"A Time for Recollection," book manuscript by John DePol (with a June 12, 1998 cover letter explaining: "a miscellany of...


Material Information

"A Time for Recollection," book manuscript by John DePol (with a June 12, 1998 cover letter explaining: "a miscellany of copy, captions and illustrations dating from the 1960s to the present."
Series Title:
Career Retrospective. "A Time for Recollection." Numbered and one unnumbered double sheets: copies of DePol's engravings, captions, illustrations, and an accompanying letter. Covers early 1960s to 1998. 1998-2000
Physical Description:
Mixed Material
DePol, John, 1913-
DePol, John ( donor )
Publication Date:
Physical Location:
Box: 1
Folder: Career Retrospective. "A Time for Recollection." Numbered and one unnumbered double sheets: copies of DePol's engravings, captions, illustrations, and an accompanying letter. Covers early 1960s to 1998. 1998-2000


Spatial Coverage:
North America -- United States of America -- New Jersey

Record Information

Source Institution:
University of Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
System ID:

Full Text

280 Spring Valley Road Park Ridge, New Jersey 07656

12 June 1998

About the possibility of a book...

or an exhibition, somewhere ? or whatever... T
A TIME FOR RECOLLECTION... or another title ?

*Twelve two-page layouts in no particular order but
numbered in pencil in back for reference, to main-
tain order as issued and to keep the John Fass story,
which has four pages, together.
A miscellany of copy, captions and illustrations
dating from the 1960s to the present. There are
24 pages. I could fill MANY Morel
Would very much appreciate your thoughts, suggestions
about such a project.

*Have added nine more,
Now numbered 1 to 211
More to Come? Hope so.
Have just added 22!
Sept. 1998

Alc< *2- 2-00O

Numbered. Please keep in order.

FewH -W



Time for Recollection: Suggested
It was in our apartment in Jackson
Heights in 1958, just before moving
to Park Ridge. I made the desk about
1951 when I first started to work for
L.F.White. It was a pine case which
had contained coated stock for a print-
ing job. Drew a plan, took the case
apart and sawed it up on the shop's
trimmer saw. Had a key to the shop so
I could work on-Saturdays and not get
in anyone's way. Then I carried the
boards home, piecemeal, on the city
subway, and put them all together with Em _
hammer and nails. It has served me,
continuously and well, for half a cen-
tury, this last half of the Twentieth!


50th Anniversary
and Convention Issue

A Magazine for Journalists

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Past, Present and Future

Tulso Beckons
Nov. 14.17

1 .00

Illustrations from "Benjamin Franklin, The
Printer at Work by Lawrence C. Wroth" New
York, 1974, reprinted 1981. From the land-
mark series of thirty volumes issued annually
to celebrate Ben Franklin's birthday in New
This is Bartholomew's Close, well remembered,
having made a small engraving of it in the 50s
from a sketch made in wartime London in 1944.
Here, in Samuel Palmer's establishment, young
Franklin learned about printing.
Four hundred wood engravings were made for this
series. A time for recollection,a time to
renew. Ars longa, vita brevis.

John DePol
May, 1998.

3Jo'H J STi7ItE PFAS ..I90- 1973


ONM Tme tC---,j\rEN Aey Or- 199i-...-.
-r '.:i65o-i9Q"-: --._

Block: Marked "for John Fass The
Hammer Creek Press, redone small
version 9.20.90".

This block, recently discovered, needed to have
the building, then blank, finished with windows.
This was the third illustration I had done for a
title page. I had previously done two two-page
spreads, one for a chapbook size and the other
for a larger one in the event a larger format
would be more appropriate. All for a Typophiles
tribute to our dear friend John Stroble Fass on
his centennial celebration. There were many of
us who labored over it, on and off for years,
it seemed. But alas, to no avail.
So now I have, unpublished, three views
of the Hammer Creek, redolent of Spring. May-
be someone will have an idea. Hope springs

Ars longa, Vita brevis.

October 7,


The first attempt, in 1990, to celebrate John's 100th
Birthday. This illustration was for a chapbook. A
larger set was engraved for a possibly larger format.

Have written "The Far-Flung Journey of a Little Turtle"
a two page story of the travels of one of John's turtle
marks which involves John Ryder, old friend Valenti Angelo,
others, and an exhibit at The Bodleian Library. To date it
is unpublished.


.TH swm~mnAP H Jaii^--- K^'ymu^.ryu

- ._T- Ilt HAuA. Sl-~Crzll:%WcpItlL^SS

,wnrs~-, euc~~ylptr ~Bp~~C)n~j~~p~~3~

The cover of the last, a double-issue
of the distinguished magazine BOOKWAYS.
I must ask Tom Taylor if he will grant
permission to reprint it as shown, if
it is ever published.

Tfjepattern, Hammer Creek, is engraved
on boxwoodandcommemorates Jon Strofe Fass,
distinguisbedt)yograpyerprinter andpyrprietor ftbe
Harbor Press and, water, tfe Hammer CreeL Press.

The Burin (at rift), an efpticaftint toolor "itsticer," is the engravers
most important tooC doing almost a(Cofthe work with occasionafassistsfom
square androundgravers, or "scorers" JDP

w I




>< *
hd h
Ul I


A Quarter for te Booi Arts
'NOS. 13 &* 14 N OCTOBER 1994"JANUARY 1995

Benjamin Franklin Grauer. Actually
that was his full name. Of course
we knew him as Ben Grauer, the Voice
of NBC (that is before television).
Ben, then a bachelor, lived in the
west 60s, in a book-lined apartment.
He said if he hadn't been in broad-
casting, he would have been a book-
seller. Here we would gather to
print with him on his old Lowe press
of civil war vintage which he acquired
at a country auction for $6.00. On
occasion we would work at night and of-
ten into the early morning hours.. Hence
"The Between-Hours Press". I would make
engravings for him, they always seem to
be in-a-rush jobs. Like this profile
of B. Franklin who looks as tired as I
must have been rushing to get him done.
The broadside is dated Jan. 17, 1952,
the first demonstration of letterpress
printing on television! A "typographic
first" Ben called it. I recall he re-
peated the demonstration later on the
Dave Garroway show, but used another

S i JD April 10, 1993.

The Grauer Albion
16 x 11 Post Folio
Circa 1855

Previous history ?
1968 Purchased from T. N. Lawrence
Wood block makers
Bleeding Heart Yard

by John Dreyfus, then of Monotype,
as agent for
Ben Grauer, proprietor of The Between-
Hours Press. It was at this Press, in
the basement of the building on East
63rd Street in New York City where Ben
Grauer held the annual printing sessions
assisted at various times by John Stroble
Fass, Lewis F. White, Herman Cohen, A.
Burton Carnes and John DePol who made the
wood engravings for the projects. John
Dreyfus himself attended on the occasion
of the installation and first use of the
Albion at the 1968 session.

1980 Acquired by Endgrain Press
John DePol, proprietor
Park Ridge, New Jersey

"...The word Salisbury (on the press)
could perhaps refer to Salisbury Court
in the printing area of London in the
19th century rather than to the cathe-
dral city in Wiltshire". (in a letter
from John Ryder, London, 17th February

from AIGA Journal
Vol. IV No. 1


A view of the actual
block, purposely not proofed
up to preserve the working
surface, the brilliant yellow
color of a fine specimen of
South American Boxwood. The
printing and subsequent cleaning up would grey
the complete surface. Not necessary here, for
it had to be redone as explained on the reverse
side of the block at left beginning with "Damnl..
.. as you see, the base of the left leg should
be moved about a quarter of an inch to the right.
Another slip. I have a few of them. But when
framed they make decorative displays and show the
method of working.

BHE OLD MILL at Deepdene, built about
1790, part of the farmstead near Marlboro
in New York where lived and worked
Bertha M. and Frederic W. Goudy from
1923 to 1947. They established The Village Press in
Park Ridge, Illinois, in 1903. Frederic Goudy be-
came America's greatest type-designer, creating
over one hundred and twenty type faces, among
them Kennerley, considered to be the most beauti-
ful since the work of the first English type-foun-
der William Caslon, 1692-1766.

This memento, set in Kennerley bold, was printed
on the Albion hand press originally acquired and
used by the Goudys from 1915 to 1947. It is now in
the workshop of Endgrain Press in Park Ridge,
New Jersey, tended with care by its present pro- I
prietors, Thelma and John DePol. March, 1979.

One of fourteen illustrations for THE YALU FLOWS
A Korean Childhood
Theo above ct was ano ud 1 by Mirok Li

on back page of bookjacket.
Bookjacket and title page
designed by DePol.

Illustrated with wood
engravings by John DePol
The Michigan State
University Press
East Lansing

Printed by Haddon Craftsmen
Kenneth Milford

New layout in preparation to
add additional books and
jackets by Michigan State
University Press.

Career Firsts of 19th-Century America
Madeleine B. Stern
Schulte Publishing Company


While I had engraved this some years ago, I
wanted to call particular attention to it this year
of 1996 which was a very bad winter for us with lots
of snow. Actually we had this year broken the all-time
record for a snowfall established in 1947, almost fifty
years ago, when we lived in Astoria, in Queens just
having been married the year before, in 1946. Had recent-
ly been discharged from the service after twenty-nine
months overseas.
Of particular interest is the year 1947, for it
was then I had completed a series of etchings, a medium
I had started back in 1935, the subjects of which would
come from the sketches made overseas. And in the fall
of the year I would make my first wood engraving, St.
Mary's Gate, Limerick, a Christmas card.

John DePol


You are invited to a barbecue

to be held in the backyard

of the De Pol's



280 Spring Valley Road

Park Ridge, New Jersey

Please come!


(201) 391-4940

Time for Recollection. Was it Gino Brancolini who brought those
two boys from that printing shop in a loft on West 25th Street in
Manhattan to our picnic, their first visit here? Remember the tall
one, newly arrived from the midwest, admiring and caressing our lush
green lawn in the backyard. Seems like so many years ago. Now our
trees are taller and it is much more shady. Very little grass any-
more. Not much of anything else any more. It is a cold winter day,
mostly spent indoors. And now I look in the window of the mahogany
bookcase in the living room.to see a small volume well-remembered. It
had been prominently shown in a single case in the center of a major
exhibition of private press books at The New York Public Library. A
bibliographer called it one of the finest books printed in the Eighties.
The printers? Those two boys Steve Miller and Ken Botnick of The Red
Ozier Press. Dear friends. +heir book? "Father Abraham" by William

August 1996

PS That is a self-portrait, of course! I have similarly
poked fun at myself on three previous occasions. Now I
will cut a small engraving and call it winter. This will
make the fourth season! Wonder how they will look in a

Ars Longa. Vita Brevis

John DePol

December 7, 1997

Baudelaire, Charles Pierre
1821-1867 French poet
(Webster's New Collegiate Dictionary)

back of block reads "Baudelaire.../
for Harry Duncan/
with Greetings.../
24 May 1985"

I recall I was delighted when
Harry had asked me to make this por-
trait for a project he had in mind,
but unfortunately, my fault, I guessed
wrong as to size. It was too small to
fit the format he had planned.

side of block reads "HD returned it
March 1988".
Harry, not being able to use it,
wrote a nice letter of apology. I
replied, thanking him for its return
and regretting that I would not be
able to add .the highly-esteemed, dis-
tinguished Cummington Press/Abbatoir
Editions to my list of valued customers.
Adding "...maybe one day I can hope
springs eternal!"
JD 1.8.93

5.2.97 Had met Harry back in Omaha when
I had an exhibition and taught a class at
the University of Nebraska. And then
later, at RIT in Rochester when I taught
there and we spent a week together. He
was a kind, dear gentleman. Thelma and
I liked him very much.
Paper and Book Intensive
for Steve Miller, University of Alabama The portrait remains unpublished.
May 1998.


S John De Pol, salute and toast

John Anderson
proprietor of The Pickering Press in Maple
Shade, New Jersey, on this, his sixty-fifth
birthday, and therefore remind him that on
one occasion many years ago he called me an
OLD goat, and further, that I have just
now discovered that he is really only one
and two-third years younger than I am!
May 26th, 1980
Set by hand and printed in an edition of
sixty-five copies- one for each of his years,
plus thirty-five copies for the balance, on the
Grauer Albion hand press at Endgrain Press
in Park Ridge, New Jersey. This is Year No.

Printed on The Grauer Albion.
Insert for
John Anderson and The Pickering Press
by James H. Fraser and Renee I. Weber
Fairleigh Dickinson University Library, 1980
Printed by Leonard Seastone at The Tideline Press.

e-T /0 1 P2-^ Tt- (^TLCY e

In a letter from John Anderson dated 3 May 1995
" ... The Castle Pressmark brought forth a handful
of memories ...,all good particularly as concerns
Grant Dahlstrom, delightful, warm hearted guy. I
suspect the block remains in the cut drawers of
whoever has taken over the Press. Don't recall
seeing it used. ..."


The "Old Soldier"
from Tales of the Ocean
by Hawser Martingale
Water Street Press, 1983

A view on Washington Street near
Chambers Street in lower Manhattan

The Pit and The Pendulum
by Edgar Allan Poe.
South Street Seaport Museum,

A Collection of Nineteenth Century Recipes
by Caroll Boltin
South Street Seaport Museum

These wood engravings
were made by John DePol in
April 1983 for the Ex-Ophidia Press
of the eminent Richard-Gabriel Rummonds
of Tuscaloosa, Alabama.

They are now preserved in the
Spencer Collection of
The New York Public Library
in New York.
Ars Longa, Vita Brevis.

"...They really were very charming. I'm sorry
the press closed down before I had a chance to
use them. ..." Letter of April 23, 1997 from
Seattle. R-G R.

A'Miniature Book

by Bernard C. Middleton
Edited by David Pankow
Ward Ritchie, Designer
Printed by Henry Morris at The Bird and Bull Press
Binding Design by Tini & Einen Miura
Kater-Crafts Bookbinders

I -

The John De Pol Collection

The Zauberberg Press Don von R. Drenner, proprietor

A Shropshire Lad was the last book I illustrated for
Don. It was an interesting project, a rush job. He sel-
ected those poems he wished illustrated and would suggest
ideas for them by letter and telephone. As he began set-
ting type I started to engrave the block and send it on
to him in time to be printed, and would begin the next
block as he finished printing and distributing the type
for the next setting. I managed to keep apace of him.
Toward the.end of the book he had specified that
the span bridge in Ludlow be 22 picas long. I was shocked,
then amused, when he later telephoned to say that he de-
cided the bridge was too long and that he had sawed off one
end of it, eliminating one span. Actually I had a good
laugh about it. It really looked better with three spans
and would fit as well. On the title page I had suggested
sepia as a second color for the portrait and he used a dark
blue (samples of both enclosed) which was too garish. The
final printing is the key block in black with no second
color. We've had fun working together. I have a number of
proofs piled in a box. I must sort them out into sets.

Don is presently working on reprinting some Ezra Pound
material for which he has permission from James Laughlin at
New Directions. It is not illustrated. He said he may
call on me for another book, later.

March 14, 1994


IT HAS BEEN sixty-five years (at the age of
twelve) since I first read Housman's poems, and I
marvel, still, at their age of perfection. They are
almost things of Latin beauty-not surprising:
Housman was a professor of such things at Cam-
bridge University from 19i-and despite a sad
reflection of the callosity of youth, are still quite
direct and curiously noble.
Pegging each letter of every word in a compos-
ing stick reveals all the vagaries of Housman's
English spelling, and the use of confounding (!)
words like hauhl. But this archaic method proves
also the finality of the poet's choice.
The book has been made using only the finest
materials: Rives paper printed damp, Lutetia type
set by hand, and the signatures sewn with linen
thread on Dutch linen tapes. The case binding is
by hand, too, and is of a white linen spine with a
pasted label, and blue cotton bookcloth from a
German mill over boards.
The book is 123 pages, and n x 8 ins. Only 20
copies have been printed and bound, of which
those for sale are priced at $440.00.

I knew and corresponded with old friend Don
for over forty years and illustrated several
of his books. He died on April 7, 1995.

by George Meredith
The Zauberberg Press: 1991


James Thomas Flexner
The Stone House Press 1991

William Heyen
The Stone House Press

Williamsport, Pennsylvania

Bell and
Flag Court

Ellen Clarke Bertrand Library

BUCKNELL UNIVERSITY, Lewisburg, Pennsylvania

The Observatory

Old Main


The Lahey Room

Founder's Hall

Oiler Hall

Juniata College, Huntingdon, Pennsylvania

-The Stairwell

Francis Couritway Library of Medicine
Harvard Medical School, Boston, Mass.

The Goudy's Home in
Hingham, Massachusetts
from 1904 to 1906

A specimen of Goudy Bold
roman and italic
Fred W. GOUDY Bertha M.
The Village Press
ghi D E JG H I J K jkI
stuR S TU VWvwx
yX YZz
set into this form to be
printed on the original Albion press
imported from H. W. Caslon
& Co., Ltd., London
by Bertha and Fred Goudy.
It was first used by them in 1915
and is now in the collection of
Thelma and John De Pol
Endgrain Press
Park Ridge, New Jersey

Entrance to the Mill at
Deepdene in Marlboro,
New York

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The Goudy Albion was originally
purchased in 1915 by Bertha and
Frederic W. Goudy of The Village
Press which they founded in 1903
in Park Ridge, Illinois. It was
the oldest private press in the
United States and a most notable
I acquired the Albion in 1974
and am now assembling and review-
ing material on my care and work
with it over the years in prepa-
ration for a book.

John DePol

June 1998

Over the years we have had many gatherings of
friends and on several occasions were fortunate
to have recorded them as in this instance, which
produced an interesting souvenir. I remember
dear old Doc Leslie sitting with a tray of pied
type from the Goudy Mill in his lap setting from
it, as you can see, and singing! They were fun

The Goudy Society

Celebrates The I2 th Birthday


FredericW Goudy

His Indomitable Spirit

H ERE, on the 12th (top) floor of the old Parker Building
at 225 Fourth Avenue, New York City, at the southeast cor-
ner of I9th Street and Fourth (its current address being 233
Park Avenue South) in the Gramercy Park area, was the third
home of the VILLAGE PRESS of Frederic and Bertha Goudy.
Founded in Park Ridge, Illinois, in 1903, the PRESS moved in
1904 to its second location, in Hingham, Massachusetts, a cen-
ter of Arts & Crafts activity, where W.A.Dwiggins (who
would remain there) joined theGoudys in 1905. From Hingham,
the Goudys, seeking a place with greater economic opportuni-
ties, went to New York City in 1906 and soon opened a mod-
est shop in the Parker Building. C( Across the hall was an
engraving plant which frequently stayed open all night. Ad-
joining the PREss room was the laboratory of Dr. Lee de Forest
"who" according to Goudy "at that time was working on his
wireless telephone." Another occupant of the floor was the
building superintendent, a frequent, interested observer of
Goudy's work. ((On the evening of January io, 1908, most
fortunately one of the very few nights the Goudys were not
working, a disastrous fire swept the Parker Building, gutting
it from the 5th to the x2th floor, and completely destroying
all of the work and equipment of the PRESS. Only a set of ma-
trices of the Village type that had been stored in the superin-
tendent's safe (at his invitation) was saved. From then on, the
Goudys worked and lived in and near New York City until
1923, when they moved to the country. ((In Marlborough, a
village on the Hudson, they found an ideal place: a fine proper-
ty with a sound old house and large barn, and an old mill on a

stream. They named it "Deepdene." Here, much of Frederic
Goudy's best work would be done. But here, too, misfortune
would strike again. Bertha, Fred's beloved wife and long-time
co-worker, would die in 1935. And in 1939, the Mill & Type
Foundery, his specially designed tools, his matrices and draw-
ings, would be consumed by fire. ((Despite these grave misfor-
tunes, he continued to work fruitfully right up to his own
death at 82, on May iI, I947. His indomitable spirit and great
typographical heritage will endure.

Thursday, MarchW8, 1990, at 6.00 P.M.
q1 Gramercy Park South
New York City

This keepsake, a contribution to the Goudy Society, was handset in
Kennerley and printed on Mohawk Letterpress paper by M.A.Gelfand at
his Stone House Press. Edition limited to 325 copies, with 22y for the
Goudy Society and ioo for distribution by the printer. E
The wood engraving is by John De Pol

An interesting story by old friend Ivlorris
Gelfand. Hope to use it in the book.

A note about the illustration. In re-
searching location and details of the
Parker Building I had made a comprehen-
sive drawing of an ornate building lobby.
Wrong building! The address numbers were
changed over the years. Luckily, somehow,
caught it in time before engraving it!
The hazards of an old time wood engraver!


Still have that drawing.

The New York Times Book Review

October 7, 1956


A Year
IXTY years ago to the week
eThe Book Review was born.
before 1896 book reviews were
an Incorporated part of the
paper, but in 1896 The Book
Review became an entity, a
supplement, an island, a cul-
tural oasis surrounded, let it
he understood, by meticulous
accounts of daily events. It was
a good year to be born: in that
propitious interval, Authors
Philip Barry, Louis Bromfield,
John Dos Passos, Scott Fitz-
gerald and Robert Sherwood
were also born-not one of
them without triumph or trophy.
In that year, too, the modern
Olympic Games were initiated
(and, appropriately enough,
Greece took the laurels).
The literary event of the year
was momentous: the first of
the Frank Merriwell books
was published In 1896. Under
what more beneficial or ener-
getic auspices could The Book
Review have been founded?
Life was ravaged by extremes,*
contradictions, conflict, but was
solaced by a flourishing science
and esthetics. And The Book
Review reflected a considerable
chunk of this life through our

Science, Etc.
F the reader shares some
sympathy for the occasional
outburst that condemns a large
literary supplement's supposed
hostility to the avant-garde, the
experimental, 'the iconoclastic,
he is, if he were to check back,
in for a surprise. The hostility
is a sort of myth, a figment of a
fragmented imagination. A
turn-of-the-century review of
William James' hardly genteel
"The Varieties of Religious Ex-
perience" is palpably sympa-
thetic: "Writing more fresh
and vivid cannot easily be con-
ceived, and there are many pas-
sages in which the expression,
rising to the level of the
thought, is of a striking force
Andr hbeautv "


big challenges, and The Book
Review could have fancy-
Danned it. Instead, with open
mind, it gave hospitably.

Fiction, Etc.
N the first year of its exist-
ence, The Book Review re-
ceived a novel by a new and
powerful writer, Stephen Crane.
It was called "Maggie, a Girl
of the Streets," and The Times
concluded: "It is -a powerful
portrayal, and, if somber and
repellent, none the less true,
none the less freighted with ap-
peal." This is not rejection by
any means. On the other hand.
it is amusing to read in 1907 a
review of John Galsworthy's
"The Man of Property," in
which Mr. Galsworthy is praised
in common with Authprs Wil-
liam de Morgan and Archibald

Wood engrotving bl *.ohn de Pol.
Marshall, now all but forgotten.
There are these quaintnesses,
no doubt, and much more. For
example, "The Brothers Ka-
ramazov," reviewed in 1912 on
the occasion of its first English
crossing, received an old-fash-
ioned one-step-forward, one-
step-backward treatment: "It
may not be necessary to read
the whole book," The Book Re-

novelistic poet this side of
paradise. Maybe just for the
hell. of it.
When it comes to poetry we
think the graph trembles down-
ward. We failed to review Eliot's
"The Waste Land" when it was
first published in 1922, and we
ignored in 1923 a remarkable
first book of poems, "Harmoni-
um," by Wallace Stevens. We
quarreled with Cummings (as
people still do) and we strug-
gled manfully with Hart Crane's
first book of poems, "White
Buildings": "The intelligent
reader will move pleasurably
among the impenetrable nu-
ances." Now that's a bit of
Humpty-Dumpty if ever we re-
cited Lewis Carroll. Neverthe-
less we were attuned to early
Robert Frost ("North of Bos-
ton," 1915): 'He has struck
bedrock, penetrated to the
reality of life."

ND so it goes-a hit, and a
miss and an occasional
muff. But this is no scientific
study, no earnest of research. We
are bound, and still are bound,
being mortal, to overlook an
unpopular idea, a new sound, a
revolutionary rhythm, an origi-
nal shape. We are no exclu-
sively literary journal. We are
part of a newspaper and our
first job is to report the news
of books. We hope to report it
so well that when we come upon
the new and the best we will
know it and say it.
The pressure upon a large
book supplement that reports
on 2,500 books each year is two-
fold: a quantitative one and
qualitative one. The first pres-
sure would make of The Book
Review a popular medium whose
standards would be so low as
to be always kindly, receptive
and indiscriminately hospitable.
The second pressure would make
of The Book Review a narrow
medium'whose standards would
be so high as to be always
ti-it .ovp-p ,,,rI tho,.nvnPhlv











a e

An analysis based on reports from leading
booksellers in 36 cities, showing the sales
rating of 16 leading fiction and general
titles over the last 3 weeks. Sales through
the book clubs are not included. Figures in
the right-bawd column do not necessarily .
represent consecutive weeks and do not .
indicate ueek-to-week shifts on the chart.

I J Fiction

S don't Go Near the Water. Brinkley 12
A Certain Smile. Sagan 8
"The Last Hurrah. O'Connor 33
The Mandarins. deBeauvoir 18
f "A Thing of Beauty. Cronn- 18
A Single Pebble. Hersey 16
U Auntie Maine. Denmi 82
Ig The Ninth Wave. Burdick 16
SThe Loving Couple. Rowans 2
I Andersonville. Kantor 49
C Tolbecken. Shellabarger 3
Madame Solario. Anonymous 3
r The Sound of Waves. Misbimni 1
The Rosemary Tree. Goudge 1 -
[f Peyton Place. Metalious 2
SThe Straight and Narrow Path. Tracy 8

Eisenhower: The Inside Story. Donoan 13
Arthritis and Common Sense. Alexander 26
Profiles in Courage. Kennedy 38
The Nun's Story. Hulme 2
Love or Perish. Blantot 34
Guestward Ho! Hooton and Dennis 18
Roosevelt: The Lion and the Fox. Burns 6
The Mind Goes Forth. Overstreet 10
How to Live 365 Days a Year. Schindler 1
An Historian's Approach to Religion.
The Outsider. Wilson i
Richard the Third. Kendall 4
Autoconditioning. Har 2
The Birth of Britain. Churchill 24
n A Renublicmn looks at His Party. Larson 5

eagerly awaited, excited, for early Sunday
morning to arrive to see the picture I had
engraved appear in print!

The lamp was made by Cornelius & Co. Phila.
Patent April 1st, 1840. I had bought it
from old artist friend Peter Wolfe who had
occupied a studio in the old artist build-
ing on 10th Street in the Village. I es-
pecially remembered on Sunday, with Pete
and old friend Vito Costello there, it was
morning, December 7th, 1941, the radio re-
port of the attack on Pearl Harbor! And
before that, on 10th Street, in 1927, there
was Mr. Mackoff, the tailor for whom I
would deliver suits afternoons after school.
But that's another story!

A Time for Recollection...

It was in our apartment in Jackson
Heights in 1958, just before moving
to Park Ridge...

(see story on title page).

My favorite lamp. It still serves me,aat
at my old desk, and recalls for me dear
old Grace Glueck of the New York Times
Sunday Book Review section. She had call-
ed on me so many times over so many years
for their occasional need for an illustra-
tion from the large stock of them I had on
hand as well as to do a special one on oc-
casion, as above. She was a dear friend.
I was paid $10. or $20. for them and then









I092 ou um eeB--*








d :


Stereotyping, printed from silver type
ren, A Desk Book of Paper & Printing,
fe of a Typographer, lively account of
corn Press 1994, dr, 18.50
.t Introduction to Fine Typography,
y 1 mark, 16.00
sad 1971, 16.00
la lettre que nous appelous l'antique?
century, a Penrose Anthology, ius,

pography, Cambridge UP 1936, dw,
Museum 1971, 7.50
ro lectures, Sylvan 1949, dw, 14.50
raphy in England, The United States,
dge UP, Fleuron 1927, dw, 26.00
;ion, origins and history up to 1949,
ion, Bookbinding & Book Production,
;h notes and illus by Falconer Madan,
r Horace Hart on Van Gelder paper,
ting 1476-1898, collotype frontispiece
ogravure, 1932, spiral bound, 3.50
ilks with James Hendrickson on the
sprint of 1943 ed, NY, 1979, 9.50
hristopher Chamberlain, the first ed,
development of Writing and Printing
School of Printing 1971, dw, 10.50
, Bibliographical Society 1981, 8.50
ng of Today, an illus survey of Post-
States, intro Aldous Huxley, printed
m cloth, printed boards, Peter Davies
of the Curwen Press, illus, printed
ilus, printed Curwen Press, Faber
ting Press in Hungary 1478,
printing from the press, 17 of 500

cM ('f~:

TYPOPHILE CHAP BOOKS all casebound, all the property of Ruari McLean,
453A no 4, On Conjugall Felicity, from the Saturday Evening Post 1834, ilus by Edward
Wilson. Warren Channel. Valenti Angelo. Fritz Kredel. Fritz Eichenberw.
designed Joseph Blumenthal, printed Spiral Pres. ltd 300, contributions copy,
1941, 14.50
453B no 13, Will Bradley, His Chap Book, ltd 250, printed Peter Pauner Press, 1955,
453C no 51, William Caxton and his Quincentenary by John Dreyfus, designed Abe
Lerner, ltd 700, 1976, 16.50
453D Elmer Adler in the World of Books, ed Paul Bennett, ltd 2100, printed Princeton
University Press, 1964, 12.50
453E no 54, Fond of Printing, Gordon Craig as a Typographer and Illustrator by Colin
Franklin, printed Westenham Press, 1984, dedicated by the author to Ruari
McLean, 18.50
453F William Eswin Rudge by William J. Glick, printed Steinhour Press and Meriden
Cravure Co, ltd 500, 1984, 12.50
453G Franklin, Inventor wood-engravings John de PoL Tri-Arts Press 1960, 12.50

"... only recently did
I discover :I had done a
self-portrait for .this
series, the 1960 keepsake.
Note that Mr. Franklin is
amused by my boldness".
JD 1990
iThe illustration is from B. Franklin,
Inventor, 1960, the seventh in the
Landmark series of Benjamin Franklin
keepsakes which were issued annually,
1953-1983, to celebrate Printing Week
in New York and Franklin's birthday
ion January 17th.

449 Steer (Vincent), Printing Design and Layout, fwd Beatrice Warde, ilus, some
examples in 2 cols, Virtue nd, 2nd ed, 12.50
450 Steinberg (S.H.), Five Hundred Years of Printing, fwd Beatrice Warde, illus
Penguin reprint of the 1955 ed, 1974, 4.50
451 Tarr (John C.), Printing To-Day, intro Francis Meynell, illus, Oxford UP 1945,
452 Tarr (John Charles), How to Plan Print, illus, Crosby Lockwood 1949, reprint,
453 Thomas (David), Type for Print, flus, Whitaker 1936, 5.00