1
10
47
-
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0efa199de73c80acc41313b2a65a24e3
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
314 Pages
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
Contemporary Vellum Binding
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
Since the events of 1066, many English historians and writers of popular histories have characterized William the Conqueror as an upstart Norman Duke, the bastard son of Duke Robert I, and the person who defeated the English King Harold by luck. My research associate, Allison Sugiyama, also has a submission in this exhibit. Both are related to the evaluation of evidence in our research. When an English author cites events favorable to the Norman duke, we take note of that author.
Such was the case when, in 1613, Sir John Hayward wrote of Duke William and the 1054 battle between Normandy and the King of France. William passed up a possible chance of slaying the king, because he could foresee greater strategic value in securing a treaty of peace. The French king seized the opportunity and subsequently aided Duke William. It is a fact that William could be ruthless, but it seems only when he was convinced it was necessary, unlike his 1066 English adversary, King Harold.
Our copy of Sir John Hayward’s History is a unique survivor, its vellum binding being contemporary to the time. As with other items related to our research, it is an inspiration to read the above perspective of Duke William on pages Shakespeare could have read from three years before he passed from this life. The inspiration of such artifacts is an aspect of our collecting of books and maps.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Charles Adams Kelly
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>The Lives of the Three Norman Kings of England The Lives if the III. Normans, Kings of England: William the first. William the second. Henrie the first.</em>
Creator
An entity primarily responsible for making the resource
(Sir) John Hayward
Publisher
An entity responsible for making the resource available
R. B. (Robert Baker), London
Date
A point or period of time associated with an event in the lifecycle of the resource
1613
-
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006a2100903fc32308abe61451bee388
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
Second, illustrated edition. Folio.
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
40 [<em>The Life of Æsop</em>], 31 [Dudley’s plates of Aesop's life], 40 [La vie d’Esope], 17 [<em>Vita Æsopi]</em>, 221 [<em>Les fables d’Esope</em>], [2; contents], [7, blanks]; 3 frontispieces, 100 half-page engravings by Barlow and 31 full-page plates by Tho[mas] Dudley. Provenance: Armorial bookplate of William Arnold, novelist and brother of Matthew Arnold; leather bookplate of Paul Harth; John Pearson (his sale, Sotheby's, London, 7 November 1916). Binding: In masterful nineteenth-century binding with binder's stamp of Francis Bedford (1779–1883); "The work of Bedford is not excelled by that of any English bookbinder of his time." (Fletcher, p. 163).
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
Aesop’s Fables have stood at the forefront of Early Modern English book production, with Caxton selecting the works for one of his early printed texts. Francis Barlow’s illustrated edition sits prominently both within Aesop’s post-Classical reception and modern literary history.
Barlow self-published the first edition of his Aesop in 1665 in London. But many copies did not circulate out of London before the Great Fire of 1666, which saw Barlow’s studio the Golden Eagle destroyed, though the copper plates for the volume survived. Thus, a second edition was prepared using Barlow’s engravings, and expanded to include a biography of Aesop with new plates.
Barlow was renowned in part for his ability to capture wildlife, with hours of field observation and anatomical study bolstering his ability to bring creatures of the hunt to life. These examples may be more fanciful than the game Barlow more customarily drew, but, as mentioned in his preface, the fables suited precisely his “fancy, as consisting so much of Fowl and Beasts, wherein my Friends are pleas’d to count me most Eminent in what I doe.”
The seventeenth "indecent" plate was often suppressed or defaced in attempts to obscure the depiction of a lady’s pudenda that accompanies the lines: “Oft for a jest we expose out modesty, | And to assume a vertue, tell a ly, | But here deceiving fair thou’dst small pretence, | Thy Taile wants all but the kind feeling sense.” The present plate does not display any signs of deletion or markings.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Taylor Kirkpatrick
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Æsop’s Fables with His Life</em>
Creator
An entity primarily responsible for making the resource
AESOP [BARLOW, FRANCIS].
Publisher
An entity responsible for making the resource available
H. Hills Jr., for Francis Barlow, London.
Date
A point or period of time associated with an event in the lifecycle of the resource
1687
-
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0517b5a9edf6abf97c8f26aec0c0632f
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9239bc706b8f18383bc52df021db7d29
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c20121e9e105429be4953cbfe0508372
Caxton Club Member Contributions
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
From the colophon: "...set in Cloister Old Style with an engraving by Morris Cox... printed on Green's 'Bodleian' hand-made paper & limited to one hundred copies. Number 89."
From the copyright page: "Hand-set and hand-printed by Morris Cox & bound by him at his private press... The decorative borders are arrangements of the Calypso fleuron designed by Roderick Cave. The end-papers are original."
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
I have accumulations of books in a variety of areas, but dream books--books attempting to capture and describe dreams, and books claiming to interpret them--are what I think of as my primary personal collecting area. Mostly these are very scruffy, cheap, ephemeral pamphlets, or unpopular experimental literature, and I love both of those subgenres. But a few are knockouts as book objects.
The most beautiful book in my collection, I think, is this one. The binding, the somewhat hypnotic decorated endpapers, the type, and the slim, tall format all combine to create an elegant package. It is a joy to hold in the hand.
The text itself is modest, with the original (probably 14th-century) Latin text on versos facing an English translation on the rectos--simple interpretations such as "To catch bees or birds in dreams signifies profit." Even these simple explanations, though, testify to the human urge to understand the strange stories told to us (by ourselves?) in our sleep.
The photographs were taken atop a pillow, for obvious reasons.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Will Hansen
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>A Mediaeval Dream Book</em>
Creator
An entity primarily responsible for making the resource
B. S. Cron, translator; Morris Cox, printer, binder, and illustrator
Publisher
An entity responsible for making the resource available
London: Gogmagog Press
Date
A point or period of time associated with an event in the lifecycle of the resource
1963
-
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0a6debe7b848c28b8bf8b18397a42567
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
273 pages; illustrated
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
Special presentation copy with two tipped-in leaves of signatures of Club members.
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
<em>Chicago by the Book</em> is an exemplar of what we might call canonical bibliography: it aims to “define the city [of Chicago] and its image” through the careful selection and presentation of 101 publications about the city’s history, culture, literature, and environment. Its 101 entries each include an interpretive essay—mostly written by Caxton Club members—and photographs of the item. The coverage ranges chronologically from 1844 (Juliette Kinzie’s <em>Narrative of the Massacre at Chicago</em>) to 2015 (Sara Paretsky’s <em>Brush Back)</em>, and includes formats from sheet music to periodicals to city planning documents to photo books. The design, layout, typography, and photography of <em>Chicago by the Book</em> are exceptional, and form a very pleasing object for frequent perusal. The topic can spark countless discussions—about particular works, but also about what’s included and what’s missing, a large part of the fun of any selective bibliography. It also works very well as a collecting guide. I own two copies of the book, but am most fond of this copy, the second I received. It was given to me at a Caxton Club dinner at which I spoke, signed by the attendees. Beyond this copy’s personal significance to me, I am very pleased to have the book in my collection since it complements my interests in Chicago literature, the cultures of the Midwest, bibliography, and, of course, the Caxton Club. While my other copy resides in my office as a valued reference tool, this copy has pride of place on my home bookshelves.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Chicago by the Book: 101 Publications that Shaped the City and its Image</em>
Creator
An entity primarily responsible for making the resource
Caxton Club
Publisher
An entity responsible for making the resource available
London: University of Chicago Press
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
-
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b657a2977acc687fd51a160b515d3e91
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f88d89b39135bc4601903b2040bbd607
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64280f769df7ce0004019aa216beca3b
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
77 unnumbered pages, illustrated
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
73 plates printed by woodblock in black, red, silver, and gray
Maurice de Guèrin, Le centaure
Lyon: Cercle Gryphe, 1929
Decoration par Cl[audius]. Linossier
Gravée sur bois par Ph[ilippe]. Burnot
Imprime par Audin de Lyon
No. 110 of 133 copies
Black leather binding with doublures, protective case, and two Linossier plaques
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
We love this book, both for its 73 vibrant, geometrical wood blocks, mainly printed with unswerving symmetry on facing pages, and for its multiple associations with Lyon, a favorite city. Claudius Linossier, its designer, was a dinandier, a metal smith whose vases and plates are highly valued. This, his only book, supposedly took two years to complete. The commissioners were members of a recently created bibliophilic society, reflecting French practices of the day. We purchased it from a Paris book dealer whose origins lay in Lyon. Our copy has, set upon its binding, front and back, two metal plaques devised by Linossier, one square, the other triangular. Very different in color, finish, and material from the laquer plaques created by Jean Dunand for bindings at about the same time, but possibly influenced by their example. The printed pages are quintessentially moderne, another source of special appeal for us; the metallic silver ink highlights the seemingly infinite variations. Except for the author, the makers of the book– the Cercle Gryphe, designer Linossier, engraver Philippe Burnot, and printer, Marius Audin–constitute a virtual salade Lyonnaise, reflecting the city’s historic role as a printing center. It hosts today a Museum of Printing and Graphic Communication. The Charles de Guèrin prose poem, "Le Centaure," first printed in the 1840s, has been illustrated by more than half a dozen French artists, usually in conjunction with Guèrin’s "La Bacchante." Linossier’s formally ordered but quite fantastic gray, red, silver, and black presentation constitutes its most unusual interpretation.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Neil Harris and Teri J. Edelstein
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Le centaure</em>
Creator
An entity primarily responsible for making the resource
Claudius Linossier
Publisher
An entity responsible for making the resource available
Lyon: Cercle Gryphe
Date
A point or period of time associated with an event in the lifecycle of the resource
1929
-
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a131e73b787ef0ea9a34ac90dd87f778
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
72 pages, 7 blind embossed images.ed images
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
<em>Fortune Cookies</em> Production Notes This 72-page, 5.5" x 12" collection of seven flash fiction stories was written by Lynn Sloan, and printed by book designer Craig Jobson at Lark Sparrow Press in Evanston, Illinois, copyright 2021. Each story highlights how a woman’s chance taken today, can be tomorrow’s unexpected fate. The completed book required over 26,000 pieces of hand-set Plantin and Univers typography and, 2,600 hand-printed pages using a Vandercook letterpress. Each book contains seven embossed images, 21 spot illustrations, handmade end sheets, 2nd color drop caps for each story, seven onset fortunes per book, and exposed-sewing-over-tapes-open-spine binding. Ten copies have digitally engraved bamboo covers. The book was in production for nearly three years.
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
The book began over coffee at a local cafe in Evanston, Illinois between two Columbia College Chicago colleagues. Lynn Sloan taught photography while writing short stories and novels. Craig Jobson taught “Publication Design” and “The History of Typography.” It was a combination of unusual talents that produced a book that will most likely be seen in special collection libraries and the shelves of fine press book collectors.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Craig Jobson
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Fortune Cookies</em>. (First edition. 20-copy edition)
Creator
An entity primarily responsible for making the resource
Craig Jobson designer/printer, Lynn Sloan writer
Publisher
An entity responsible for making the resource available
Lark Sparrow Press
Date
A point or period of time associated with an event in the lifecycle of the resource
2019
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f3e4aff3623c0d84704ad40a78564de1
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
Stapled pamphlet
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
Risograph printed zine
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
Two of my most passionate collecting interests are occult texts and books with lavish illustration; Daria Tessler’s “Albertus Magnus” zine embodies both. It contains magical recipes from 13th century occult philosopher Albertus Magnus alongside full-bleed psychedelic illustrations on every page. Printed by Chicago’s own Perfectly Acceptable press, this risograph edition boasts neon colors and sumptuous texture that the later offset edition just couldn’t match. To me, this work exemplifies the union of historical research and contemporary illustration — produced here in Chicago by masters of independent art book publishing. It’s very dear to my heart!
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Hannah Batsel
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Three Magical Recipes from the Book of Secrets of Albertus Magnus</em>. Second edition
Creator
An entity primarily responsible for making the resource
Daria Tessler
Publisher
An entity responsible for making the resource available
Perfectly Acceptable Press
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
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18c32782a0f6e5db5b68bb0fed797b6d
Caxton Club Member Contributions
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
[72] unnumbered pages + [1] p. ads.
Art deco illustration on front cover; illustrated throughout by Roy C. Nelson. A collection of 30 cocktails by leading authors of the day (e.g., Erskine Caldwell, Rockwell Kent, MacKinlay Kantor, and several others with Chicago ties). Each cocktail appears with recipe and a full-page narrative; a cartoon by Nelson depicting the contributor and relating to the recipe appears on the facing page.
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
<em>So Red the Nose; or, Breath in the Afternoon</em><span> enjoys a special place on my bookshelf not for its recipes but for several unrelated reasons, including Carl Kroch’s sixty-year membership in the Caxton Club. On a more personal level, the book fits nicely into my collection of mixology titles, 1862–ca. 1960. The literary figures with ties to Chicago (Ernest Hemingway, Edgar Rice Burroughs, Theodore Dreiser, Harriet Monroe, Dorothy Aldis, and Dorothy Ayer Barnes), who contributed their favorite libations, make the book an important piece of Chicagoiana. The illustrations by Roy Nelson, a noted cartoonist who built his career with Chicago newspapers before joining Walt Disney’s team developing Mickey Mouse, enhance the book’s place among Americana more broadly. <br /> I first became aware of </span><em>So Red the Nose</em><span> in the mid-1980s while employed in Special Collections at Cornell University. When it was announced that Carl Kroch would visit his </span><em>alma mater<span> </span></em><span>to discuss a possible gift to the University Libraries, a colleague alerted the University Librarian that two copies of </span><em>So Red the Nose<span> </span></em><span>were housed in Special Collections. Arrangements were then made to discreetly place a copy on the coffee table in front of the chair Mr. Kroch would be offered when meeting with the University Librarian. When Mr. Kroch eventually noticed the book, he was delighted and commented that he had not seen a copy in many years. That visit ultimately led to his decision to make a major donation to enable Cornell to construct a special collections library, which today bears his name.</span>
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Louis A. Pitschmann
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>So Red the Nose; or, Breath in the Afternoon</em>. [First edition. First printing]
Creator
An entity primarily responsible for making the resource
Edited by Sterling North and Carl Kroch
Publisher
An entity responsible for making the resource available
New York: Farrar & Rinehart
Date
A point or period of time associated with an event in the lifecycle of the resource
1935
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0638ad0e77ca36ea85415039971846a3
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d9825ba8f682d9ecfeb5c969ddf2ec7f
Caxton Club Member Contributions
Number of Volumes or Pages; illustrated?
Example #1: 432 pages; illustrated.
Example #2: Three volumes.
365 pages
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
Dust jacket signed by "Skrenda". Purple binding with black lettering panels.
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
Like many other high school students, my first encounter with Edith Wharton was reading what is probably her most well-known work, <em>Ethan Frome</em>. That riveting novella led me to Wharton's other works including arguably her best novel, “The Age of Innocence. Originally published in serial form in the <em>Pictorial Review</em>, this 1920 edition is published "by arrangement with D. Appleton & Company" who published the first edition (also in 1920). What "arrangement" was made between D. Appleton and Grosset & Dunlap” is a mystery--neither of the two major Wharton biographies discuss this matter. Wharton’s reputation, like many writers, has waxed and waned over time. She was very well-regarded during most of her lifetime—she won the Pulitzer prize for the <em>The Age of Innocence</em>, the first woman to do so. However, following her death in 1937, her novels focusing on the upper classes and members of the elite “Four Hundred” were regarded by many as outdated and still others compared her unfavorably to her fellow writer (and contemporary and friend) Henry James although <em>Ethan Frome</em> seems never to have lost its reputation. Then the opening of her papers (in the Beinecke Library at Yale) spurred renewed scholarly interest--R.W.B. Lewis’ biography appeared in 1975 and Hermione Lee’s in 2007—and Wharton is certainly now recognized as a major American novelist whose use of décor as a key to character has had lasting influence on many subsequent writers (Sinclair Lewis and F. Scott Fitzgerald among them).
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Stuart W. Miller
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>The Age of Innocence</em>
Creator
An entity primarily responsible for making the resource
Edith Wharton
Publisher
An entity responsible for making the resource available
New York: Grosset & Dunlap
Date
A point or period of time associated with an event in the lifecycle of the resource
1920
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bb06c721bbf749ad52a46caf38c02c3c
Caxton Club Member Contributions
Brief Notes on Book
Example: 205 hand coloured plates -- Signed by Arthur Ponsonbury.
Frederic Rowland Marvin was a Minister, Professor and author of five books. He lived from 1847 to 1918 in Massachusetts.
Essay
Descriptive essays should be no more than 250 words discussing the item’s interesting features, significance, and importance to you. Members should expect only light editing for grammar and spelling, not extensive fact-checking or content changes.
This book is one of the poorest books in my library. It is an ex-library book, the spine is starting to peel off and it has suffered water damage making the pages stained and wavy. The book itself is not very interesting, a collection of purported last words of famous people. I bought it for a dollar at a rummage sale. Its interest lies in its provenance which is on the first blank page. I bought the book because it was inscribed as following:
" To Professor William James in acknowledgement of grand spiritual help received for the reader of his book "Human Immortality with the sincere regards of the author."
Frederic Rowland Marvin
Below this is the following:
"Bought Marh 10, 1924 at the sale of Professor James' Library at the Harvard Co-op."
and following that:
"Rebought by Thomas Ryder from the St. Gertrude Library."
and finally:
"Bought at the St. Jerome rummage sale April, 1991 by Jerome C. Yanoff."
I have never seen this kind of history in any other book. I hope the next owner will continue the tradition. There is room for more inscriptions.
Contributor
IMPORTANT AND OPTIONAL: If you would like your name shown on the public internet as the contributor of this item in the exhibit, type it here. If you do not provide your name, only Caxton Club members will know you have contributed this item via the password protected online Caxton Club directory at https://caxtonclub.org/directory.
Jerry Yanoff
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>The Last Words of Distinguished Men and Women</em>
Creator
An entity primarily responsible for making the resource
Frederic Rowland Marvin
Publisher
An entity responsible for making the resource available
New York: Fleming H. Revell Co.
Date
A point or period of time associated with an event in the lifecycle of the resource
1902