Monday, October 22, 2012

grain seller is expert in book plates














(Subtitle: H. A. Fowler, Who Sells Grain in Business Hours, is an Expert in This
Branch of Booklover's Lore)


     WHEN you hear the word "collector," you probably think at once on stamps, then possibly of coins or birds' eggs. Next, if you are a highbrow, Chinese armor or miniatures may suggest themselves; or, if a lowbrow, even cigerette coupons. The fact comes home that the glorious army of collectors may be expanded to include everyone struck with the mania whether it be expressed in Rembrandts or---well, autographs.

     The present subject is that of book plates, and the merest chance develops the fact that in a young Kansas Citian, H. Alfred Fowler of 3 East Armour Boulevard, we have not only an enthusiastic collector of book plates but the editor of the only publication devoted to the subject in the English language. Mr. Fowler makes it quite clear that he is not a publisher by vocation, so to speak. His business is that of grain, he says, and book plates and things about book plates are simply a hobby---and a very fascinating hobby it proves to be.

      In 1911 Mr. Fowler edited his first book plate publication. This was in the form of an attractive pamphlet which he called the Book Plate Booklet, consisting of about thirty pages of contributions on the subject, various interesting examples of the art, articles on the work of celebrated engravers of book plates and the statement that the booklet was "an occasional magazine devoted to book plates--news of the book plate world." Mr. Fowler's subscribers were naturally limited in number. He seems however, to have awakened the interest of certain widely scattered bibliophiles with the result that the collectors of book plates in distant corners of the English speaking world have subsequently organized the American Book Plate Society, of which Mr. Fowler is a charter member. The headquarters of this society are in Cambridge, England---Trinity College, to be exact-- but Mr. Fowler's magazine, which, in its forthcoming form will be known as the Miscellany, continues as its mouthpiece.

       The Book Plate Booklet was published in four numbers, appearing in March, May, September, and December of 1911. Among other interesting features of the March number was a reproduction of the book plate of Maxim Gorky, the Russian novelist. As described, the plate, which was the work of Ephraim Moses Lilien, represents "an uncouth half-savage Muscovite peasant standing on an open book inhaling the rising, pure air of freedom. Against his knee he breaks the knout that so long kept him the slave of the tyrant. In the distance is the Kremlin, from which two ravens---birds of dark and evil omens---fly outward through Russia's black atmosphere."***It is difficult to conceive a drawing more completely in harmony with Gorky's style and Gorky's views. In the last number of the booklet the editor announced its expanision into a more ambitious publication. This materialized in the appearance in 1912 of a larger magazine called the Ex Libran.

                    A 1-MAN MAGAZINE
      The Ex-Libran was issued in four numbers, as was its predecessor. The work was done entirely by Mr. Fowler, who personally attended to every detail, even to "setting the type, sewing the covers and pasting the inserts," he says. To those who appreciate an artistic piece of work, the publication is indeed a credit to its editor's industry.  The text of the Ex Libran appears in bold-faced black letter type, most appropriate to the subject matter; the capital letters of each paragraph are decorated and in a few instances illuminated. The inserted book plates are uniformly attractive and interesting---some are of considerable historic value. They range from etchings and engravings to reproductions of wood cuts, half tones and those of the black and white impressionistic variety. The articles are for the most part devoted to the work of various master engravers who have identified themselves with the book plate world---Edwin Davis French, Isaac Hunt, father of Leigh Hunt, poet and essayist, who was related by marriage to Benjamin West, the painter; Charles William Sherborn, the eminent English engraver who died within the last two years. A whole number of the Ex Libran is allotted to Mr. Sherborn and includes a delightful frontispiece portrait of the artist, etched by Sidney L. Smith of Boston, for whose work Mr. Fowler expresses a particular attachment; the wood engravings of Esther and Lucien Pisarro, including some characteristic examples of their quaint design.
     Sprinkled in among these feature articles are numerous little contributions explaining the theory and use of book plates--for instance, that they must not only express the owner's personality or lineage but must be such as will be in keeping with the subject matter of the book or set of books for which they are intended. Also, they must possess some artistic value which will appeal to the instincts of the collector. Often one finds examples wherein the design embodies a pun on the book owner's name.

     With the fourth number of Volume 1 the Ex Libran suspended publication, the labor attendant upon its compilation demanding too much of Mr. Fowler's time. It must have been with considerable pleasure that the editor gave notice in this final number of the organization of the American Book Plate Society, referred to above, the credit for which he might justly regard as the harvest from the seed which he had sown.

                    A PHOENIX-LIKE PUBLICATION
     Far from giving up his labor of love however, Mr. Fowler proceeded with the publication of a successor to the Ex Libran. This materialized in the first number of the Biblio in March, 1913, a magazine of plainer appearance than its predecessor, but of wider scope. The Biblio was essentially devoted to bibliology instead of simply to book plates---"a magazine devoted to books, to every interesting phase of the subject," as the prospectus read. Book plates, however, seem to have remained the leading subject.

The publication appeared as the official organ of the newly formed society. Among other special articles are several most instructive ones on the subject of book binding, an art which is probably a good deal of a mystery to most readers.

     Mr. Fowler closed the fourth number of the Biblio with a notice of the Miscellany, which is forthcoming. Mr. Fowler is apparently greatly enjoying his different experiments, and it is clear that the frequent changes point to the fact that, while he does not attach the word "failure" to his work of the past, he is restless and ambitious to arrive at near perfection as is possible in the presentation of his delightful hobby.

     In addition to his magazine Mr. Fowler published, not long ago, a little book entitled "Lincolniana Book Plates" which, as the name implies, treated the various plates designed for owner of books or sets of books relating to the martyred president. This was limited to five hundred copies. Mr. Fowler is now preparing a book on book plates designed especially for members of the theatrical profession. Among these the work of Maxfield Parrish figures conspicuously.

(The Kansas City Times, Tuesday, December 23, 1913, courtesy of Missouri Valley Special Collection, Kansas City Public Library, Kansas City, accessed March 21, 2010)
    





Thursday, October 18, 2012

venturesome spirit

Ten months after California etcher Sheldon Cheney stepped away from the Book Plate Booklet project, one of his subscribers decided to carry that vision forward. The new editor was a young grain broker in Kansas City, Missouri. His name was H. Alfred Fowler.  

 
 
     The "venturesome spirit" has "come forth" and once more the Book-Plate Booklet will make a bid for the approval of the book-plate world---or rather, it will make an effort to maintain this approval, which it already possesses, and prove worthy of a continuation of the support it has so long enjoyed under the editorship of Mr. Sheldon Cheney.
     When the editorial for the last number was written it seemed the the Booklet was doomed to die, but after the publication was on the press---just at the last moment---the "venturesome spirit" as Mr. Cheney puts it, came forth and for awhile at least the Booklet will maintain its place as the only periodical published in the English language devoted entirely to the subject of Book-plates.
      And it is a cause well worthy of being maintained. The ranks of modern American designers have suffered heavily but really commendable work continues to go on. The English designers are still at work turning out good designs and wonderful heraldic achievements and the Continental designers are constantly busy---although the latter are a bit beyond our province just at this time. But whether the work is American or English, it needs constant attention.
     Then there are the old plates. What has been said and written concerning them has far from exhausted the field, as a matter of fact we are in a better position today than ever before to develop that field. There does not seem to be such a strong tendency at present to collect and discuss the old plates and yet new varieties of old plates are constantly appearing and affording wonderful vistas for research and establishment of data. An old plate is always interesting, perhaps in a different manner than a modern example, but certainly worthy of our best attention.
     The enthusiasm of collectors has not suffered a decline---it is simply finding more difficulty is expressing itself. The American Ex Libris Journal was in existence but one year, the English Ex Libris Journal flourished for eighteen years but was suddenly discontinued, leaving the Booklet as the sole means of expression on the subject of book-plates in the English language. There are many foreign Ex Libris Societies publishing journals but they are devoted almost entirely to plates of their own nationality---and these plates permit of a different treatment than that necessary for our modern American and English plates.
     Mr. Cheney has said that the Booklet has not been financially successful, and that is ordinarily a rather serious defect. But enthusiasm should overcome the objection to lack of gain if the Booklet can only be made to maintain itself. And that is all I ask---that the proposition be not a loser even though it may not prove what would ordinarily be termed a successful financial venture. If my work may prove worthy of approbation it will have proven its own reward.
     So will all good intentions we shall strive to add at least one more successful volume to the existence of the Book-Plate Booklet and we shall try to make it a worhty successor to those that have gone before.
 
(courtesy of Alfred Fowler,The Bookplate Booklet, March 1911, Volume 4, Number 1, pp. 8,9, Missouri Valley Special Collection, Kansas City Public Library, Kansas City, accessed March 21, 2010)

Wednesday, October 17, 2012

sentiment for things to come

In his last contribution Sheldon Cheney shared what the Book-Plate Booklet project meant to him. It is my opinion that Alfred Fowler would come to hold similiar sentiments. Working behind the scenes has its own rewards. The following highlights were my own. KM

#######  May 1910, Volume 3, Number 3  #########
WITH this issue the Book-plate Booklet makes its last bow to the book-plate world. No further issues will be prepared under the present editor's guidance---though it is to be hoped that other venturesome spirits will come forward and continue the magazine's work. But personally I am through with it---tonight I am writing my last word for a publication which has been much with me these last four years. It has been a true companion, bringing its little worries and greater joys. As a financial venture it has not been a success. I fancy it will be many, many months before I can---with a clear conscience---cross off the several records of loans from myself, all properly registered in the Booklet's accounts. Nor has the magazine been eminently successful as a peridoical publication. It began modestly enough, announced to appear "occasionally." But with the second number ambition overcame better judgment, and the word "quarterly" appeared in the heading. After the first year the periods between the dates of issue gradually lengthened, until with the issue before this the adjective "occasional" again took its long-earned place, the number being one year behind quarterly schedule. It is only one more proof that personal magazines cannot be regular.  The material that is worth publishing does not come at stated intervals and expected times. But if there has been failures in the Booklet's life, there have been certain successes. Certainly I personally have gained much from the Booklet. The varied life of a publisher must always be interesting, and I shall long treasure the letters I have received, with sincere appreciation of the magazine expressed by understanding collectors. The friendships I have made are the greatest pleasures I have had in the Booklet. I have often thought how like we collectors are to a nation of citizens, looking up with undisputed loyalty to our princes, the artists. Our feeling toward these creators of the exquisite prints we gather, is one of reverence.  The Booklet has brought me in pleasant contact with many of these fine men. I have letters from that king of English engravers, Mr. Sherborn. Our own Mr. Hopson I may count among my intimate friends. Mr. Spencely, that nature-poet of the book-plate world, I have known. Mr. Stone, Mr. Plank, Mr.Cross, Mr. Fischer, Dr. Noll, Mr. Kirby, Dr. Clark---these all have helped the Booklet and have become my friends.  There are those too, who have written for the Booklet---I have come to know then well in other ways. To Charles Dexter Allen the reader owes more than he knows---as certainly I do. My thanks are due to Georgia Medora Preston and Olive Percival both a contributors and friends. And the list of the Booklet's closest friends would not be complete without Mr. Prescott, Mr. Brewer, Dr. Potter, Miss Wheeler, Mr. Ammann, and Mr. Brainerd. All these, I believe, felt a personal interest in the magazine.  The Booklet may die, but the friendship of these men and women I keep. Yes, I have gained from my little magazine. And you (I had almost said "dear subscriber"), you who have read the several numbers, have gained something, I believe, from these many artists and writers. So I do not mourn the discontinuance of the Booklet as the end of a venture which has failed of any worthy accomplishment. There have been ups and downs in this little publishing business as there must be in all life. But good has come out of it, as it must wherever there is sincerity and honest effort. As I look on the four years there are no lasting regrets. But now I am ready to step down, and to let another take the place I have found so full of pleasant experience. So a joyful farewell to you, reader---with just a passing pang of pain that our little medium of these past four years must die.

(courtesy of Sheldon Cheney, The Bookplate Booklet, May 1909, Volume 3, Number 2, pp. 71, 72, Missouri Valley Special Collection, Kansas City Public Library, Kansas City, accessed March 21, 2010)
--------------------------------------------------------------------
Karl comments: In the above selection Mr. Stone was a Chicago bibliophile and publisher of Herbert S. Stone & Company. (His name appears on page 4 of the Olive Percival booklet) A chap-book published by Herbert Stone & Company may be seen HERE, http://archive.org/stream/storieschapbook00editrich#page/n9/mode/2up.
accessed Oct 21, 2012)

(links to Charles William Sherborn, The Correspondence of James McNeill Whistler, http://www.whistler.arts.gla.ac.uk/correspondence/people/biog/?bid=Sher_1;  William Fowler Hopson, The Smithsonian American Art Museum, http://americanart.si.edu/collections/search/artist/?ID=2300a; J.Winfred Spenceley, Fred Geary: Swept Up By The Revival, http://carrollton-wood-engraver.blogspot.com/2010/03/introducing-artists.htmlCharles Dexter Allen, Open Library.org, http://archive.org/stream/exlibrisessaysof00allerich#page/n7/mode/2up;
 Olive Percival, Open Library.org, http://archive.org/stream/olivepercivallos00apos#page/n3/mode/2upaccessed Oct 19, 2012)

Tuesday, October 16, 2012

predecessor Cheney on Plank









      "Since the wonderful art of wood-engraving belongs to the Bibliophile rather than to The Print Collector, all readers of this magazine will welcome an introduction to the book-plates of Mr. George Wolfe Plank of Philadelphia. The talent of which Mr. Plank is possessed is an unusually distinguished one. It combines, and very ideally, an appreciation of the traditions, the limitations of his art, with a modernism that is beautifully informed and discriminating. In the use of the graver, Mr. Plank shows
distinction in the management of his lines and masses. He draws with certainty and his masses are arranged with the

unerring taste of an eighteenth-
century Japanese print-designer. Ugliness absents itself from all his designs and, while vigorous, they never affect a medieval crudity which, to many, seems always to characterize this particular art."   (Left design by George Wolfe plank)
      "Too often the pre-Bewick cuts that have come down to us from the centuries are monotonous in their forceless grace or chapbook crudity. Bewick with his white-line, recognizing and accepting the limitations of wood-engraving, founded the great school. (His book-plates however were not his best work) But the very expert draughtsmen on wood finally ceased to think or to feel: and at last they were all replaced by the newer illustrative art, that of photography, and of which we are now also very weary indeed!"
      "The American School of Wood-engraving (it is, by the way, admittedly the greatest school of all) numbers many artists who draw perfectly and who copy with a marvelous, photographic exactitude but who originate nothing whatever. They and their public are content with facsimiles. Not many artists in any line have time to adorn mere everyday life for us, the arts as yet not being demanded by the people except for gallery and general display purposes."
      "The artist seldom concerns himself with pure beauty, with the decoration of everydaynesses generally being intent upon interpreting some of the great, world-old secrets in a big way and so obviously that the hurrying public requires no explanation. The lovers of books and all the lovely arts contributing to their perfection rejoice when an artist is found who will take a little time from the necessary pot-boiling to express a poetic, a beautiful idea through the medium of the little wood-block, neglected and misunderstood."    (Lower Right design by George Wolfe Plank)
       "Mr. Plank in his wood-engravings is constantly romancing us in a new, an individual way and about a number of things---past, present and to come. His eloquence of line and mass immediately convinces of the charm of life, even in a period as ugly as our 1840s, our 1860s. Is not this a test of the superlative fineness of artistic perception? Surely, our antebellum world was very unbeautiful, but, interpreted by the blocks of Mr. Plank, it is suddenly a delightsome place, decorated with persons who, in spite of chimney-pot hats and side-whiskers and

hoopskirts and round shoulders, are very engaging indeed. His impregnable castles in the spring-day clouds are just to our minds, as are his cottage-gardens and ideal landscapes. His trees, always with a light that is circumambiet, show uncommon facility in the handling of masses. The cuts accompanying the reprint of "Carrie Munro," by the properly esteemed "Sweet Singer of Michigan," are a distinct contribution to the treasury of latter-day humor-in-art. He realizes, too, the importance of good printing and papers, lusterless and carefully chosen. Mr. Plank is at the beginning of a career which promises much toward the re-establishment of wood-engraving as one of the popular decorative arts. (The arts must be made "popular" and life must be made beautiful in every way!) His accomplishment already proves a highly individualized mind,---rhythmical, joyous."
                                           (submitted by) Olive Percival

(courtesy Sheldon Cheney's The Bookplate Booklet, May 1909, Volume 3, Number 2, pp. 50-53, Missouri Valley Special Collection, Kansas City Public Library, Kansas City; link to American School of Wood Engraving, Encyclopida.Com, http://www.encyclopedia.com/topic/Wood_engraving.aspx, accessed March 21, 2010)

Monday, October 15, 2012

predecessor

In 1906 Sheldon Cheney ran a little magazine while attending the California School of Arts and CraftsDouble click on image to enlarge.

In his1974 interview with Suzanne Riess Sheldon explained:  "I had published a little magazine here while I was in college. I had been the editor of the Olla Podrida---the Berkley High School paper. Then when I came to college I did a little for the Occident and the Californian, but somehow I got the idea of publishing my own magazine. I was interested in book collecting---I was going to be a rare book collector...that kind of faded out." (first interview, page 8)
     "I published this little magazine. It was called a quarterly. What I did was to get out the first number and then wait until I'd sold enough copies of that, and then I'd get out the second issue. I think I put out three years of that. It's probably in the University library. As a matter of fact, I saw to it that the California Bookplate Society had its home (supposedly) at the University; so I thought if they accumulated a collection of bookplates and a collection of books that were made at the University."
     "The name of the quarterly was the Book Plate Booklet.
 The first issue we got out said Californian Bookplates, and then the rest of the issues were called the Book Plate Booklet. (first interview May 24, 1974)
(courtesy of The Bancroft Library, Jim Kantor,
Suzanne Riess, and Judith Johnson, 
http://archive.org/stream/conversationswit00chenrich#page/n1/mode/2up, accessed Oct 18, 2012)


Sheldon Cheney was an etcher and editor from Berkeley, California. He produced the Book Plate Booklet Volume 1 (1906-1907), Volume 2 (1908), and Volume 3 (1909-1910). The booklet measured 5 by 7 inches. "Address all business and editorial communications to the editor, P.O.Box 307, Berkeley, California."


In 1911 Cheney's endeavor was passed on the Alfred Fowler from Kansas City, Missouri. Fowler continued the Book Plate Booklet with the format Cheney began, with four issues in 1911. Then in 1912 Fowler changed the format to a 10 by 12 inch booklet, printed on Italian handmade paper. He did all the work himself, including setting the type, sewing the covers, and pasting the inserts. He gave the edition of four hundred Ex-Libran. "Address all business and editorial communications to the editor, 3 East Armour Boulevard, Kansas City, Mo, U.S.A."
(Link on California School of Arts and Crafts, http://www.u-s-history.com/pages/h3071.html ; Sheldon Cheney link, courtesy of Wikipedia, http://en.wikipedia.org/wiki/Sheldon_Warren_Cheney; California Book Plate Society under Sheldon Cheney, http://www.flickr.com/photos/prattinstitutelibraries/3247838451/in/photostream/, accessed Oct 19, 2012)