Fowler Steps Up

When Sheldon Cheney folded up shop in May of 1910, he hoped another like-minded person would continue his work. Ten months later, the correspondence address changed from Berkley, California to Kansas City, Missouri. The new editor was H. Alfred (Fred) Fowler. Under his stay The Bookplate Booklet looked and felt exactly the same. There was an index page, an index to the Illustrations, a request for literary contributions, and news from around the bookplate world. Such as, "The Association Book Company of New York under James F. Drake, has just published a catalogue of proofs and prints by English and American Engravers from Mr. Spenceley's personal collection." Or, "The Graphic Arts and Crafts Year Book for 1909, a review of the engravers, printing, and allied industries, published at Hamilton, Ohio should be of special interest to bookplate designers....." Ads were placed by E. Lister of 104 Manchester in Oldham, England offering a "Catalouge of 2,000 Bookplates" to be mailed free to any part of the world; "Bookplates of Well-Known Americans" by Clifford N. Carver of Princeton, New Jersey; "Masonic Book-Plates" by A. Winthrop Pope, out of Newton, Massachuesttes; "Indiana Bookplaters" by Miss Esther Griffin White, with plates by Meredith Nicholson, James Whitcomb Riley, Gearge Barr McCutcheon, Edward Eggleston, Booth Tarkington, David Stuart Jordon, William Dudley Foulke, and Gov. Thomas R Marshall are reproduced in this Hoosier book; Frank B. Siegrist, a Bookplate Engraver from Kansas City; and Specialty Printing by Frank V. Barhydt of Kansas City printed the Booklet. There were bookplate owners that wanted to exchange plates with other collectors. Such as, "Harold G. Rugg, Dartmouth College Library, Hanover, N.H: exchanges the two Darmouth College plates by J. W. Spenceley for plates by the above-named artists "(Feb. 1908, Vol.2, No.1). Of note, exchange requests came as near as Lawrence, Kansas and from as far as Vienna, Austria. Fowler himself placed an ad requesting book-plates.

Fowler tried on a couple occasions to bring something special to his readers. Take the inked impression from the original copperplate done by Miss Bertha Gorst. It took special steps to insert that etching proof into the book (Bookplate Booklet, September 1911, Volume 4, Number 3, page thirty-five). The text read: "Although more widely known for her "Etchings of Chester," Miss Bertha Gorst, who is an associate of the Royal Society of Painter-Etchers and a member of many other well-known societies and associations of artists, has done some very creditable work in the field of book-plates.The "Etchings of Chester" are views of historical places in and about that quaint old town, and so faithfully do they render the spirit of the subjects that their depiction of the old buildings seems to express their very atmosphere of antique and legendary suggestion. And this same elusive quality is an attraction in many of her book-plates, one of them being the Gwendoline Buckler, of which we present an impression from the copperplate. This plate shows a view of Nuremberg taken from Durer's "St. Anthony"--it has been the subject for much comment on the part of ex libris critics and was at one time given honorable mention in the German Ex Libris Society Journal." In 1912 Fowler went on to publish a small folio of seven original copper etching impressions by Gorst with tissue guards to each with a facing page quoting a passage of John Ruskin. That work was called Gothic Bookplates.

Take his Ex Libran experiment published in 1912 on his private press. He limited the edition to 400 copies and printed it on Italian hand-made paper. He wanted the volume to have a one-of-a-kind appearance, something collectors would be privileged to own. Fowler personally attended to every detail, including setting the type, sewing the covers, and pasting the inserts.The type font looked like a medieval manuscript. The contents, surprisingly enough, continued advocating the engravers of bookplates. Click on link to view the Ex Libran for yourself.

Karl Marxhausen comments: To understand to hand printing process of a copperplate etching and a woodblock I have included a link to Bill Ritchie's video at Print Universe. There is the dampening of special paper, and the alignment of plates, but it will give you a better idea of the steps etching printers go through to produce a single print. Another contemporary video shows the hand-stitched book-making process Fowler "might" have used to create his Ex Libran volume.

Arts And Crafts Gave Attention To Durer

The English Arts and Craft principles promoted by artist and poet William Morris (1834-96) drew attention, among other things, back to the Renaissance engravings of Albrecht Durer and designs that reminded one of medieval times. "His fondness for the Middle Ages and hatred of industrialization led him to recreate the spirit of the past." In the area of printmaking, Morris drew inspiration from woodcut illustrations found in 15th century manuscripts.The rustic nature of woodcuts and any craft that was hand-made celebrated the joy of one's labors. He also created borders and floral designs for books. This attitude appeared in the Print Clubs as well.

"St. Jerome in His Study" by German artist Albrecht Durer (1471-1528)
Praise for this kind of influence can be seen in this Nov. 1910, Vol. 3, No.4,"Bookplate Booklet excerpt," entitled: The Newman Club Plate
"In this day of the popularizing of art, book-plates multiply so fast that the thoughtful collector must sift the designs that come to his net and save only a small proportion. The art schools especially are tending to increase the book-plate output, having discovered the value of this concrete form of design as an art problem. Of necessity the majority of these student plates are as so much trash from the art standpoint. But occasionally a design of true merit is brought forth which is hardly distinguishable from the work of the established designers. Such is the Newman Club book-plate, by Miss Adele Barnes, a student of the California School of Arts and Crafts. This is a fine contrast to much student work in that it indicates much thought before the drawing and much care in the execution. Miss Barnes has distinctly followed the Durer style, and throughout has produced a plate well fitted to its use by a club of Catholic students."(Right design by Miss Adele Barnes)
Note on the Wood-engravings of George Wolfe 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 fac-similes. 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." (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 1860's. 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."(courtesy Olive Percival May 1909, Volume 3, Number 2, The Bookplate Booklet, Missouri Valley Special Collection, Kansas City Public Library, Kansas City, accessed March 21, 2010)


Karl Marxhausen comments: Arts and Craft schools promoted book design. It would be Noel Rooke at the Slade School in London that brought about a shift in this kind of thinking. "As a teacher he was largely responsible for raising the status of wood engraving as an independent graphic medium.."

The Woodcut Used To Embellish A Book Page

In this time period, the woodcut was not an artistic medium that could be appreciated all by itself. Everything was geared to the designing and making of BOOKS. So, the woodcut was used to embellish the book page. (See book engraving by Eric Gill, below right, courtesy of The Golden Cockerel Press.)

The Guild of Book Workers "The Guild of Book Workers, with headquarters in New York, and with members residing in fourteen states, and in Canada, England, France and Russia, has just closed its first year. There are 136 members. The Guild was formally organized on the 14^th of November, 1908, forty-two persons, representing the crafts of illuminating, printing, binding, and designing of type, tools, book-covers and book-plates, having met in response to a call issued because of the belief that an association for the purposes of mutual interest and assistance would be welcomed by many engaged in the practical work connected with book-making. The steady growth of the membership and the interest shown in all the activities of the Guild have proved the belief was well founded. An exhibition of the work of members was given in New York in April, 1907, in which sixty-nine members exhibited examples of their own hand-work in the various book-crafts. An exhibition was held in San Francisco in July, 1907, in which the work of forty members were shown. The assistance of the Guild has been asked for in many cities where exhibits of books were being planned. By exhibitions of the work of its members the Guild spreads an interest in the hand crafts. By its carefully compiled records kept by one officer, the secretary-treasurer, and from which all members can gain desired information by applying to the secretary, it has established a central bureau of information of real value. In November, 1907, under the auspices of the Guild, Mr. T. J. Cobden-Sanderson of London, one of its members, gave an illustrated lecture, in New York, on “The Book Beautiful.” By this lecture the Guild increased its circle of desirable acquaintance, and presented a distinguished binder and printer to an appreciative audience. The Guild closes its first year with money in the treasury, having made no assessments, and with a gain of nearly one hundred in its membership. The Secretary is Helen O. Haskell, 105 East 17^th Street, New York City, to whom all inquiries may be addressed." C.D.A.

(above excerpt taken from "The Book-Plate Booklet Volume 2 Number 3" edited by Sheldon Cheney Feb. - Nov. 1908 Colored type has been added by me/ Catalog Number R 087 B724 v.1/ Missouri Valley Special Collections.)

Story Within A Story's Story

This blog is about one man who lived in the town I now live in. He did wood engravings. He was from Carrollton, Missouri. The clippings I have found at the library say he took up xylography on his own. His artist life seemed to be isolated. Was it really all by himself???? Or, was he aware of the new wave of art which was being birthed across America???? This is one thread.

Another fellow who left no paper trail about himself left a BIG IMPRINT on the art scene with the Woodcut Society he founded. With no internet, no computers, no technology, he brought a variety of modern wood engraving into many places. When the Woodcut Society prints were presented to the Nelson-Adkins Museum in Kansas City, FIVE OF FRED GEARY'S WOOD ENGRAVINGS were among the 212 examples. (McKenna, George, Prints 1460-1995: The Collections of the Nelson-Adkins Museum of Art, 1996, p.269) How did H. Alfred Fowler meet Fred Geary??? This is one thread.

Did Geary interact with any of the artists represented by the Woodcut Society???? Some twenty-seven artists from four foreign countries. This is one thread.

Together, these threads hold my interest.

I am a teacher who helps students master math and reading. I am a painter of acrylics. I once did pen-and-ink illustrations for my high school yearbook. I have done editorial cartoons, murals, some self-publishing, and enjoy promoting the art of my friends. How did a no-name grain broker further the print scene so well??? I belong to some art clubs. Did Geary enjoy the company of other artists also???? Could the art left behind by some dead guy find renewed respect today????

As this blog proceeds forward, I wanted to frame it for you, my reader. Please share any links you find relevant to my quest.

Introducing artists

H. A. Fowler followed in the steps of his predecessor Sheldon Cheney. Surely, he also enjoyed mutual friendships with the artists he later commissioned in his Woodcut Society. A window into that relationship can be seen in a November 1907 post entitled "A Visit to Mr. Spenceley's Summer Studio." In this entry, one of the Booklet's contributors (S.A.) travels to Boston, Massachusetts. The recorded experience introduced collectors nation-wide to the then-popular J. Winfred Spenceley.
"A three-mile ride over the hills from the railroad station brings one to the summer studio of Mr. J. W. Spenceley of Boston, who has etched and engraved many notable book-plates during the last dozen years. The cottage is on a hillside, just above the quiet New Hampshire village of Chocorua. In front, Mt. Chocorua's rugged peak, five miles away, rises from above the pine trees with quite a Japanese suggestion: while in the rear, a beautiful valley of rolling meadow land and pine forests, bounded by mountains on either side, stretches into the distance where the silvery expanse of Lake Ossipee is seen."
"Mr. Spenceley was somewhere in the meadow, I was informed; and as I chose to seek him, I found him sitting beneath an apple tree, making studies of a grape vine that climbed over a boulder near by. I explained my quest, and as together we walked back to the cottage, the view over the valley held my admiration. Mr. Spenceley, noticing the direction of my gaze, remarked: "Is it not beautiful? A scholar who has traveled widely in Greece, likens our valley to the Plain of Marathon; but it needs no historic value to heighten its charm."
"We passed through the spacious living-room, where hung water-colors, and prints from the book-plate work of some of the noted engravers, and continuing upstairs, reached the studio. A large dormer window, with a rare old Indian print hanging from the top and down either side, keeping off the sidelights, concentrated its rays on the work-table below. Here was my particular interest."
"What kind of book-plates do you best like to do?" I asked. Mr. Spenceley placed four copper plates before me, each different in design. "You see the variety, but each holds my interest. Perhaps I like landscape plates best, and grace and treatment of the sixth-century French designs appeal to me especially. However, to incorporate artistically the ideas of my clientele, I find it better to use various forms of design rather than to hold to any one style." I glanced again at the copper plates and noting the detail of the work, I involuntarily asked: "How many book-plates have you made, Mr. Spenceley?"
"About two hundred now, I believe," he replied. "Perhaps you would like to see some of my proofs," and upon my assurance that I would he handed me a portfolio, in which I found examples of his book-plate work. After a short while I left, carrying away with me a deep impression of the rare personality of this artist, who believes truly that "Blessed is the man who has found his work." It is small wonder one feels the exquisite harmony in his book-plates, for he is one of Nature's most earnest lovers, and only embodies in his work the happiest and most beautiful aspects of life. As I drove back to the station, I felt a sincere gratitude toward kindly Fortune who had allowed me this intimate contact with a man who portrays with such delicate feeling Nature's happiest moods." S. A.
(above excerpts taken from "The Book-Plate Booklet Volume 1 Number 3" edited by Sheldon Cheney Nov.1906 - Nov. 1907 / Catalog Number R 087 B724 v.1/ Missouri Valley Special Collections)

Comments by Karl Marxhausen: This entry typlifies the connection that collectors could share about a given artist. It was what Fowler would later work hard to bring to the collector. Something only shared by a privileged few. Think of the "limited" edition. The nature of a print is that there are x-number impressions of that particular image. And you, as the collector, were among the few who could enjoy that image at your leisure, because it was in your possession. Print societies were able to keep collectors in "the know" about the "print scene."

Print Clubs Were The Go-Between

"The link......between those who make prints and those who would buy them is rarely self-evident; that is, the average, middle-income art collector is not always in direct contact with the average, eager-to-sell etcher or lithographer. Enter the print club....."
I strongly recommend a piece on print clubs by Kelli Lucas entitled "Prints: Art for a Down Economy."