Flora V. Livingston: Curator of the Harry Elkins Widener Collection, Bibliographer, and Lewis Carroll Enthusiast

Flora V. Livingston: Curator of the Harry Elkins Widener Collection, bibliographer, and Lewis Carroll enthusiast

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Citation Imholtz, August A., Jr. 2000. Flora V. Livingston: Curator of the Harry Elkins Widener Collection, bibliographer, and Lewis Carroll enthusiast. Harvard Library Bulletin 9 (4), Winter 1998: 56-75.

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Flora V. Livingston: Curator of the Harry Elkins Widener Collection, Bibliographer, and Lewis Carroll Enthusiast

August A. Imholtz, Jr.

AUGUST A. IMHOLTZ, JR., arvard librarians are not known for cutting up books. Even if she is Executive Editor of the had not partially mutilated the Harvard copy of a "rare" 184 7 Congressional Information edition of Elizabeth Barrett Browning's Reading Sonnets, Flora Service, Inc. H Livingston would be remembered for her bibliographies of Rudyard Kipling, Robert Louis Stevenson, Lewis Carroll and other authors. "Mutilation," however, is probably too strong a word. The year was 1932. In England two young bibliographers, John Carter and Graham Pollard, were steadily amassing evidence that quite a number of pamphlets, purportedly extremely rare, were actually forgeries, forgeries contrived by the distinguished bibliographer Thomas J. Wise. John Collins describes the state of their investigation of the 1847 Sonnets pamphlet, supposedly privately printed in Reading, up to the point of Mrs. Livingston's intervention:

There was no presentation copy (privately printed books tend to have a higher level of inscription than those published commercially); no copy in Browning's library; no copy with any signature inscription or mark of provenance before about 1900; and the account of the history of the book given by Gosse was contradicted by Browning's own letters .... there was no copy of the Sonnets in any public collection in England and the enquirers could hardly go to [Wise's home] and ask for a paper sample.'

Flora Livingston provided a sample. On 6 April 1933, she wrote to John Carter:

I have had the courage to trim off a little slip of paper from the bottom of a badly folded leaf of the Sonnets. It will never show, and if it does no one will know the who or the why.

I have sent it, as you directed, to Messrs. Cross and Bevans. I am very much interested, especially as you are working on all the pamphlets together, George Eliot, Browning, Arnold, etc. Does that include also the Ruskins, and Tennysons? They are all alike.

Please look into the two Kipling pamphlets, The White Man's Burden, and White Horses. They belong to the same or later a group, including the Swinburne's, Borrows, and such.

I John Collins, The Two Forgers: A Biography of Harry Oak Knoll Books, 1992), 243. Buxton Forman and Thomas James Wise (New Castle: Flora V Livingston and the Bibliography of Lewis Carroll 57

It is not necessary that my name should appear. The scrap of paper came from America, that is enough. And I hope I gave you a piece big enough for analysis. With every wish for success.'

Mrs. Livingston's surgical excision from the Harvard copy of the Sonnets, when chemically analyzed, revealed a "significant proportion of chemical wood pulp." Since wood pulp was not used in British book production until 1874, any book, like the Reading 184 7 Sonnets, containing it could not have been printed before 1874. Carter and Pollard, thus confirmed in their suspicions ofWise, went on to determine even the identity of the typeface that Wise employed in constructing the Browning forgery and his many other productions. They published their results in a work that has become a bibliographic classic: An Enquiry into the Nature of Certain Nineteenth Century Pamphlets. A female librarian of the Harry Elkins Widener Memorial Collection, who did not even insist on recognition, had helped, as it were, to cut down the great Thomas James Wise after he had fooled wealthy book collectors, distinguished scholars, and professional bibliographers on both sides of the Atlantic for so long a time. Nor was the Browning volume the only one Flora cut. In her letter of December II, 1933, to Carter she wrote:

Also I enclose a little snip of the paper from Morte D' Arthur. I did not know it was so scarce. Those little suspicious Tennysons all came on the market about the same time. I am curious to know what Mr. Wise thinks about it. He may not say anything until he publishes a new volume of his catalogue, then he will call you names. Just the same, he knows more about them than he has ever told.

After Carter and Pollard's volume exposing Wise was published, Flora wrote to Carter on August 15, 1934:

The comments people make about [An Enquiry], especially those who never bought a book, are curious and humorous. Every collector thinks he has some of the forgeries, as well as some you have not mentioned or discovered. It is the best detective story ever written. It is curious that all the forgeries are of the authors of whom our friend [Wise] has made bibliographies.

Who was this librarian with scissors? Born Flora Virginia Milner in Montana in 1862, she began her lifelong association with books by first working, like her future husband, in a bookstore, taught school for a time, and then returned to the world of books where she remained. The story of how she came to Harvard, and indeed of most of her adult life, is closely interwoven with the life of another Widener librarian from the northern Midwest, also a Lewis Carroll scholar, and likewise a formidable woman of independent ideas, Florence Cushman, who in 1883 had married Flora's brother, Samuel Milner. It was Florence Cushman Milner and Samuel Milner who brought Flora Milner together with her future husband, Luther Livingston. In her autobiography (on which we must depend for many of the biographical details of Flora's early life), Florence Cushman Milner recounts how she helped bring Luther and Flora together:

2 Although the first paragraph of this letter has been Collection which was sold at auction at Sotheby's on quoted before (Collins 243;John Carter in the notes to December 5, r 967. The letters are now in the possession the Pariser Sale Catalog 82), this is, I believe, the first of the Harry Ransom Humanities Research Collection time the whole letter has been printed. At the bottom at the University of Texas. Unfortunately, Carter's letters of the page, Carter writes "Acknowledged April 20." to Flora Livingston, which span more than fifteen years, Eight letters from Mrs. Livingston to Carter were are not in the Wise material purchased by Texas nor are acquired by Sir Maurice Pariser for his Thomas J. Wise they preserved among the Livingston papers at Harvard. HARVARD LIBRARY BULLETIN

On a visit to Grand Rapids one time, [Luther Livingston] met with a bicycle accident and was housebound for some weeks. I visited him often and at my suggestion Flora wrote to him. Eventually the romance blossomed and they were married in our apartment in Grand Rapids [in I 898 I.3

Livingston was a largely self-taught man, and also what some today would call "an independent scholar." In addition to their passion for books, Flora and Luther shared a great love of flowers and plants. Before their marriage, Luther's knowledge of botanical names and his informed acquaintance with rare species had gained him the job of compiling catalogs for the greenhouses of Pitcher and Manda of Short Hills, New Jersey, after presumably growing weary of his earlier employment as a shipping clerk at Dodd, Mead & Co.

In this work his aptitude for precise statement and for the clear differentiation of peculiarities found ample scope. The printed catalogues compiled by him have become classics among horticulturists. His descriptions set a standard which rival establishments unable to attain and .... thereby contributed to the spread of his unrecognized influence upon American gardening. 4

Of such high quality was his work that the nursery had sent him to South America for eighteen months to collect orchids and other exotic plants-a work he performed assiduously with concurrent production of additional detailed catalogs. But the panic of l 893 sharply reduced the market for orchids, so Luther returned to Dodd and Mead where he worked his way up to becoming head of their rare book department. In 1910, however, when the firm decided to concentrate its efforts on publishing, Robert H. Dodd and Luther Livingston left the company to establish their own rare book firm of Dodd and Livingston. Presumably, during these years Flora was assisting him with the bibliographic work for which he became famous. Harry Widener became one of Livingston's best customers, and a strong friendship developed between the young collector and the older bibliographer-rare book dealer. When Widener lost his life on the Titanic, his mother, Mrs. George E. Widener, selected Livingston to become the first librarian of her son's collection of first editions and rare books to be housed in the library she was building in his honor at Harvard. However, Livingston's health was in decline. On April 14, 1912 (ironically, the same day the Titanic sank), Livingston had fallen, fracturing bones for the second time in six months. Through medical examinations it was discovered he had suffered since childhood from a severe form of anemia. He was taken to the Rockefeller Institute for Medical Research, where finally a promising treatment was discovered. Convinced of his recovery, on November 30, 1914, the Harvard Corporation approved Mrs. Widener's nomination of Livingston, but three and a half weeks later, on Christmas Eve, Luther Livingston died of complications. George Parker Winship of the John Carter Brown Library in Providence was chosen to be the first curator of the Widener Collection. In 1915 Flora Livingston, who fully shared her late husband's enthusiasm for bibliography, became Winship's assistant. Upon Winship's promotion to head of the Treasure Room in the Widener Library in 1926, Flora assumed the position

3 Florence Cushman Milner, The Story of an Ordinary 1989). IOI. Woman: The Extraordinary Ufe of Florence Cushman 4 George Parker Winship, "Luther S. Livingston: A Milner edited by Mary-Maud Oliver and Edward Biographical Sketch." Papers of the Bibliographical Society Surovell (Ann Arbor: Historical Society of Michigan, of America, 8, nos. 3-4 (1914): ITT. Flora V Livingston and the Bibliographyef Lewis Carroll 59 of Curator of the Harry Elkins Widener Memorial Collection, a post she would hold for the succeeding twenty-one years. During her long career in Widener, Flora at first continued the so-called Livingston reprints series which she and Luther had inaugurated (see Appendix C for a select bibliography of Flora's works, including the reprint series). For example, in 1922, she "issued with the help of William S. Mason of Evanston, Illinois, the third 'Livingston Reprint,' containing a facsimile of the original edition of [Benjamin] Franklin's 'Story of the Whistle,' which was printed at Paris, in French and English, in 1779." 5 It was to Kipling, however, that she devoted most of her attention. A special large paper edition of her 1927 Bibliographyef the Works of Rudyard Kipling, printed under Bruce Roger's direction at the Harvard University Press, was numbered among the fifty best printed books of that year. In the course of collecting, comparing, and analyzing Kipling editions, Flora and her sister-in-law Florence Milner (who had preceded Flora to Harvard and was head of the Farnsworth Memorial Reading Room in the Widener Library) made many trips to England where they visited, for example, with Kipling and his wife at Bateman's, the Kipling home. During one of those trips, the two Harvard librarians spent an enjoyable few days in the company of William Butler Yeats and his wife. They also met Lewis Carroll's niece Menella Dodgson and his nephew Major Dodgson, who gave Florence Milner permission to publish for the first time an edition of Carroll's juvenile work The Rectory Umbrellaand Mischmasch.6 Florence Milner had come to Harvard in 1916 to take charge of the Widener Library's new Henry Weston Farnsworth Room, a room furnished with comfortable chairs, shaded lamps, and a collection of books selected for browsing (though Mrs. Milner did not approve of the term) with a view to acquainting students with good literature outside of their formal studies.

LEWIS CARROLL ENTHUSIAST AND BIBLIOGRAPHER

By the time she took full responsibility for the Harry Elkins Widener collection, Flora had already published two important bibliographical works. In 1917, she edited, revised, and supplemented the Bibliographyef the Works ef Rudyard Kipling compiled by Colonel W.F. Prideaux. Seven years later her bibliography of the works of Frederick Locker-Lamson appeared in successive issues of The Bookman's Journal. And in 1927, the year after her assumption of the Widener collection curatorship, her impressive Kipling bibliography was published. (It was followed eleven years later by a 333-page supplemental volume.) The Kipling bibliography, like her later work on Robert Louis Stevenson, followed upon, if it was not actually a continuation of, works published by her late husband, and both of her early bibliographies focused on the very strong holdings of the Widener Library. Lewis Carroll, another subject of Flora's major bibliographies, is on the other hand an author about whom Luther Livingston never published a catalog or bibliography, although both Luther and Flora had a lively interest in Carroll, an interest complemented by Florence Milner's own Carroll research and publications. In addition to her role in the first publication of The Rectory Umbrella, Florence

5 Harvard Lihrary Notes. no. y (December 1922): 198. With a Foreword by Florence Milner. (London: 6 77,e Rectory Umbrella and Mischmasch by Lewis Carroll. Cassell & Company, Ltd., 1932). 60 HARVARD LIBRARY BULLETIN

Milner had edited the 1902 Rand-McNally Alice's Adventures in Wonderland, the 1917 Rand-McNally Through the Looking-Glass, and authored several articles on Carroll's parodies and mathematics. Nor were Harvard's holdings of Lewis Carroll items yet of the quality they soon would become. Notwithstanding the modest state of Harvard's Carrolliana and the fact that Luther had not prepared a Carroll guide, Flora's interest in Carroll continued as she worked on her Kipling, Stevenson, and other projects. This interest is clearly reflected in her correspondence with Morris Longstreth Parrish. The Parrish-Livingston correspondence, which was bequeathed to Princeton's Firestone Library along with Mr. Parrish's collection of the works of the major Victorian novelists, allows one to follow the development of the friendship and collaboration between a great collector-bibliographer and an equally great bibliographer- collector. Except for the very few Livingston letters at Harvard and a small set of eight items that have made their way to Austin, Texas, by way of Manchester, England (the Pariser Collection of Thomas J. Wise Forgeries), the Princeton Library holds most of Flora Livingston's surviving letters. Picking up the correspondence between Morris Parrish and Flora Livingston in 1922, one sees in spite of a somewhat formal tone a community of interest in books in general and several authors in particular. On October 24, 1922, Parrish, surely responding to an earlier communication, writes:

Dear Mrs. Livingston,

Please make sure that I receive a volume of Mr. Livingston's Essays from the Grolier Club. I am not a member but I am sure that you will be able to get me one. I have no copy of"Alice in Wonderland", London 1865. My 1866 copy is none too good.

I have a few Stevenson's; among others "Three Poems", published in Chicago in 1902. It differs from the copy in Prideaux's bibliography in the wording of the introduction. It also states that there were 50 copies issued and Prideaux says 150. Can you put me straight on this?

My "Carroll's" are, of course, at your disposal at any time you want to see them.

More than a year later their mutual interest in Carroll continues to grow. Morris Parrish was not the most successful Lewis Carroll collector: that title would have most correctly been applied to Harcourt Amory of Boston who was a generation ahead of Parrish. Parrish writes on June 11, 1924:

Dear Mrs. Livingston;

Do you agree with Mr. Sidney Williams' views as to the different editions of "Alice in Wonderland", which he sets forth in such great detail in his recent bibliography of the writings of Lewis Carroll?

Since I saw you at Mr. Ballard's at dinner, I have been fortunate enough to obtain a beautiful copy of the American "Alice", so that my interest in the subject is greater than ever. When you have leisure I should like very much to hear from you.

She responds in a long letter of June 27, 1924, which begins:

Dear Mr. Parrish:

Mr. Sidney Williams got his information concerning the Appleton "Alice" [that is the American "Alice" to which Parrish refers in the letter above) from my article FloraV. Livingston and the Bibliographyef Lewis Carroll 6r

in the Boston Transcript, which was reprinted in many journals and in the London "Publisher's Weekly".

Mr. Livingston for many years, and I since, have tried to convince the dealers and collectors that the Appleton edition was earlier than the London, 1866, and was the sheets of1865 edition. But they all stuck to Collingwood's Bibliography, which ignores the 1865 edition and Appleton's, until Sir Frederick Macmillan, in reply to letters questioning my article, printed in the "Publisher's Weekly" the statement that Macmillans had sold the sheets of the 1865 edition to Appleton ....

And in answer to an objection to her interpretation, which we now know was completely accurate, she says in a letter of October 9, 1924:

Dear Mr. Parrish:

Mr. Livingston and I compared the London 1865 "Alice" with the Appleton 1866, and found them exactly alike, wordfor word ...

We also compared the Appleton l 866 with the London 1866 and found many differences. Carroll may have been trying to get back to the original text in those corrections. Why not? Only there is no doubt whatever in my mind that the Appleton edition is the London 1865.

Thus the letters continue on the fine points of Carroll bibliography, such as the priority of various imprints of the Lee and Shepard edition of Through the Looking-Glass. And then on November 15, 1926, Parrish eagerly curious writes to say that following the death of Harcourt Amory he had heard the Amory Carroll Collection was about to be sold. Flora knew nothing about the rumored sale, although she did give Parrish the Boston address of Amory's widow. Her November 17, 1926, letter closes with the prophetic comment: "I have wanted to work over it myself, for bibliographical purposes. I think I could make a better book than Mr. Williams."

Two months later she could state, with evident satisfaction, that Mrs. Amory had donated the collection to the Harvard Library. Parrish, who by now was preparing a catalog of his own Carroll collection, requested a list of the items Harvard had just acquired. Before turning to her work on the new Carroll and preparing the list, Fora was struggling with the proofs of her Kipling book in the early weeks of 1927. Her "pet index" to the volume proved to be "the very Devil's own to check." By February 18, the Kipling volume work had been completed, and she could say:

Dear Mr. Parrish:

When will your catalogue be ready to publish? or are you going to publish it? I am having great fun playing with the [Carroll] collection and I am waiting for your book before I get down to working on this, or to know just what I want to do.

More than a year later, having made some considerable progress herself on cataloging the Amory items, she wrote to Parrish on May 28, 1928 that she had heard Parrish's catalog was "one of Bruce Roger's best things" and hoped to see it before she and her sister-in-law departed for a summer in England. There, by the way, the two Harvard librarians hoped to find a publisher for Carroll's juvenile manuscript work The Rectory Umbrella which Florence Milner had prepared for publication. 62 HARVARD LIBRARY BULLETIN

The Livingston Carroll catalog appeared in 1932 with its introductory note by Flora dated January 28, 1932, the centenary of the birth of Lewis Carroll and her only indication of her work's association with that centenary. [Flora's catalog is discussed and compared with Parrish's in Appendix B.] The friendship and collaboration between Morris Parrish and Flora Livingston, which included not only the exchange of bibliographic information but also books (not only duplicates), welcomely given and received by both parties, continued throughout the next two decades. Parrish showed considerable interest in Flora's health and welfare. By the 1940s her eyesight, a problem for many years, had become considerably worse and Parrish wrote in a letter of May 26, 1942:

Dear Mrs. Livingston,

It was very nice indeed to hear from you. You must have been dreadfully upset about your eyes ...

Her salary at the Harvard Library seems to have been paid directly by the Widener family. For example, a letter from George Widener, dated November 28, 1939, discusses his payment of Mrs. Livingston's salary.7 Other correspondence in the Harvard archives shows her close relationship to the Widener family, a fact that may explain the productive independence of her work while she remained at Harvard for so long. THE END

On January 1, 1947, Flora Livingston retired from Harvard. In what is probably her last letter to John Carter, written some time in 1948 though the precise date is illegible, she touchingly responded to his most recent request for assistance:

I am sorry I cannot help you. I never knew who the Swinburn collectora were. Except Butler and John Cladwell nor do I know what became of their books.

I gave up my work at the library over a year ago,after 3 I years of service/Ill health the partial blindness of old age.

Miss Elizabeth Ford has taken my place. I cannot see to read or recognize my friends,

I can hunt and peck on the T., but I cannot read what I have pecked or correct errors.

Please forgive them. I still have music and many happy memories. I shall not forget you

Her successor at Widener, Miss Elizabeth C. Ford, writing to a friend of Mrs. Livingston, says this of her final days: Less than ten days before her death she telephoned me and I found Mrs. Livingston as happy as she had ever been. She was very religious and that evening expressed a couple of beautiful thoughts in religion. Also she remarked that she had expected to be very unhappy when she had to stay in bed, but not so. She was very happy thinking of the books in the Widener Room. She could picture every one in its exact place on the shelf 8

7 Loose letter in Livingston Archive Box, Houghton Ford on Livingston file, Harvard University Archives, Library, Harvard University. UAIII.50.8.r 19.50.5. 8 Elizabeth C. Ford, Livingston Correspondence and FloraV Livingston and the Bibliographyof Lewis Carroll

Flora Livingston died on November 23, 1949. Only Keyes D. Metcalf, Harvard University Librarian, Miss Ford, Flora's only niece, and a few friends attended the brief burial service on November 26 at Cambridge's Mount Auburn Cemetery where Luther Livingston was also buried. 9 At the conclusion of his biographical sketch of Luther Livingston written for the Bibliographical Society of America, George Parker Winship said of him:

He would not begin to write until he knew what he wanted to say. The conse- quence was that when he wrote he expressed himself confidently and readably. The volume on Franklin and the printing press at Passy will long stand as the entirely adequate example of what a bibliographical investigation ought to produce. 10

The same compliment may be paid to the memory of Flora Virginia Milner Livingston and her catalog of the Harcourt Amory Collection of Lewis Carroll at Harvard.

APPENDIXA: THE HARCOURTAMORY LEWIS CARROLL COLLECTION

Harcourt Amory was the first of the great American Carroll collectors. He began purchasing rare Carroll materials, primarily books, but also manuscripts, drawings, juvenilia, letters, and some photographs in 1900-two years after Carroll's death. Born in 1855, Harcourt Amory was graduated from Harvard in 1876. By profession Amory had for many years served as an officer of the family textile firm Lancaster Mills, located in Massachusetts, when in 189 5 he was appointed treasurer of Indian Head Mills in Alabama. At a meeting of Boston's Club of Odd Volumes on April I 8, I 9 I 7, William Allen Smith, president of Smith College, gave a talk on "Lewis Carroll," and Harcourt Amory, who brought to the meeting many of his works by Carroll, also made some remarks. In the Preface to her catalog Flora Livingston quotes from Amory's manuscript text:

I have brought here this evening nearly all my books by "Lewis Carroll" and Charles L. Dodgson, both of course being one and the same person, notwithstanding the disavowal by Mr. Dodgson, in the various letters to the inquisitive questioners, of any connection with "Lewis Carroll." He had a printed form which he often sent out, stating that he acknowledged no connection with books not bearing his name.

The beginning of my collection was the purchase of a first edition of "Alice's Adventures in Wonderland," in order that I might have the best illustrations to help my novice hand in cutting the figures which you see. They were designed to be the characters in a play of "Alice," to be given in a toy theatre for the benefit of my children. The play never came off, for the mechanical complications increased more and more; and my energies were transferred to searching for bibliographical rarities strictly limited to one subject.

A toy theatre was made by me about 1871, and still exists. It was given to the children of my brother Arthur, and later it was returned to my children. No regular plays were performed in it, but considerable amusement was afforded the children in setting scenery, etc.

The Wonderland Theatre was built by a carpenter from my plans, for the purpose of acting a play of"Alice in Wonderland." In 1903, I wrote, in the words of the book, a full play which was ambitious, but any scene might be acted as a single performance.

9 Letter of Elizabeth C. Ford to James F. Drake, March 6, Archive box, Houghton Library, Harvard University. 1950, "Drake, James F./Kipling" file, Livingston IO Winship, 120. HARVARD LIBRARY BULLETIN

The stage, with sufficient scenery for every act, and the lighting are practically ready. As to the details, the writing of the play, the building of the theatre, and assembling the scenery, lighting, properties, and personages, all were a matter of some years. The principal effort was expended in producing the characters. Many of these were animals, but the most important were mythical figures. These figures were known only by Tenniel's remarkable drawings, creatures of imagination when they were created, but now familiar personages to everybody, and wonderfully matching the story, original, almost human, but of a race which was born with the story.

I began with the Duchess. No toy shop afforded a Dodgson and Tennie! Duchess, and the play could not go on without a Duchess. Therefore I took a block of pine wood, and with an ordinary penknife undertook to carve this personage, not knowing how she would turn out. She was certainly lacking Tenniel's fine lines, but I struggled to give a life-like appearance with as much accuracy of expression as possible .... 11

And there, unfortunately, Amory's manuscript ends. Amory was able to purchase some of the rarest Carroll publications, including two copies of the suppressed 1865 first edition of Alice's Adventures in Wonderland. From a ledger-like journal he kept ofhis purchases from 1900-1913,' 2 we know, for example that he bought many of his books through the agency of the Boston book dealer N.J.Bartlett & Co. and some through Anderson's auction house in New York, among others. He also, however, succeeded in directly obtaining original manuscript materials from Carroll's brother Wilfred Dodgson, e.g., Carroll's manuscript instructions for the conduct of his own funeral. 13 In Britain, Sidney Herbert Williams, Sir Harold Hartley of Balliol College, Oxford, Falconer Madan, sometime Bodley's Librarian, and a certain Mrs. Ffooks who had been Carroll's child friend Maud Standen, together with many less singularly obsessed collectors, had been collecting Carrolliana even before Carroll's death, but since none of their collections have survived intact it is difficult to draw any comparisons with Amory's sustained acquisition efforts from Boston. Aside from the holdings of the Dodgson family itself, the sole Carroll collection in private hands continually augmented since the end of the nineteenth century is the Schaefer Collection, begun by David H. Schaefer's mother, Mabel Hutzler, in 1891 at the age of 7. All of the other great early American collections of Lewis Carroll are now in institutional hands. Only Morris L. Parrish, whose Lewis Carroll Collection is now at Princeton University's Firestone Library, significantly overlapped and competed with the collecting efforts of Harcourt Amory. Arthur Houghton was then still a very young man, and Dr. A.S.W. Rosenbach had not yet begun to make his spectacular purchases. The Berg brothers, Warren Weaver, Alfred Berol, and other major American collectors were still to come. 14

11 Flora V. Livingston, The HarcourtAmo,y Collectionof Center at the University of Texas at Austin, and Alfred Lewis Carrollin the HarvardCollege Library. (Cambridge, Bero! bequeathed his extensive Carroll holdings to the Massachusetts: Privately Printed [at the Harvard Fales Library at New York University. The great University Press], 1932), v-vi, viii. collectors of the second half of the twentieth century 12 "Catalog of books etc. by Charles Lutwidge Dodgson include the late Joseph A. Brabant of Toronto, who 'Lewis Carroll' bought by Harcourt Amory, 1903-08" left his collection to the Thomas Fisher Rare Book in the Houghton Library: 21472.190.rn*. Library at the University of Toronto, Dr. Sandor G. 13 "Catalog of books, etc." 90. Burstein of San Francisco, the late Stan Marx of 14 The Berg brothers left their collection to the New Roslyn, New York, Charles C. Lovett of North York Public Library. Warren Weaver sold his Carolina, and Jon Lindseth of Cleveland, Ohio. collection to the Harry Ransom Humanities Research FloraV Livingston and the Bibliographyif Lewis Carroll

Following Harcourt Amory's death in Boston on November 27, 1925, his family decided to present his Lewis Carroll Collection to the Harvard College Library as a memorial to him. The books fittingly are affixed with a bookplate depicting many of those same fantastic Wonderland characters that first interested Harcourt Amory. The donation was made in the second week of January, 1927, and Mrs. Livingston eagerly turned her attention to producing a catalog, as described above.

Sidney L. Smith's draft of the Harcourt Amory bookpate in the Houghton Library (6ms Eng 718.16) 66 HARVARD LIBRARY BULLETIN

APPENDIX B: FLORA LIVINGSTON'S CATALOG OF THE AMORY COLLECTION IN THE CONTEXT OF CARROLL BIBLIOGRAPHY

Lewis Carroll bibliography begins with a list of titles appended to the first biography of Carroll. In the tradition of Victorian biography and at the insistence of Carroll's brothers and sisters, Carroll's nephew Stuart Dodgson Collingwood rapidly compiled an official family biography of his famous uncle (entitled The Life and Letters ofLewis CarrolQ,which was published in December 1898 (Preface signed September 1898) less than a year after Carroll's death. The Collingwood "bibliography" is actually simply a list of 128 titles chronologically arranged without any other bibliographic data. But since Collingwood was the first author to have access to the Dodgson family's collection of Carroll's publications, for some of which this list is the only known reference, his list like much else in the biography is the necessary starting point even though in the discrimination of details it is superseded by later special studies. Except for auction and sale catalogs, beginning with the sale of Carroll's personal library shortly after his death, no bibliographic work appeared until the 1920s. Two major printed catalogs appeared in that decade, preceding publication of Flora Livingston's catalog. Sidney Herbert Williams, barrister-at-law of the Inner Temple and biblio- phile, published his seminal volume A Bibliographyof the Writings ofLewis Carroll Charles Lutwidge Dodgson, M.A. (London: Bookman's Journal 1924). Williams' bibliography was itself preceded by his book, Some Rare Carrolliana(1924) issued in an edition of seventy-nine copies, which includes, inter alia, letters by Carroll to Miss Mary Watson-one of Carroll's former child friends. Williams' bibliography was revised in 193 l with very significant help from Falconer Madan and became The Lewis Carroll Handbook, which, for better or worse, became the standard reference work for Carroll collectors, bibliographers, and scholars. In spite of Flora's replies to their questions, Williams and Madan repeatedly misspell her name in the Handbook. And in 1928, the Philadelphia stockbroker Morris Longstreth Parrish issued a beautiful privately printed catalog of his Carroll holdings, A List of the Writings of Lewis Carroll(Charles L. Dodgson)in the Libraryat Dormy House, Pine Valley, New Jersey,in an edition of sixty-six numbered copies. The Parrish catalog is in some ways more descriptive than the Livingston work. It was compiled for Morris L. Parrish by Bertha Coolidge, a bibliographer who is unacknowledged in the book. 15 Livingston's catalog, of course, to some degree built upon bibliographic records that had been made by Harcourt Amory himself Beginning in 1900, Harcourt Amory kept two records of his Carroll collecting activities: a ledger listing the item purchased, a brief bibliographical description, the price paid, and the name of the person from whom or through whom he made the purchase; and a "catalogue" with fuller bibliographic detail organized by title or item but lacking the information on seller and price paid. Further records must also exist in the Amory Collection archive at the Houghton Library because William Bond quotes such documents in his work on Tenniel's Alice. 16 In her bibliography, Livingston vastly expands and improves on Amory's entries for the major works

15 Dr. Alexander D. Wainwright, personal correspon- Tennie/ for Alice's Adventures in Wonderland and Through dence, March 17, 1998. the Looking-Glass. (Cambridge: Harvard University 16 William H. Bond, Tenniel's Alice: Drawings by Sir John Library, 1978), IO. FloraV. Livingston and the Bibliographyof Lewis Carroll by Carroll, but related titles, such as the books Amory had obtained from the sale of Carroll's library, she simply repeats his brief entries verbatim since they held no bibliographic interest for her beyond their association value. Why, however, did Flora Livingston publish her catalog in only sixty-five unnumbered copies? The Parrish catalog had been issued in sixty-six copies, so this is clearly one less and therefore just that much more rare. Or perhaps it is because of the 1865 Alice, two of them, in the Amory collection. Or perhaps because Lewis Carroll died in his 65th year. And a further question might be whether there was any difference between the 50 copies offered for sale and the other 15. In any event, the book was privately printed by Bruce Rogers at the Harvard University Press in an edition every bit as fine as Parrish's. (In the official register of the books of the Harvard University Press there is no listing for Livingston's Carroll bibliography.) A price of $3 5 was listed in an initial leaflet, but the copy in the collection of Dr. Sandor G. Burstein of San Francisco has a brochure inserted with the price reduced to $ro.oo. 17 The brochure specifies that, although Mrs. Livingston primarily had made an annotated catalog of the Amory Collection, her catalog includes "a few books from the Harry Elkins Widener Collection, copies of which Mr. Amory did not have, one book from the Amy Lowell Collection, and a few late editions from the Harvard College Library." Two important bibliographies followed in the 1930s. The Columbia University Centenary Exhibition Catalogwas, of course, prepared for the exhibition there to which the real Alice, Mrs. Alice Pleasance Liddell Hargreaves, came in 1932 when she was awarded an honorary degree by Columbia. The name of the compiler is not listed, though Professor J.E. Zanetti, chairman of the Lewis Carroll Centenary Committee at Columbia, and the Columbia University librarian, Roger Howson were most likely responsible for it, based on their correspondence with Morris Parrish. A run of fifteen hundred copies was printed with ninety- five numbered copies bound in cloth and the remainder in paper wrappers. The London Lewis CarrollCentenary Exhibition Cataloguewas prepared under the direction of Falconer Madan, and published on June 28, 1932. Parrish and Livingston both supplied Madan with information. In order to appreciate Livingston's contribution with its full, commonsense- based, and interesting descriptions, it may be best to compare several entries from her catalog with those from Harcourt Amory's manuscript catalog, the Williams bibliography, the Parrish bibliography, the Columbia Exhibition Catalog and the London Centenary Exhibition Catalogue. For that comparison, let us focus on the 1866 Appleton Alice, the l 869 Lee and Shepard Alice, and the very late Carroll work Three Sunsets, 1898. Sample entries: The Appleton Alice

Amory manuscript catalog:

Alice's Adventures in Wonderland, by Lewis Carroll. New York, D. Appleton & Co. 1866. With forty-six illustrations by John Tenniel. Post 8vo. cloth, gilt, gilt edges. First American edition, (wrapper addressed "G.M. Williamson" and pasted inside cover), presentation inscription "from Mrs. A.L. Tyler." "This edition is identical in every respect with the 1865 London (Oxford printed) edition,

17 Dr. Sandor G. Burstein, personal correspondence, January 3, 1998. 68 HARVARD LIBRARY BULLETIN

title, pagination etc, with the exception that the publisher's name has been changed and 'The Right of translation is reserved' is omitted from the title." Williamson sale. Catalogue No. 150. The note is from catalogue.

Parrish: 1866

ALICE'S I ADVENTURES IN WONDERLAND. /By/ Lewis Carroll. / With Forty-two illustrations / By / John Tenniel. / New York / D. Appleton and Co., 445, Broadway./ 1866.

First American edition.

Collation: pp. [i] half-title; [ii-iii], blank; [iv], frontispiece; [v], title; [vi], blank; [vii-ix], verses; [x], blank; [xi], contents; [xii], blank; [ 1]-192, text. Original red cloth, lettered and decorated in gold, dark green end-papers, gilt edges.

This edition consists of the 2,000 copies printed at the Oxford Press for the 186 5 edition, the printing of which was considered unsatisfactory by the Author, and was rejected. The whole issue was then sold by Macmillan to Appleton and bound by Burn, with a new title-page, and with Appleton's name on the spine. (Parrish, pp. 3, 6)

Williams:

ALICE'S ADVENTURES IN WONDERLAND: 1866 (Second [American] issue of the First Edition)

/ Alice's / Adventures in Wonderland. /By/ Lewis Carroll. / With Forty-two illustrations / By / John Tenniel. / New York / D. Appleton and Co., 445, Broadway. / 1866. /

Collation: 8vo. (7 1 /2" x 5"); pp. [xii]+192, consisting ofp. [i], Half title:/ Alice's / Adventures in Wonderland./; p. [ii], blank; p. [iii], blank, [iv], Frontispiece; p. [v], Title as above; p. [vi], blank; p. [vii], Two fine lines, two verses; p. [viii], Three verses; p. [ix], Two verses; p. [x], blank; p. [xi], Contents; p. [xii], blank; pp. [ 1]-192, Text. Page 190 has two fine lines over text. At the bottom of p. 192 is "The End." Pp. [15], [29], [41], [59], [76], [95], [112], [130], [147], [162], and [ 176] of the Text are unnumbered. Dark green end papers. Signatures same as in the first issue, the title page and its verso being a cancel leaf

Issued in red cloth. Gold lettering on back under three gold lines / Alice's / Adventures / in/ Wonderland. / [ornamental device];at bottom is / Appleton/ over three gold lines. Front cover, three gold lines around border, and three circular lines in centre, containing picture of Alice holding the Pig. The back cover is the same, except that the central figure is the Cheshire Cat. All edges gilt.(Williams, p. 8-9)

Livingston:

Alice's / Adventures in Wonderland. / By / Lewis Carroll. I With Forty-two illustrations / By / John Tenniel. / New York / D. Appleton and Co., 445, Broadway. / 1866. Flora V.Livingston and the Bibliographyof Lewis Carroll

Octavo. Collation: 6 leaves, pp. 192.-Fore-title with verso blank, frontispiece, title with verso blank, 3 leaves; poem, contents, 3 leaves; text, pp. 1-192.

The sheets of the English edition, 1865, with the new title-page pasted on the stub of the English title-page, bound in red cloth, with the same decorations and lettering as on the English edition, except "Appleton & Co." on the spine. One copy has been reported with "Macmillan & Co." on the spine and the "Appleton" title-page. Gilt edges, dark green end-papers.

Two forms of the title-page have been noted. Two settings of the type would save press work. One form has the first "by" above and to left of "C" in "Carroll"; the second "by" is almost directly above 'T" in "Tenniel." In the date, "66" is below and to the left of "Co."

The second form has the first "by" directly over "C" in "Carroll"; the second "by" is above and to the right of "T" in "Tenniel"; and the date "66" is below and to the right of "Co." Both varieties are in the collection.

In the English edition, 1865, and the Appleton edition, the parallel lines above the first line of text on p. 7, fourth leaf, are three-fourths of an inch long, reaching from "t" in "the" to "t" in "afternoon." In the English edition, 1866, these lines are one inch long and reach from "e" in "the" to "n" in "afternoon." (Livingston, 12-13)

Columbia University Catalog:

Alice's Adventures in Wonderland By Lewis Carroll With Forty-two Illustrations by John Tenniel New York D. Appleton and Co., 445 Broadway 1866 (P[arrish Collection])

First American edition.

When the 1865 edition was ordered suppressed, Messrs Macmillan and Company found themselves with nearly 2,000 copies of the book, mostly in sheets, on their hands. These sheets were bought by Messrs. D. Appleton and Company of New York, who removed the Macmillan title-page, tipped in their own, had the sheets bound in London and sold the edition in America. This edition is therefore identical with the 1865 in all respects except the title-page. Unlike other editions, the edition does not carry the name of the printer on the back of the title page. (Columbia, p. 6)

London Exhibition Catalogue:

Alice's Adventures, 1866.

The second issue of the first edition of Alice's Adventures bears the imprint of Messrs. D. Appleton and Co., New York, and is a reissue of the sheets of the first issue, with the substitution of two new first leaves (half-title, and title). Very rare in England. The variation in the American half-title and title are that the former now divides as ALICE'S I ADVENTURES IN WONDERLAND/; not, as in 1865 ALICE'S I ADVENTURES IN/ WONDERLAND/, and the latter bears a different imprint, and omits the note about right of translation. Of both leaves the 70 HARVARD LIBRARY BULLETIN

second page is blank, and the Handbookhas to be correct on p. 17. The collation is: 8°: pp. [ 12] + 192, signn. [a4, including frontispiece), b2, B-N 8. (London, 4)

Livingston was the first to understand the reason for the two settings of the type for the Appleton Alice title page. Her suggestion, however, was ignored by Flodden Heron in his often cited article "The 1866 Alice" in which he argues that the "twin" with the "by" directly above the "T" in "Tenniel" has the precedence by birth. 18 Since Heron's article follows the view that there were two distinct issues of the Appleton Alice, first promulgated in Madan' s Supplement to the 19 3 5 edition of the Handbook cifthe Literatureof C.L. Dodgson and since its publication in The Colophonwas far more widely disseminated than Livingston's bibliography, Heron's and Maddan's view was often accepted until 1956. In that year William H. Bond, in his article "The Publication of Alice's Adventures in Wonderland," credits Livingston with the discovery of the dual impression:

Next we come to the division of the Appleton issue into r ,ooo copies with one title page and "900 or more" with another and later title-page. The division and its underlying assumption were made by Falconer Madan in his Supplement to the Dodgson Handbook. He took the Oxford ledger entry and performed a simple subtraction. But no one has ever shown a later ledger entry for printing "900 or more" additional titles, though they must have originated in the same shop; and there is no evidence of such a two-installment sale to Appleton. In fact, Dodgson's own chronology of Alice says, "Heard of chance of selling Oxford 2000 in America and got Tenniel's consent, April 9, 1866."

When the two variant Appleton titles are compared with each other and with the r 865 title in Dr. Hinman's machine, it is apparent that contrary to previous argument the cancels are closer to each other than either is to the I 86 5. A likely explanation, once suggested by Mrs. Livingston in her catalogue of the Amory Collection, but more recently ignored in favor of Heron's theory, is that the Oxford University Press set up the cancel page in duplicate, just as it had earlier set up the two-leaf preliminary gathering, one thousand impressions (wrongly recorded in the ledger as one thousand copies) of this combined form would supply titles for the whole edition. There is probably no question of precedence between the two variants. 19

18 Flodden W. Heron, "The 1866 Appleton Alice," The Adventures in Wonderland,"' Harvard Library Bulletin Colophon 1, N.S. 3 (1936): 422-27. 10, no. 3. (1956): 9-10. 19 William H. Bond, "The Publication of Alice's FloraV Livingston and the Bibliographyof Lewis Carroll 71

Lee and Shepard Alice

Amory manuscript catalog:

There is no entry for this item in either catalog or ledger book so the Lee and Shepard editions, rather surprisingly, must have been purchased after 1909.

Parrish:

ALICE'S I ADVENTURES IN WONDERLAND. /By/ Lewis Carroll. / With Forty-two Illustrations/ By/ John Tennie!. / Boston: / Lee and Shepard, / 199 Washington Street. / 1869.

Second American edition?

Collation: pp. [i], half-title; [ii-iii], blank; [iv], frontispiece; [v], title; [vi], imprint, Cambridge: Press of John Wilson and Son; [ 1]-192, text. Original rough orange cloth, lettered and decorated in gold, brown end-papers, gilt edges. (Parrish, 6)

Williams:

The 1924 first edition of Williams' A Bibliographyof the Writings of Lewis Carroll contains no entry for the 1869 Lee and Shepard edition nor does the Supplement to Williams and Madan' s 193 5 edition of the Handbook of the Literatureof the Rev. C.L. Dodgson. Indeed, ignorance of the early American editions, a lack of under- standing of their relationship to the English editions, and the details of the Tennie! and non-Tennie! illustrated Alices published in the United States are conspicuous failings of the first Handbook and even in its several successive revi- sions down to the Denis Crutch edition of 1979.

Livingston:

ALICE'S I ADVENTURES IN WONDERLAND. /By/ Lewis Carroll. / With forty-two Illustrations / By / John Tennie!. / Boston: / Lee and Shepard / 149, Washington Street.lI869.

Octavo. Collation: 6 leaves, pp. 192, leaf with Works by Lewis Carroll.

Issued in maroon or green cloth, ornamented and lettered as the English edition. (Livingston, p. 17)

Columbia University Catalog:

Alice's Adventures in Wonderland By Lewis Carroll With Forty-two Illustrations by John Tennie! Boston Lee and Sheppard, 199 Washington St. 1869

First edition printed in America.

London Exhibition Catalogue:

No entry for Lee and Shepard. 72 HARVARD LIBRARY BULLETIN

Three Sunsets

Amory manuscript catalog:

Three Sunsets and other poems by Lewis Carroll with twelve Fairy Fancies by E. Gertrude Thomson. London Macmillan and Co. Limited. New York: The Macmillan Company. 1898.

Preface dated Jan. 1898.

Williams:

THREE SUNSETS AND OTHER POEMS: 1898 (First Edition)

/ Three Sunsets / and other Poems I by / Lewis Carroll / with twelve Fairy fancies / by E. Gertrude Thomson I Price four shillings net / London / Macmillan and Co., Limited/ New York: The Macmillan Company/ 1898 / All rights reserved/

Collation: 8vo. (8 'ho" x 6 '/2"); pp. xii+69+3 of Advertisements, consisting of p. [i], Half title: / Three sunsets / and other Poems /; p. [ii], blank; p. [iii], blank; p. [iv], Frontispiece; p. [v], Title as above; p. [vi], Imprint: / Richard Clay and Sons, Limited,/ London and Bungay./; p. [vii], Preface, with date at bottom left-hand corner.Jan, "1898." [a thin line];p. [viii], blank; p. [ix], Contents [a thin line]; p. [x], List of illustrations [a thin line]; p. [xii], blank,; pp.1-[68], Text; p. [69], blank, except for the words / ["Turn over" / at bottom of the right-hand corner. P. 1 has Macmillan's Advertisement of Lewis Carroll's Works; p. 2 Advertisements continued; p. [3] blank. Pp. [7], [14]. [22]. [28], [33], [41], [47], [52], [58], [62], [66] and [68] of the Text are unnumbered. White end papers. Issued in light green cloth. The front cover has a single gold line around the border, and within the border, all in gold, is I Three sunsets/ [device]I and other / poems / [device] / [largecircular picture of a sleepingfairy] I By I Lewis Carroll I. The back is blank, and the back cover is plain except for a picture of the setting sun surrounded by two circular wavy lines in the centre in gold. All edges gilt. [Author's Coll.] "A Lesson in Latin," on page 63 of Three Sunsets, was first published in The ]abbenvock--aschool girls' magazine issued by the Girl's Latin School, Boston, in 1888.

[Williams, 83] Parrish:

THREE SUNSETS / And Other Poems I by / Lewis Carroll / With Twelve Fairy-Fancies / By / E. Gertrude Thomson I Price Four Shillings Net / London/ Macmillan and Co., Limited/ New York: The Macmillan Company / 1898 / All Rights Reserved /

First edition. FloraV Livingston and the Bibliographyef Lewis Carroll 73

Collation: pp. [i), half title;. [ii-iii), blank; p. [iv), frontispiece; p. [v), title; p. [vi), imprint: /Richard Clay and Sons, Limited, London and Bungay.; p. [vii), preface; p. [viii), blank; p. [ix], contents; p. [x], blank; [xi], list of illustrations; p. [xii), blank,; pp.1-[68), text; p. [69], "Turn Over"; [70-71), advertisement of works by Lewis Carroll; [72] blank. Original green cloth, lettered and decorated in gold, white end-papers, gilt edges.

Many of the poems are reprints from "Phantasmagoria." "Puck Lost and Found", dated Nov. 22, 1891, and Nov. 25, 1891, being never printed before. [Parrish, 57]

Livingston:

Three Sunsets/ and Other Poems/ By/ Lewis Carroll/ with Twelve Fairy-Fancies I by IE. Gertrude Thomson/ Price Four Shillings Net/ London/ Macmillan and Co., Limited/ New York: The Macmillan Company I 1898 I

Square octavo. Collation: six leaves, pp. 68, 2 leaves.-Foretitle, frontispiece, title with imprint on verso, preface dated "Jan. 1898," contents, list of illustration, 6 leaves; text, including the illustrations, pp. 1-68; Works by Lewis Carroll, 2 leaves.

Issued in sage green cloth, gilt edges, the front and back covers lettered and ornamented in gold.

CONTENTS

Three Sunsets. (Phantasmagoria, 1869.) The Path of Roses. (The Train, 1856.) The Valley of the Shadow of Death. (Phantasmagoria, 1869.) Solitude (The Train, 1856.) Far Away. (Sylvie and Bruno.) Beatrice. (College Rhymes, 1863.) Stolen Waters. (College Rhymes, 1862.) The Willow Tree. (Phantasmagoria, 1869, Stanzas for Music.) Only a Woman's Hair. (College Rhymes, 1863.) The Sailor's Wife. (The Train, 1856.) After Three Days. (Phantasmagoria, 1869.) Faces in the Fire. (All the Year Round, Feb. 1860.) A Lesson in Latin. (The Jabberwock, Boston, 1888.) Puck Lost and Found. A Song of Love. (Sylvie and Bruno.) (Livingston, 87)

Livingston's is the only entry to give a complete account of sources for the poems.

Columbia University Catalog:

Three Sunsets and Other Poems By Lewis Carroll With Twelve Fairy Fancies by E. Gertrude Thomson Price Four Shillings net London Macmillan and Co., Limited New York The Macmillan Company 1898 All rights reserved (P[arrish Collection]) 74 HARVARD LIBRARY BULLETIN

First edition.

London Exhibition Catalogue:

Three Sunsets and other Poems by Lewis Carroll, with twelve fairy fancies by E. Gertrude Thomson. (London: Macmillan and Co.)

Nearly the whole of this volume is a reprint of all but two of the serious poems in Phantasmagoria, with five added, three being reprints. The illustrations seem to have no relation to the text, but were admired by Dodgson. (London Catalog, p. 42)

Finally, it should be noted that the Livingston catalog contains, as had the Parrish, a number of previously unpublished Carroll items.

APPENDIX C: SELECT BIBLIOGRAPHY OF FLORA V. LIVINGSTON

"Bibliography of the separate publications of Luther S. Livingston." Papersof the BibliographicalSociety of America. 8, nos. 3-4 (1914): 121-134.

William Francis Prideaux. A bibliographyof the works of Robert Louis Stevenson. A new and revised edition, edited and supplemented by Mrs. Luther S. Livingston. London: F. Hollings, 1917. viii, 400, [1] p.

Swinburne'sproof sheetsand Americanfirst editions. Bibliographicaldata relatingto afew of the publicationsof Algernon Charles Swinburne, with notes on the priority of certain claimantsto the distinctionof "editioprinceps." Cambridge, Mass.: Privately printed [Cosmos Press], 1920. 30, [2] p.

Robert Louis Stevenson. Confessionsof a unionist; an unpublished 'talk on things current' by Robert Louis Stevenson;written in the year 1888 and equallypertinent to events at the opening of the Belfast parliament. Prefatory note signed F.L. L.[ivingston]. Cambridge, Mass.: 1921, privately printed. 19, [1] p.

"Bibliography of the works ofF. Locker-Lampson." Bookman's]ournal. IO, no. 32 (May 1924) 46-47; no. 33 (June 1924) 97; no 34 (uly 1924) 145-46; no. 35 (Aug. 1924) 175-77; no. 36 (Sept. 1924) 2n-12.

Rudyard Kipling. "After." A false start. [A facsimile of the original draft of the first three stanzas of the poem afterwards published as "Recessional." With an introductory note by F.V. Livingston. Cambridge, Mass.: 1924, G.P. Winship. [7] p.

Bibliographyof the works of Rudyard Kipling. New York: E.H. Wells and company, 1927. xviii, 523 p.

"A footnote to bibliography" The Colophon. 7, no. 4 (1931) [4 p.]

The Harcourt Amory Collection of Lewis Carroll in the Harvard College Library. Cambridge, Mass: Privately printed [Harvard University Press], 1932. ix, 190, [10]p.

Charles Dickens. Charles Dickens's letters to Charles Lever, edited by Flora V. Livingston, with an introduction by Hyder E. Rollins. Cambridge: Harvard University Press, 1933. xvii, 65 p. Flora V.Livingston and the Bibliographyof Lewis Carroll 75

Supplement to the Bibliography of the works of Rudyard Kipling (1927) by Flora V. Livingston. Cambridge: Harvard University Press, 1938. xv, 333 p.

"Lewis Carroll." In Cambridge Bibliography of English Literature. Edited by F.W. Bateson. Vol. III. New York: Macmillan Company, 1941. p. 513-516.

"Rudyard Kipling" In CambridgeBibliography ef English Literature.Edited by F. W. Bateson. Vol. III. New York: Macmillan Company, 1941. p. 527-534.

Milton portraits in the Harvard College Library compared with the Grolier Club Catalogue. n.d. [129] ff

LIVINGSTON REPRINT SERIES

Benjamin Franklin's Parableagainst persecution, with an accountef the early editions by Luther S. Livingston. Cambridge: The Montague Press, 1916. 31, [1] p.

Benjamin Franklin's Dialogue with the gout, with an accountof thefirst edtions by Luther S. Livingston. Cambridge: C.P. Rollins, 1917. 13, 16 p. 1 1. [2] p.

Benjamin Franklin's Story ef the whistle, with an introductory note by Luther S. Livingston, and a bibliographyto 1820. Cambridge: Harvard University Press, 1922. IO p., reprint (8 p.) [19-34].

Benjamin Franklin's Letters to Madame Helvetius and Madame La Freteo, with an explanatory note by Luther S. Livingston. Cambridge: Harvard University Press, 1924. [30] p.

NOTES

I would like to thank the following individuals who read previous versions of this essay or supplied material for it: Dr. Sandor G. Burstein, Kenneth E. Carpenter, Dr. Selwyn H. Goodacre, Clare R. Imholtz, Charles C. Lovett, Virginia Smyers, and Dr. Alexander D. Wainwright.