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An American “Bookbuilder” AN AMERICAN “BOOKBUILDER”: AN EXAMINATION OF LOYD HABERLY AND THE TRANSATLANTIC ARTS AND CRAFTS MOVEMENT Presented to the Faculty of the Honors Tutorial College Ohio University In partial fulfillment of the requirement for the degree of the Bachelor of the Arts By Cassandra Machenheimer Athens, Ohio 26 April 2019 i Table of Contents Abstract………………………………………………………………………………………….iii Acknowledgements…………………………………………………………………………...…iv List of Illustrations……………………………………………………………………………….v Introduction: The Transatlantic Arts and Crafts Movement…………………………………1 The British Arts and Crafts Movement……………………………………………………………2 The American Arts and Crafts Movement………………………………………………………...6 The Arts and Crafts Influence in a Modernist and Post-Modernist World………………………..8 An American “Bookbuilder”…………………………………………………………………….11 Chapter 1: Loyd Haberly and the Seven Acres Press………………………………………...15 Miss Agatha Walker, Mrs. Lucie Durnford, and Seven Acres…………………………………..20 Meeting Emery Walker…………………………………………………………………………..22 Books of Seven Acres Press……………………………………………………………………..24 Poems (1930)…………………………………………………………………………………….24 The Copper Colored Cupid (1931)………………………………………………………………29 The Antiquary (1933)……………………………………………………………………………31 Chapter 2: Gregynog Press and Stoney Down Press………………………………………....36 ii The Davies Sisters………………………………………………………………………………..36 Loyd Haberly and the Gregynog Press…………………………………………………………..41 Anne Boleyn and Other Poems (1934)…………………………………………………………..45 Stoney Down Press (Return to Seven Acres)……………………………………………………48 The Crowning Year and Other Poems (1937)…………………………………………………...49 Chapter 3: Loyd Haberly and the American Arts and Crafts Movement………………….53 Loyd Haberly, American Scholar………………………………………………………………..58 American Books…………………………………………………………………………………59 The City of the Sainted King, and Other Poems (1941)…………………………………………62 Again, and Other Poems (1953)………………………………………………………………….65 Conclusion…………………………………………...………………………………………….69 Glossary…………………………………………………………………………………………76 Works Cited……………………………………………………………………………………..79 iii Abstract My project examines the work of Loyd Haberly (1896-1981), a self-styled “bookbuilder” who hand printed and illustrated over 30 books in the UK and US in the first half of the 20th century. This thesis examines Haberly’s works in order to trace the influence of Britain’s Arts and Crafts movement on this American artist. By extension, it studies the impact in the US of both the Arts and Crafts aesthetic and the hand-press revival and considers their relevance to artistic movements that followed. iv Acknowledgments Dr. Nicole Reynolds, Ohio University Dr. Joseph McLaughlin, Ohio University Dr. Miriam Intrator, Ohio University Ms. Eleanor Friedl, Fairleigh Dickinson University Mr. Brian Shetler, Drew University Cary Frith, Honors Tutorial College, Ohio University Kathy White, Honors Tutorial College, Ohio University Margie Huber, Honors Tutorial College, Ohio University v List of Illustrations Figure 1 – William Morris, Strawberry Thief, 1883, printed textile. (Identification from Linda Parry, William Morris Textiles, New York, Viking Press, 1983). Figure 2 – Edward Burne-Jones, The Beguiling of Merlin, 1872-7, oil on canvas, 186 x 111cm. Figure 3 – A look at the “Chaucer Type.” Geoffrey Chaucer and Edward Coley Burne- Jones, The Works of Geoffrey Chaucer. A Facsimile of the William Morris Kelmscott Chaucer, with the Original 87 Illus. by Edward Burne-Jones, Together with an Introd. by John T. Winterich and a Glossary for the Modern Reader. World Pub. Co., 1958. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 4 – A page from a facsimile of the Kelmscott Chaucer. Geoffrey Chaucer and Edward Coley Burne-Jones. The Works of Geoffrey Chaucer. A Facsimile of the William Morris Kelmscott Chaucer, with the Original 87 Illus. by Edward Burne-Jones, Together with an Introd. by John T. Winterich and a Glossary for the Modern Reader. World Pub. Co., 1958. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 5 – A “block for colophon of the Chaucer,” sent to Haberly by Emery Walker. Loyd Haberly. Florham History Materials: Archival Box. Loyd Haberly and Others, 1917-1976. Courtesy of Fairleigh Dickinson University Libraries. Figure 6 – The front cover of Poems. Loyd Haberly. Poems. Seven Acres Press, 1930. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 7 – The back cover of Poems. Loyd Haberly. Poems. Seven Acres Press, 1930. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. vi Figure 8 – A page from Poems. Loyd Haberly. Poems. Seven Acres Press, 1930. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 9 – A copy of Poems. Loyd Haberly. Poems. Seven Acres Press, 1930. Courtesy of Drew University Libraries. Figure 10 – A picture of Virginia Haberly’s stamp. Loyd Haberly. Poems. Seven Acres Press, 1930. Courtesy of Drew University Libraries. Figure 11 – A page from a copy of The Copper Colored Cupid. Loyd Haberly. The Copper Coloured Cupid, or, The Cutting of the Cake. Seven Acres Press, 1931. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 12 – A copy of The Copper Coloured Cupid. Loyd Haberly. The Copper Coloured Cupid, or, The Cutting of the Cake. Seven Acres Press, 1931. Courtesy of Fairleigh Dickinson University Libraries. Figure 13 – A woodcut illustration in a copy of The Antiquary. Loyd Haberly. The Antiquary: A Poem Written in Waterperry Church and Decorated With Designs From the Glass of Its Ancient Windows. Seven Acres Press, 1933. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 14 – A copy of The Antiquary. Loyd Haberly. The Antiquary: A Poem Written in Waterperry Church and Decorated With Designs From the Glass of Its Ancient Windows. Seven Acres Press, 1933. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. vii Figure 15 – A copy of The Antiquary. Loyd Haberly. The Antiquary: A Poem Written in Waterperry Church and Decorated With Designs From the Glass of Its Ancient Windows. Seven Acres Press, 1933. Courtesy of Fairleigh Dickinson University Libraries. Figure 16 – A copy of Anne Boleyn and Other Poems. Loyd Haberly. Anne Boleyn and Other Poems. Gregynog Press, 1934. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 17 – An image of the G.G. monogram designed by Haberly in Anne Boleyn and Other Poems. Loyd Haberly. Anne Boleyn and Other Poems. Gregynog Press, 1934. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 18 – A copy of The Crowning Year and Other Poems. Loyd Haberly. The Crowning Year and Other Poems. Stoney Down Press, 1937. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 19 – A page of The Crowning Year and Other Poems. Loyd Haberly. The Crowning Year and Other Poems. Stoney Down Press, 1937. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 20 – The title page of The Crowning Year and Other Poems. Loyd Haberly. The Crowning Year and Other Poems. Stoney Down Press, 1937. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. Figure 21 – The inscription in The Crowning Year and Other Poems. Loyd Haberly. The Crowning Year and Other Poems. Stoney Down Press, 1937. Courtesy of Ohio University Archives, Mahn Center for Archives and Special Collections. viii Figure 22 – John Ruskin, Roycroft edition of This Then is Sesame & Lilies, East Aurora, New York, 1897. Original quarter white cloth and gilt-lettered tan paper boards. Illumined by Fannie Stiles. Figure 23 – Elbert Hubbard, Get Our or Get in Line, East Aurora, New York, 1902. Title Page by Dard Hunter. Figure 24 – A photograph of Loyd Haberly’s Stansbury Press in the lobby of the Monninger Center at Fairleigh Dickinson’s Florham Campus. Courtesy of Fairleigh Dickinson University Libraries. Figure 25 – The title page of The City of the Sainted King. Loyd Haberly. The City of the Sainted King. The Haberly Press, 1941. Courtesy of Fairleigh Dickinson University Libraries. Figure 26 – The dedication page from The City of the Sainted King. Loyd Haberly. The City of the Sainted King. The Haberly Press, 1941. Courtesy of Fairleigh Dickinson University Libraries. Figure 27 – The cover of The City of the Sainted King. Loyd Haberly. The City of the Sainted King. The Haberly Press, 1941. Courtesy of Fairleigh Dickinson University Libraries. Figure 28 – The cover of The City of the Sainted King. Loyd Haberly. The City of the Sainted King. The Haberly Press, 1941. Courtesy of Fairleigh Dickinson University Libraries. Figure 29 – The title page of Again, and Other Poems. Loyd Haberly. Again and Other Poems. Fairleigh Dickinson University, 1953. Courtesy of Fairleigh Dickinson University Libraries. Figure 30 – Page 2 of Again, and Other Poems. Loyd Haberly. Again and Other Poems. Fairleigh Dickinson University, 1953. Courtesy of Fairleigh Dickinson University Libraries. ix Figure 31 – A close up of ornamentation from Again, and Other Poems. Loyd Haberly. Again and Other Poems. Fairleigh Dickinson University, 1953. Courtesy of Fairleigh Dickinson University Libraries. 1 Introduction: The Transatlantic Arts and Crafts Movement Loyd Haberly’s (1896-1981) works exemplify the legacy of the
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