now approach an amazing phase in our relationship . ’ 8 ’ 0 . I graduated from Purdue in 9 , Bruce in 9 He went to an Indianapolis newspaper, I to a Chicago news

in ff paper, where, my groping e orts to find an individual

b c style , I was trying to com ine a Joseph Pennell te h

c nique in my ar hitectural drawings with an F . Opper,

C . a Charles Howard Johnson, and J y Taylor technique k in my figure drawings . Naturally that ept me very busy .

so While I often went back to Purdue reunions, it happened that Bruce never attended the ones I did . He b was clim ing up his ladder step by step, and when he joined the Riverside Press in 1 895 he had arrived at his xxw

pre ordained niche . From there on was a steady march to the heights and the great honors that America and Eng

land have accorded him . At intervals I heard of him,

k th e and I new of his mounting success . And yet from

t u 1 8 8 1 8 day I gradua ed in J ne, 9 , until May, 9 3 , we

e t - nev r once saw one another, a lapse of for y nine years . — It is incredible and quite disgraceful .

Last winter an old Purdue man, William Winter

ro wd c , was hairman of a committee to do something in

’ o h nor of David Ross, Purdue s Public Friend Number

n e He O . decided upon a memorial in the form of a bound volume of personal tributes . One thing would — make it distinguished if only Bruce Rogers could be

e persuad d to design it . I shall not forget how overjoyed b he was when Bruce said he would gladly colla orate, and how proud we all were when we saw the rare b eauty of the finished product . — It was in May of this year at the Presentation Din — ner to Dave Ross that Bruce and I met again, at

e Purdue, only a few hundred yards from wher we had k i ’ soa ed in the rudiments ofart in the Lad es Hall . k I had seen pictures of him . Only a few wee s before I had seen a beautifully exec uted po rtrait of him in a loan

k o exhibition in Nassau . But I thin I w uld have recog n ize d o him anyh w . T ime has dealt gently with Bruce . A little stouter,

A N A D D R E S S

BRUCE RO G ERS

I A M sorry that I cannot speak to you extemporaneously ; b u t I k now of no mo re distressing spec tacle than a man witho ut the gift of oratory floundering about in a maze — of words and emotions ; so I mean to spare you and — myself that painful possibility, by reading what I have to say . So me of you may have heard that a dress rehearsal for this performance was staged here last night, and tho ugh my own part was a small one it was apparently

b to n c accepta le the audience, as I have bee hosen again as protagonist on this occasion . I warn you that some o f i my l nes will be the same . One of the speakers last night said that letters — types would apparently do anything I wanted them

o Wh to do : I wish that w rds were as amenable . en I play about with words they respo nd readily enough and we have gay times together ; but when I try to marshal them on paper to do a little work for me they slink away into the deepest recesses of my vocab ulary and remain xxviii

erdu th e there p until occasion for their use has passed . On th e other hand punctuation literally showers

th e itself on my pages, and margins are later scrawled

‘ ’ t all over with Out damned spot, abbrevia ed of course

th e th e to initial of most vigorous word, which is mis

‘ ’ tak e nl t to y hought stand for delete .

e are e e Am ricans an impatient peopl , and when th y

e e resolv upon doing something, they let nothing det r

e t th m from their objec ; therefore, regarding this present e e xhibition I hav a shrewd suspicion , which I mean to

e : T h e share with you . It runs something lik this ex hib itio n put on here six years ago was thought at th e time to be definitive, or nearly so ; and though I was

e absent in England then, I imagine there may hav been in the minds of its originators something of a hope that — its effect on my activities would b e de fin itive to th e

e point of suppressing them . And indeed from that tim on I did try to restrict them . But the Bible tempted me,

e and I fell ; and Willa Cather tempted me, and I f ll again (for twelve stories that time) ; and Shakespeare was ff i e h m. o er d me, and I am still falling for

So it may well be that th e motive back of this present e xhibition is the hope of everybody concerned (espe c ially th e bibliographers) that it will have the desired It e ffe ct which the earlier exhibition failed to produce . xx1x has been made not only retrospective (even to my boy

c fo r se e hood days), but prospe tive, as well ; you will in

the cases many plans fo r books that I have not yet found

o means to put into type . You will even find a p sthumous

’ k — e t printer s mar , devised to accompany them but as y

us it Mr . Kent will not permit me to e .

An exhibition of books and miscellaneous printing,

c ffi k parti ularly behind glass, is di cult to ma e attractive, or

ff o b at least e ective, to the casual server ; and I am under the deepest obligations to Miss Granniss and to the

b — r Exhi ition Committee M . Silve and Mr . Cary and k — ff Mr . Ruzic a for their successful e orts to cope with such a heterogeneous mass of material ; to Mr . Kent b also, who not only so a ly organized the whole project, b ut spent many hours here, arranging exhibits with his own hands . And to Mrs . Richardson and Mr . Warde, who were given the arduous task of compiling and

a t printing a c talogue of his raft of odds and ends, I ex

e k t nd my sympathy and warmest than s .

In England you are rarely given advice unless you ask it— for and often not even then . But in America we nearly all seem ready and eager to tell someone else W hat to do, and how to do it . I have always endeavored to avoid this defect (as I consider it) in our national xxx

to temperament and have, in respect printing, refrained as far as possible from telling how it should be done .

h f t ’ k T e . t ac is, I don t now And even hough I may have theories on the subject I have usually kept them

o u to myself. If you do that y can Change them as often

k - th e as you li e, and no one is wiser, but if you spread

S them broadcast, then you have to tick to them and be prepared to defend them . So I have found it less trouble k some to eep mum . If I divulge a few here tonight, it

a th e C is only bec use of intimacy of this lub, and not with the intent of putting them on record . I might

t change them again, omorrow .

I would like to reassure o ur guests that they are in a private club, though at present it has something of the appearance of Mac Do ugal Alley on a day when the

Greenwich Village artists are displaying their wares . With the wish to be as helpful as I could be to the Exhib ition Committee I consented in a moment of weak ness and vanity to the inclusion of specimens of my endeavors in some of the o ther branches of art b e

e in sid s printing, the hope of lending more variety and

S b color to the how . I hope you will elieve that I am under no illusions as to the merit of the little sketches and drawings, there on the end wall, and my first and

f. last attempt at sculpture, on the mantelshel The former are merely a sort of colored post- cards or illus xxx1 tratio ns k a for a boo of travel, little reminders of pleas nt places I have had the go od fortune to live in for a time .

The latter is th e result of a rash promise I made to Alan Villiers as we sailed out of Copenhagen on the beginning — of his lo ng voyage ro und the world to carve him a

figu re -head to be put o n his ship when she reached New

k c Yor . As portrait s ulpture its value is slight enough , b u t it made a sufficiently go od figu re - head ; at least it was more appro priate than the lump of cement that

’ adorned the ship s prow when he bought her . So I hope you will look leniently at these little essays

h b e k in other arts, t ough you may as severe as you li e

’ with the books ; you can t think worser of some of them than I do . Where an occasional one does succeed in embodying what I was trying to express thro ugh the media of type and ink and paper, a dozen fall short of that aim, however satisfactory they may be on the k technical side . Few of these boo s, even the very early

bad fo r ones, are ly printed, it has been my good fortune always to have excellent printers at hand . Yet I am somewhat surprised to find myself singu

’ larly uninterested in them as specimens of the printers

w e craft . Only a few, done in the Riverside days, when

o e pressed f undry type, coated with the best of h avy ink (we used inks that cost six dollars a pound) into damp

- te ened hand made papers, give me a defini satisfaction xxxu

as printing ; and even this predilection may b e partly due to my remembranc e of the pleasurable excitement of those days whenever a new experiment in typography was coming o ff the press . But though I can view this assemblage of my work

o ne an with almost complete detachment in way, in other these books and minor pieces of printing mean far more to me than they ever can to anyone else . For almost without exception they are records of asso c iatlo n with friendly human beings, who were bent on helping me attain the objectives which I had in view . It is not particularly profitab le to discuss the tech nique of printing ; for it has so many techniques that no h one is master of t em all . In my wanderings from press to press I have been glad to rely upon the sk ill ofthe e ffi k cient wor men I have found at all ofthem, and, with very

t few excep ions, they carried through my plans admirably . I c an easily understand the k ind of pleasure a man gets out of doing everything with his own hands in his k own wor shop ; and on various occasions, when I

-o ffi c e wearied of the routine of a great printing , I have

- been tempted to break away, to embark single handed

ad e n tu r on a venture of my own . But I am not at all v ous by nature . Even my sea voyaging has always been

e in summer weather, and I hav no ambition to round the

- Horn in a wind jammer, or in any other kind of vessel .

xxxiv could reduce that number to perhaps thirty, and still have all those that I consider entirely successful . Even a casual look round th e room will show that apparently no ba3 1c prmc xple has actuated the production of all these books, no new organic theory has been dem

r o nst ate d. They are as miscellaneous as they look to be ; and therefore, as a collection, not nearly so impressive as a set of Kelmscott or Ash e n de n e or Doves Press

o k a bo s . Yet there h s been a sort of principle on which k k b I have wor ed, however mista en it may have een .

c b author It is to have, con eiva ly, pleased the of the work that I had in hand, by the form which I gave it . k This has indeed actually happened, when the boo was by a writer still living, as several letters in my possession

But will testify . as it has been my fortune to have been

th e t most frequently called upon to print authors of pas ,

to rather than those of the present time, it seems logical have cast their words in the forms that were familiar to

e o f th m in their own day, instead trying to impose upon them any of my own typographic interpretations or pe c uliaritie b o ad s. My contri uti n has been mainly to take

o f vantage modern improvements, to print their books better if possible than they were done in their own times .

This conception o f my functions as a printer natur ally resulted in what has come to be called ‘ period ’ or

‘ ’ allusive typography . I do not mean to imply that xxxv it was my inventio n ; it h as b een prac tised at times b y b many earlier printers and pu lishers, amongst whom

Pi c k ering comes mo st readily to my memory . He occa sio n ally had the Wh ittin gh am s reprint early works in a

style that simulated their o riginal editions without being

attempts at facsimile .

But the prac ti c e o f peri o d printing by no means pre

c lude s — sympathy with modern, even ultra modern, styles . It merely happens that I have never been called

o o o r up n to print, say, Gertrude Stein , or James J yce, — P. z ra E. E Pound though , when we last parted at

o c b c k Rapall , did invite me to ome a and help him with

‘ ’ o re ~ a new printing of his Cant s, and I have always

re tte d c . g that cir umstances prevented my doing so No,

’ it isn t the mo dernity of modernistic b ooks and types k that I disli e ; it is the visual ugliness of most of them .

c o And when we me to analyze them we find them,

n o t after all , so modern as their ostensible creators k would li e us to believe . I venture to say that nine — tenths of the so called modern type faces can be traced

from (or even over) forgotten type specimens of later

and wo rser peri o ds than tho se from which our classic

c c o type fa es are derived . The type spe imen b oks of the

’ ’ 1 8 2 o s and 1 8 3 o s are the ones most recently ransack ed

fo r o o f o c ad monstr sities letter forms, am ngst whi h, I

o mit, were s me few pleasant decorative letters worthy xxxvi

of being revived . I myself once got an excellent type for the Atlantic M onthly reproduced from a specimen 8 of ab out 1 3 5 ; and I believe it is still in use . Amongst these revivals the type face that has had the greatest recent vogue is the one that American founders ‘ ’— used to call gothic th e English more properly calling

‘ ’ - — it by its French name sans serif a circumstance which leads me to think it may have originated in

France . I have never investigated this point, as it seems hardly worth chronicling . Under the French title it has been reproduced lately in almost innumerable ver

k n sions, none of them fit for the printing of boo s . I deed

c o nstruc the lower case, by reason of the principle of its

o an where . a ti n , is unfit for reading y The c pitals are sometimes excellent in advertisements and are very b widely used for signs . The latest (and a really admira le)

‘ ’ version of this sort of letter, is one called Albertus, pro duced by the Monotype Corporation of London and

c f re ently used most ef ectively by Mr . Kent in his posters b and la els for The Cloisters .

I fo und so me original founts of gothic or sans- serif at the Riverside Press thirty or more years ago, and ex

e rim e n te d p with them on an occasional cover design , one of which is shown here ; but I speedily came to the conclusions I have j ust mentioned, and have seen no

C reason to hange them since . xxxvu

k o k e Mr . Updi e, in his great bo on typ s, mentions

- o k i not sans serif nly once, in spea ng of types one ought ’ ffi to want in one s printing o ce . And I recall his cleverly

: - characterizing it, in conversation he said if a sans serif

- e letter were well proportioned enough , it might serv as a ground plan on which to design a real letter . But latterly even sans- serif letters look almost classic in their

c simpli ity, as against later and more horrible abortions which the type makers are turning out in response to

o i ic s me maginary demand on the part ofthe publ ; which ,

’ ’ to k o r a k tell the truth , doesn t now c re a tin er s dam

b o can a out the f rm of the type it reads, so long as it read it . Eccentric ity seems to have become almost the only go al of present- day designers ; and when applied to occa sio nal printing and advertising there is a great deal to

o b But be said for it, th ugh not y me . I am not sure

c that I do not prefer to see e centric types, rather than

c the usual lassic faces, tortured into strange forms and disposed in the most unexpected places . It seems some

un fittin o how more g to read Caslon or Bodoni diag nally, or from bottom to top, or top to bottom in Chinese

c fashion, than to decipher some uncouth typ e whi h looks

o b i n equally f r idding any position . But I am digressing into a treatise on design in types

c is and printing, whi h aside from the intention of this paper . xxxviii

k a Mr . Updi e has said that I apparently esc ped the

‘ ’ - - . trial b y error period that most budding designers go through ; but there was more practice of that method

k t h e than Mr . Updi e suspec s, even in the early days writes about ; and it has grown on me with the passage

th e of years, as the great proportion of discarded plans

’ a in the c ses along the east wall will testify . I can t tell whether I became harder to please or whether because I was making fewer books I had longer times to play with their planning . The real pleasure of mak ing a new book is over for me when the plan is decided on and the actual work be gins . From that time on there is merely the drudgery ffi of manufacturing it, and it is sometimes di cult to keep

’ one s attention focussed on the details ; but the success of printing lies in never for one instant relaxing in the inspection of details, until the book is actually bound . I must have been endowed with a large streak of economy, which is on the whole fortunate, as I have had to practise it all my life, even in printing . And this may account for my liking to work with second hand materials and to make things out of odds and ends k of other things . Mr . Updi e has noted it in relation to part of the decoration of my ship model, and it doubtless lies back of the ornament in some of the books ; for in

—u - a stance, the building p of little land and sea sc pes in xxxix

‘ ’ ’ : Conrad The Man, and in Conrad s unfinished story,

’ ‘ — l - The Sisters, as well as the tail pieces and tit e border

‘ ’ t - inThe Ancient Mariner . Tha title border gives me much greater pleasure than the more elaborate one of

’ ‘ ’ to More s Utopia . The only attempt in the latter was wrest a new effect out of rather hackneyed ornaments by setting them diagonally . This is hardly an appropriate occasion on whic h to lecture younger designers, I trust there are few of them following my footsteps ; but for the possible benefit of that few I would like to insist that mere ingenuity in

o the use of ornament should not be their s le aim, not

in even their primary one . However ingenious and spired the comb inations of printers ’ ornaments may be the result must first be pleasing as decoration and ap

ro riate p p to the text . Otherwise the whole book suf fers—and the book is more important than any of its component parts . It is here that b ook - mak ing as an art transcends

b e both printing and decoration . The printer, if he an enthusiast, is frequently so engrossed in the spacing of his types and the perfection of his press- work that he

’ to o to o doesn t perhaps notice that his paper is hard, or thin, or folds the wrong way of the grain (though even the great printing-houses have at last learned to consider papers more intelligently) . x1 And the artist who furnishes the decorations or illus tratio n s is so often concerned with his designs on a large scale that he forgets they are to be reduced to an b k average oo page, and will therefore lose most of their snap and effectiveness . I have always advocated th e making of line drawings, at least, on something near the scale on which they are to appear in the book ; as though the artist had actually drawn them in a copy, k in which blan spaces had been left for him to fill . I

’ ca recall Thomas Benton s relief in Chi go last spring, when he learned that I did not consider it advisable to make enormous pen—drawings for a book he was illus

in trat . g Colors, too, no matter how accurately they are matched by the printer, change in values with their change in mass . On th e other hand there are illustrators who c o n

th e sider type page too slavishly, and cramp their style and ruin their work by too thoughtful attention to every line they draw. Their aim is to match the texture and tone of the type page, and the result is too frequently

‘ ’ flat b , stale and unprofita le . The early woodcutters, owing to their tools and their using the sides instead

- of the end grain of their blocks, got their harmonies of line and tone quite naturally and of necessity . But the modern processes of mechanical engraving changed all that ; unfortunately they are too frequently pushed

xlii

o ff k But again I am the main trac of this discourse, if it can be said to have any track at all .

I have usually thought of myself as a rather lazy

t person, and this concep ion has been strengthened at

th e times by remarks of my employers, or of clients

e whos work I was apparently neglecting . There are k four hundred or more boo s shown here, and having never before seen them all grouped together, I am con side rabl y surprised and, I may say, impressed by the sheer quantity of printing whose production I seem to have been responsible for, even though that production has been spread over a good many years . It is somewhat di fficult to classify or describe my

ro fes activities, and those of others who follow their p

‘ ’ sion much as I do . The term typographer is rather too scientific and stilted ; and, besides, it applies to only

k - one element of boo making, and takes no account of k paper, which (I would li e to interject) is in my opin ion more important to good book- making than type

‘ ’ ‘ ’ t ste r t iste r itself. I once invented the term yp or yp

’ ‘ ’ Pac io li and inserted it in Stanley Morison s , one of your own publications, much to the disgust of Morison

‘ ’ t himself. I though its similarity to tapster rather plea sant ; but Morison pointed out its further resemblance

‘ ’ to tipster, a term which in England is in no better xliii

‘ ’ k - k repute than boo ma er, which there has a some

re what sinister implication that it lacks over here . I call when an American friend of mine introduced me to a wholly strange group of men in a London c lub as

‘ ’ k - k a boo ma er, eyebrows went up, if ever so slightly, k shoulders grew cool, and it too several minutes of further conversation to restore a more cordial atmos

h e re p to the gathering .

‘ ’ Printer, of course, is the more generic and satis

it o factory title, though even does not c nnote the total

’ ‘ ’ - of a book maker s ac tivities . But if printer b e the

’ ’ word, then I m afraid I can t claim to being one, either

AS by birth , inclination , training, or practice . a boy I never had a toy press to play with ; and it was not until I was fifteen or sixteen years old that I began to observe

’ k in boo s as specimens of the printer s art . There are nk cluded here, I thi , two books that were the first to attract and hold my attention in that way . One is a copy of a cheap edition of Carlyle ’s ‘ Heroes and Hero

’ 1 8 8 Worship given me at Christmas, 9, by a college classmate . It is commonplace enough in every way, but

o k can b the first bo , so far as I remem er having seen ,

- that had a line of red on the title page . The other is

’ ‘ ’ Sto fo rd p Brooke s English Literature, also with a

k - red and blac title page but, in addition , printed hand so m e l - y on a Dutch hand made paper, nearly uniform in xliv size and style with the large- paper issues of the Golden

’ Treasury Series . Two of this handsome set, Tennyson s

‘ ’ ‘ ’ th e Lyrical Poems and In Memoriam were, with

k LaFa e tte i fre Broo e, in our y Public L brary, and I k quently took them home to loo at and handle . I even

’ b ut read the poems, I m afraid not much of the other .

Later I acquired them all for my own small collection, and from time to time I have added other volumes of the large-paper Golden Treasury Series and a few other k boo s printed and bound in similar style, until now I k k . . St . thin I have them all Mostly printed by R R Clar ,

Edinburgh , and enclosed in covers of quiet elegance, they still seem to me as pleasant examples of a sensible k amount of luxury in boo s as one need ask . My first sight of a really large - paper c opy came to

’ Mc Clu r s k me somewhat by accident . g Boo Store in Chicago announced an edition on hand-made paper of ’ ‘ ’ k Wharton s Poems of Sappho at, I thin , 5 . On my ordering a copy (with cash in advance) they wrote that the regular edition was sold out, but that they were sending me one of an edition on large paper, limited

2 to 5 copies, which, on account of a damaged cover, 8 I could have for $ . The book duly arrived, and though I instinctively felt that the proportions of the margins were not all that they should be, the combination of its t being a numbered copy, signed by the edi or, and xlv the fact that it was already partly paid for, was too much

re for my resistance, so I somehow got together the k m ain de r of the price and kept the b oo . It was printed in London and adorned with so me of the wood engraved head- pieces and initials that had descended from k k . Pic ering days Not li ing them very much , even then, I painted over the initials with gold and color and added wriggling pen lines which ran up and down the margins in the manner of some bad MS . illuminations I must

o i - have seen . I als made stipple cop es in water color of

c k k several Greek oins from a Rus in boo I had, and pasted them over the worst o f the tail - piec es ; and I

‘ ’ o o n - i gilded the name Sapph the title page and pa nted,

th e - in lower right hand margin , a device which I had at that time adopted as a sign of possession . It bore the

‘ highfalutin and banal motto in Latin : Leisure without

’ Literature is Death .

These early attempts at book decoration , though b childish and commonplace, will dou tless furnish, to k those who li e to account for things, an indication of

b ut what my later endeavors might be expected to be, they were hidden from me then , as it was my ambition

a to become a painter of landscape, or at least, a c binet

k - ma er or a ship builder . An uncle of mine was a carpenter and I have spent many an hour in his shop j ust across the street from xlvi our house, watching him at work and occasionally mak ing something myself with spare tools that he per

m itte d . me to use One of my productions was a punt, so deep and narrow and cranky that I seldom went ’ k out in it that it didn t upset . I have ever since li ed a k b woodwor ing shop, with its clean smell of fresh s av — ings and sawdust but I have never felt at home in a

e composing room, and do not to this day. I suppos I must have visited the printing shop in Indianapolis

‘ ’ M Bo les . w where J . was then having his Modern Art

b ut . o e printed, I cannot recall it J , a discriminating ’ k art critic even then, didn t thin highly of my attempts at painting, and it was he who practically forced me into printing, by giving me commissions for initials k and boo decorations and, later, by making a place for k me in Boston at the Prang lithograph wor s, to which

‘ ’ Modern Art had been transferred after two years of

’ struggle in Indianapolis . At Prang s he had established a

- e small, one man composing room wh re the quarterly

th e was set up, and there I may have played a little at cases . But it was not until I went out to the Riverside

c Press in Cambridge, six months later, that I be ame more familiar with the methods of setting and printing books . And though I was there for seventeen years I never got to feel more than an intruder in either c o m

- k posing or press room . I disli ed intensely the smell of xlvii

in k printing and benzine, and I could never hear the

music that some find in a running press . Only the other

day, while touching up that Conrad cast at Elmer

’ Adler s otherwise admirable printing shop, one of his presses drove me nearly frantic with its incessant repeti

‘ : b tion of the refrain Dou le pneumonia, double pneu

’ monia, double pneumonia .

‘ ’ So I am afraid that the title printer, which Benjamin

k ffi Fran lin was proud to have a xed to his name, even on his tombstone, is not mine to claim .

These books, then , which surround us are made mostly by other hands from plans which I furnished them . And though it may add to the interest of the student of pri nti ng to have so many of these plans dis

e not played here, they as frequently illustrat how to do it as the contrary . My usual method would seem to be to fish a scrap of rumpled paper out of the waste-basket k and begin to s etch on it, roughly, my idea of the text

- e . Al page, and perhaps the title page at the same tim

o f most invariably the sheet paper proves to be too small , so another, or several, are pasted on to it and the plan ning goes on . I seldom have at hand two pieces of paper

- of the same kind, so the hodge podge that finally goes to

ma th e the printer y carry the intention, but it is hardly t to h e hing to add beauty an ex ibition of this kind, d spite xlviii

ff o f the devoted e orts Miss Granniss and Mr . Silve to

e k group thes s etches in some sort of decorative order .

s c The re ponsibility, however, for the s rappy appear ance of that side of the room is entirely up to them ; for

ff - my o er to make them an entirely new set of lay outs,

t in k — nea ly done with pen and , was declined with or k k without than s, I forget which . I thin Miss Granniss, ff with her unerring instinct for e ective arrangements, rather favored the idea ; but Silve stood firm for th e — original scrawls s o there they are "

It has become the fashion in certain quarters to decry

k c o n limited editions, but as I loo round this room the

’ vic tio n comes to me that limited editions aren t limited

’ hadn t ne arly enough . Suppose for a moment that these been limited editions averaging, say, copies, but had

itu t been printed ad lib m . How many more cubic fee of valuable space they would have filled in a world already overcrowded with books "

Yet I have been reprehensible enough, even in that

respect . Mr . Pollard once said I was to be reckoned

‘ ’ as a limited edition printer, but you will be surprised,

perhaps, on looking at the range of books on the shelves

k e here, to find that literally the bul of the works I hav

had a hand in have been either sets of books, issued in

fairly large editions, or else works of fiction or general most of the modern processes of printing are devised to

b o k ff that end . But the real lover of o s knows the di er

o ff ence, and will not be put with more or less garish imitations . There is the same inherent quality in a really k fine boo that there is in fine furniture, or fine textiles, or fine tailoring, or in fact any other of the industrial

- arts . A man who cares for well made furniture or well made clothes does not waste his money when not only

o he pays for g od design and good workmanship, but also stipulates that they be carried out in the best materials

obtainable . It would hardly be economy to take a piece

of shoddy to a Savile Row tailor .

I do not mean by this to insist on hand composition,

- k - k or hand press wor , or even hand made papers, in boo

k - a ma ing . But machine made papers, if they at all p

ff o f - proach the qualities and e ects hand made, are as expensive as hand- mades (or at their very best even more i expensive) ; and machine compos tion, however good,

has to be so carefully considered and worked over by

th e a c hand, that theoretic l gain in speed (whi h is the

determining factor of its co st) has vanished o ff the time

- Sheet . In press work there can conceivably be a much

o greater gain in time, and therefore in cost ; but for sh rt k runs on small boo s, if the power, the overhead, and the time consumed in slow running and double- rolling b e

figured in , there is at the end not such an overwhelming li gain o ver the hand press when in the hands ofan o ld- time pressman it was c apable o f printing 2 50 fo rms an hour .

I am not arguing fo r a return to hand work as against

o f that the machine, when the latter is used as a tool instead of as a machine . I am only trying to explain why the best printing is still a very expensive thing to produce .

o But perhaps I am laboring the p int . And though I have spent as much time as mo st designers on trade edi

fo r k tions general sale, I confess that I li e to be per mitred to put my best efforts into books that will pro bably go to the discriminating few ; and if these few are nec essarily peo ple with means enough to gratify their tastes I cannot see why they should n o t b e encouraged to spend their money on co stly b ooks as well as on costly

n o n o appurtenances of other k inds . Eve the l wer plane of investment th ere is muc h to b e said ; the resale value o f a go od book compares pretty favorably with that of a

o - mot r car . As to depriving the public at large of the privilege

’ c of possession, I m afraid I have no great onfidence in

’ c c the taste of the publi . Whistler s di tum in regard to

‘ - painting, that there was never an art loving public

’ - there was never an art loving nation , holds good for printing, too, though of course in lesser degree .

The printing ofthe ordinary book is to day on a higher plane than it perhaps has ever been before . The novel is lii

- fo r quite as well made as it need be, and the standard scientific works and books of general literature has been immensely raised by the advent of new designers into

e o k thos fields, by the annual Fifty Bo exhibitions, and

th e particularly, in this country, by the establishment of k Boo Clinic . Every year more publishers follow the example of

Alfred Knopf in mak ing all his bo oks attractive to the eye in some way or other ; and printing- shops like the

P nso n o Merrymount Press, the y Printers, the Walp le

Press, the Hawthorn House Press, the Spiral Press, the

Lakeside Press, the Grabhorn Press, and many other establishments set ever higher standards for the printing trade . The presses of the museums and the great uni ve rsitie s exert perhaps an even sounder in fluence on the

ac co m printing trade in general, by the high level of plish m e n t within their own printing- houses and their

o c patr nage of many ommercial printers . When the standard of everyday work is so high and such excellent types and papers are available to every

c an in body, we need hardly expe t y such spectacular dividual inno vations as tho se inaugurated by B o doni or

William Morris . It is only when an art is at a very low e b b o o k - o that unl ed for innovat rs appear, with entirely different ideas . Of course it can be said that the recent reaction from liii traditional styles of printing to the present modernistic

t t trea ment, in sympathy with the similar movemen in

t e architecture and the other industrial ar s, constitut s

e a revolution . It may be so, but it is questionabl whether it will be strong enough to deflect the normal current

at of book production to any great extent . Printing,

least the decoration of printing, has always been derived

from architectural styles, either contemporary or past ; and the normal strain of printing will always assimilate

th e th e art best elements of any novel movement in , fl without much disturbing its ow . It is, in fact, by these assimilations that its vitality and continuity are main

in d ta e . If some of us still model our printing on older styles it is because we like the older styles of architecture and

decoration and life itself, better than their modern

equivalents . They seem to us more humane, more liv

able . And if the mark of the tool has been superseded by

m arkle ssn e ss the of the machine, it merely means that another humane element has disappeared out of the

world . For some of us still like to feel that the things with which we surround ourselves have felt the touch of

human hands in their mak ing ; and in books this means that although they are primarily objects of use they may also partak e of the nature of works of imaginative liv

to art, and so appeal our aesthetic sense as well as serve our practical needs .

o ld By all means add a new note to the refrain , if you c an without discord ; but be sure it is not merely to ex — press yourself perhaps at the expense of your author .

- Book making, printing, is one of the most unpromising — mediums to choose for self-expression o r is it because those who attempt it seem to have so little to express"

‘ ’ ‘ ’ At this point th e I and my k eys of my typewriter gave out ; and you will agree that you have had enough

c k of this rambling dis ourse for one evening . But as I loo round these walls once again I am tempted to parody

’ ‘ ’ Gelett Burgess Epilogue to his Purple Cow and say :

0 yes, I made this raft of books,

’ ’ I m sorry now I med em, " But I can tell you what, gadzooks

’ ’ ’ I ll bet you haven t read em .

ctob Hou ew Fai ld Conn O er se N e . , rfi ,

N ovember 1 8 , 9 3

4

8 1 t 1 9 . a . Proof of illus ration .

1 8 2 . 9 . a Two original drawings for illustrations .

8 8 —1 8 u . 1 0 P rdue University Annual Register, 9 9 ,

1 8 — 1 0 . . with scheme of study for 9 9 Lafayette, Ind

F ro n tispie c e and illustrations facing p4 1 by Bruce

Rogers . 8 ff vo . , bu paper cover

t Purdue University . A Souvenir . Fifteen h Anni m ve rsar . t y Published by Delta Delta Chap er, Sig a 8 . 1 0 . t Chi . Lafayette, Ind , 9 Various illus rations signed by Bruce Rogers .

8 — . 1 0 1 Purdue University Annual Register, 9 9 , with — 1 8 1 2 . scheme of study for 9 9 Lafayette, Ind .

Cover design by Bruce Rogers .

1 8 2 — Purdue University . Annual Register, 9 9 3 , with

1 8 — scheme ofstudy for 9 3 94 . Lafayette, Ind . Cover design by Bruce Rogers .

8 vo . , grey paper cover

Kn aufft . The Art Student . Edited by Ernest New k Yor City . 8 ‘ VO L. I N o . 1 1 2 . , , October, 9 Drawing, Simple Appliance fo r Measuring Planes and Lines in ’

H. d Perspective , signed . 8 VO L. I N o . 2 1 2 . , , November, 9 Lettering and

device on cover by Bruce Rogers .

Steele, Mary E . Impressions . Paper read before the

b 1 8 Portfolio Clu . Indianapolis , 93 . Cover design and

- w 2 . title page by Bruce Rogers . .

a . Study .

. . . M. Modern Art Indianapolis, Ind [Edited by] J

b 1 8 — H . Bowles . Various contri utions, 9 3 7 . f.

‘ ’ o e 1 8 a . Drawing for Garg yl s . Autumn , 9 3 . ‘ ’ b . Drawing for Dante Gabriel Rossetti . Spring, 8 1 94 .

Daughters of the American Revolution , General de

1 8 — Lafayette Chapter . Programme, 94 5 . Lafay

1 8 H 1 ette, Ind . , 94 . . .

A . E . [George W . Russell] . Homeward Songs by the Way . Thomas B . Mosher . Portland, Maine,

1 8 95 . w . 3 .

a . A copy on Japan paper .

r ell B t r i l u e R. N o e it ca G . s zC a , and Biographic l . Col 6

W T Walte r 8 . . s . 1 w . . lection of Indianapolis, 95 . 4.

- a . Study for title page .

b . A rubricated copy on Whatman paper .

1 4 . Plato . The Banquet of Plato . Translated by Percy

1 8 Bysshe Shelley . Way and Williams . Chicago, 95 .

a . A copy on large paper . w . 5 .

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2 3 0 . Dinner to Hon . William Howard Taft and

c Dr . William Henry Wel h . Given by Mr . Wil

liam A . Marburg . The Munder Press, Baltimore,

1 1 . w 1 I 2 . 9 4 .

Eleven Examples o f Recent Typo graphy by Bruce k o . 1 1 . 1 2 . R gers [New Yor ] 9 5 w . 5 b Printed at the University Press, Cam ridge

o k - - o (Mass ) . B o pages and title pages comp sed

by the Riverside, Montague, Munder, and

Museum presses .

e . Gu rin , Maurice de . The Centaur Translated by

George B . Ives . [The Montague Press, Montague, w 1 1 Mark . . 1 2 . Mass ] 9 5 . 4

u n a . Studies for headpiece and initials (several

used) . ‘ : in a b . A copy signed Arranged a c ndy pan b ’ by Anne Rogers . Certified y Bruce Rogers . C . A copy in sheets, hand ruled .

2 . . 3 3 Merritt, Percival An Account of Descriptive Catalogues of Strawberry Hill and of Strawberry 3 7

Hill Sale Catalogues . Printed [at the Montague

Press, Montague, Mass . ] for the author . Boston ,

1 W 1 2 . 1 9 5 . . 3

- a . Proof of suggested humorous title page . b b . Study for special inding .

8 2 P . 1 6 . G . . . 34 [Winship, ] Luther S Livingston 4

1 1 9 4 . Privately printed [at the Montague Press,

s 1 1 w . 1 2 2 . Montague, Mas ] . Cambridge, 9 5 .

é 2 . c . e t . 35 Fran e, Anatole Amycus C lestin [Printed for

H . W . Kent . The Museum Press, New York]

1 1 6 . H 9 -99 '

a . Trial pages . c b b . A opy with cover coloured y hand . T H E M A L L P R E S S

H A M M E R S M I T H , E N G L A N D

D . URER, Albrecht Of the Just Shaping of Letters .

En [Printed at The Mall Press, Hammersmith , g

b 1 1 land, for] The Grolier Clu . New York, 9 7 .

a W . 1 2 M rk . 6 .

a . Studies for initials .

b . A copy printed on vellum, one of three copies .

C A M B R I D G E U N I V E R S I T Y P R E S S

C A M B R I D G E , E N G L A N D

C 2 . . . 3 7 UNNINGHAM, W The Common Weal Six Lec

1 1 tures on Political Philosophy . Cambridge, 9 7 . 8 w 1 2 . .

8 : 2 . e . 3 Pollard, Alfr d W Two Brothers Accounts

k 1 1 . Rendered . Sidgwick and Jac son . London, 9 7

1 2 . w . 7

k b 2 . . 39 Babington, Percy L A Collection of Boo s a out

8 a W . 1 . 1 1 M rk . Cats . Cambridge, 9 . 34 3 8 39

Pro Cambridge University . Visit of the Italian

fe sso rs b 2 to the University of Cam ridge, May 4

8 1 1 8 Bookl t 2 1 1 . . e . 7 , 9 Cambridge, 9

8 o . . v Caslon type , paper cover

Dent, Mr . Edward, and Miss Gladys Moger .

Musical Illustrations of History and Literature .

1 1 8 w . 1 1 . [London] 9 . 3

o n ta ue . Un James, M[ g ] R[hodes] Address at the veiling of the Roll of Honour of the Cambridge

1 1 6 . . Tipperary Club . 9 Cambridge 4to

1 2 . w . 3

a . Study .

R M . . James, Address at the Unveiling of the b Roll of Honour of the Cam ridge Tipperary Club .

1 1 6 1 1 8 1 1 6 . W . . 9 . Cambridge, 9 . mo 3 3

On Friendship . Sixteenth century verses . Printed

A T Barth o lo m e w for . . and Bruce Rogers . [Cam

1 8 1 1 w 2 . bridge,] 9 . . 9

a . Studies .

b . Drawing for the paper label .

b Papworth Hall Tuberculosis Colony, Cam ridge,

1 8 1 . 6 . H . 9 ,p 5

- a . Drawing for vignette on cover and title page . 40

- c Quiller Cou h , Sir Arthur . Studies in Literature . 8 . 1 1 . w 1 . 0 . First Series Cambridge, 9 3

Ballard, Ernest . Days in My Garden . Cambridge,

1 1 . H. 1 1 9 9 0 .

. 1 8 Heywood , Robert A Journey to America in 34 .

1 1 Printed for the editor . Cambridge, 9 9 .

0 5 .

2 . 49 Heywood, Robert . A Journey to the Levant in

1 8 1 1 45 . Privately printed . Cambridge, 9 9 .

w 1 . 3 5 .

M R 2 0 . . . 5 James, Henry the Sixth . A Reprint ofJohn

’ Blac m an s 1 1 Memoir . Cambridge, 9 9 .

1 6 . w . 3

k — C . . [Jen inson , Margaret Compiler] A Divine

H t 1 1 l . e a o . p gy. Privately printed Cambridge, 9 9 8 w 1 . . 3

ff k Keynes, Geo rey . The Commonplace Boo of

Elizabeth Lyttleton . Privately printed . Cam

1 1 w . 1 . bridge, 9 9 . 3 7

C . . Lawson , J . The Litany of the Elves

1 1 Cambridge, 9 9 .

HA R V A R D U N I V E R S I T Y P R E S S

C A M B R I D G E , M A S S A C H U S E T T S

1 H 2 6 . ARVARD University Press . Catalogue of th e

Harvard University Press . Randall Hall . Cam

1 2 0 . bridge, 9 8 c o c . vo o . S t h type , paper c vers

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o f 2 63 . Harvard University Press . Catalogue the Har

1 2 1 vard University Press 9 . [Cambridge]

a t P mphle . 8 ff c c vo . S ot h type . , sti paper covers

2 6 . . o 4 Mayo, Lawrence Shaw J hn Wentworth . Gov

e rn o r 1 6 - 1 of New Hampshire, 7 7 7 75 . Cam

1 2 1 . w 1 2 . bridge, 9 . 9

Ph utride o s E. Casse re s , Aristides , Benjamin de ,

Ko ste s and Paul Shorey . Palamas . Cambridge

1 Pam hlet ros ectu [ p p p s .

2 Scotch type . Narrow 4mo, paper cover . 4 2 4 3

o . 2 66 . The Cemetery at S uain . Privately printed Cam

1 2 1 w . 1 . bridge, 9 . 9 3

k n e . 2 6 . . 7 Fran li , Benjamin The Story of the Whistl

Introduction by Luther S . Livingston . Cambridge,

1 9 2 2 .

8 vo . 1 2 . Caslon type . 5 copies , paper cover

8 . . 2 6 . Cutler, Carl Gordon , and Stephen C Pepper

. 1 2 . . 1 . Modern Color Cambridge, 9 3 w 9 5

k o k 2 69 . Dunster House Boo shop . Vari us Boo s from k the Shelves ofthe Dunster House Boo shop .

1 [Cambridge] 9 2 3 .

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Le o u i o 2 0 . s . . 7 g , Emile Wordsw rth in a New Light

1 2 1 . Cambridge, 9 3 . w . 94

b o Bi li graphical Essays . A Tribute to Wilberforce

- Eames . [Cambridge] 1 9 2 4 . Title page and vi

n e tte g designed by Bruce Rogers . 8 . vo . Caslon type , boards, gilt top

k 2 2 . . M . 7 Blac ie, E The Pilgrimage of Robert Lang

ton . Transcribed with an Introduction and Notes .

1 2 . . 1 . Cambridge, 9 4 w 9 7 44

a . Studies and trial pages .

1 2 . b . Dummy dated 9 3

k 2 . . e 7 3 Fran lin, Benjamin Letters to Madame Helv tius

e 1 2 . and Madame La Fret . Cambridge, 9 4

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2 74 . Gray, Roland Palmer (Collector) . Songs and Bal f k . b 1 o 2 . lads the Maine Lumberjac s Cam ridge, 9 4

w 1 6 . . 9

2 . k 7 5 Harvard University Press . Boo s Published by the

1 2 . Harvard University Press . 9 4 [Cambridge, 1 9 2 4] 8 vo . Scotch type . , paper cover

2 7 6 . Harvard University Press . Catalogue of the Har

1 2 . vard University Press . [Cambridge] 9 4 8 c ff . . vo Scot h type , sti paper cover

a . Trial pages .

2 k 7 7 . Murdoc , Kenneth B . The Portraits of Increase

o Mather . With s me notes on Thomas Johnson , i an English Mezzotinter . Printed for W lliam

Mark . w . 1 . 1 2 . Gwinn Mather . Cleveland, 9 4 99

2 8 o 7 . Robarts, Henry . A M st Friendly Farewell to

46

o f Medallion Samuel Johnson . A Study in Icono

. 1 6 . 2 H. 1 2 graphy Cambridge, 9 4 .

a . Studies and trial pages .

b . Dummy .

8 2 . s . th 5 Wendell, Barrett (Tran ) The History of e

Translation of the Blessed Martyrs of Christ,

. 1 2 6 . Marcellinus and Peter Cambridge, 9

H. 1 2 3 .

8 2 6 . John Barnard and His Associates . John Barnard

. 1 2 . H. 1 6 . Associates Cambridge, 9 7 3

8 ’ 2 7 . Benjamin Frank lin s Proposals for the Educati o n

Pe n n l am a 1 s v . of Youth in y , 749 The William L .

. 1 2 Clements Library Ann Arbor [Mich] 9 7 .

o Livingst n , Flora V . Bibliography of the Works

of Rudyard Kipling . Edgar H . Wells and Com

. 1 2 . H. 1 . pany New York, 9 7 3 3

a . Studies .

b . A copy on large paper .

2 8 9 . Sutherland, William, and Richard Pope . Late

’ News of the Exc ursions and Ravages of the King s

1 Troops on the Nineteenth of April , 7 7 5 . Edited PRO G RESSIV E LAYO UTS

F 0 R

O n D ry~Cow Fis hing

As Design e d By

B R UC E R O G E R S

47

o k b . by Har ld Murdoc . Clu of Odd Volumes Bos

1 2 ton, 9 7 .

k t Tin er, Chauncey Brewster, and Frederic Alber

Pottle . A New Portrait of James Boswell . Cam b 1 2 . ridge, 9 7

a . Studies and trial pages . T H E P R I N T I N G HO U S E O F W I L L I A M E D W I N R U D G E

O V O N E W O M U N T E R N N , Y R K

Twelve Prints by Contemporary American Art

ist . Zi r s r W h e . o E. e s Introduction by Carl g se . y

k 1 1 a . M rk . w . 1 New Yor , 9 9 . 43

Gay, Walter . Paintings of French Interiors . Edi

te d A E allatin k 1 2 w 1 . . . G . 0 . . by New Yor , 9 44

The Journal of Madam Knight . With an Intro

duc to r . y Note by George Parker Winship Small,

1 Mark . Sc . 2 0 . Maynard Company Boston, 9

w 1 . 45 .

a . Studies and trial pages .

b . Drawings for vignettes .

c . . Revised proof

t . Moore, Clement C . A Visit from Sain Nicholas Printed as a holiday remembrance by Bruce Rogers

1 w . 1 6 . W E Rud e u e 2 0 . and . . g . Mo nt V rnon , 9 4

Cole, Timothy . Considerations on Engraving .

w . 1 . k 1 2 1 . New Yor , 9 54

5 0

Slater, John Rothwell . Printing and the Renais sance : A Paper Read before the Fortnightly Club

. 1 2 1 w 1 . of Rochester New York, 9 . . 49

a . Studies and trial pages .

b . Dummy .

c . One of fifty copies printed on handmade

fo r o paper Elmer Adler . Green b ards .

0 . . 3 3 Thoreau , Henry D Night and Moonlight k b 1 2 1 . Printed for Hu ert R . Brown . New Yor , 9

1 1 w . 5

a . Studies .

b . A copy on Japanese paper with the woodcut

printed by Florence Wyman Ivins .

W it W h e . ,J . A Selection of Books from the Li

r i b ra y of the Late John Will ams White . Dunster

k 1 1 w . 1 o . e 2 . Hous [Boo shop] . Cambridge, 9 5

o . Aiken, C nrad . Priapus and the Pool Dunster

Ma k . k 1 2 2 . r House [Boo shop] . Cambridge, 9

1 . w . 5 7

- a . A copy on hand made paper .

0 6 . . . . 3 Allen , Hervey The Bride of Huitzil James F

k 1 w 1 62 . k 2 2 . . Dra e, Inc . New Yor , 9 5 1

T h e t e . t . Bea ty, John W Relation of Art to Na ur

w 1 6 . k 1 . 2 2 . New Yor , 9 3

8 k . 0 . 3 Coykendall, Frederic (Compiler) Arthur Rack

k . ham . A List of Boo s Illustrated by Him Intro

duction by Martin Birnbaum . Privately printed .

k 1 2 2 Mark W . 1 6 . New Yor , 9 . . 7

- E. P E. c . . A. Gallatin , American Water olourists

k 1 1 8 w . . 81 . 2 2 . Dutton Company New Yor , 9 5

- 1 0 . e . 3 Gargaz, Pierre Andr A Proj ect of Universal

and Perpetual Peace . Reprinted with an English

Version by George Simpson Eddy . New York,

1 2 2 W 1 . 9 . . 59

a The Metropolit n Museum of Art . Memorial Ex

h ib itio n of the Work of Abbott Henderson Thayer.

Introduction by Royal Co rtisso z The Metropoli

tan . 1 W . 1 . 2 2 . 6 Museum of Art New York, 9 4

1 2 . . e th e 3 Norton, the Hon Mrs . A Plain Lett r to Lord Chancellor on the Infant Custody Bill

With an Introductory Note by Frank Altschul .

N ew 1 2 2 . Ma rk . w . 1 York, 9 60 . 5 2

1 . Mac m il 3 3 Richards, Charles Art in Industry . The k . 1 2 2 . lan Company New Yor , 9

8 o . v Caslon type , cloth , gold stamped . t - a . Study for itle page .

1 3 4 . Thomas, Ray Grosvenor . Stained Glass, Its Ori

gin and Application . Privately printed . Mount

1 H I O 2 2 6 . Vernon, 9 . .

1 u VO L. 3 5 [Vario s Papers on Typography] Monotype,

Lansto n c . . N 2 . 9 O . Monotype Ma hine Company

1 2 2 . w 1 66 . Philadelphia, 9 .

a . Studies and trial pages .

1 6 . . : . 3 Walsh , Richard J Kidd A Moral Opuscule

. 1 6 1 . 1 2 2 . New York, 9 w

a . A copy with orange end papers and with

variant label , hand coloured .

Wharton, Edith . Ethan Frome . With an Intro

’ duction for this Edition . Charles Scribner s Sons .

w 1 6 . k 1 2 2 . New Yor , 9 . 5

u . a . St dies and trial pages, not used

e 1 8 . 3 . Ben t, Stephen Vincent The Ballad of William

54

W H. 2 . . . 3 4 Hudson, Ralph Herne . Alfred A Knopf.

Ma 1 k . W 1 2 . r 2 New York, 9 3 . 7 .

Irving, Washington . The Christmas Dinner . ‘ k k ’ From The S etch Boo . Privately printed [for

k 1 . . 2 . George A Nelson and others] New Yor , 9 3

w 1 . . 75

Lamb, Charles . Dream Children . [Printed for

k . 1 . 1 1 2 . . Fran Altschul ] New York, 9 3 w 7

’ k Lamb, Charles . New Year s Eve . New Yor ,

1 w . 1 6. 9 2 3 . 7

T h e Mu The Metropolitan Museum of Art . seum of Art as a Laboratory of Design : Seventh

Exhibition of American Industrial Art .

r T h e Metropolitan Museum of A t .

k 1 H. I O . 2 . New Yor , 9 3 7

VO L. [Private Presses in England, etc] Monotype,

Lansto n . N 6 . 9 , O . Monotype Machine Company

1 2 . W . 1 . Philadelphia, 9 3 73

- a . Studies for title page .

b . Original drawings, trial cuttings, and final proofs of the G aram o n t ornaments designed

by Bruce Ro gers with annotations . A e c im e n 0 0

O F

‘ egggfigfi fi RO PER at

111 ne ws O RTIO N S 0° y p e S p a c i n Set forth by

T o geth er with O CCASIO NAL FRAG MENTS

o r LETT ER PRESS

TO EXEMPLIFY ‘1’ HE SAME

BY

Pe rcival Me rritt BE L MO N T MA S S A C HU S ETT S

E rfifl een years Mr. Bruce Rog ers h as des ign ed and s upervis ed th e p roduction of th e fi ner books issued rom Th e Riverside Pre s Cambrid e b f s , g , y H h ’l es . M M s rs u ton . m o g ip in Co pany .

Leavin th eir em lo on th e s t A ril 1 9 1 1 g p y fi r of p , , Ro e s wi l th ere er n a i h e m k Mr. g r l aft e g g e n t a ing des i ns n ot onl or th e details o book decora of g , yf f

- tion viz. covers title a es initials vi n ettes , , , p g , , g , and oth er a e-ornaments but als o or a wider p g , f variet uses amon wh ich ma be named book y of , g y

lates letter-h eads t e aces t e-orn amen ts p , , yp f , yp , and e bi d e i ls o der ake lar er fi n n ings . H w ll a un t g commiss ionsfor th e arrang emen t and supervis ion

rintin ofp g .

In cooperation with Th e Rivers ide Press h e will be at liberty to make us e of th e sp ecial types and ornamen ts collected and des ig ned by h im while th ere an d will be re ared to submit s ecimens , p p p and es timates for privately prin ted books and th e fi ner g rades ofprinting for publis h ers and

advertisers .

55

0 . . 3 3 Rollins, Hyder E Cavalier and Puritan Ballads

k . and Broadsides . New Yor University Press

k . 1 0 . 1 2 . H New Yor , 9 3 9

a . Dummy .

1 M 1 k . . 0 . 3 3 Barrie, J . George Meredith 9 9 New Yor ,

1 1 . 9 2 4 . w . 79

2 c . 33 Durer, Albre ht The Construction of Roman k Letters . Dunster House [Boo shop] . Cambridge,

1 Ma 1 8 rk . W . . 9 2 4 . 7

Dib din r nall t . o . 3 33 , Thomas F g Venetian Prin ers

1 8 b W M . [Text of W . 4 with Additional Notes y . Ivins and other alterations] Printed for Bruce

M un t rn n 1 8 Ma . W 1 . . o V e o 2 . rk . Rogers , 9 4 5

Field, Eugene . The Symbol and the Saint . [Printed k for George A . Nelson . New Yor ] Christmas,

1 2 . 1 8 9 4 w . 3 .

a . A copy with imprint ofWilliam Edwin

Rudge .

3 35 0 Golden Years . A Sonnet Sequence . [Printed for

r William R . Castle, J . , Mount Vernon,

w 1 8 . 2 . 56 i k . o . . Herric , R The Star S ng A Carroll to the K ng 8 1 2 w . 1 . [Mount Vernon] 9 4 . 7

M . . Ivins, William , Jr A Guide to an Exhibition k Mu of the Arts o f the Boo . The Metropolitan 8 k 1 w . 1 0 . 2 . seum of Art . New Yor , 9 4

b 8 . 3 3 . Italian Old Style A New Type designed y Fred

Lansto n e c . eric W . Goudy . Monotyp Ma hine Co 8 w . 1 . 1 2 . Philadelphia, 9 4 4

k o . a . A copy bound in blac cloth stamped in g ld

The Metropolitan Museum of Art . Memorial Ex

In h ib itio n of the Works of Julian Alden Weir . ffi n . tro duc tio by William A . Co n The Metro

1 2 . Mark . politan Museum of Art . New York, 9 4

1 86 . w .

f. k . 0 . . 34 . Morley, John Edmund Bur e Alfred A Knop

8 1 . k 1 2 w . l New Yor , 9 4 .

a . Studies .

— 1 . 34 . Spicer Simson, Theodore Men of Letters of the

British Isles . Portrait Medallions . Critical Essays

Mark . 1 2 . by Stuart P . Sherman . New York, 9 4 8 8 w . 1 .

5 8

. . XX I 347 . Putnam, Mrs William L V I I Sonnets .

k 1 2 . H. 1 I . New Yor , 9 5 4

k lla r m 8 . S a i th e 34 Saunders, Richard West g (Grim

. . 1 2 . Bald) Privately printed Mount Vernon, 9 5

. H 1 1 6 . a . Studies .

t o n 349 Symons, Arthur . S udies Modern Painters .

. 1 . 1 1 . New York 9 2 5 H. 7

- a . A copy on Maidstone hand made paper .

k 0 . . . 35 Drinkwater, John Persephone [New Yor , 8 1 2 . 1 9 2 6] H .

a . Studies and trial pages .

1 . . . 35 Gaines, Charles Kelsey Echoes of Many Moods

1 2 6 . New York, 9

k 3 5 2 . The Gospel According to St . Lu e . The John

o k 1 H . I O . 2 6 . Day Company . New Y r , 9 4

a . Trial pages .

- . c o w e 3 53 Kipling, Rudyard On Dry Fishing as a Fin

R fan t 1 6 . . o w . 2 Art The Club Cleveland [Ohio], 9

. H . 1 2 . a . Studies and trial pages 9 f b . A special copy composed of proo s pulled on 59 a hand press by Bruce Rogers before th e book

was printed . c . Dummy .

ik 1 Pe ro n n 0 0 . 3 54 . Moore, George . the F [Mount

1 H . 1 0 . Vernon] 9 2 6 . 3

a . Studies and trial pages .

f o k o . 35 . Pennell , Joseph . The Glory New Y r In

r d c t n n n ll o 1 6 . t o u io b E R Pe e . o 2 y . . M unt Vern n, 9

H . 1 1 a . Studies . 3

6 . . 3 5 Sargent, George Henry . Amy Lowell , A Mosaic

k 1 2 6 H. 1 2 . New Yor , 9 . 3

o . 35 7 ° Field, E . S me Love Letters of Eugene Field

k o Foreword by Thomas B . Loc wo d . Privately i ff Y 1 H 1 . N . 2 . pr nted, Bu alo, . , 9 7 . 39

- a . Study for title page .

e tc c i i [Progress Follows Service, ] Fa s m le of a

letter from Bruce Ro gers and six inserts by him .

o . VO L 1 N Lan sto n o e . 2 . 2 . M notype , O 7 M notyp

. 1 2 . Machine Company Philadelphia, 9 7 PACKET,

9c .

. o fo r a Numer us studies cover and inserts . 60

3 59 Kenyon , [Sir] Frederic G . Ancient Books and

c . b Modern Dis overies The Caxton Clu . Chicago,

Ma 1 2 k . . r H . 1 1 9 7 4 .

’

60 . 3 Sassoon , Siegfried . The Heart s Journey . Crosby k . o 1 2 . H. 1 2 . Gaige New Y r , 9 7 4

a . Studies and trial pages .

- b . A copy on green hand made paper .

fr G e o o . Tory, y Champ Fleury . Translated and

annotated by George B . Ives . The Grolier Club .

k 1 Mark . 1 2 . H. . New Yor , 9 7 43

a . Studies and trial pages .

b . Dummy .

c o n . A copy large paper .

6 2 . s . 3 Aldington , Richard (Compiler and Tran ) Fifty b k Romance Lyric Poems . Cros y Gaige . New Yor ,

1 8 9 2 .

a . Studies .

b . A copy on green paper .

6 3 3 Conrad, J . Letters . Joseph Conrad to Richard

Curle . Edited with an Introduction and Notes by k R[ichard] C[urle] . Crosby Gaige . New Yor ,

1 2 8 . 1 9 H. 47 .

- a . Study for title page .

b . c A opy on green paper .

6 2

Introduction and Some Notes by Charles Vale . 8 k 1 2 . H . I O . New Yor , 9 5

369 Wolfe, Humbert . The Silver Cat and Other

o . Poems . The B wling Green Press New York,

H. 1 1 . 8 Mark . 1 9 2 . 5

- fo r t . a . Study title page and rial page

o Boswell, J . Private Papers of James B swell from

ff o Malahide Castle . Prepared by Geo rey Sc tt and

Y 1 N . 2 Frederic A . Pottle . [Mount Vernon, ] 9 9 — — — H. 1 . 1 9 3 0 1 9 3 1 1 9 3 2 1 9 3 3 . 5 3

a . Numerous studies and trial pages .

k Milton, J . The Works of John Milton . Fran b Allen Patterson, General Editor . Colum ia Uni

6 . k 1 1 . 1 . H versity Press . New Yor , 93 5

Shaw, T . E . Letters from T . E . Shaw to Bruce

o . 1 . R gers . Privately printed Mount Vernon , 9 3 3

H. 1 6 1 .

‘ h aw E. T . S a . Another copy, inscribed by , I only wish the originals had been as legible "’ h a T E. w and containing a map drawn by . S

showing the location of his c ottage in Dorset . E h aw T . S b . Galley proof with annotations by .

and Bruce Rogers . 63

More, Sir Thomas . Utopia . Translated by Ralph

Ro b n so n o . y . Limited Editi ns Club New York,

1 . H 1 6 . 9 34 . 5

a . Studies .

b . Correspondence . V A R I O U S P R E S S E S

A N D 1 2 6 —1 8 U N I T E D S T A T E S E N G L A N D , 9 9 3

TYPO GRAPHIC Trivialities : Presentation Volume

o f b o to Members the Dou le Crown Club . Lond n . b 1 2 6 . [Har or Press, New York] 9 First page

c H 1 2 . signed by Bru e Rogers . . 5

a . Study and trial page .

3 7 5 Theocritus . The Third Idyll ofTheocritus . Trans

lated b y Andrew Lang . [The Museum Press]

‘ k 1 8 k b o 2 . New Y r , 9 Boo made y Bryson Bur

’ roughs, Watson Kent, and Bruce Rogers .

o P llard, Alfred W . The Trained Printer and the

o Amateur and the Pleasure of Small Books . M no

o . 1 2 . type Corp ration , Ltd , London , 9 9 On paper cover : New Series of the Centaur Types of Bruce

Ro gers and the Arrighi Italics of Frederi c Warde .

a . Original manuscript .

b . Studies and trial pages . c c . Corresponden e . 64

66 k i Wal er, W lfred Merton, and Bruce Rogers .

ILo n do n 1 2 . 1L I . , 9 3 5 7

a . Typescript for Book I .

b . Studies and trial pages .

c . Drawings for medallions .

b Homer . The Odyssey of Homer . [Translated y k E h a . T . . S w] Oxford University Press New Yor

1 93 2 .

Champ Ro sé: Wherein May Be Disco vered the Roman Letters That Were Made by G e o fro y

o k Tory, and Printed by Him in His Bo Called

‘ ’ b c Champ Fleury . Introductory Note y Bru e

e 1 . Rogers . Peter Pauper Press . New Rochell , 93 3

Ma k H . I 6O . r .

c fo r a . A opy with variant paper the bind

ing .

8 s . o 3 3 . Croxall, Samuel (Tran ) Fables by Aes p and

h lde re r t Sc o . Others . In roduction by Victor [Printed at the Oxford University Press fo r th e]

1 6 . k 1 . H. Limited Editions Club . New Yor , 9 3 3 4

Pac io li 8 . ra 3 4 . Morison, Stanley F Luca de of Borgo

S . Sepolcro . [Printed at Cambridge University 67

k 1 . Press for] The Grolier Club . Yor , 93 3

H. 1 6 2 . Mark .

a . Studies and trial pages .

b . Dummy . c — . A large paper copy .

k 8 . VO L 1 11 3 5 . Superpower Carl ( . ofthe Wor s of Henry

’ e Davenport . ) Editor s note and frontispiec by

o . o 1 . Bruce R gers Oxf rd University Press, 9 3 3

’ a . Original copy for editor s note .

b . Studies .

c . . Dummy

8 k . 6 . . 3 Herric , Robert The Poems of Robert Herrick

1 Humphrey Milford . London , 9 3 5 . (Hesperides

1 . series . ) H . 66

8 . u 3 7 . Gaskell , Elizabeth C . Cranford H mphrey Mil

1 H. 1 . . . 6 . ford London , 9 3 5 (Hesperides series ) 7

88 Un 1 e r 1t 1 . v 8 . 3 . The Holy Bible Oxford y Press, 935

1 H. 69 .

t Studies and rial pages .

Drawing for seal . Two plans for the binding ; o n e with

in gold on pigskin . b c d . Invitation to su s ribe to the uniqu e

presented to the Library of Congress . 68

‘ : c o f e . Broadside This opy the Oxford Lectern Bible of 1 9 35 was presented to the Library of Congress by Bruce Rogers and ’ his friends . ‘ ’ Study for e .

8 3 9 Melville, Herman . Journal Up the Straits, Octo

8 — 1 8 1 1 1 6 . ber , 5 May 5 , 57 Edited by Raymond

n n T Weaver . [Printed by the Py so Printers for] he

Co o on k 1 l h . . p New Yor , 9 3 5

h l 0 . T o i e s. 39 Spinach from Many Gardens . The yp p

k - [New Yor ] 1 9 3 5 . Title page designed by Bruce 8 H 1 6 . Rogers . .

a . Separate .

n h Diggings from Many Am pe rsa d o gs. The Typo

k 1 6 . philes [New Yor ] . Christmas, 9 3 Amalga

mating Ampersand, signature, by Bruce Rogers .

PACKET 1 0 . [An insert] ,

t . a . Separa e

2 . : . 39 Haas, Irvin . Bruce Rogers A Bibliography — k 1 8 8 1 2 . Hitherto Unrecorded Wor , 9 9 5 Com — le te k 1 2 1 6 . p Wor , 9 5 9 3 With a Letter of Intro duction by Beatrice Warde and a Note by Bruce

7 0

. k 1 . 6 . Bruce Rogers Privately printed New Yor , 9 3

2 . PACKET, Deepdene italic type cast specially with smaller

a . 8 o 0 0 . v c pitals ; set by hand 3 copies Crown ,

cloth .

k 8 o ff . v 397 Bookma ing on the Dista Side , boards,

k PA C K ET 1 cloth bac . , 4 .

Title- page and dedication page by Bruce Rogers ;

Caslon italic type .

t Ca her, Willa . The Autograph Edition of the

Novels and Stories of Willa Cather . Houghton

Mark . ff 1 2 . t 1 . Mi lin Company . vols Bos on, 93 7

PACKET, 7 .

8 . . vo Janson type , cloth , leather label on back

a . Studies and trial pages .

Gray, T . The Poems of Thomas Gray . Edited

by Austin Lane Poole . Humphrey Milford . Lon

1 . 6 . don, 93 7 . (Hesperides series ) PACKET,

William Edwin Rudge . A Brief Account of His

O L 6 . P. M . . V . N . Life and Work . Magazine 3 , O

- k 1 c . New Yor , 93 7 . Title page by Bru e Rogers

PA KET 1 2 . C ,

7 I

h il e a n f 1 T o e s B u o . 40 . The yp p Salute Paul j [Port olio]

k 1 . o New Yor , 93 7 Stags and a Few Dears, f lder,

written and designed by Bruce Rogers . Printed at

P K T 1 . A C E 1 . the Aldus Printers ,

i 0 2 . . 4 White, G lbert The Natural History of Sel

. 1 . borne Humphrey Milford . London , 9 3 7

(Hesperides series . ) PACKET, 5 .

b k A Purdue Tri ute to David Edward Ross . [La e 8 o 1 8 . side Press , Chicag ] 93 . PACKET,

tu a . S dies . S T U D I E S A N D D R A W I N G S

F O R IHH WHH J S H E D IH U D U N I D E N T H HE D

M A T E R I A L

T HE Arms of the University and the Colleges at

. 1 Cambridge . Studies and trial pages 9 2 5 .

k The Boo of Common Prayer . Studies and trial

H . . pages, one printed in gold . p 57 .

‘ ’ k - 0 6 . . . 4 Boo plate Non res, sed spes erat

Farlan e . 4 0 7 . Brigham and Mc . Elementary Geography

Study for cover .

u . a. e . Cato, Marcus Porci s De Re Rustic Trial pag s

H. p . 55 .

Conrad, Joseph . The Tremolino . Studies for the

- title page and illustrations in colour by Edward A .

1 Wilson . 93 3 .

Dante . The Divine Comedy of Dante Alighieri .

t The prose translation by Charles Eliot Nor on, 7 2

74

‘ This book was to have bee n as snobbish as pos

’ sible .

l - h o fie d. k 2 0 . Sc t . 4 Thayer, Four drawings for boo pla e

1 . 4 2 . Three unpublished designs for Christmas cards

2 2 . 1 1 2 . t 4 A Valentine, February 4 , 9 4 Studies for itle

‘ ’ t k page, ornamen s, and thumb mar .

4 2 3 . The University Club . Catalogue of the Collection

1 2 . of Engravings . Studies and trial pages . 9 5

4 2 4 . Visitors Book of the Printing House of William

Edwin Rudge, Mount Vernon , New York .

Drawing .

2 . . 4 5 Wordsworth , W The Poems of William Words

- VO L. 1 . t . 1 1 I . worth . Study for itle page 9 G R E E T I N G C A R D S

HARVARD University [Charles Eliot Norton] .

‘

1 0 . Christmas, 9 4 And there were in the same country

e N e w Mr . and Mrs . Bruc Rogers and Elizabeth ,

1 0 . e . . Year, 9 4 Sickl Brook House With drawing

1 1 0 . Bruce Rogers, New Year, 9

Salute m 1 2 0 , 9 .

R 1 X B 2 . A Merry mas, , 9 3

u . Mr . and Mrs . Br ce Rogers From Montague,

The Dyke Mill . Christmas With drawing .

1 2 Anne and Bruce Rogers . Holiday Greetings, 9 5 .

. 1 2 6 . Anne and Bruce Rogers New Year, 9

Christmas Greetings from Anne and Bruce Rogers,

’ 1 8 2 . r m rk s G a s a . 9 With photograph of y , Sussex

O F LDER . 7 6

43 5 . Punning greeting card from Bruce Rogers to

Elmer Adler ; similar cards to Walter and Alice

Harden and to Edward and Alice Wolf.

E[lizabeth] R[ogers],

R 1 0 . E. . 9 4

R 1 E. 0 . . 9 5

u 439 . Printing Ho se of William Edwin Rudge, Mount

‘ Vernon , For behold I bring you

good tidings .

0 . . 1 2 . 44 . Gabriel Wells Life Eternal Christmas, 9 5 8 H . 1 1 .

i 1 . . . 1 2 6 . 44 Gabriel Wells Life Temporal Chr stmas, 9

H. 1 2 . With two studies . 7

7 8

45 1 . Anne Lyon Haight .

Helena M . Hand . Plate in various colours and ff drawing for di erent plate .

453 . Frank S . Hatch . In various colours .

454 . Hathaway House .

2 1 . Harvard College Library . ( various labels )

Collection of books printed by Bruce Ro gers given c by Paul J . Sachs to ommemorate the

centenary of Charles Eliot Norton . With study.

Deposited by the Massachusetts State Library.

Division of History, Government and Economics .

Tutorial College .

From the Bequest of John Amory Lowell . From the Bequest of Hugo Reisinger of New k Yor .

From the Bequest of Mrs . Anne E . P . Sever of

Boston . h l i h From the Bequest of Samuel S o p e g .

From the Bequest of Daniel Treadwell .

From the Bequest of Jo hn Harvey Treat . k From the Bequest of James Wal er . From the Fund in Memory of

Harry Howard Hill . 79 From the Fund in Memory of the 2 o th o Massachusetts Regiment of V lunteer Infantry, 8 — 1 9 1 5 . With drawing and plate .

From the Fund of Charles Minot .

From the J . Huntington Wolcott Fund .

c From the Subs ription Fund .

PH D The Gift of Archibald Cary Coolidge, . .

The Gift of Harry Nelson Gay . The Gift of The Overseer ’s Committee to Visit f the Department o English .

o f In memory Julian Palmer Welsh .

o Special C llection Relating to Harvard University .

o f Harvard University, Library the Mineralogical b La oratory.

‘ 456 Richard Godolphin Hume Chaloner : This book is dedi c ated by his sisters fo r use in the Lady

o f c Chapel of the Parish Church St . Mi hael and k k ’ All Angels, Mel sham, Wil shire .

W Kittr d . A. e e 45 7 . g .

8 . Le i r e t. 45 James George pp With drawing .

459 Percival Lowell .

60 . 4 Wilfred Merton . 8 0 ff 1 . . . 46 . George H Mi lin Proof

th e c 46 2 . Library of the National League of Handi raft

Societies . Label .

463 . The John M . Wing Foundation of the Newberry

Library .

- 464 . Mr . J . Clyde Oswald from Bartlett Orr Press .

t 465 . George Herber Palmer.

rien ds 466 . Petersham Memorial Library . The Gift ofF

of Francis Henry Lee .

Purdue University . k Anna Embree Ba er [Rogers] Collection .

The Library ofthe Rhode Island School of Design . k Gift in the name of Dr . Rade e .

6 . . . 4 9 Riverside Press, Cambridge, Mass Device

47 0 . B[ruce] R[ogers] . With drawing .

c The Samuel Sachs Sc Louisa Sa hs Fund .

A D I D F L D B R O S E S , O E R S , A C M T ET C . N N O U N E E N S ,

8 . . 1 6 . 47 7 Modern Art Advertising card, 9

8 O L I . . V . V N . 1 47 Modern Art , O . Holiday number, 8 1 1 6 . Jan . , 9 POSTER, printed on red paper .

479 . The Riverside Press, Cambridge . Holiday bulletin ,

1 0 . o 9 0 C ver .

The Riverside Press . The Department of Special k k Boo ma ing . Article by George French from

T e American P int 1 O h r er 0 2 . . , June, 9 F LDER

- Uto ia 1 0 . Sir Thomas More . p . 9 3 Title page, one of three for inserti on l n copies of the Chiswick

o Press editi n . With study and trial pages .

8 i 4 2 . The R verside Press . Special Limited Editions .

nn 1 FO LDER S o . . p g, 9 3

8 4 3 . The Riverside Press . Special Limited Editions .

S Hn 1 FO LD ER 0 . . p g, 9 4

8 2 83

8 . . 1 0 . O . 4 4 Riverside Press Editions Autumn, 9 4 BO KLET

8 W b H. Be ll 4 5 . . . Menu of dinner given y Harold Wil

m e rdin 8 1 0 6 . . g Bell . December , 9 FOLDER

8 fran i e s . A 4 6 . Harvard University . Cercle ga Madam

2 6 1 0 6 . Sarah Bernhardt January , 9 BROAD

H. . SIDE . p 55 .

8 ff u 4 7 . Houghton Mi lin Company, Boston . Anno nce k — ment of The Boo Room . October December,

1 0 . F LD E R 9 6 O .

8 8 D R . . c 1 06 . F L E . 4 The Riverside Press Announ ement, 9 O

8 . . 2 1 06 . 1 1 4 9 Music March 3 , 9 5 Commonwealth

Avenue, Boston . FOLDER .

0 1 0 6 . O . 49 Riverside Press Editions, 9 B OKLET

1 Clubb e W d a s . 2 49 Ye Stylus Play at ye y y Inne May 7 ,

1 06 . O 9 Programme . BR ADSIDE .

2 ff 49 Houghton Mi lin Company . Invitation to ex

h ib itio n oforiginal drawings . New York,

1 2 1 0 . December to 4, 9 7 FOLDER . 84

. c 1 0 . 49 3 The Riverside Press Spring Cir ular, 9 7

FOLDER .

494 Henry Wadsworth Longfellow . The Hanging of

Mifilin the Crane . Houghton Company, Boston,

1 9 0 7 . PROSPECTUS .

Miffl in u 495 Houghton Company . Anno ncement of

8 O 1 . incorporation . 9 0 F LDER .

t t N . H Por smou h , . Program of the dedication of

th e t Thomas Bailey Aldrich Memorial, Por s

H 1 8 . N . . 0 0 mouth, , June 3 , 9 . FOLDER

T h 8 e e u 1 0 . Riv rside Press Spring Anno ncement, 9

O F LDER .

8 u u 49 . The Riverside Press . Announcement, A t mn of

8 O O 1 0 . 9 B KLET .

ut 1 0 . O 499 Riverside Press Editions . A umn, 9 9 BO K

LET, two sizes .

’ f fa h r 00 . o t . o re t e s 5 The Club Odd Volumes, Bos on F

. 2 1 1 1 0 . O . Daye Dinner December , 9 F LDER

8 6

' b f Hi c r 0 . . o O e s 5 9 The Clu of Odd Volumes List ,

1 1 D 9 4 . BROADSI E .

1 W A Marb u r W 0 . . . . A 5 g Menu of dinner given by . . Marburg to William Howard Taft and William

Henry Welch . Maryland Club, Baltimore .

2 8 1 1 February , 9 4 . FOLDER .

1 f ffi c r 1 1 1 . . o O e s . 5 The Club of Odd Volumes List , 9 5

O o BR ADSIDES , coloured by hand and uncol ured .

8 1 2 . 0 . 5 The Music of Cherubini . Altoona Avenue

2 1 1 . O . May , 9 5 F LDER

1 k 5 3 The Metropolitan Museum of Art, New Yor . Announcement of the annual meeting of the c o r

r io n 1 O o at 1 6 . . p , 9 F LDER

1 5 4 . The Metropolitan Museum of Art . Free Admis sion and Instruction Service to Members of th e ffi N . E . A . [Metropolitan Museum Printing O ce ,

k O . . H 6 . New Yor , P STER . p 5

1 5 5 The Metropolitan Museum of Art . Music by

’

o 2 1 1 6 . Bendix s symph ny orchestra, May 5 , 9

BOOKLET . With drawing . PHO T O BY R BT M N O . WESS A

R E N UR - RA A U 1 6 O F F C H F O TH TE , B O T 9 5 WO R KIN G D R AWI N G F O R C E N TAUR T Y P E

8 8

2 5 3 . Richard Godolphin Hume Chaloner . Memorial .

BROADSIDE .

k Haw s Club , Cambridge [Eng] . Testimonial to

W k lin O A. a e . 1 1 g June, 9 9 . BR ADSIDE .

ffi 1 2 0 . The Club of Odd Volumes . List of O cers, 9

O BR ADSIDE .

k Architectural League of New Yor . Notice of

e at xhibition The Metropolitan Museum of Art,

- 1 0 1 2 1 . O April 3 , 9 BR ADSIDE .

h Plymout , Massachusetts . Resolution of friendship

2 6 for citizens of Plymouth, England . March ,

1 2 1 O 9 BR ADSIDE .

8 2 . . 5 The Metropolitan Museum of Art Membership,

1 2 2 . O O 9 B KLET .

k 1 ffi 2 . 2 . 5 9 The Grolier Club, New Yor O cers, 9 3

O BR ADSIDE, with device coloured by hand .

5 3 0 The Metropolitan Museum of Art . Announce ment of exhibition : The Museum of Art as a

1 . O . Laboratory of Design . 9 2 3 BR ADSIDE 89

1 5 3 . Strathmore Paper Company, Mittineague, Mas

e tts . 1 2 . sac h us . Responsible Helpfulness 9 3 PAM

PHLET.

’ ‘

2 . 1 2 . 5 3 Woman s Home Companion , December, 9 3 It

’ A N D Came upon the Midnight Clear . SIGNATURE

PROOF .

The American Institute of Graphic Arts . Resolu tion of thanks to John Pierpont Morgan for his

k c 1 2 gift of boo s and manus ripts to the public, 9 4 .

BROADSIDE , printed in gold with monogram col

o u re d by hand . With drawing of monogram, and

H. . 6 proof before monogram . p 5 .

ffi 1 2 534 . The Grolier Club . O cers, 9 4 . BROADSIDE ,

printed in gold with device in blue .

h . t e 535 The Metropolitan Museum of Art . Menu of

dinner given by the Truste es on the occasion of

1 2 . . the opening ofthe American Wing, 9 4 FOLDER

6 . e 5 3 The Metropolitan Mus um of Art . Program of exercises on the occasion of the opening of th e

a 1 0 1 2 . O . Americ n Wing, November , 9 4 F LDER 9 0

T h e 5 37 Metropolitan Museum of Art . Resolution of thanks to John Pierpont Morgan for his gift

. 1 2 . ofsculptures, etc , 9 4 Border drawn by

W D . T e a ue . . . H. . . g BROADSIDE With study . p 56

8 Lansto n e 5 3 . Monotyp Machine Company, Phila

delphia . Italian Old Style . A new type designed by

1 2 O Frederic W . Goudy . 9 4 . BR ADSIDE .

d ‘ W Ru e . u E. . . g In the city of Mo nt Vernon Tribute to William Edwin Rudge [as official dele gate to represent the United Typothetae of

1 2 . America at the Paris Exposition, 9 FOLDER

Pierrot 2 2 The (3 ) borders are used, printed in

green .

e W . E . Rudge . Menu ofluncheon giv n by Edwm Thomas Nast Fairbanks to William Rudge,

1 2 O . June 9 , 9 5 . F LDER . With study

John Barnard and His Associates, Cambridge .

1 2 . Admission to membership, 9 7 . FOLDER

. to 542 . Monotype Corporation, London Dinner Fred

2 1 1 2 . eric W . Goudy, London, June , 9 9

O F LDER .

U N D A T E D P I E C E S

- A V c us . ific . 549 D ENT . O Sapientia rex pa FOLDER

0 5 5 . American Association of Advertising Agencies .

o f In memory Ralph Holden . FOLDER .

H k 55 Charles Bec Company, Philadelphia . Is your

D printer the victim of your mistak es"BROA SIDE .

k o Charles Bec C mpany . Let your printer do good

O work . BR ADSIDE .

k k St . . . 55 3 Bla e Dec er, Inc Aldus Laid FOLDER

b 5 54 The Clu of Odd Volumes, Boston . Prospectus b R ofThe Private Press ; A Study y C . . Ash

bee . FOLDER .

555 District of Columbia Paper Manufacturing Com

pany . Designs and typography for cover papers .

O F LDER . With study .

c 556 . Distri t of Columbia Paper Manufacturing Com

fo r . pany . Designs and typography cover papers

O BR ADSIDE . 9 3

o f k . 5 57 Fathers the Boo , Montague, Mass LETTER

HEAD .

f 1 8 8 1 o . Harvard College . Class Report of death b of Charles Ro ert Sanger . FOLDER .

Harvard College . The President and Fellows of Harvard College to the Regents and the Faculty

of The University of Michigan . Greetings .

D FOL ER .

Miffi in 60 . 85 5 Houghton Company, 4 Park Street, k Boston . LETTERHEAD, with device on brown bac

ground .

1 l n D l . 6 . . G as a 5 Japan Paper Company FOL ER, with

study.

6 2 . a o 5 Japan P per C mpany . Maidstone . FOLDER , with —8 H. . . device . pp 5 7

6 . 5 3 George Lyman Kittredge . The Old Farmer and

c k His Almana . Harvard University Press . Cam

bridge . PROSPECTUS .

’

6 . 5 4 The Ladies Home Journal , Philadelphia . Mr .

’ k ffi D Bo s O ce . LETTERHEA , with device on grey

background . 94

6 . o o 5 5 The M n type Unit System . BROADSIDE , printed

on both sides .

566 . Programme of music . LEAF .

6 . u u . O . 5 7 P rd e University DIPL MA, with study

68 T h e 5 . Riverside Press wishes the godmother of

Rebecca long life and happiness . CARD .

Y 6 . N . . 5 9 Rochester, Memorial Art Gallery . Label Original Draw1n gs by Louis Maurice Boutet de

f. Monvel . LAYOUT, and finished proo

A. 1 0 . US 6 . 57 In Congress July 4, 7 7 The unanimous Declaration of th e Thirteen United States of

O America . BR ADSIDE .

United States of America. Emancipation Pro

H. . clamation . BROADSIDE . p 55 .

5 7 2 United Typothetae of America . CERTIFICATE of

organization, with study.

S T U D I E S A N D D R A W I N G S F O R P R I N T E D W O R K

C ENTAUR type .

Drawings for letters .

Six photostats, actual size, of the drawings and

proofs of the first trial cuttings of Centaur .

Trial pages, annotated . Z inc pattern .

8 a . 6 . Design for watch c se Original of mark, 5

A group of initials .

A group of studies for borders and ornaments .

ritas Harvard University Press mark . Ve in shield

with garlands .

M A R K S U S E D B Y B R U C E R O G E R S

8 k 5 5 . Winged satyr with sic le and thistle .

‘ 8 c k Il 5 6 . Winged satyr with si le and thistle . tempo

passa . Bruce Rogers 9 7 i i 58 7 . Standing th stle w th BR .

8 in 58 . Thistle the form of an anchor with BR .

8 o 5 9 . Thistle composed with typ graphic material with

BR .

59 0 . Small thistle .

1 fi . 59 . Young triton with BR . Study and nished drawing

2 o k k o 59 Suggested posthum us mar . Winged s elet n

b o w . with and arrow ; wilted thistle ; BR . Proof

D E S I G N S

59 3 ' Border for the Metropolitan Museum of Art .

594 Frame for concert program for the Metropolitan

Museum of Art . Arranged by Bruce Rogers .

o o 595 M nogram for the Metrop litan Museum of Art . Bruce Rogers ’ design developed by Edward

Edwards . 9 8

th e t t 596 . Type ornaments for Me ropoli an Museum of

Art .

e e . 59 7 . Montaign typ ’ f Typefounders proo s .

Trial pages .

8 . . 59 . The Somerset Club [Boston] Seal

See also under Books and Pamphlets

1 00

60 . . 4 Stein, Evaleen Ode Read before the Parlor Club, 8 8 2 1 1 . 1 September , 94 Lafayette, Ind . , 94 .

Cover .

Bell , Lilian . A Little Sister to the Wilderness . 8 81 1 . Stone Kimball, Chicago, 95 Cover .

Halé é t v . t y, Ludovic The Abb Cons an in .

T Y r e ll k w Co . . C o 81 . . , New Yor Cover

Krasin sk a , F . The Journal of Countess Francois

Krasinsk a Dzie k o n ka s . . Trans . by Kasimir

lu r 1 8 C . Mc C Co . . . A. 81 g , Chicago, 95 Cover

Lae n . Mc . New, Catherine A Woman Reigns 8 81 Co . 1 . . Bowen Merrill , Indianapolis, 95 Cover

lm n d . Va o Parker, Gilbert When Came to Pon 8 . 81 a 1 . . tiac Stone Kimball , Chic go, 95 Cover

W E. . . Peattie, A Mountain Woman 8 81 1 6 . . Way Williams, Chicago, 9 Cover

Little Bro wn o Sheldon, George . The H use on the

De e rfield Albany Road . Published by the author,

s 1 1 . . [Mas ], 9 5 Printed at The Montague Press

Cover . 1 0 1

6 1 2 . . Memorabilia Design for binding, with thistle in

tt diaper pa ern .

6 1 . 3 The Story of Helen Woodley . Study for binding .

1 6 4 . Study for b inding . Design of branches and leaves

- B similar to that used on the title page of R .

G rue lle : a a 1 , Notes Critic l and Biographic l ( S K E T C HE S I N B L A C K A N D W H I T E

k k 1 8 8 Houseboat on the Kan a ee, Indiana . About 9 .

Grand Avenue, Milwaukee, Wisconsin . Signed

A RO ER 8 . B. G S 1 0 . , October, 9

Country Road .

. A . B. RO GERS Botanical drawing Signed , March ,

1 8 90 .

. A . B . RO G ERS University Building Signed , October,

1 8 9 0 .

RO R 8 . A B G E S 1 0 Fishing Boats Signed . . , 9 .

Entrance to Crown Hill , Indianapolis . Signed

O 8 2 0 1 . BRUCE R GERS , June , 9 3

e O Stat Capitol, Indiana . Signed BRUCE R GERS .

From a photograph .

Public Building . Signed BRUCE ROGERS .

For Indiana Illustrating Company, Indianapolis .

1 0 2

P HO TO BY C HAS E . P ON T

F I G U R E H EA D J O S E P H C O N R A D 1 03

2 . . 6 4 . Two early drawings Indiana

T h e Art u . 6 2 . 5 Old M seum, Boston

6 2 6 . Two drawings for etchings and two etchings . m nms ua . e A q [Mass] Various sc nes .

e A . B. RO G ERS . Ralph Waldo Em rson . Signed

t A B. R Washing on Irving . Signed . .

e N e Skylin of w York .

D n h e e k e 6 0 . a e wa e t 3 y Hous [ hous of Sir Emery Wal r,

England] . Photomontage .

6 1 . 3 Painswick [England] .

6 . t 2 e t u 1 2 . 3 Wa son K n at Painswick . A gust, 93

6 k u 3 3 . S yscrapers nder the East Hill, Hastings

. u 1 2 . [England] Aug st, 93

6 . e e 34 Two sk tch s of ships . S K E T C HE S I N O I L A N D I N W A T E R - C O L O U R

Indiana 8 1 0 . Near Stockwell, Indiana, about 9

’ At Peters Mill on the Wild Cat . f In the Garden , La ayette, Indiana . ’ 8 1 0 . Vinton s Woods, Lafayette, 9

Monta ue Massachusetts g ,

The Amphitheater .

A utumn Haze on the Sawmill River .

Autumn Hills .

The Connecticut River .

Country Road . k From the Dy e Mill .

Haystack, from Dry Hill . k Hilltop (two s etches).

647 . Lumber Piles . 8 6 . 4 . Main Street, from the Inn

649 . Montague from the West .

65 0 . Moonrise over Montague .

’ 65 1 Sugar Maples behind Solley s Barn . 1 04

1 06

’ c 674 . On the Bea h at Martha s Vineyard

(Bryson Burroughs sketching).

Europ e

6 . . 75 A Church, Venice, Italy

T h e 6 6 . . 7 Clock, Venice

’

Dan ie li s . 6 . 7 7 , Venice 8 6 . . 7 Little Canal, Venice

6 . e . 79 San Giorgio, V nice

h Po rto fin t T e o . 68 0 . Mediterranean, from Vet a

68 1 . . Locarno, Switzerland k 68 2 . Twelve s etches near Locarno .

8 t 6 . . 3 The Fens, Cambridgeshire, England (five ske ches) 8 6 4 . A Lock in the Fens .

8 th e . 6 5 . Old Drainage Gate in Fens

8 t 6 6 . Old Pumping Sta ion in the Fens . 8 6 7 . Near Cambridge . 8 8 6 . . Old Chalk Pit, near Cambridge 8 6 . 9 Old Mill near Cambridge .

6 0 . th e . 9 On Cam, below Cambridge

6 1 . . 9 The Roman Road, near Cambridge

69 2 . A Village near Cambridge .

6 . . 93 Village of Waterbeach , near Cambridge

‘ ’

6 . t . 94 The Green Man, Wa erbeach

T h e . 6 . 95 Beach , Eastbourne , England h T e . 6 6 . 9 Beach , Hastings, England 1 0 7

6 . u se . 97 From the Top of Beachy Head, S s x, England

6 8 . . 9 Sheepfold, Sussex

699 . The South Downs (four sketches) .

7 0 0 . Windmill near Winchelsea .

1 o 7 0 The Dome of the British Museum Reading Ro m . k 0 2 . . 7 Sweden, from Denmar

N ew York and Connecticut

’ G o ud s At y , Deepdene, Marlborough , York .

Near North Salem, Connecticut .

Rid e fie ld Near g , Connecticut .

View Eastward from October House,

1 New Fairfield, Connecticut, 9 35 . M I S C E L L A N E O U S

fo r Elizabethan Club, New Haven . Design let

tering of a bronze tablet .

8 0 . k 7 The Metropolitan Museum of Art, New Yor . b American Wing presented by Ro ert W . and

o Emily J . De Forest . Design in typ graphy for 1 2 commemorative tablet in bronze . 9 4 .

T he . The Metropolitan Museum of Art . Cloisters k Drawing for testimonial to John D . Roc e

feller, Jr . Tablet in marble .

o f The Metropolitan Museum Art . Design in

typography for tablet commemorating benefactors,

1 2 0 9 . Not used .

o o o f fo r The Metr p litan Museum Art . Drawing

to k b testimonial John D . Roc efeller, Jr . Ta let in b ronze .

‘ - T h 1 . O 1 2 . . o 6 7 Ship model Frenc f urth rate , about 9 5

’ i o ld be r gged in my age .

1 0 8

A D D E N D A

Deland, Margaret . The Wisdom of Fools . 8 2 . Houghton , 4 pages

Prentiss, Henry Mellen . The Great Polar Cur

rent . Polar Papers, Old and New . The Riverside

1 8 Press, Cambridge, 9 7 . Cover and typography by

Bruce Rogers .

. 1 2 t Modern type mo, green clo h with marine

design stamped in black and gold .

in tro duc 2 0 . . . 7 Thoreau , Henry D Walden With an 8 2 . 1 . tion by Bradford Torrey . vol Houghton, 9 7

2 1 th e t 7 . Parker, Gilbert . The Battle of S rong, a

t 1 8 Romance of Two Kingdoms . Hough on, 99 .

466 pages .

W k D . . 2 2 . . 7 . Howells, The Smo ing Car A farce

1 0 0 . 0 . Houghton , 9 7 pages

2 . 7 3 Hale, Edward Everett James Russell Lowell and

. 1 0 1 . 0 . His Friends Houghton, 9 3 3 pages

1 1 0 1 1 1

u t Hapgood, Hutchins . Paul Jones . Ho gh on ,

1 1 . 1 2 9 0 6 pages .

Repplier, Agnes . The Fireside Sphinx . With

t 1 0 1 illustrations by E . Bonsall . Hough on, 9

0 . (October) . 3 5 pages

i ranc On a. Torrey, Edward . Footing It in F

1 0 2 . 2 1 . Houghton, 9 5 pages

Wiggin, Kate Douglas . The Diary of a Goose

h r . e e Girl . With illustrations by Claude A S pp

1 0 2 . 1 1 . son . Houghton, 9 (May) 7 pages

Miffiin Converse, Florence . Long Will . Houghton

o 1 0 . C mpany, Boston, 9 3

8 o v . Caslon type . , cloth, stamped in gold and colour

W D Howells, . . The Elevator . A farce . Hough to n 8 1 0 . , 9 3 4 pages .

o . t Tr wbridge, John Townsend My Own S ory,

c with Re ollections of Noted Persons . Houghton,

1 0 8 . 2 9 3 (September) 4 pages .

Williams, Egerton R . Jr . Hill Towns of Italy . 1 0 8 Houghton , 9 3 (October) . 39 pages . I I 2

o Aldrich , Th mas Bailey . Judith of Bethulia . A

1 0 . 1 0 Tragedy . Houghton, 9 4 (November) 4

. 1 0 pages (Our copy is Second Edition, 9

1 0 Brown , Alice . High Noon . Houghton , [ 9 4] 8 0 . (April). 3 pages

Adve n Job, Herbert Keightley . Wild Wings ; tures of a Camera- hunter among the Larger

Wild Birds of North America on Sea and Land .

Ac c o m 1 0 1 . Houghton, [ 9 5] (May) . 34 pages ( panying the volume are seventeen sheets of lay

fo r - outs title page, contents and text pages . )

l t G re e ns e . , Ferris James Russell Lowell , His k . 1 0 . 0 Life and Wor Houghton, 9 5 (October) 3 9 pages .

o Sherw od , Margaret . The Coming of the Tide .

1 0 . . Houghton, 9 5 (October) 3 59 pages

’ The Story of Noah s Ark to ld and pictured by

. . o 1 0 . n . . E Boyd Smith Hought n, 9 5 (November) p

Bislan d o f , Elizabeth . The Life and Letters

2 . 1 06 Lafcadio Hearn . vol Houghton , [ 9 ] (De

c e mb e r ) .

1 1 4

1 0 8 Johnston, Mary . Lewis Rand . Houghton, 9

1 0 . (October) . 5 pages

T h e Peabody, Josephine Preston . Book of the

Little Past . Illustrated by Elizabeth Shippen

8 0 . 1 0 . Greene . Houghton , 9 5 pages

k Thorndi e, Ashley H . Tragedy . [The Types of

English Literature . Edited by William Allan

ff . Neilson . ] Houghton Mi lin Company Boston,

1 8 9 0 .

Emerson, Ralph Waldo . Journals . The Riverside — s 1 0 1 1 . 1 0 . Pres , Cambridge, 9 9 9 4 vols

- o 8vo k Caslon type . Large paper editi n . , buc k o n . ram, paper label bac , stamped in gold

T h rza o Brown , Alice . The Story of y . H ughton,

1 2 9 09 (March) . 3 7 pages . (Our copy is ‘ Third

Defoe, Daniel . The Life and Strange Surprising

Adventures of Robinson Crusoe . With illustra

1 0 . tions by E . Boyd Smith . Houghton, 9 9 43 5

pages .

T h e t t Nibelungenlied, ransla ed from the Middle High Ge rman with an introductory sketch and I 1 5

Bussie r a . t 1 0 notes, by Daniel Shum y Hough on, 9 9

(October) . 3 39 pages .

’

t . Brown, Alice . John Win erbourne s Family

1 1 0 . . Houghton, 9 (October) 454 pages

Digressions of V, written for his own fun and that of his friends, by Elihu Vedder . Houghton,

1 1 9 1 0 (November) . 5 2 pages .

The Japanese Letters of Lafcadio Hearn, edited l d with an introduction by Elizabeth Bis an .

8 . 1 1 0 . 6 Houghton , 9 (November) 4 pages

Bingham, Hiram . Across South America . An account of a journey fro m Buenos Aires to Lima

1 1 1 . 0 by way of Potosi . Houghton, 9 (April) 4 5 pages .

th e Dana, Richard Henry, Jr . Two Years before

Mast . A personal narrative, with a supplement by the author and introduction and additional chapter by his son, with illustrations by E . Boyd

. 1 1 1 . Smith Houghton, 9 55 3 pages .

Johnston, Mary . The Long Roll . With illustra

N . . W th C e . 1 1 1 tions by y Houghton, 9 (May) . 68 3 pages . I 1 6 8 7 5 . Johnston , Mary . Cease Firing . With illustrations b W h N . . e t 1 1 C . 2 . y y Houghton, 9 (November)

45 7 pages .

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k 1 1 o ing . New Yor , 9 3 . (Printed by The Th msen

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Goudy Old Style type . Etching and illustrations C 1 . . 000 by Earl Horter Narrow folio, loth

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b - (Printed y The Thomsen Munder Company,

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k Fran lin, Benjamin . The Story of the Whistle .

Intro . by Luther S . Livingston . Harvard Univer

sit 1 2 2 . y Press, Cambridge, 9 8 1 2 . vo . 5 copies , paper cover

h . T . e Richards, Charles R Art in Industry Mac

k 1 2 2 . millan Company, New Yor , 9 (Printed by

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8 v0 . , boards

- a . Study for title page .

I lNlI) IEIKZ

Th e refe rences are to th e serial numb ers

E S V E L . 2 . ADAMS , LBRIDGE , 34 BEN T, TEPHEN INCENT,

W. 1 8 . R. A . R [GEORGE USSELL], 3

A . 66 . 1 2 . BENNETT, PAUL , 7 8 0 . 1 . AIKEN, CONRAD , 3 5 BERNARD, AUGUSTE , 4

A LBREE 2 1 6 . BHART RI HARI 2 . , JOHN, , 9

R 6 2 . 8 8 . ALDINGTON , ICHARD, 3 BIBLE , HOLY, 3

ALDRICH , THOMAS BAILEY, BINGHAM , HIRAM , 7 55 .

0 8 . BIRNBAUM , MARTIN, 3

1 . BISLAND E Z 8 ALEXANDER , FRANCESCA, 7 , LI ABETH , 7 3 ,

H. 1 . F . 2 ALLEN , , 7 7 54

0 6 1 E. M . 2 2 2 8 . ALLEN, HERVEY, 3 , 3 9, BLACKIE , , 7 , 7

BLACMAN 2 0 . 343 , JOHN, 5

1 2 . 1 0 . ALTSCHUL, FRANK , 3 BOCCACCIO , GIOVANNI , 4

Z . E. 2 . AMES , A EL, 53 BONSALL , , 7 5

A . Bo o k o f Co m m o n Pra er 0 . RLEN, MICHAEL, 344 y , 4 5 Bo o k m ak in g o n th e Distaff

L . 2 . Si e . BABINGTON , PERCY , 3 9 d , 3 97 M - d la ls 1 1 1 . Bo o k lates an b e 2 BACON, ALICE ABEL, 7 , 5 p , 44

2 . 6 BACON, FRANCIS , 7 47

1 . 2 2 0 0 . BAKER , GEORGE PIERCE, 54 BOSWELL , JAMES , 54 , 9 , 3 7

D E . R . 2 . R 2 . BALLAR , RNEST, 4 7 BOWKER , , 4 B E 8 6 . M . 1 . 2 o wL s . 0 BARNARD , JOHN, , J ,

2 2 . 2 1 . BARR , GERTRUDE , 4 BRADFORD , WILLIAM , 7

E Z . BARRETT, LI A , 95 BRANCH , ANNA HEMPSTEAD,

. M . 1 . BARRIE , J , 3 3

A . T . 2 . an d M BARTHOLOMEW, , 44 BRIGHAM CFARLANE,

H. 0 BARTLETT, TRUMAN , CARL 4 7 .

SHURz an d 1 0 . Bro a si es o l ers an n o un ce , 7 d d , f d , — 1 8 . m n e ts e tc . 8 . BATES , ARLO , , 47 7 54

ES 2 0 . 2 0 . BATES , , 5 BROOKS , PHILLIPS , 3 W 0 . . E . BEATTY, JOHN , 3 7 BROWN, ABBIE FARW LL , 44

1 1 1; 1 2 0

1 T . M . BROWN , ALICE , 9 , 34 , 55 , CLELAND , , 3 93 .

1 1 8 o L 2 . 2 8 1 3 9 , 3 , 7 3 3 1 74 9 1 7 5 CLEMENTS , WILLIAM , ,

. 8 . BROWN , MRS KENNETH 2 7

D V 1 . Club o fO Vo lumes 2 0 6 ( EMETRA AKA), 94 dd , ,

BROWN , WILLIAM AUGUSTUS ,

6 . CO AT Es E 4 , FLORENCE ARLE ,

E. 1 6 . N 1 8 . BROWNE , INA , 2

SIR 1 . 2 A . BROWNE , THOMAS , 5 COFFIN, WILLIAM , 3 3 9 .

1 . 2 . BRYANT, WILLIAM CULLEN, COLE , TIMOTHY, 95 MIC HEL AN S T . BUONARROTI , COLERIDGE , AMUEL , 3 7 7 .

. 6 6 GELO , 43 CONRAD, JOSEPH , 3 3 , 3 4 ,

E 0 . 0 . BURKE , DMUND , 34 4 9

I 1 1 . U BUTLER , SABEL, 4 7 , 9 7 CONSTITUTION OF THE NITED

8 . S 2 2 2 0 . BYRD , WILLIAM , TATES OF AMERICA, 9

2 8 . CONVERSE , FLORENCE , 7 1 0 CALVERLEY, CHARLES COOKE, GEORGE WILLIS , 4 ,

S 1 . 1 . TUART, 49 7 3 Arm s o f Un iver A CAMBRIDGE , CORNISH , BL NCHE WARRE ,

it an d Co lle es at 0 . 2 I O . s y g , 4 4 Un iversit o f CO RT I SSO Z R 1 2 1 1 CAMBRIDGE , y , , OYAL, 5 3 , , Visit o fItalian Pro esso rs to 1 I f , 3

2 0 . 4 COYKENDALL, FREDERICK ,

2 1 . 0 8 . CARLYLE , THOMAS , 3 3

CARRY L G UY L. 2 2 . , WETMORE , CROSS , WILBUR , 5

8 8 . CROTHERS , GEORGE WILLIS ,

CASSERES DE 2 6 . 1 . , BENJAMIN , 5 7 3

R . E . S CAST L R . , J , WILLIAM , 3 3 5 CROTHERS , AMUEL M 0 I 1 1 1 8 CATHCART, WALLACE HUGH, CCHORD, 9 , 9, 74 , 5,

I I 7 . WNINSHIELD 8 . CRO CATHER , WILLA, 3 9 , FRANCIS

0 8 . 1 2 0 . CATO , MARCUS PORCIUS , 4 BOARDMAN,

1 1 8 . CRO WNINSHIELD CAVENDISH , GEORGE , , MARY

1 0 . 1 2 0 . CHAUCER , GEOFFREY, 5 BOARDMAN ,

W S 8 . CHESTNUTT, CHARLES . , 3 5 . CROXALL, AMUEL, 3 3

W. 2 . CLAPP, HENRY AUSTIN, 7 3 . CUNNINGHAM , , 3 7 6 . R . M . CLAUDE , , 7 3 9 C[URLE], [ICHARD], 3 3 an d CLAY, JOHN CECIL , CUTLER , CARL GORDON, and

O 1 . S . 2 68 . LIVER HERFORD , 74 TEPHEN C PEPPER,

11 2 2

R R 6 GREENE , EBECCA ANDREWS , HERRICK , OBERT, 3 3 , 8 6 1 4 2 . 3 .

G REENSLET 1 6 1 2 1 R 2 8 . , FERRIS , , 4 , HEYWOOD, OBERT, 4

2 ° REV . 7 3 57 74 HIGGINSON, FRANCIS , — G ree tin c ar s 2 6 1 1 . g d , 4 44 7 7

GRIFFITHS , MRS . JOHN HIGGINSON, THOMAS WENT

6 . I OO . LEWIS , 3 5 WORTH ,

. R 1 2 2 . GRIMM , HERMAN , 94 HOLBROOK , ICHARD ,

G RUELLE R B 1 . B . 1 2 . , , 3 HOLLAND, PHILEMON , 3

E 2 2 . HO LLS GU RIN, MAURICE DE , 3 , FREDERICK WILLIAM , I GUINEY, LOUISE MOGEN , 94 O 1 8 . 7 HOLMES , LIVER WENDELL ,

I 2 . 8 0 . HAAS , RVIN, 3 9 HOMER , 3

. E 2 2 . HAGEDORN, HERMANN , 74 3 HORTER , ARL, 7

E E 8 Co . HALE , DWARD VERETT, 5 , HOUGHTON MIFFLIN , 3 7 ,

7 2 3 . 6 H. . A 1 0 6 . HAMILTON, ALEX NDER , HOUSTON, PERCY , 7 3 W LFE 0 0 A . D E O 2 E M . HANCOCK , ALBERT LMER , HOWE , , , 6 744 2 2 .

2 . 1 6 . HAPGOOD, HUTCHINS , 7 4 HOWELL , JAMES , 5

1 . HARDY, THOMAS , 4 3 HOWELLS , WILLIAM DEAN, 59 ,

U I 2 2 2 ' HARVARD NIVERSITY PRESS , 5 7 , 7 , 7 9

W. H. 2 . HUDSON, , 3 4

1 . HUG HBS 6 . HASTY PUDDING CLUB , 55 [ , THOMAS], 7 5

HAULT AIN 1 6 1 8 8 . . R . . , ARNOLD , 7 , HUTCHINSON, J , J HENRY

an d 1 8 . HAWTHORNE , HILDEGARDE , LEA , 9

1 0 8 .

N 2 I 2 . HAWTHORNE , ATHANIEL , 3 , RVING , WASHINGTON , 3 5

I B. 8 0 1 8 1 8 VES , GEORGE , , 5 , 4 ,

1 . 2 2 . HAY, JOHN, 93 , 99 3

1 1 0 1 2 I . HEARN, LAFCADIO , , 4 , VINS , 3 3 3 , 3 3 7

8 L . 8 1 2 1 2 S 2 . HEATH , IR THOMAS , 59 JAMES , HENRY, 4 , 7 , ,

1 2 . 1 . HERBERT, GEORGE , 5 44

O M . R . 2 2 2 0 . HERFORD , LIVER , JOHN JAMES , , 4 , 5

an d 1 . CECIL CLAY , 74 JEFFERSON, THOMAS , and

2 . 1 1 1 HERGESHEIMER , JOSEPH , 3 3 WILLIAM DUNBAR , S. 2 2 2 [JENKINSON, MARGARET LIVINGSTON, LUTHER , , 2 5 1

6O . JOB, HERBERT KEIGHTLEY, LOCKHART, JOHN GIBSON, B 7 34 ° LOCKWOOD, THOMAS . , 3 57 .

S 2 2 8 1 2 . JOHNSON, AMUEL , 54 , 4 , LODGE , GEORGE CABOT, 9 W 6 H. . 6 1 I . 6 . 1 7 3 LONGFELLOW, , , 5 ’ W 2 . D O LE 1 . JOHNSON, THOMAS , 7 7 LOVETT, JAMES , 43

8 1 . R . 8 1 0 JOHNSTON, MARY, 3 , 59 , LOWELL, J , 7 , 7 9 , 4 ,

V . 66 . 1 6 2 . JONES , HERSCHEL , 3 LOWELL, MARIA ,

2 . E Z 2 2 . JONES , PAUL, 7 4 LYTTLETON, LI ABETH , 5

. MA KAIL . W . C . 1 1 KEATS , JOHN , 744 , J , 4

. X 6 . H. 2 2 KENT, WATSON, 3 5 MAISTRE , AVIER DE ,

S G . 2 2 6 . KENYON, IR FREDERIC , [MARBURG, THEODORE], i A . D n 3 59 MARBURG , WILLIAM ,

2 2 . . KEYNES , GEOFFREY, 5 ner to HON WILLIAM HOW

R 2 8 8 . . KIPLING, UDYARD , , 3 53 ARD TAFT and DR WILLIAM

KNAUFFT E 8 . b 2 O . , RNEST, HENRY WELCH y, 3

T . . 2 . 2 8 KNIGHT, MADAM , 93 MARSHE , , 5 MASSACHUSETTS GENERAL

2 1 1 . 2 . LA FARGE , JOHN, HOSPITAL, 4

2 6 2 . 2 . LAMB, CHARLES , 3 , 3 7 MATHER , COTTON, 99

. 2 6 . I 2 2 . LANDSBERG , DR MAX, 9 MATHER , NCREASE , 7 7 , 99

. S 2 6 . LANG, ANDREW, 3 7 5 MAYO , LAWRENCE HAW, 4

R . 2 2 8 . LANGTON, OBERT, 7 MELVILLE , HERMAN, 3 9

S 1 0 . 1 . LANIER , IDNEY, 3 MEREDITH , GEORGE , 3 3

LAWRENCE , WILLIAM , 7 7 . MERGENTHALER LINOTYPE

. C . 2 . LAWSON, J , 53 COMPANY, 3 93 .

LEA , J . HENRY, and MERRIMAN, HELEN BIGELOW,

HU . . R . T CHINSO N 1 8 J , 9 3 9

H. C . . E L[EEDS], , 49 MERRITT, DWARD PERCIVAL, E E 2 0 2 . LEF BURE , RNEST,

LECO UIS E 2 0 . M M o f , MILE , 7 ETROPOLITAN USEUM

. 8 . LEIGHTON, WILLIAM , 95 ART, 3 2

R 1 0 . N . LEWIS , LAW ENCE , 9 MICHELA GELO , 4 3

1 0 1 8 . D 2 2 1 . LINCOLN, ABRAHAM , 7 , 9 MILLER , E WITT,

V . 8 8 . 2 1 . LIVINGSTON, FLORA MILTON, JOHN, 3 7 1 2 4.

MIMs E 1 0 , DWARD , 3 . PALMER , GEORGE HERBERT, M 0 — 1 . iscellaneous , 7 7 7 7 I 2 5 .

M 2 1 . T UBERCU OGER , GLADYS , 4 PAPWORTH HALL

Co . 1 2 . LO SIS mb MONOTYPE , 3 5 , 3 9 COLONY, Ca ridge ,

8 0 . . 2 . MONTAIGNE , M DE , 45 V 6 1 . 2 1 . MOODY, WILLIAM AUGHN, PARKER , GILBERT, 7

C . 2 A MOORE , CLEMENT , 94 , PATTERSON, FR NK ALLEN,

3 00 . 3 7 1

. PEABO MOORE , GEORGE , 3 54 DY, JOSEPHINE PRESTON,

T . S . 6 MOORE , TURGE , 345 74

E 2 . . . E R . MORE , PAUL LMER , 9 PENNELL, , 3 55

S . E Z R MORE , IR THOMAS , 3 7 3 PENNELL, LI ABETH OBINS ,

6 . MORGAN LIBRARY, 34 99

S 8 . . MORISON, TANLEY, 3 4 PENNELL , JOSEPH , 3 55

0 . S C . MORLEY, JOHN, 34 PEPPER , TEPHEN , CARL 6 8 B. 1 2 . 2 . MOSHER , THOMAS , GORDON CUTLER and ,

1 1 . 1 66 1 8 . MUIR , JOHN , 9 PERRY, BLISS , , 7 M 1 6 1 2 1 0 0 . URDOCK , HAROLD , 4 , 9 , PETRARCH , E Z S PHELPS , LI ABETH TUART, B M . . 8 2 1 . URDOCK , KENNETH , 7 7

R 1 . PHILLIPS , LE OY, 44

NAUDEUS 6 . PHO UT RI DES A E. , GABRIEL , 9 , RISTIDES ,

N 2 6 . EILSON, WILLIAM ALLAN , 5

T . S . 2 0 PICKARD , AMUEL , 3 , 5 W W N E . . 2 2 . 1 1 . EW LL , , , 4 3 PLATO , 4 , 7 9

N . E 0 1 . 1 2 . EWTON , A DWARD , 3 PLUTARCH , 3

W. 8 N 1 6 . 2 OLEN, JOHN, 7 POLLARD , ALFRED , 3 , 6 N N . ORMA DIE , DE , 5

N E N . ORTON, CHARLES LIOT, POOLE , AUSTIN LA E , 3 99

I 2 I 1 6 I O . R , 5 , 4 POPE , ICHARD, WILLIAM

N . MRS . 1 2 . S A 2 8 . ORTON, HON , 3 UTHERL ND and , 9

N 2 0 1 . OYES , CARLETON, 97 , POTTLE , FREDERICK ALBERT, CHAUNCEY BREWSTER

O T he I I 2 0 . pal , , 3 TINKER and , 9 — S GEOFFREY COTT and ,

1 0 1 . 0 PAGE , CURTIS HIDDEN, 3 7 PRAED PALMER , ALICE FREEMAN, , WINTHROP

f . v m m O 8 . 1 ser ice in e ory , 9 MACKWORTH , 93

1 2 6

f r S 2 6 . S w o [ HIPLEY, 5 tudies and dra ings

S M S 1 . b h fi HIP ODEL OCIETY, 4 7 unpu lis ed and unidenti ed — S m 0 2 . HOREHAM HOTEL, aterial, 4 4 4 5 T . 0 S . R . 1 8 . h D . C 6 . 1 Was ington , 7 ULLIVAN , ,

S 2 6 . S N HOREY, PAUL, 5 UTHERLA D , WILLIAM , and

S BUSSIER R 2 8 . HUMAY, DANIEL , ICHARD POPE , 9

1 S . 7 5 YMONS , ARTHUR , 349 SHURZ , CARL, and TRUMAN

H. 1 0 . . BARTLETT, 7 TAFT, HON WILLIAM

S S 1 1 . . IDNEY, IR PHILIP, 3 HOWARD , and DR WILLIAM S E R 1 ILL , DWARD OWLAND, 5 , HENRY WELCH , Dinner to,

2 0 . 8 3 . 3

Sk h b k Wh E 0 . etc es in lac and ite, TAPPEN, VA MARCH , 74 — 6 1 6 . 5 34 TENNYSON, ALFRED LORD ,

- Oil w 6 1 8 1 . in and ater colour, 3 5 4 , 4 9

0 6 . 7 THACKERAY, WILLIAM

S 6 2 1 0 . LATER , JOHN MAKEPEACE , 5 ,

R 0 2 . OTHWELL, 3 THAYER , ABBOTT

S E . 0 1 1 MITH , BOYD , 7 3 7 , 7 5 , HENDERSON, 3

6 S 2 0 . 7 5 THAYER , CHOFIELD , 4

S . 6 0 1 . F 2 . MITH , HOPKINSON, , 4 THEOCRITUS , 49 , 3 7 5 RAY S 2 . ORLEY, CHARLES , 57 THOMAS , GROSVENOR ,

S m 2 66 . 1 . ouain , Ce etery at , 3 4

S R 8 . 66 OUTHEY, OBERT, 4 THOREAU , HENRY DAVID , ,

S . 1 1 1 2 0 2 0 ° PENCER , THEODORE , 3 7 9 7 ) 7 ) 3 3 , 7

H. S E 8 . PENSER , DMUND , 5 THORNDIKE , ASHLEY , S - S PICER IMSON, THEODORE , 747

1 1 . 34 . TICKNOR , CAROLINE , 99 S E TEDMAN, DMUND TINKER , CHAUNCEY

2 6 1 8 0 . 2 8 . CLARENCE , 7 , 4 , BREWSTER , 4

S E. . TEELE , MARY , 9 and POTTLE , FREDERIC

S 1 . 2 0 . [ TERNE , LAURENCE], 3 5 ALBERT, 9

S 2 2 . 1 . TERNE, LAURENCE , 5 TODD , MABEL LOOMIS , 3

S F . G . 6 8 . 1 0 TEVENS , , 7 TORREY, BRADFORD , 5 ,

S R 2 0 . TEVENSON, OBERT LOUIS , 7

E 2 6 . TORREY, DWARD , 7 S w fo r G EO FRO Y 1 8 6 1 tudies and dra ings TORY, , 4 , 3 , — w k 8 0 2 . 8 2 . printed or , 5 59 3 1 2 7

2 2 . 2 8 . TOWNSEND , HORACE , 9 WENDELL, BARRETT, 5

2 6 . TROWBRIDGE , JOHN WENTWORTH , JOHN, 4

N 0 . E 1 . TOW SEND , 7 3 WHARTON, DITH , 3 7

O CREST IEN 2 2 . 0 2 . TR YES , OF, WHITE , GILBERT, 4

W 0 . T Y PO P HI LES 0 1 . . . , 3 9 , 3 9 WHITE , J 3 4

S 1 60 . WHITMAN , ARA WYMAN,

U 2 . N 2 0 1 . ndated pieces , 549 57 WHITMA , WALT,

U 2 . NIVERSITY CLUB, 4 3 WHITTIER , JOHN GREENLEAF,

V A MRS . WI CKST EED AK , DEMETRA ( , PHILIP HENRY,

1 . 0 . KENNETH BROWN), 94 1 4

V 6 8 . ALE , CHARLES , 3 WIGGIN, KATE DOUGLAS , 3 3 ,

V E . 2 . EDDER , LIHU, 7 53 7 7

V H. 2 2 6 E R . 1 . INCENT, LEON , 3 , 5 , 7 , WILLIAMS , GERTON , 7 3

E A . 0 . WILSON , DWARD , 4 9

V 1 I . S IRGIL, 4 WILSON , JOHN DOVER , IR

- V 1 8 2 . ORSE , MARY HEATON, ARTHUR "UILLER COUCH

an d, 2 60 .

1 6 WALPOLE , HORACE , 3 , WINSHIP, GEORGE PARKER ,

2 1 2 .

R . 1 6 . R . WALSH , ICHARD J , 3 WOLCOTT, OGER , 7 7

W. T . 1 . 6 . WALTERS , , 3 WOLFE , HUMBERT, 3 9

IZ 1 . [WALTON, AAK] , 95 WORDSWORTH , WILLIAM ,

2 . 1 6 2 0 2 0 2 ° WARDE , BEATRICE , 3 9 9 2 4 : 7 ) 4 5

2 8 2 . WO RMELEY WARDE , FREDERIC , , KATHERINE

WARNER , CHARLES DUDLEY, PRESCOTT, 7 3 9 .

8 . 1 . N . C . 4 WYETH , , 7 57 , 7 5

R 8 . WEAVER , AYMOND , 3 9

6 . Y 1 6 . WEBB, CHARLES HENRY, 9 ALE , CATHERINE BROOKS ,

WEIR , JULIAN ALDEN, 3 3 9 .

Dr . Z S 2 . WELCH , WILLIAM HENRY, ELIE , JOHN HERIDAN, 34

H n . D o Z IELY . inner to WILLIAM , WILLIAM , 95

2 0 . Z I G RO SSER C 2 1 . HOWARD TAFT and, 3 , ARL , 9