As an example of this discretion which one must exercise in rebinding one"s volumes, here is an incident that occurred in a London sale-room a few years ago. A copy of Jane Austen"s "Mansfield Park" in three volumes, 1814, was put up for auction and realised 20. It was bound in boards and was entirely uncut. Nevertheless it was not in the original binding, but it had been rebound in precisely the same style as that in which it was originally published. The paper labels had been reprinted in facsimile, and the edges had not been tampered with in any respect, not even "trimmed." The best price that had been realised previously for an uncut copy in the original boards was 18 10s.
The owner was indeed wise in his generation. Had he sent the volumes to his binder to be bound in full morocco "extra," at a cost of, perhaps, twenty shillings apiece, the work would have realised, probably, seven or eight pounds. But by good judgment (and, in the writer"s opinion at least, good taste) his expenditure would not exceed fifteen shillings for the three, his profit being four times as great. Not long ago two copies of the first edition of Keats" "Endymion" appeared at an auction-sale in London. Both were "uncut," but one was in the original form in which it issued from the press, the other was bound in morocco. The former realised 41, the latter 17, 5s. _Dictum sapienti sat est._
Old books, by which I intend sixteenth and early seventeenth century volumes, are always best left alone as regards the binding. If they be at all dilapidated, it is as well to have a case[44] made for them which can be lettered on the back, and they can then stand upon the shelf among one"s other books. Nothing is more unseemly and incongruous than an ancient volume in a modern cover, and, try as the most skilful binder may, it is impossible to imitate an ancient binding so closely as to deceive the eye even momentarily. Do not seek to make them presentable by patching and repairing, unless they be too far gone for their value to be of any consideration.
In the case of early-printed books and works of great rarity, never, upon any account, tamper with your copy or seek to improve it in any way. Not only, as I have said, is it quite impossible to impart a contemporary appearance to a fifteenth-century book however famous and skilful the binder, but age leaves its mark upon the const.i.tutions of books as surely as it does upon mankind. No volume of that age will stand the handling of a casual reader, still less the pulling, patting, and pressing that re-sewing and re-covering necessitate, however gently such processes be carried out.
There is a terrible story (I hope it is untrue) told of a certain peer who decided to send to the auction-room the six or seven Caxtons which had descended to him with a n.o.ble library from his ancestors. As, however, the volumes were bound in fifteenth-century sheepskin (probably in Caxton"s house) he thought that their appearance would be rendered rather more attractive if they were rebound first of all. So he sent them forthwith to the local binder; and on their return, now gorgeously clothed in "calf gilt extra" (a la school prize), he despatched them to the London sale-room. The result may be imagined. His foolishness must have robbed him of a sum running well into four figures!
There is another point also to be considered, and that is the _pedigree_ of a volume. The solitary impression of a binder"s tool upon a fragment of binding may identify a volume and its previous owners. Some years ago the writer purchased an ancient folio without t.i.tle-page and colophon, bound in tattered fragments of ancient calf covering stout oak boards.
There was, apparently, nothing to indicate when, where, or by whom the volume was printed or bound, or whence it came. But from a certain peculiarity in the type (which he noticed when studying the early printers of Nurnberg) he now knows the name of the printer and the town in which he plied his trade; while from a certain woodcut which that printer used also in two other _dated_ works only, _both printed the same year_, he discovered when the volume in all probability was printed.
A scrutiny of the remains of the binding revealed the blind impressions of four different stamps. As these occur frequently in conjunction upon the bindings executed by the monks at a certain monastery in Germany in the sixteenth century, there is little difficulty in a.s.signing a _provenance_ to the volume. Furthermore the initial H in a heart-shaped impression identifies the binder as a monk whose initials H.G. (on two heart-shaped tools) are of frequent occurrence on contemporary volumes at that time in the possession of the monastery.
Needless to say, it has _not_ been rebound. The tattered pieces of skin have been carefully pasted down, and a case--lettered on the back--now contains the book upon his shelf.[45]
In the case, however, of more recent books bound in tattered or perished calf, books of which one may obtain duplicates at any time, except they be works of extreme value there is no reason why they should not be re-bound. Even here, however, the collector must tread warily; for should he send his copy of Tim Bobbin"s Lancashire dialogue of _Tummus and Meary_ to the binders with brief instruction that it is to be bound in full morocco, it may be returned to him in all the splendour of a sixteenth-century Florentine binding.
With regard to books published in cardboard covers with paper backs and paper labels, what is to be done with these when the backs are dirty or torn off, the labels of some volumes missing? Must they be re-bound in leather or cloth? Not necessarily, and I for my part maintain that the delightful ease which one experiences in handling them when reading the early editions of Byron, Scott, or Irving, and those writers who flourished in the first few decades of the nineteenth century when books were commonly issued in this form, is sufficient excuse for retaining them in their original shape. Such volumes may easily be made presentable at the cost of a little time and trouble, as I shall presently show.
An appearance of antiquity is never a _desideratum_ to the honest book-collector. I say "honest" advisedly, for there have been--and doubtless are--persons so misguided as to stoop to the fabrication of certain small and excessively valuable books. To such, an appearance of age is no doubt indispensable in their wares. But these are torments which afflict the wealthy only; and for this I at least am sincerely thankful.
There is no doubt, however, that in the collection of many things antiquity in appearance is desirable: witness the modern fabrication of "antique" furniture and pottery. Our book-hunter was once acquainted with a certain country gentleman, a learned man and most excellent companion, whose pa.s.sion for rare things once got the better of his judgment. It was not books that he collected, but b.u.t.terflies; and he was inordinately proud of a rather seedy-looking "Large Copper" which his cabinet contained. For the benefit of his admiring entomological friends he would recite how his grandfather had caught it with his hat when on a holiday in the Fens. It grew to be quite an exciting tale. One day, however, in the course of a country ramble they fell to discussing the romancer, or man who resorts to fiction that his adventures may be the more interesting. And as (for the sake of argument) the man of books affected to praise him, remarking that any soulless fool can tell the bald truth whereas it requires an artistic temperament to adorn a tale with realistic embellishment (!), his friend turned to him eagerly. Being encouraged, he confessed that his Large Copper was not all that it appeared to be. In short, the bookman discovered that he had secured it himself while on a summer tour in Switzerland, and with the aid of a camel"s-hair brush had succeeded in reducing it to a venerable state.
"Of course," the entomologist hastened to explain, "no one could possibly tell that it was not my grandfather"s. He had a very fine collection, and probably there was more than one Large Copper in it, though there was only the one in the cabinet that came to me. I shall never forget my feelings when it happened. I had taken it out of the drawer to show to a friend, when we both saw, outside the window, what we thought was an _Antiopa_. We rushed out, and when we came back we found that the cat... . Dear me; I was quite overcome... . But that summer I caught the one you have seen in Switzerland; and as my dear friend was no more and n.o.body else knew of the catastrophe, I thought there would be no harm in merely restoring a specimen to my grandfather"s collection."
But the bookman pointed out to him that when he died and his collection was sold his family would benefit by some pounds through his indiscretion; for it was now known to all his friends as a genuine English specimen. This troubled the entomologist greatly, for it was a point of view that had never occurred to him, and, like the rich young man, "he went away grieved."
So it is sometimes in book-collecting: there is a temptation to "restore"
an incomplete book. Should the collector find that his copy of a certain work lacks a portrait, what is more natural than to go to the print-shop and purchase a portrait of the same individual for insertion in his copy?
And in this there may be little harm, provided that the book is of no value _and that he makes a note in ink inside the front cover as to what he has done_. But occasionally some unscrupulous book-fiend--he is, of course, no true book-collector--subst.i.tutes for a damaged page a page from another copy, or perhaps of a later edition; sometimes he supplies his volume with a spurious t.i.tle-page or other leaf; and, worst of all, subst.i.tutes in his copy of the second edition, whereof the t.i.tle-page is damaged, the t.i.tle-page of a first edition, of which he possesses an incomplete copy.
And here let me utter a word of warning. Apparently it is the practice of certain cheap second-hand booksellers to abstract the engraved plates from folio books, occasionally also removing the "List of Plates" that the theft may remain undiscovered, and to sell the works thus mutilated as sound and perfect copies. Needless to say to the print collector such plates are invariably worth a shilling or two apiece, if portraits considerably more. I know to my cost one London bookseller who habitually removes the engraved portraits with which certain seventeenth-century folios, especially historical ones, are wont to be embellished. How many rare volumes this ghoul has ruined it is impossible to say, probably some hundreds. Our book-hunter confesses to having been caught by him three times, discovering the reason for the cheapness of his bargains (!) some time later. A friend has also suffered from his attentions. I need hardly add that his shop is now avoided, by two book-hunters at least, as something unclean.
Occasionally, also, one comes across scarce volumes bereft of t.i.tle-pages, these having been torn out by some vampire to adorn his sc.r.a.pbook. Surely no fate can be too bad for the man who dismembers books. His proper place is certainly in the Inferno, where, in company with Bertrand de Born, he will be condemned for ever to carry his own head, after it has been separated from his body, in the shape of a lantern.[46]
As soon as ever you reach home with your purchases from a ramble along the bookstalls, and whenever you receive books that you have ordered through a bookseller"s catalogue, collate your acquisitions carefully.
Whenever it is possible refer to a bibliography to see that your copy is all that it should be. Nothing is more annoying than to discover, perhaps years afterwards, that your copy of a rare book, which you fondly imagined to be a fine one in every respect, lacks a page or so, or a leaf of index or errata, or a plate. It is a good plan to make a point of keeping books upon your table until they have been properly collated and catalogued, when--and not before--they may be placed upon the shelves.
Frequently you will discover that a second book, or even a third, has been bound up with your volume, and you would have overlooked these but for collating. It was a common practice at one time (as, indeed, it is with some collectors nowadays) to bind up thin books with thicker ones to save the expense of binding. Probably this is the reason why certain sixteenth and seventeenth century works which consist of but fifty or sixty leaves are so hard to find, being bound at the end of larger works and thus commonly escaping the cataloguer"s eye.
It is necessary for the collector to exercise the greatest caution in acquiring a valuable old book from any but a reputable bookseller. The fabrication of a page or so--especially a t.i.tle-page--is a comparatively small matter to the nefarious dealer who hopes by this means to obtain for his copy the price which a perfect one would command. "Perfect"
copies of rare fifteenth-century works are made up from two or more imperfect ones, t.i.tle-pages and leaves are reproduced in facsimile, blank leaves and engravings are inserted: for all these the collector must be continually upon his guard. Other books there are which have certain pa.s.sages frequently mutilated, or a genealogical tree or a table generally missing.
Hazlitt gives two examples of this species of knavery. One, in which a reproduction of the scarce portrait of Milton usually attached to the first edition of his "Poems," 1645, had been actually split and laid down on old paper to make it resemble the original print: the other, a case in which a copy of Lovelace"s "Lucasta," 1649, lacked a plate representing Lucy Sacheverell (which makes a good deal of the value of the book), and a copy of the modern reproduction of this plate to be found in Singer"s "Select Poets" had been soaked off and "lined" to give it the appearance of a genuine impression mounted, and then bound in.
And these mutilations are not the only things of which the collector must beware. Early in the history of books, the reputation that hall-marked the publications of certain famous presses became a source of envy to less fortunate printers. Type and imprints were soon counterfeited, and the fine editions of the Cla.s.sics printed at Venice by the great Aldine press were reproduced at Lyons and elsewhere. In this matter of forgery and pirated reprints, you will find Gustave Brunet"s "Imprimeurs Imaginaires et Libraires Supposes" of value. It is a catalogue of books printed with fict.i.tious indication of place or with wrong dates, an octavo volume published in 1866.
These things, however, cannot be learnt at once, and it is only by the continual study of catalogues and bibliographies that one comes to know them. Needless to say, however, all reputable booksellers will take back a work which is discovered to be imperfect, provided that the volume be returned without delay.
Books, like those who gave them birth, are of all conditions; but from the collector"s point of view they may be divided conveniently into five cla.s.ses. To the First Cla.s.s belong those volumes which are described by booksellers and auctioneers as "fine copies." Ever since their publication they have been in the possession of wealthy men, often peers, and (sometimes like their owners!) have pa.s.sed their lives for the most part undisturbed amid luxurious surroundings. They are invariably richly bound, often in historic bindings, and are clean and fresh inside.
Frequently they are sumptuous works and presentation copies, and they always command high prices. In a word, they are aristocrats among books.
They are not necessarily rare volumes, though frequently they are large-paper copies, and for the true collector they do not offer so much attraction as the Second Cla.s.s, in which we place those books that are more eagerly sought after. These are generally rare books, such as incunabula and the higher cla.s.s English literature of the seventeenth century, and are to be found in the libraries of wealthy collectors who are also learned men. They are always well bound and in good condition, though sometimes they have their headlines shaved, occasionally they are slightly imperfect, or have been cleaned and repaired. But they are always desirable books, and evoke spirited bidding whenever they appear in the auction-room.
Cla.s.s Three comprises the great army of what may be termed "middle-cla.s.s books." They are bound usually in half-bindings, when they are not in the publisher"s cloth, and are good, clean, _sound_, copies of such works as county histories, antiquarian books, sets of the learned societies"
publications and of "standard authors." They are such stable and solid books as you will usually find in the libraries of the well-to-do middle cla.s.ses. In short they are gilt-edged securities, and command a steady price in the market.
To Cla.s.s Four may be a.s.signed the volumes contained in the average second-hand bookseller"s shop in this country. They are the [Greek: hoi polloi] among books, and for the most part they include the more frequent and more modern English works. Usually they are quite desirable copies, though frequently they lack a portrait or other plate, sometimes they have a torn or mounted t.i.tle-page, or other imperfection. They are generally in cloth or calf bindings which are almost invariably somewhat decrepit, being either rubbed or perished, or cracked at the joints.
They are dusty and rather unkempt, and fox-marks are common, for such volumes have pa.s.sed through many hands and have not always been accorded the care that is due to good books. But it is here that one comes across books "in the original boards uncut," and, if expense be no object to you, you may often raise such purchases to a higher cla.s.s.
Books in Cla.s.s Five are the outcasts of the book-world, being those decrepit volumes which stack the bookstalls and barrows in the larger towns. They are the weedings of auction sales and shops, books that are not worth cataloguing by the dealer. Like human beings they have drifted through life with all its vicissitudes, knowing many masters and earning the grat.i.tude of none. And so at length, deprived even of a home, they find their way into the streets, where they are soon reduced to wreckage.
At first sight it would seem that they owe their situation to their quality, both intrinsic and extrinsic--that they are valueless either as literature or as specimens of book-production, or that they are imperfect or odd volumes. In many cases this may be true, but in general it is not so. The wrecks of handsomely produced books of high-cla.s.s literature are common on the bookstalls and barrows, as all collectors of modest means are aware. They owe their situation _chiefly to inconsiderate handling_ and to the carelessness of their successive owners.
As to the practice of inserting ill.u.s.trations in books that are published without them, "Grangerising," as it is called, it is perhaps best left alone. At first sight there appears to be small harm in providing, let us say, a volume of travels or the description of a town with an appropriate engraved frontispiece, or adorning your biography of So-and-so with a portrait. But the temptation to overstep the bounds of seemliness is so great that it is seldom the collector stops at a mere frontispiece. In most cases the Grangerite soon loses his self-control, and develops an acute mania for embellishing his volume with all and every print upon which he can lay his hands, apposite in the slightest degree to the subject of the book. Every year the sale-rooms witness these monstrosities. Biographies issued in a single volume are "extended"
("rended asunder" would be a better term) to fifteen or twenty volumes by the insertion of hundreds of engravings depicting every place mentioned in the text and every man or woman that the subject of the biography ever met. I have seen an octavo volume multiplied into twenty-five folio ones in this fashion, the leaves being inlaid to suit the size of the huge portraits and views stuffed into the disjointed sections of the wretched book. Nor is it only engravings that are used. Play-bills, lottery-tickets, tradesmen"s advertis.e.m.e.nts, autograph letters, maps, charts, broadsides, street ballads, bills even, all are grist for the Grangerite"s mill.
It is a singularly futile hobby, and it is certainly a pernicious form of bibliomania, for it is responsible for the destruction of many good books. Whether its devotee imagines that any one is ever going to wade through his twenty monstrosities, turning, perhaps, six ill.u.s.trations between page and page of text, we have not discovered. His completed labours form a compilation about as valuable as a sc.r.a.p-book. If it were possible to gather into one volume, or rather portfolio, every portrait, let us say, of a certain celebrity _that has ever been published_, one would possess a valuable storehouse for reference purposes; and such a volume, from its _completeness_, would be invaluable in the British Museum. But these limits are too narrow for the true Grangerite. He desires a wider field of action. So he embarks upon a task which he can never hope to complete. Though he labour all his life there will always be _some_ one or more engravings that he has failed to secure; and so far from being "invaluable," his collection becomes merely of pa.s.sing interest. As a book it is, of course, grotesque.
The fate of most of these collections is probably the same. So long as the binding remains in good condition they are ensured a niche on some neglected shelf; but once the marks of age or wear and tear manifest themselves their fate is sealed. They come speedily into the hands of those booksellers who deal also in prints, and beneath such ruthless hands the labour of years is undone in a few minutes. At least it is pleasant to think that the poor pages, separated for so many years, come together again if only for a few hours before they reach the paper-mill!
Whether the sober-minded collector whose pride is the well-being of his books is justified in adding a frontispiece and, say, half-a-dozen good engravings to a book that he appreciates, is a moot question. Doubtless the correct view is that books should not be meddled with by amateur book-producers, that both publisher and author know best what is most fitting for the volume they produce, that any book which has been tampered with internally in any way becomes a monster and is to be avoided. But this brings up again the old question, "May we not do what we like with our own volumes?"
Personally I am of opinion that the judicious and extremely moderate adornment of certain books is justified by the result. There is no doubt that the insertion in an _un_ill.u.s.trated volume of travel of, let us say, six engraved plates depicting scenes mentioned in the text, adds a charm to the volume and enhances both its appearance and the pleasure of its perusal. Similarly the addition of an _authentic_ portrait to a biography certainly lends an added interest, whilst the addition of a map is often of the greatest a.s.sistance to the reader. But that books should be mutilated, torn apart, and stuffed with play-bills, lottery-tickets, and the like, no sane book-lover will admit.
There are some books that seem to ask for ill.u.s.tration. Who has handled the three folio volumes which comprise the first edition of Clarendon"s "History of the Rebellion" without feeling that by rights they should contain fine mezzotint portraits of the chief actors in that great drama?
But they must be mezzotints, mark you--mere line engravings would be out of place among those bank-note paper leaves with their handsome great-primer type. This question of seemliness, too, must be considered carefully ere we add a single plate to any volume. Not every engraving, however beautiful in design and impression, is at once suitable to every book that treats of the subject it depicts. That the ill.u.s.trations be contemporary with the text goes without saying. No one would be so foolish as to insert modern "half-tone" ill.u.s.trations in a seventeenth-century book.
That heading "Extra-ill.u.s.trated," so dear to certain booksellers, must send a shudder through many of the discerning readers of their catalogues. Books that are extra-ill.u.s.trated should be avoided by the collector on principle. There is something foolishly egotistical in seeking (by those who have no knowledge of book-production) to "improve"
the work of other men whose business is the making of books. There can be no necessity for it; the author is quite sure to have added the ill.u.s.trations that are requisite for the volume. It is only books that were published without ill.u.s.trations that we are justified in attempting to embellish. Ill.u.s.trations in a book are invariably a question of the author"s and publisher"s tastes; the cost of their production is not usually an all-important item: it is the setting up of the type, the paper, and the binding that count--not the ill.u.s.trations.
It was the fashion in the early decades of the last century to issue volumes of engravings suitable for ill.u.s.trating the works of contemporary writers, such as Byron and Scott: and these ill.u.s.trations can be used when you have your editions rebound. There is no particular merit about the greater part of them, but they depict incidents described in the text, so at least they are apposite. Each to his taste; our book-hunter for his part needs no second-rate ill.u.s.trations to help him visualise the glories of Childe Harold or Don Juan; and he has long since confined his Grangerising to the sparing addition of finely engraved portraits to biographical volumes.
FOOTNOTES:
[44] With regard to these cases, the collector will use his own judgment as to whether they be of the "slip-in" variety, by which means the binding is rubbed every time that he withdraws and inserts his volume; whether such cases be lined with velvet, and roomy enough to obviate this friction; or whether they shall open with a flap at the side.
[45] If you are interested in the pedigrees of your volumes (by which we mean the identification of their previous owners) you will find M.
Guigard"s "Nouvel Armorial du Bibliophile," octavo, Paris, 1890, useful where armorial bindings are concerned. It is an interesting volume, and appeared first of all in four parts (large octavo, Paris), between 1870 and 1872. There are cuts of every coat of arms identified, but these are almost entirely French. Mr. Cyril Davenport"s "English Heraldic Book-stamps" was published in large octavo, in 1909. For early book-plates you must consult the numerous works upon this subject that have appeared in recent years. An excellent series of articles ent.i.tled "Books on Book-plates," by F.C.P., appeared in "The Bookman"s Journal and Print Collector" between February and July, 1920 (Nos. 15-18, 20-23, 25, 34, and 40). There is also "A Bibliography of Book-Plates," by Messrs.
Fincham and Brown, in which the plates are arranged chronologically. The Ex-Libris Society issues a journal, and there are numerous other volumes upon this subject, which you will find mentioned in Mr. Courtney"s "Register of National Bibliography."
[46] Canto xviii.
[Ill.u.s.tration]
CHAPTER VI