Full text of "A Descriptive Checklist of the Etched & Engraved Book-plates"

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(;/// nf

George S. Swarth

SIANIOKl) I \I\1 KSir^ 1 II^RAKII S

This edition is liroited

to SO signed co{>iefs

of which this IS

i-^\

J ' A"

J.WrNFRKD STKNGELKY

rdejcrL^tWe ■ Checklist
ETCHED • b
ENGRAVED
BOOK-PLATES

JWINFRED SPENCELEY

'Wiihaol-efdttd
inl-rodacNonij;

Pierre^eChai^aoa/aRose

THE TROUTSDALE PRESS ■ • • BOSTON- I9Q3

To E. D. F.

INTRODUCTION.

FOOL and his book-plate are
soon parted," said Mr. Thomas
Bailey Aldrich recently in the
Atlantic. This is a hard say-
ing, but every owner of a
book-plate has at one time or
other felt a half shamed reluctance, no mat-
ter how wheedling a letter or how tempting
an exchange presented itself, in parting with
his ex-libris. And the feeling, I think, is a
sound one. You may be offered — iantastic
hypothesis! — a gorgeous armorial by Eve,
and yet hesitate to give in return your own
humble little " process " plate, — - the reason
being that, if yours is a bona-fide book-plate
of the right kind, you feel that you are part-
ing with a peculiarly intimate expression of
yourself to perhaps a total stranger. This
implies, of course, that one really cares for
one's book-plate, just as the possession of a
book-plate implies that one really cares for
one's books enough to give them, after a fit-
ting binding, their last note of proprietary
individualism.

The term " bona-fide " book-plate needs to
be explained only to the confirmed collector,
for the confirmed collector too frequently
deals with the other kind. By bona-fide, I
mean simply a plate that is intended primarily
to be pasted in a book as a mark of owner-
ship. One would hesitate to put forth such a
trite definition were it not for the fact that so
many plates are manufactured primarily to be
sent through the mails. These last I have
often thought it would delight the shade of
Charles Lamb to receive, for he would
promptly and gleefully paste them in his
" biblia-a-biblia." Who has not received
(most frequently from Germany) a bundle of
a dozen different book-plates bearing the
same name ? Indeed one or two eminent
practitioners, if put to it, could undoubtedly
unburden themselves of a second dozen with-
out sending a duplicate. How many of
these exchange-cards inscribed " Ex-libris "
would confess, if vocal, that none of their
brethren ever saw a book ; how many labeled
**Mein Eigen'' would bhishingly declare that the
majority of them were intended for anybody
but the person to whom the printer directed
the package ? Of course, a different book-

plate for a special sub-collection in one's
library is legitimate enough, but, after a cer-
tain point is reached, one is tempted to be-
lieve it axiomatic that, with a few exceptions,
the greater the number of personal plates a
man owns, the smaller his library.

However, few, if any, of Mr. Spenceley's
book-plates are open to the suspicion of being
merely exchange-cards, — they are far too
beautiful for their owners to be willing to
devote them primarily to that end. If any-
body can feel quite justified in holding to
Mr. Aldrich's epigram, it is surely the owner
of an ex-libris by Mr. Spenceley. For
whenever his clients permit, his plates are
invariably, to use a former phrase, bona-fide
book-plates of the right kind : that is, they
are as intimately personal to the owners, as
expressive of their whims, tastes, ideals, as an
artist can well make them. Furthermore, as
is true of every work of fine-art, they are
also intensely expressive of the artist's own
personality.

The first prerequisite of a good book-
plate is, of course, a good client : one who
does not set the artist an impossible or
aesthetically distasteful problem to solve ; one

(iii)

who will take it for granted that in matters
of composition and technique the artist is
usually the better equipped of the two ; one,
in short, who, after suggestive initial direc-
tions, will give the artist absolutely free play.
It is a common practice of writers on book-
plates to declare that every example of what-
ever artist is under discussion is a paragon
of beauty, — a critical fatuity as distressing
to the artist as to the discriminating student.
Not every plate of even so admirable a mas-
ter as Mr. Spenceley is a masterpiece (to
follow the current use of that word) ; it is
humanly impossible that it should be. But
it is undoubtedly true of nearly every one of
his few less successful plates, just as it is
equally true in the case of other artists of
distinction, that their failure wholly to satisfy
Mr. Spenceley-r— himself his most conscien-
tious critic — is due to injudicious require-
ments not of his own devising. Fortunately,
he has long since reached a stage in his art
where he can afford to dictate his own terms.
And in the long list of his plates, from the
most exquisite to the least happy, there is
not one which fails to reveal some charm or
some feature beautifully executed, and none

fiv)

that fisdls to carry with it a conviction of its
maker's high seriousness of purpose. This
last, and in many respects greatest distinction,
he shares, to my mind, with but two other
ex-libris artists in America.

On looking over at a single sitting a com*
plete set of Mr. Spenceley's plates, a first
impression will, I think, be one of surprise
at his versatility, both in design and in execu-
tion. In design there are few subjects proper
to book-plates which he has not effectively
employed. Book-piles, library interiors, land-
scapes, genre pieces, heraldry, pure decoration,
nothing seems to have escaped attracting him.
Also among the smaller accessories of plates
one will find an almost infinite variety : ink-
bottles and quill pens, hour-glasses, lamps,
parchments, and spectacles; guitars, mandolins,
flutes, and lyres ; cats, dogs, horses, — turtles
even ! And, finally, flowers wherever one
could properly wish them, drawn with a
lover-like aflfection. Withal, a fine sense of
congruity, a feeling for the inner harmony of
things themselves has presided over his selec-
tion for any one plate. Rarely, if ever, do
you catch yourself wondering, as you often
do with the plates of many other artists, just

(V)

why any particular feature of a composition
has been introduced, — if it has been put in
merely to fill a gap. The longer one con-
siders Mr. Spenceley's plates, the more con-
vinced one becomes that the artist himself has
thoroughly studied out his design in its
entirety before cutting a line of it. And this
usually without the least sacrifice of spon-
taneity of eflfect. Furthermore, he has an
almost unerring instinct for the manner in
which a particular plate may most effectively
be rendered.

Here, again, as I intimated above, his ver-
satility is exceptional. Few etchers can
handle the needle with the bold, vigourous
sweep shown in the " Noble Foster Hoggson "
plate (no. ii), with every off-hand, yet un-
erring stroke completely justifying itself, —
and then, in another mood, render with a
delicate, almost playful lightness of touch so
engaging a little literary fancy as the plate of
Adele Tylden Low (no. 38). If you fortu-
nately possess examples of them, compare
the smiling but trim and sophisticated grace
with which the artist has rendered the lawns
and shrubs in the " Margaret F. G. Whitney "
(no. 95), or the "Lowell M. Palmer"

(vi)

(no. 109), with "the fine careless rapture" of
the "MaudTeahon" (no. 103), a bit of pure
lyricism. Or, among the armorials, consider
the sculpturesque, formal dignity of the
splendid book-plate executed for the Zeta Psi
Club (no. 113), a brilliant example of the
skilful use of ruled lines; and then turn to
the gay, high-bred little affair devised for
Miss Winthrop, and executed with a deftness
and precision that never compromises its rich-
ness of tone. Again, take the " H. C. M.
Thomson " (no. 2), almost pure mid- Vic-
torian in its manner, like a vignetted illustra-
tion to a poem by Thackeray, and place
beside it the " GifFord Alexander Cochran "
(no. 126), almost equally pure eighteenth
century, which might stand as the little head-
piece to some verses by Goldsmith. Now
none of these effects is ingenuous or fortui-
tous : each one is the result of a deliberate,
self-conscious artistic purpose, and is not due
to happy accident. Rarely has an engraver
experimented on the whole so fortunately in
so many different manners ; yet Mr. Spence-
ley is incapable of mere ventriloquism. Few
artists of his strong personality and high
seriousness of purpose ever are. In each of

(vii)

his varied manners, his own predominating
style hall-marks every plate so clearly as to
render his signature unnecessary to the expert.
Mr. Spenceley's style, as such, is an inter-
esting one to consider. Perhaps the most
salient characteristic of his engraving is its
uncompromising sincerity. You feel that he
will sacrifice a good deal for the sake of per-
fect clarity which a more sensuous tempera-
ment would linger over on the way. Clarity
and precision first : if grace follows, as it
almost invariably will, well and good, but a
disingenuous compromise to secure it on
specious terms is impossible. The result of
this temperamental characteristic is, in a few
instances, what at first seems a metallic hard-
ness of style. This, however, is but a
momentary impression. If you look more
deeply, and consider, in the specific instance,
the problem he had to solve, you will come
to feel that its particular execution was so
dictated by this sincerity which I am trying
to describe, that what at first seemed hardness
is merely the absence of any meretricious
tour-de-main. And in many plates the result
is a great, tranquil brilliancy so wholly ad-
mirable that you rub your eyes to discover by

VUl)

what device it was obtained, — and find
nothing but the clearest, most straightforward
of craftsmanship.

Most artists will recognise that the attain-
ment of a desired goal by the simplest mean^
is the final merit of all style. With Mr.
Spcnceley the consciousness of this truth be-
comes at times a passion. So that while in
perhaps a few cases one might wish for a
more final simplification in his design, one
never feels the need of it in his execution.
There is nothing glittering in his style, on the
one hand, and, on the other, there is nothing
cloying. Without being in the least deficient
in enthusiasm, it never wholly abandons it-
self to the transitory appeal of the moment.
While no larger problem of massing or of
tone is neglected, and no detail however
minute is shirked, he has a proper horror of
" niggling " and chooses the simplest solution
(to so many artists the hardest to achieve) as
the only right one. If carried to an extreme
by any artist this dread of niggling may, to
be sure, result in a baldness or thinness of
style; on the other hand, when, as in Mr.
Spenceley's case, it is accompanied by a love
of scrupulous finish and a most sensitive

(ix)

knowledge of the values of tones, it is pretty
apt to impart to a plate a quality of serenity
that, other things being equal, goes far to
insure its lasting worth as a work of art.
Finally, and in great part as a result of all
this, there runs throughout Mr. Spencelcy's
style as an engraver a fine implication of
reserved force. And this, to one who is
interested in studying its progress, is a quality
that cannot be too highly valued, both for
its own sake and for the assurance it gives of
his style's continued vitality and development.
It is in his etchings, however, that what
one may without hyperbole call his poetic
strain finds fullest play. This is what one
should expect, for in etching one employs
a far freer medium of expression. This
does not mean that it is, therefore, a "better "
medium in any absolute sense, for many of
the most desirable effects proper to engraving

— such as, to name but one, the polished
elegance of line and tone shown in the
" Henry Rogers Winthrop " plate (no. 1 20)

— are unobtainable with the needle. But
with the needle one may more rapidly, and,
therefore, often with more freedom, translate
one's ideas into terms of line. In his etchings.

then, what I have called the tranquility of
his style takes on a lyric quality. If you
will try to imagine how fitting a book-plate
Mr. Spenceley could have etched for Words-
worth, you will see what I mean. In his
etchings the different moods of his style can
be caught perhaps more readily than in his
engravings. It can be bold and stop short of
harshness, delicate and avoid effeminacy, ur-
ban and shrink from foppery, sophisticated, if
need be, and yet steer clear of mannerism.
And it is intensely interesting to see how, in-
fluenced as he undoubtedly is at times by the
work of the most polished artists in the
world — the French "little masters" of the
eighteenth century, — his style can be exqui-
sitely gay, and spontaneously so, and yet can-
not abandon itself to the exquisite frivolity
which is the final characteristic of their work.
The explanation is that its poetic strain, its
lyric quality itself prevents. And this quality
by its very nature preordains that the highest
perfection of Mr. Spenceley's style should be
attained in landscape, that here he should find
his freest and fullest self-expression. But his
landscape-plates I intend to discuss more as a
whole later. In suniming up, from engrav-

(xi)

ings and etchings alike, the conclusion arrived
at is that here is an artist who has set himself
for his ideals seriousness of purpose, sincerity
of execution, simplicity of manner, and seren-
ity of effect. No instrument by which such
ideals express themselves, no "style**, in short,
which declares and achieves them, can ever be
lacking in dignity of appeal and in permanence
of value in the progress of any art however
small.

A word should be said of his interesting
combinations of engraving and etching in the
same plate, a device which he never hesitates
to avail himself of when he feels that the effect
of the whole will gain thereby, and one which
he has so mastered as to make peculiarly his
own. Any a priori pedantic objections to
this vanish completely when one sees how
fully these plates justify him in his choice of
means. I can, in his long list, find but a sin*
gle example where the final harmony of
effect has been in the least disturbed by this
combination of methods ; and in all the rest
the gain in warmth and variety of tone has
been very great. I am not, of course, re-
ferring to those engraved library interiors of
his, through the windows of which one looks

(xii)

out on etched landscapes; in these the com-
bination of methods is to be expected. I
refer to those more purely decorative com-
positions in which the transition from burin
to needle, a far from easy technical achieve-
ment, is so deft as to challenge analysis.
These last well repay the most careful study.
In them the interplay of tones is charming in
its combination of softness and strength, of
grace and steadiness, and the fusion of style is
complete.

The plates may be roughly classified as
pictorial subjects, " decorative compositions,"
heraldic achievements, book-piles, library in-
teriors, and landscapes, although, of course,
many combine the essentials of more than
one group. Fortunately, the classification of
book-plates is not an exact science ; and if
in the detailed descriptions in the check-list
the collector is inclined to cavil at some of
the headings, my apology will be that Mr.
Spenceley himself has kindly looked over the
proofs and in every case accepted the classifi-
cation as it is printed.

The " pictorial " plates are perhaps suffi-
ciently discussed and explained in the check-
list. Among them are some very attractive

xin)

bits of pure genre ccHnposition, as the
" AIphoi>so Trumpbour Clearwater " (no. 39)^
and some striking "arrangements," as the
lovely " Arthur Franklin Johnson*' (no. lOo).
The most brilliant example of Mr. Spenceley's
technical skill in the field of pictorial work
is possibly the "Mathilde E. Thebaud '"
(no. 53). One or two like the ** Herbert
Spencer Allen" (no. 118), are literal tran-
scripts of pen-drawings by other hands. To
these last an exacting critic will feel inclined
to raise a mild and purely theoretical objection,
not that they are less beautiful plates than the
others, but on the ground that if a designer,
in addition to wishing his design reproduced,
values his craftsmanship to the extent of de-
manding that it be followed line by line, he
should employ one of the several excellent
photographic processes for the making of his
plate. To call in a distinguished engraver
and exact of him what is practically photogra-
phy seems to me, in some cases, an error of
judgment; for frequently the kind of line
most effective in a pen-drawing is, if not in-
effective in engraving, at least far from
characteristic of that medium. The ideal
procedure is to ask of the engraver a faithful

(xiv)

restatement of the design itself, and> after
general indications, to leave to his judgment
the particular ** rendering " he shall employ.
One has then an interpretation of a pen-
drawing in terms of engravings instead of a
mere transcription, and two artists have made
their proper and original contributions to the
same plate. — But even these few literal
transcriptions in Mr* Spenceley's list have
undoubtedly gained at his hand, if only in
elegance and precision of line. For a perfect
example of artistic co-operation (to leave
" pictorial '* subjects), I know of no finer ex-
ample among book-plates than the ** Margaret
F. G. Whitney " (no. 95) to which I have
earlier referred, where all that is characteris-
tically best in Mr. Goodhue's admirable style
and in Mr. Spenceley's is conjoined in a single
high distinction.

Of the purely " decorative " plates little
need be added to what has already been said
of Mr. Spenceley's qualities as a designer.
For a model of delicate, free composition the
^*E. N. Hewins" (no. 31) is sufficiently ex-
quisite to be specifically named ; in the "Grace
Anderson Smith" (no. 68), to the same fine
balance of massing is added a pleasant touch of

(XV)

formal conventionality; while the "Lowell
M. Palmer'* (no. 115) combines the vigour
and boldness of its formal conventions with an
extreme delicacy and freedom in its minor
accessories in a way that is peculiarly effective
and striking. The little " Martha Houghta-
ling Ingalls" (no. 131), as a study in toning,
is an extraordinarily successful achievement.
And, finally, I would name two plates which
seem to me utterly delightful, — the " W. B.
L.'* (no. 119) and the "A. M. S. '* (no. loi.)
In these the artist has succeeded in making
two of the very few really charming car-
touches that can be found on modern plates.
The " W. B. L. ** indeed, is in a very real
sense a little masterpiece.

The heraldic plates present the many diffi-
cult problems peculiar to American heraldry ;
and I have no wish to play the bull in a china-
shop where the wares are so frangible. It is
to be regretted, however, that so many Ameri-
cans who use arms are unfamiliar with the
simplest laws of heraldry and are willing to
perpetuate upon copper easily rectifiable errors.
A spinster will demand of an engraver, despite
his protest, that he cut on her personal plate
the full heraldic achievement of her father.

(XVI)

The lady will not feel that she is committing
a solecism in so doing, and cannot realise that
she might just as well walk abroad in her
father's silk hat and great coat. Or a client
will produce a Victorian " college-of-arms "
achievement obtained from an ^^ heraldic
stationer/' and, fancying that there is some-
thing sacrosanct in the very outline of shield,
helmet, and mantling, will insist upon the
reproduction of an heraldic style that has
rather less to recommend itself in the way of
beauty than any mode devised by Philistia
since the Second Crusade. On the other hand,
in the course of many years, away from any
central heraldic authority, changes of tinc-
tures and even alterations of charges are
unwittingly made in family arms by successive
draughtsmen, who may have for a guide only
a worn seal or a piece of old silverware.
For the benefit of foreign collectors, I have,
in blasoning the heraldic plates, mentioned in
brackets the tinctures and charges as they
appear in the registered arms of European
families bearing similar names, whenever
these arms differ from the American shields.
It is, to be sure, but fair to assume in several
cases, if not in many, that the variations are

(xvii)

duly authorised in registers not readily accessi-
ble to the present editor, and are therefore
borne " with authority ". — All of which is
a, perhaps, pedantic way of freeing an en-
graver of book-plates (particularly an Ameri-
can engraver) from a certain amount of
responsibility not properly his. When this
is done, the connoisseur will find much in
Mr, Spenceley's "armorials'* to delight in.
A brief study of even the simple "John
Hays Gardiner" (no. 91) will convince one
of the artist's competency to deal with
heraldry: in it the charges are, as is infre-
quently the case in most American work,
justly proportioned, meticulously accurate,
and beautifully clear to read. Again, in the
"John Wingate Weeks" (no. 92.) the same
is true, and Mr. Spenceley has succeeded in
giving a " college-of-arms " achievement an
unexpected amount of actual beauty. The
supremely dignified " Zeta Psi Club "
(no. 113), for an experiment in eighteenth
century mural heraldry (if the phrase be
permitted) will hold its own in comparison
with the most distinguished foreign work.
And, finally, the beautiful little " Henry

Rogers Winthrop " (no. 1 20) is wellnigh

(•• •
XVlll)

unrivalled among modern miniature armor-
ials. His ladies' heraldic plates (when the
ladies permit) are unusually charming com-
positions, — and the lozenge, as any heraldic
designer will agree, is a perplexing form to
deal with. The ** Elizabeth Hitchcock
Bray ton '* (no. 78) is a type of the most satis-
factory of recent work ; while the " Marie
Winthrop" (no. 98), despite its archaic lion,
is the finest thing of its style which I have
yet seen by an American artist.

The " book-piles," as is natural, depend in
great part for their effect on the quaintness,
richness, or dignity of their frames, the
appositeness of their decorative accessories,
and the harmony of the total composition.
What has already been said will, therefore,
sufficiently cover this pleasant group of plates ;
it is enough to add that the artist draws a
book as if he really loved it, — and that the
critic is never tempted to peer through a glass
to make sure that its title is not " Back-
gammon.'* Such of these plates as have
seemed to the writer particularly happy are
briefly commented on in the check-list.

In the " library interiors " one is led to
note three constant traits of the rooms them-

(xix)

selves : they are wondrously clean, beautifully
sunny, and invitingly decked with flowers.
They are rendered with great directness and
are singularly free from aflfectations of " in-
terior decoration." The frames are usually
architectural or of formal mouldings. Mr.
Spenceley, however, is rarely content with a
bit of formal interior-architecture, as in the
soft, clean, well-balanced " Helen Vernera
Drake'* (no. 128) with its fine Georgian
frame : his eye naturally drifts to the window,
— straightway the lattice is flung open, and
out beyond is the real poetry that the books
on the shelves but half told of. The " Levi
W. Eaton *' (no. 48) is one of his most
characteristic plates, one of the half dozen or
more from which one can best understand
him. The remarque-proof of it in red-
brown ink brings out its qualities in their per-
fection, and might well be one of the set goals
of a "Spenceley collector.** But in this
group of ex-libris there is one type of plate
which Mr. Spenceley has made peculiarly his
own. Its frame assumes considerable decora-
tive importance, and on its shelf-like base
holds a row of books and parchments, to
which is sometimes added flowers and an

hour-glass or other " literary ** objects ; from
this base spring narrow upright mouldings, or
pilasters which support a large panel or en-
tablature, filled with a decorative cartouche,
a coat of arms, or perhaps more books, and
garlanded with laurel or roses. Within is
usually a window scat or table ledge, before a
half opened latticed window, at either side of
which are bookshelves ; and one looks out on
a stretch of meadow, a wood-fringed bit of
distant lake or stream, and cloud wreathed
hills beyond. This composite description is
a fair, cursory account of a considerable num-
ber of plates in which, to my mind, we finally
have the artist in his most characteristic
phase.

They combine, often with singular charm,
the best features of the various types already
discussed ; and though it seems difficult to
imagine how one can effectively synthesise
the Varying scales of pure decoration, heral-
dry, book-pile, library-interior, and landscape
in a single plate, Mr. Spenceley has certainly
succeeded in doing it, and in giving to the
whole a unity, a tranquility, and a grace that
such composite plates seldom achieve at other
hands. The Eaton plate just noted gives a

(xxi)

bit of library and landscape, with nothing
else, the interior predominating. In the very
pretty " C. Will ChappelP' (no. 71), a
smaller and more "intimate** plate, the em-
phasis is more on the decorative frame and the
landscape than on the interior. In the beau-
tiful " Georgia Medora Lee '* (no. 1 24) the
balance of interest is very equally adjusted,
and we have an admirable example of this
peculiarly " Spenceley " type of plate just de-
scribed. On the whole, I am inclined to
consider these " composites,'* these combina-
tions of decoration and landscape, of engrav-
ing and etching, the most characteristic and,
therefore, the most important contribution
which Mr. Spenceley has made to the field of
art covered by ex-libris. It will readily be
understood by one familiar with problems of
design and technique that this type of plate
presents an exceptional combination of diffi-
culties to the artist, and high success with it
is always far from easy and never inevitable.
Mr. Spenceley almost invariably achieves it,
however ; and one great danger of the type
— that of becoming stereotyped — he readily
overcomes with his unusual fertility of
imagination and invention. But an even

(xxii)

clearer reason for his success is the pervasive
charm of his landscapes.

These are the work of a master and are
wholly, indisputably lovely, the fine flower of
Mr. Spenceley's art. Only the keenest love
of nature can account for his constant intro-
duction into so many of his plates of glimpses
of landscape, and only the keenest knowledge
of nature can account for the unvarying
beauty and justness of these little etchings.
And it is again temperamental with him that
it is always nature in her gracious, smiling,
lyrical moods which he chooses. Strewn
throughout his list you will find scores of
little passages of landscape, often not a square
inch in size, and often so miniature in scale
that little more than a mere generalisation
could be expected. Much more is given,
however, for even the smallest are usually
surcharged with atmosphere, instinct with
life, warmth, colour. Many have a marked
family likeness to one another, are idealisa-
tions of meadow, wooded stream, and distant
hills ; but each soon discloses its own specific
character and appeal, and back of all is the
implication of knowledge, — that the artist's
eye has been unflinchingly trained in the real

xxin)

before he has essayed these tiny idealisations.
Light and shade, warmth, tone, colour, dis-
tance, atmosphere are easy words to juggle
with, but to have what they stand for always
ready on the point of an etching needle is a
different matter; and to use a needle, thus
graced, with all the charm of a lyric poet, is
Mr. Spenceley's final claim to distinction.

Several of his most important landscapes I
have already spoken of; but among the trim
garden-scenes I should urge a repeated study
of the two executed for Mr. Lowell M.
Palmer, for examples of unusual technical
skill, also of Miss Whitney's plate, for softness
and clearness of atmosphere, and to these I
should add the " Matthew Henry Taylor '*
(no. 97) for warm beauty of toning. Of the
pastoral scenes, Mr. Cochran's plate, previously
noted, is unsurpassed for breadth of scope,
variety of interest, and unity of effect.
Among the several mountain landscapes a
comparison of the large " Walter Conway
Prescott" (no. 43) with the miniature
scene in the " Frederick Norton Finney "
(no. 132) will show the resourcefulness of
the etcher in such widely differing scales of
treatment. Finally, his purely lyrical vein,

(xxiv)

already pointed out in his lovely plate for
Miss Tcahon, is again expressed in its perfec-
tion in the exquisite scene that so distin-
guishes the fine " Winfred Porter Truesdell *'
(no. 94),

A word should be said concerning the
lettering of all these plates — not the least
important feature of an ex-libris. I need add
nothing to the comment which Mr. Edwin
Davis French once made to me : that in his
opinion Mr. Spenceley's letters were perhaps
the most beautiful which he had seen on
American book-plates. Surely, praise from
Sir Hubert ! His normal type is a slightly
thickened Latin letter finely adapted to the
space it is to fill. He is satisfied with little
short of perfection, and here, again, he has
that infinite capacity for taking pains attri-
buted to genius. In my own collection
of his work, not the least valued prints are
three trial proofs of the beautiful " Henry
Ladd Corbett'* (no. 88) adaptation. On
the first the name appears in a small, solid,
slanting type ; on the second the type has
become much larger, and the letters are no
longer solid, but in outline ; on the third the
type, still in outline, is midway between the

(xxv)

two earlier forms in size, and has reached its
final stage of appropriateness and elegance.
This, to be sure, is an exceptional printed
record of painstaking ; but the three proofs
indicate, as few others could, the artist's
scrupulous care and rigourous self-criticism.

To be justly and completely appreciated,
Mr. Spenceley's work, rather more than that
of most ex-libris ^rtists, needs to be studied as
a whole. No one who has been privileged
so to study it can leave his art without having
felt the appeal of its sanity, dignity, and
sweetness, and the rare personal fragrance of
its beauty.

. *

(xxvi)

A LIST OF DESIGNERS

Other than Mr. Spcnceley, named in the
Descriptive List of Plates.

Bird, E.B. (Plate 90, Fred Erwin Whiting)
Garfield, Mrs. (Plate '41, James Rudolph Garfield)
Goodhue, E.G. (Plate 95, Margaret F. G. Whitney)
Gookin, Frederick W. (Plate 107, University Club of

Chicago)

(Plate 108, Horace Sweeney Oakley)
Hall, Frederick Garrison (Plate 118, Herbert Spencer

Allen)

(Plate 127, Robert Gorham Fuller)
Howe, Lois L. (Plate 40, Twentieth Regiment M.V.I.)
Ingres, J.A.D. (Plate 88, Henry Ladd Corbett)
Ives, Noble (Plate 64, Detroit Public Library)
Lamb, Charles (Plate 45, Bryson Library)
Marillier, C.P. (Plate 100, Arthur Franklin Johnson)
Merrill, Mrs. Rath (Plate 75. Allene LeC. Merrill)
Mitchell. Henry (Plate 14, Charles Fry^
Moore, F.G. (Plate 87, Dartmouth College Library)
Rogers, Bruce (Plate 99, George H. MifHin)
Thayer, Theodora* W. (Plate 106, Ethel Randolph

Thayer)
Whitman, Sarah (Plate 59, Gardiner Greene-Esther

Lathrop Hammond)
WooUey, F.H.C. (Plate 27, Fred H. C. Woolley)

(xxvii)

INDEX.

V Allen, Herbert Spencer
^/ Alton Road, The
s/ Atkinson, Alice Root

Ballou, Charles Rathbone

V Barnes, George Foster

V Bates, Albert C.

V Billerica Historical Society
\/ Black, Jenny Prince

tl ** Morris and Lenore
V Boston Browning Society

V Boston Public Library

V Brayton, Elizabeth Hitchcock
y Bryson Library.
y/ Butterfield, William Archer

y Cameron, Charles E. (No. 28)

V " «* " (No. 29) .

V Chambliss, George S.

V Chappell, C. Will
Cheever, David W.

^ Clearwater, Alphonso Trumpbour
^ Cochran, GiflFord Alexander

V Codman, Henry Sargent and Philip

V Corbett, Henry Ladd

I' Crocker, Minerva Cushing

Dartmouth College Library

V Derby, William M., Jr.
^ Detroit Public Library,
\ Devlin, John Edward
' Dixson, Zella Allen

; Dodsworth, Alice A.

(.. •
XXVlll)

Page.

45
7

•7
13
30

•3

17
13

9
10

27
6

5'
8

34
29

34
3

24
9

r
I

\ Drake, Helen Vernera

y " Tracy C. . . .

^ Eaton, Levi W. . . .

/ Emery, Mary M. . , .

V Fee, Mary H. ...
''Finney, Frederick Norton
"^Fry, Charles

• Fuller, Robert Gorham

Gardiner, John Hays
" John Tudor
" Robert Hallowell
\/ Garfield, Abram
1/ " James Rudolph .

^ Gilbert, Henry Kidder

Greenway, James Cowan .
• Grew, Henry Sturgis
" Randolph Clark

/ Hale Memorial,

^ Hammond, Gardiner Greene - Esther

^ Harris, Norman W. ...

/' Harvard College Library, Nickerson Memorial

^ " *• •* Von Maurer Collection

JK Hastings, Frank W., Jr.

/ Hewins, E. N.

*^ Heyward, Maud

i Higgmson, George, Jr.

'^ Hoggson, Noble Foster, No. 1 1

Ir it it a J^Q 17

1/ Holbrook, Minnie C.
/ Holmes, Oliver Wendell
k' Hotel Touraine, Boston
Hoyt, Julia Marion

(xxix)

Lathrop

17
27

54
S

36
12

15
29

42
22

4
55

17
II

Ingalls, Martha Houghtaling
Johnson, Arthur Franklin

'^ Kellogg, Lois

'^ Knox, Philander Chase

^ Lee, Georgia Medora
Leeds, W. B.

V Lewis, Eva

V Livingood, Charles J.
Loux, Dubois Henry

V Low, Adfele Tylden

" Ethelbert Ide
Lyon, Frederick Denison

V Merrill, AUene LeC.

V Mifflin, George H.
r Miller, Thos. N.

\ Oakley, Horace Sweepey

V Ohio State University (No. 86)

" " " (No. 123)

»/ Palmer, Lowell M. (No. 104)
" " " (No. 109)

«• *' *• (No. 115)

Peck, Charles Edmund - Anna Bristol

Perry, The W. H. Library

PfafF, Charles
" Hannah Adams

Prescott, Walter Conway (No. 22)
" " " (No. 43)

Prince, Frederick Henry

Sands, M. M. ...

>l Sanford, Frances
/ Scoville, Robert- Herbert (Joint Plate)

(XXX)

•

1/
1/

I-

54
41

23
47

50
48

31
5

28
40

4.5

44
34

47
26

7
16

23
19

y Smith, Andrew
I " Adelaide M.

Charles Stewart

Grace Anderson

Ralph Oliver
1^ Spenceley, J. Winfred, No. lo
► *• " " No. 1 8

V Sterling, Marianne Beers-Memorial
'^ Stewart, Redn^ond Conyngham

V Taft, Mary Florence
Taylor, Matthew Henry

^ Teahon, Maud
Y Thayer, Ethel Randolph
^ Thebaud. Mathilde E.
^ Thompson, H. C. 1^.
^ Thomas, George Clifford

Truesdell, Winfred Porter
^ Twentieth Regiment M. V. I.

^ University Club of Chicago
y University of Missouri

> Van Zandt, Margaret

U Wait, William Cushing
•' Weeks, John Wingate
Welch, A.

" Berthe L. .
^ Weld, Charles Goddard
«^ White, Julia Bradford
|f Whiting, Fred Erwin
•f " Williain

Whitney, Margaret If. G.
Wickham,Adrienne. Adams
V Williams, Bessie Hastings

(xxxi)

;6
I8

35
39
42
43
»9

44
37
15

43
25

15
36
39
39
24

■ I

Williams, Lucy White

" William Carver

Winthrop, Henry Rogers

. 48

" Marie ....

Woman's Club of Wisconsin

WooUey, Fred H. C. ...

Young, Henry and Alice

2^briskie, Andrew Christian

Zeta Psi Club, The ....

. . 46

(zzzii)

a:^

.^r-'

A DESCRIPTIVE LIST OF PLATES

* I. Oliver Wendell Holmes* Decorative. Partly
engraved by Mr. Spenceley. Like a crest, with rib-
bon motto beneath, — Per ampliora ad altiora^ is
beautifully engraved the "Chambered Nautilus" of
which the poet writes, in his "Autocrat of the Break-
fast table :"

" Year after year beheld the silent toil

That spread his lustrous coil ;

Still, as the spiral grew,
He left the past year' s dwelling for the new.
Stole with soft step its shining archway through.

Built up its idle door.
Stretched in his last found home, and knew the old no more.

Thanks for the heavenly message brought by thee.

Child of the wandering sea.

Cast from her lap forlorn!
From thy dead lips a clearer note is born
Than ever Triton blew from wreathed horn!

While on mine ear it rings.
Through the deep caves of thought I hear a voice t fiat sings .^

Build thee more stately mansions, O my soul.

As the swift seasons roll/

Leave thy low-vaulted past/
Let ecuh new temple, nobler them the last.
Shut thee from heaven with a dome more vast.

Till thou at length art free.
Leaving thine outgrown shell by lifers unresting seaP^

Steel plate, etched and engraved; unsigned. 2 1-4x2 1-2.

"* 1. H. C M, Thomson. Library Interior, Un-
framed. Beside a tall, shaded lamp, a comfortable
arm-chair is drawn up to a writing-desk which is
strewn with papers and on one edge of which a
lighted cigar is still smoking. Back of the chair are
curtains, bookshelves, and a suggestion of pictures.
Above this pleasant interior is the motto : Nihil
humanum mihi alietium esl. Etched ; signed y. W. S.
■95. a 3-S A 3.

^ 3. Mary H. Fee. Decorative. Unframed. On
some sheets of manuscript rest an ink bottle and an
upright book; behind, against a decorative back-
ground, half-circling these is a spray of apple-blossoms,
and in front ts a long quill pen ; across all floats a rib-
bon bearing the owner's name. Etched ; signed
7. W. S. '95. 21-4x2 1-4.

4- Ralph Oliver Smhh. Pictorial with Book-Pile.
Unframed. On a table, in front of an oriental rug,
stand a row of old books and a large portfolio. Be-
hind them, to the right, is a spray of laurel and a
palm branch ; at the left hangs a large metal censer,
from which, curling across the plate, rises a thick
spiral of smoke. An old tile at the top of the
picture bears an Arabic inscription, a text from one of
Sir Edwin Arnold's poems in " Pearls of the Faith."
Etched ; signed % IV. S. '95. 21-4x2 3-4.

5- Frederick Denisoo Lyoo. Armorial, without
helmet, but with slight acanthus ornament, suggesting
mantling. Shield with wavy, square-eared top. Arms :
Argent, a lion rampant [azure], within a double
tressure flory counterflory, gules. Crest : A hand

holding the royal thistle, both proper. Motto : In te
domine speravi. ( Based on the arms of Lyon of
Glamia.) Etched and engraved ; signed y. W. S. '95.
2x2 1-2.

6. M. M. Sands, Pictorial, with delicate land-
scape background. Unframed. From the trunk of a
pine tree to the end of a drooping branch stretches a
ribbon bearing the owner's name. Through the open-
ing thus formed is seen a bit of landscape, — a lake
bordered with hills. Etched ; signed y. W. S. '95.
21-8x1 3-8.

7- Alice Root Atkinson. Decorative. Unframed.
A large book stands near a wrought iron candlestick
with lighted candle ; between them is a spray of
laurel ; floating twice across all is a ribbon, bearing on
the first line the motto : In lumine luce, and on the
second the owner's name. Etched ; signed y. W. 5.'95,
3 1-2 X 2.

" 8. \7illiaffi RlDefbrJf. Library Interior. Un-
framed. Filling the corner of a room is a bookcase
with glazed doors. At one side stands a "grandfather"
clock and a writing desk, at the other a tall porcelain
jar ; on the wall above are framed prints and on top of
the bookcase decorative objects; drawn up in front of
the shelves is a rocking-chair. Etched ; unsigned.
2 1-8 X 2.

9- Tracy G Drake. Library Interior. Beside a
well-filled bookcase is a tufted divan luxuriously sup-
plied with pillows. On the bookcase are some decor-
ative vases behind which is a framed picture of the
fountain given to the city of Chicago by Mr. Drake's

father. The picture is framed by a ribbon, inscribed
at the top with the initials of a college fraternity
(Delta Kappa Epsilon), and at the bottom with the
owner's name. Etched; unsigned, i 1-2x2 1-2.
' 10. J, 'Wmfred Spenceky. Armorial. Victorian-
Chippendale. A "College of Arms" shield, with
rocaille ornament and flowers at the sides. Arms :
Quarleriy ; first and third or, second and fourth
azure, a martlet or ; over all a bend sable charged
with three fleurs-de-lis argent. Crest : From a mural
coronet argent, a mailed forearm, the hand grasping a
cutlass, alt proper, i/lolto: Dieude/ende U droit. Etched
and engraved ; signed 7'- ^- S., 'ij6. 23-8x2 3-4.

J II. Noble Fostef Ho8:8:ion, Decorative. An open

book, on a rest, lies at the foot of a tall wrought-
iron candlestick, both finely and vigorously rendered.
Etched ; signed J. W. S., '96, 2 1-2 x 3.

12- Nonnao W. HanU. Armorial. Victorian.
Square rococo shield with convex comers. Arms :
Gules, three fleurs-de-lis argent. Crest : A winged
globe on which stands an eagle rising, both proper.
Motto : Aquila non capiat muscas. (The same shield
is also used in America by the Cram family, a senior
branch of the German Barons von Cramm). Etched
and engraved ; signed y. IV. S., '96. i 3-4x2 3-8.

J 13- Boston Publk Ubruy. Armorial. Round
seal with laurel wreath. Arms (on a plain cartouche) :
An open book ; above, in chief, the date MDCCCLII,
beneath, in base (in two lines) MDCCC - LXXVIII.
Supporters: Two naked boys affrontant, holding torches;

behind them, two dolphins naiant. Motto (above the
cartouche) : Omnium lux civium. Above the achieve-
ment is the inscription, ** The Trustees of the | Public
Library," and below, "of the City of | Boston | 1852*
1878." The arms are a copy of those by Augustus
Saint Gaudens, carved in stone above the main portal
of the Library. Design arranged by Henry Mitchell.
Several varieties. Etched; unsigned. 3 1*2 x 3.

14. Chft^^f Fry. Armorial, without helmet and
mantling. Victorian, "College of Arms" shield.
Arms : [Vert] Gules, [three] two horses courant
argent [bridled or]. Crest : An arm, embowed, in
armour, proper, grasping a sword [enfiled with a
Moor's head, all] proper. Motto : Fidelitas, (Based
on the arms of Fry of Exeter, Devonshire, etc.)
Arranged by Henry Mitchell. Etched and engraved ;
unsigned. 2x2 7-8.

15. Ffcderick Henry Prince* Armorial. Crest
only. From a three-leaved coronet, a cubit arm,
habited gules, cuffed ermine, holding in the hand
proper three pineapples [of the first, stalked and
leaved vert] . (Crest of Prince of Shrewsbury and
Abbey Foregate, co. Salop, granted 1584.) Etched
and engraved; unsigned. 15-8x1 1-2.

16. Dtfbob Henry Loux* Pictorial — Architect*
ural. Unframed. The facade of a church (Campbell
Park Presbyterian, Chicago) with trees and park in
front; at the top a ribbon with the motto, — "Send
out thy light." Etched; unsigned. 21-8x2 1-2.

1/ 17- Noble Foster Hogfjfsom Armorial. Victorian.
A "College of Arms" escutcheon with dark (azure)

field frames a plain shield with wavy, square-eared
top, and three-lobed, cusped base. Arms : Azure,
three cutlasses argent [hilted or], two points to the
[sinister] dexter, and one between to the [dexter]
sinister side of the escutcheon. Crest : A hand
proper, couped below the wrist, holding a broken cut-
lass argent [hilted or], the broken piece falling from
the other. Etched and engraved ; unsigned, i 7-8

[ 18. J. Wisdted Speneeler. Pictorial. Book-Pile
with architectural background. Unframed. On a
shelf covered with an oriental rug, rest a row of books,
a portfolio, an ink bottle with quill pen, a vase of
roses and a bit of old pottery. The background is a
Moorish court with arched passageway, beyond which
stretch a flight of sunlit steps. Above the arch is a
tablet with an Arabic inscription. Palm branches half
circle the picture at one side. An exquisitely toned
plate. At the bottom, beneath the name are the
verses by Eustace :

Ignotis errare locis ignota

videre fiumina guadeabat

studio ntinuente laborem.
Etched ; unsigned, but dated '97. 2 3-8 x 3.

19. David W. Qteevcff (M. D.) Armorial with-
out helmet and mantling. Georgian. Spade shield
with palm branches. Arms : Gules, three goats
{chHires) saliant, argent. Crest: A demi-goat saliant
argent, collared gules. Motto : En Dieu tna foy.
Beneath is a tablet with genealogical data. Etched
and engraved; unsigned. 2 1-8x2 5-8.

30. WiUl*m Carver WilUaou, (M. D.) Pictorial.
Unframed. The door of a cottage from without.
Part of a window and the low-studded shingle roof
show, dripping with snow. A square scroll with torn
edges half covers the picture and bears the inscription
from a story by the owner, — The Old Couple : " Minds
reap the benefit of the thoughts of other minds."
Beneath this is a ribbon inscribed with the owner's
name. Etched j signed y. IV. S. 1897. 21-4x2 3-4.
■* 21. George Foster Barnes. Pictorial-Symbolic.
Unframed. On an enclosed balustrade, or ramp, is a
sun dial ; at one side an ink-horn with quill pen, at
the other, an open book. Behind this is the sea, with
the sun near the horizon, in line with the dial ; to the
left is a pharos, to the right a full-rigged ship enter-
ing the harbour. Circling all is a wreath of roses,
daisies, etc. A large, winged painter's palette with
brushes thrust through the thumbhole crosses the
wreath at the base. Beneath it a great bee is gather-
ing honey from the flowers. Etched ; signed y. IV. S.
'97. 2 3-8 X 3.

2a Walter Conway Prescott. Pictorial. Book-
Pile with decorative accessories. Unframed. An
open book (an ex-libris album) shows two miniature
book-plates, one a simple crest (from a three leaved
coronet a grifTin's head) and motto ( Vincit qui patU
/»f^ marked "Prescott," the other the old "Detur"
book-label of Harvard College, by N. Hurd. Cir>
cling behind the book is an old blue " States " plate,
James Clews, England. Behind this again, is a
laurel wreath. Underneath is a book-pile of works

on ceramics and ex-libris. An admirably decorative
plate. The remarque is a little old-fashioned wall-clock
with chain weights. The hands point to 7-9, Harvard
Class of '79. Etched and engraved ; signed y. W.
SpenceUy, Del.-Sculp., 1897. 25-8x2 5-8.
i >3. Hotel TouraiaCf Boston. Armorial. A French,
square shield surmounted by a royal prince's coronet,
and half encircled by laurel branches. Arms : France.
£tched and engraved ; unsigned, i 3-4x2 3-4.

r 24- Henrr Sugcnt Godaun and Fhll^ GmIouui.
Armorial, without helmet and mantling. A simple
" College of Arms " escutcheon frames a plain, square,
eared-top shield. Arms : Argent, two wings inverted
and conjoined, proper ; over all a fesse azure charged
with three annulets of the first. Crest : A dove (?)
or, in his bill it sprig of olive (? ). Beneath is the in-
scription : " The collection of | Henry Sargent
Codman | and | Philip Codman | Landscape Archi-
tects, I Given | as a Memorial of them | to | The
Public Library of the City of Boston I by | Mr.
and Mrs. James M. Codman, | 1896. Etched and
engraved ; unsigned. 3x3 7-8.

i IS- HeoTT Sturgb Grew. Armorial. Victorian.
Three varieties.

First : " College of Arms " shield. Arms :
Quarterly ; first and third argent, a fesse dancetty
sable between three leopard's faces [of the same]
gules ; second and fourth, azure, a chevron between
three crosses crosslet fitchy [within a bordure en-
grailed] or. (Arms of Greyve quartering Sturges, CO.
Hants.) Crest : A talbot's head couped below the

ExUlais ■ \JblID &A^ig^

»tA ^hlfh iww) to lla'and Kai

)

shoulder, or, charged on the shoulder with a leash
knotted in a double bow.

Second: Same as above but with the lettering
slightly changed and somewhat larger.

Third : Ramlo^Ii dark Drew* ' The above plate
changed to this name. Motto (Sturges) : Esse quam
videri. Etched and engraved ; unsigned. 2x2 7-8.

26. John Edward Devlfau Armorial. Victorian.
" College of Arms " shield. Arms : Azure, a saltorel,
or, between three stars, argent. Crest : A griffin pas-
sant [gules], charged on the shoulder with the saltorel
as in arms. Motto : Crux tnea stella. Etched and
engraved ; unsigned, i 5-8x2 3-8.

27. Fred H^ C WooUey, Pictorial-Decorative. Un-
framed. Half circling an oblong tablet inscribed with
the owner's name is a branch of wild roses ; on this,
at the top, is seated a little cupid poring over a book ;
beside him is a ribbon bearing the motto, Persiste,
Beneath and to the right of the tablet is an open
volume, some papers, and a portfolio. Designed by
F. H. C. Woolley. fetched; signed J- W, 5., '97.
2 X I 1-2.

28. Charles E. Cameron* Landscape-Pictorial.
Unframed. Two American Indians have drawn up
their canoe to the shore of a little clearing surrounded
by pine trees. Here they have built a fire, beside
which one of them stands with a handful of wood
while the other squats smoking his pipe. In the dis-
tance through the pines are seen cloud-capped moun-
tains. Etched; signed y, W. Spenceley^gj, 23-4x2 7-8.

^ 39. Quulei E. Cameron. Landacape-Pictorial.
Unframed, An American Indian leaning against a
large rock is looking down into a brook which gushes
from its base. His birch bark canoe is drawn up beside
him in the long grass and ferns. Behind the rock
grows a pine tree, the lower branch of which frames
the top of the picture. The background is a lake
fringed with trees and mountains. On the rock is
cut: "Ex-libris Charles E. Cameron," and at the
bottom of the plate, in the rippling water, is the
motto : <■ Books in the running brook." The remarque
is a little beaver resting on a log of maple which floats
in the water before his mud-house. Etched ; signed
5*". IV. Spenceiey, Del. Sc, "97. 2 1-4 x 3.

30- Minnie C Hdbtook. Library Interior with
Landscape. In a narrow, circular frame is shown the
shelf of a large table-desk standing before an open
window. On it are some papers, an open volume, an
ink bottle and quill pen, a jar of roses, and other
small, familiar objects ; and along the edge, near the
sill, stand a row of books, with a crucifix rising
behind them, On the wall at the left are two framed
prints. The upper sashes of the window are lat-
ticed, the lower draped with thin half curtains.
That at the right is partly drawn, and one looks out on
a delicate little suggestion of landscape, — a meadow
and stream, with trees and hills beyond. At the top
of the circle, in a small rococo lozenge, are the arms
of Holbrooke, of Suffolk : Or, a chevron gules, sur-
mounted with a cross patt^e fitch^ of the second.
Two-thirds down, on either side of the framCj are

small clusters of lotus. All rests on a rectangular
panel, on the wide frame of which, at the top, is the
quotation, " Purer, with a broader gleam," at the
bottom the owner's name, and at the sides a fine
arabesque pattern in outline. The space between
the outer frame and above and below the circle is
filled with palm branches. Etched ; signed y. W. 5.
'97. 21-4x3 1-8.

31* E» N* Hcwins* Decorative. In the middle of
some clustered branches of briar-roses is an open
book ; above it, sweeping twice across the flowers, is
a ribbon inscribed " Ex-libris " and " E. N. Hewins ; "
beneath it, the ribbon again, with the motto, " Thor-
ough." The whole is enclosed in a frame of two
lines. An admirably designed and beautifully etched
plate. Etched ; signed y. W. Spenceley^ 1897. 2x3.

32. Andrew Smith* Landscape-Pictorial. On the
lawn before a mediaeval crenelated keep or tower
(the owner's hunting lodge) stand a lady and a gentle-
man in mufti. To the right of the lodge, swelling
beyond the simple frame of the picture, rises a great
oak tree, and in the background and at the other side
are more trees with scurrying clouds above them.
Down in the left foreground a hound lies resting be-
side two guns which lean against the frame. A broad
ribbon scroll, twisting up at the right in two streamers,
finishes the base, with the inscription: "1897, Ex-
libris Andrew Smith of Whitchester and Cranshaws,
Esqr." A beautifully toned plate, in which the
effects of clear, bright sunlight and jfull, rich shadow
are finely balanced. Etched ; signed y. IV. Spenceley^
Sc. 23-8x2 3-4.

33' Abram Gtxikld. • Architectural-Decorative.
[ The nave of a Gothic church with triforium and clere-
story; beneath, the motto ; Ars Artium Omnium Con-
sematrix ; then, " Ex-libris," and a blank line for the
owner's autograph. In the frame, at the top, is a staff of
music containing the first six measures of the " Ombra
mafui" from Handel's " Serse." For a remarque is
the following inscription, supported by a delicate Httle
garland of Jlowcrs : "A wedding gi/t j to [ Miss Sarah
Granger Williams | and j Mr. Abram Garfield | from |
Mr. Charles Williams, | October 14, 1897." The name ,
Abram Garfield was engraved on the plate and five
proofs taken, after which the name was erased leaving
space for the name to be written in. Designed by
Abram Garfield. Etched ; signed y. W. Spenceley,
Sc, 1S97. 2 3^ X 4 3-4.

34- Margfaret Van Zandt. Library Interior. Pic-
torial. A lady is seated in a high-backed arm-chair,
reading. On a large table beside her are books and
a jar of roses. Behind her, through a broad, half-
opened, latticed window, fringed with vines, can be
caught a glimpse of the sea, with one or two tiny
sails near the horizon. On a shelf above the case-
ment are bits of porcelain and other objects. To the
left stands a well-filled book-case, surmounted by a
bust. Beneath this sunny little picture, on a plain
tablet, are the verses :

" yust dropping off the harness
From our over-wearied thought.
And resting in the beauty

That another's brain has wrought."

The frame is decorated at the sides with a running
arabesque pattern in outline ; at the top is a garland of
roses and gentians tied with a ribbon, and the words:
" Ex-libris ; " at the bottom is the owner's name.
Etched ; signed y. W. Spencehy, '97. 2x2 7-8,

35- Billerfca Historical Society. Seal. Within a
plain, circular frame, on which is inscribed, " Billerica
Historical Society, Incorporated Feb, 20, 1896," is
an open book containing the names of the fourteen

' Shawshin Petitioners of 1654. Above the circle is
"Cambridge, March 7, 1643-4;" beneath it, "Biller-
ica, May 30, 1655." Etched; unsigned. I 5-8 x 2.

36- William Arcticr Butteffield. Book-Pile, with
Landscape. Within a plain oval frame with beaded
rim are two shelves of books, chiefly works on ex-libris,

'i the top row partly hidden by a draped curtain ; on a
table-top, in front of the books, are strewn several
sheets of music, over which is laid a flute. A ribbon
rolls across the top of the oval, inscribed : Les bon
livres sent dt bans amis ; another, beneath the frame,
bears the owner's name. Behind all this and extend-
ing to right and left of the oval is a charming little
landscape, simply framed, — the grassy bank of a quiet
stream fringed with trees, beneath one of which lies a
half-opened book. Etched ; signed y. W. SpenceUy,
Sc., 1897. 2 1-2 X I 7-8.

37- Bocton BrowDlos: Society. Label. In a double-
"^ lined, notched frame, on a grained background, the

inscription ; " Given by the Boston Browning | Society
to the Public Library ] of the City of Boston, 1897.

(Intended as a pendant to the portrait plate of the
Society etched by F. T. Merrill.) Etched ; unsigned.
2 1-8 X 3-4.

38- AdiU Trlden Low. Book-Pile. Within an
oval, on a table-shelf is an attractive little clutter of
books, correspondence, and prints, among which, half
tumbling out of a small casket are several unmounted
book plates — notably that of Dr. Oliver Wendell
Holmes with its nautilus shell, reproduced here in
miniature. Back of these is a large portfolio above
which floats a ribbon inscribed : Scientia eslpotestas,
and "Ex-libris, 1897." Underneath all is engraved
the owner's signature. Half hidden by the motto
scroll is a lozenge bearing the arms of Tylden, co.
Kent : Azure, a saltire ermine between four pheons or.
Etched ; signed J. W. SpenceUy, Sc. 21-2x1 7-8.

39- Alphonto Trumpbour Clearwater. Pictorial.
A gentleman in 17th Century military costume is
seated at a table reading a book. Before him are
some papers, an ink bottle, and lighted candles. His
sword hangs on the back of his chair, his hat lies on a
window bench nearby. Behind him stretches a large
panel of tapestry on which is depicted a Dutch scene
with characteristic windmill. The upper frame of the
window beside the tapestry is filled with the arms of
the Netherlands. In front of the table is a large
scroll bearing the apothegm, Nunquam minus solus
quam cum solus, and " Ex-libris ". Beneath the
scroll is a flint-lock musket and a spray of mari-
golds, the favorite flower of the Queen of Navarre.
Along the sides and iop of the picture run stalks of

lilies and twisting branches of thorn, round which
winds a ribbon inscribed with the names of nine
favourite authors — Blackstone holding the place of
honour at the top, ilanked by Shakespeare and Mon-
taigne. The base of the frame is filled by the owner's
name. Etched and engraved ; signed y. W. Spenctley,
1897- 2X2 3-4.

40. 20th Regfiment. M. V. L Decorative. Within
a wreath of laurel, a bugle, the stem of which encircles
the figure 20 ; above the bugle a ribbon with the
motto, Laeti sorte sua. On a tablet beneath, the in>
scription : " From the Memorial Fund of the zoth
Regiment Massachusetts Volunteer Infantry to the
Public Library of the City of Boston ". The whole is
enclosed in a border of two lines. Designed by Miss
Lois L. Howe. Etched; unsigned. 21-3x3 ''4-

4>- jMtoa Rudolph GufieU. Decorative. (Two
varieties.)

, First: Within a narrow oval wreath of holly, the
owner's name in script ; beneath it, in Latin type and
following the curve of the wreath, the motto, which
was used also by his father, President Garfield, Inter
foliafmctus.

\ Second ; Same as above, except that the motto, in
slightly larger type, no longer curves, but is parallel
with the name. The artist's signature is smaller, and
the plate itself has been trimmed down. Designed by
Mrs. Garfield. Etched and engraved; signed y. W.
S., '97. 2 1.2 X I 3-4.

^ 43. WlUlam Gushing: WaH. Pictorial. A sculp-
tured goddess in flowing robes is seated on a low

- --:.-<''

-fe^

.«- -^

V'"S>!

*K.#r

.^^

pedestal ; in her right hand she holds a pair of scales,
in her left a book. Against her knee leans an oval
shield bearing the arms of the Commonwealth of
Massachusetts, except that the crest appears as a
charge on the shield itself, directly over the Indian's
head, in chief. Before the base of the pedestal lie
some books and a pair of oars, with a ribbon scroll be»
low, inscribed : « Ex-libris William Gushing Wait,
A. M., 1898". The background is a delicate land-
scape with tree-fringed river and distant mountains.
The whole is enclosed in a simple rectangular frame,
the inner border of which arches above the statue and
is edged with a garland of ivy. Etched ; signed
y. IV. SpenceUy^ Sc. 1 3-4 x 2 3-4.

I 43* Walter Gmway Prescott* Landscape, with
architectural frame. An i8th Century wall panel,
with tablet base, supports a broad oval with plain,
beaded frame. In this is finely pictured the Conway
meadows, near Intervale, N. H., looking toward the
Presidential Range. The fields are dotted with
stately elms and a few low birches. In the distance
rise the hills crowned by Mount Washington, its crest
gleaming with snow. Above the oval are two formal
ribbon scrolls inscribed, "Ex-libris 1898," and
" Walter Conway Prescott." On the tablet below are
the names of ten men of letters ( Emerson, Holmes,
Longfellow, Whittier, Prescott, Lowell, Hawthorne,
Bryant, Thoreau, and Motley ) ; and on the base be-
neath is carved the name of the Commonwealth —
" Massachusetts " — that claims these authors as her
sons. The plate has for a remarque a little road-sign,

r\\

■^

■« ■ •«

■V. - -

■ 7" * ■

^- ■ * "V

»•

set at the angle of an old rail fence. Etched and en*
graved ; signed y. W. Spenceley^ Del. Sc. 21-2x3 1-2.

44- Frank W. Hastings, Jr. Armorial, without hel-
met and mantling. Victorian ; the top of shield
eared, the base double-engrailed. Arms (crowned
with an Earl's coronet ) : Azure, a maunch sable.
Crest : A buffalo's head erased sable; gorged with a
three-leaved coronet and armed or. Supporters : Two
man-tigers affrontant [ or ] , their visages resembling
the human face, proper. Motto : In veritate victoria.
( Personal arms of the Earl of Huntingdon.) Etched
and engraved; signed y. W. S, '98. 2x2 1-8.

45* Bryson Library* Decorative. Within a seal-
like oval frame, on the rim of which is engraved
"Teachers' College," a woman in flowing garments
sits in a chair of state, holding on her knees a large
open book. At either side of her chair circle
branches of laurel. Across the top of the oval floats
a formal ribbon scroll inscribed, "The Bryson Library ;"
at the base is another, inscribed, " New York City ; "
at the ends of these, linking them to the oval, are
fronds of acanthus. Designed by Charles Lamb.
Etched and engraved ; signed y. IV. S. '98. 2x2 3-8.

46. Albert C* Bates* Armorial : a finely engraved
" square " shield, only. Arms : Sable, a fesse between
three dexter hands argent. (Bates of Denton, co.
Sussex.) Etched and engraved ; unsigned. 7-8 x i.

47. (Withheld:)

48. Levi W* Eaton* Library Interior. Through a
broad, half-opened window, with a seat beneath on
which lie several cushions and a book, can be seen a

sunny stretch of wooded field, with a sheet of water
beyond and distant hills. On a shelf above the
architrave are ranged some porcelain jars and plates.
At the right of the casement, part of the fireplace
shows, with a tall vase on the Colonial mantel shelf ;
at the left stands a small inlaid Turkish table on
which rests a jar of flowers ; before the window seat,
on a Persian rug which half covers the polished floor,
is a low, cushioned foot-stool strewn with papers and
books. The whole is framed with a single line. The
remarque, etched at an odd moment by Mr. £. H.
Garrett, is a miniature portrait of Mr. Spenceley
examining a proof. A very clean-cut, softly toned
plate. Etched and engraved ; signed y W- S^cncg/ey,
Bel. Sc, 1898. 2x3 1-4.

49' Marianne Been Sterling MemoriaL Decorative.
Within a simply outlined tablet a peaked and en-
grailed Gothic shield, flanked by ribbon scrolls,
inscribed : Vita sine Uteris mors est. Above this, the
inscription : " In Reverent Memory ] of her Mother, |
Marianne Beers Sterling "; at left and right the dates :
"Oct. 31, 1799", "May 13, 188S"; below: "Presented

By I Mrs. George Buckham. | No Vols, in

Set " Etched ; signed % W. Spenceley, Sc.,

1898. 23-4x1 1-2.

50- Bessie Hastings 'Williams. Library Interior.
On a shelf before a half-opened, latticed window are
some books, music, prints, a jar of wild flowers, and
a mandolin, with a ribbon winding beneath them in-
scribed : " Ex-libns Bessie Hastings Williams," The
vine-clad casement frames a little view of meadow,

stream, and mountains. On a shelf above are more
books partly concealed by a large torn scroll which fills
the top and upper left of the plate. This bears in
German type, beginning with a finely designed initial
letter, the lines : Die Natur ist das eimige Buck daa
auf alien Blditem grossen Inhalt bietet. Etched and
engraved ; signed J. W. Spencehy, Del.-Sc, 1 898.
2x2 1-2.
i 51. (Withheld.)

52. {Withheld.)

53. Mathilde E. TfaetMud. Pictorial, with Book-
Pile. Resting on a low tablet base, inscribed with
" Ex-libris " and the owner's name, are some books,
among them a volume of Victor Hugo. From this
base rises a broad, richly decorated frame, the mould-
ings of which enclose at the sides branches of laurel,
and at the top, flanked by ribbons, lilies, and acanthus,
a spade shield, surmounted by a count's coronet,
which bears these arms : Azure, between a pair of
scales, in chief, and a star, in point, a chevron, all
argent, Within this frame is spiritedly reproduced an
illustration from " Les Miserables," — where Jean
Valjean as mayor, surrounded by villagers, after res-
cuing the peasant from beneath the cart, is confronted
by Inspector Javert. A beautiful plate. Engraved ;
signed y. W. S. '99. 2x3.

54- Robert ScoviUe — Herbert ScoviUe. Decorative-
Architectural, with Book-Pile. A number of books,
a framed print, and a portfolio rest on a name tablet,
in the centre of which is a laurel wreath with " Ex-li-
bris " above, " Robert Scoville " to the left, and " Her-

■9

bert Scoville*' to the right. From this tablet base
rises a broad frame with inner egg-and-dart moulding ;
at the top, twisting across a branch of laurel, is a rib-
bon inscribed : "The true University of these days is
a collection of books." Within the formal frame are
rich scrolls of acanthus which enclose a finely ren-
dered picture of the Fair Gate of Christ Church, Ox-
ford. Etched and engraved ; signed y. IV. Spence-
ley, '99. 2x3.

55. Eva Lewis* Book-Pile. A row of stout little
volumes with a branch of laurel behind them rest on
a table shelf which is strewn with prints and one or
two ex-libris. One book lies with open cover showing
a tiny armorial plate : beside it stands an old brass
candlestick with lighted candle, and in front of it a
magnifying glass. A charming composition, exquisitely
etched. Etched ; signed y. W, S. '99. i 3-4x1 1-4.

56. Charles Edmund — Anna Bristol Peck* Library
Interior. Pictorial. Near a half-curtained window stands
a well-filled bookcase, with a large jar of flowers on
its top shelf beside a plain oriental tabernacle with
closed doors. At a small table before the casement
a lady sits reading, her back turned to the spectator.
Beneath the "Ex-libris," on a plain tablet, a little
leaf-encircled book divides the Christian names of
the owners, with the family name in larger type be-
low. The whole is framed in a simple narrow mould-
ing. Etched and engraved; unsigned. 2x3 1-4.

57. Charles Pfaff. Book-Pile. An open book on
a lightly pounced field is enclosed in a large symmetri-
cal cartouche which rests on a plain low base in-

scribed " Ex-libris." To the left lie a pile of books,
papers, a portfolio, a globe, and an ink bottle with
quill pen ; to the right are more books and a roll of
parchment. Behind these rise scrolls of acanthus,
and from the top of the cartouche to either side of
the plain frame swing garlands of wild roses and
laurel leaves. Engraved ; signed J. W. S. '99. 3x2.

58- Adricnne Adams Wickham. Two Varieties-
First : Decorative, with Book-Pile and Arms. The
name of the owner fills the centre, engraved on a
broad cartouche richly decorated at the top and sides,
and flanked with sprays of lily-of-the-valley. Beneath
is a row of books with a sheet of music before them
and a classic lyre. To the left, on a square, eared
shield, are the arms of Adams (co. Carmarthen) :
Argent, on a cross gules five [mullets or] stars ar-
gent. Crest (resting on the escutcheon) : Out of a
three-leaved coronet, a demi lion [affrontant gules].
Motto : Loyal au mart. To the right are the arms
of Wickham (of Abingdon, co. Berks) : Argent, be-
tween three roses gules [seeded or, barbed vert], two
chevrons sable. Crest : A bull's head sable, armed
. [or] argent, charged on the neck with two chevrons
argent. Motto : " Manners makyth man." The
whole is framed by a plain narrow moulding with
single outer line.

Second : Landscape, with Book-Pile and Arms.
Same as above, except that the name has been removed
from the cartouche and is engraved on the lower
border of the frame, and <■ Ex-libris " is added on the
upper border. On the cartouche is now etched a land-

scape : a mountain take with sloping, pine-fringed
shores, and in the distance snowy, peaks crowned with
sunlit clouds. An extremely pretty plate. Engraved ;
signed y. W. S. 'gg. i 1-2x2 1-4.

59' Gardiner Greene — Esther Lathrop Hammond.
Decorative. A three-masted galley with sails set
rides on a curling wave. Above is a scroll inscribed
"Ex-libris Gardiner Greene and Esther Lathrop Ham-
mond." Under the scroll, above the starboard stern,
shines a five-pointed star. Designed by Sarah Whit-
man, in her characteristically graceful, dignified style.
The artist's signature is enclosed in a small burning
heart, in outline. On the first proofs it appears near
the lower right band corner of the plate : on the
small prints, it is moved to the left and raised nearer
to the design. Etched ; signed MDCCC-5 tf'-XCVIII.
I 3-8 X 2.

60. J[ulU] B[radford] W[hite.] Decorative, with
Library Interior. Two varieties :

First: On a narrow name-plate bordered by a
single line are the initials J. B. W. in Old English type
flanked by fleurs-de-lis. Directly above the " B." sits a
little turtle looking straight ahead. From this base
rises a small pedestal, inscribed " Ex-libris," on which
rests an open volume of Scott with sprays of briar-rose
at either side. Then, within a plain frame, which also
rises from the name plate and is decorated with fleurs-
de-lis, and at the top, with a large palmette-like orna-
ment, is a library interior. A large map hangs on the
wall at the left, and at the right stands a tall case filled
with books, on the top shelf of which are two porcelain
jars.

Second : Same as above, except that the two jars
on the bookcase are replaced by a demure white cat.
Engraved; signed y. W. S. 'gg. i 1-8 x i 3-8.
V 61. Woman's Qub of Wisconsin. Decorative with
Book-Pile. On a finely balanced cartouche of formal
architectural sculpture, is a head of Athena enclosed
in an oval beaded frame. Above floats a ribbon with
the motto : Domus ei orbis. Beneath is a broad
name tablet on which rest some well bound books,
and at the left a lyre, half hidden by the branches of
laurel which encircle the cartouche. The frame is a
plain narrow moulding. A very dignified plate. En-
graved ; signed y. W. Spetueley, Boston, 1899.
21-2x3 1-4-

6z. Frances S&oford. Decorative with Book-Pile.
A lozenge shaped, rococo cartouche, resting on an
open book, bears the inscription : " It is the light
which makes manifest." At the sides and top curl
rich fronds of acanthus ; at the base, to the left, stands
a violin in front of a framed print and some papers ;
to the right, a row of books. Beneath winds a ribbon
bearing " Ex-libris " and the owner's name. Engraved ;
unsigned. 1 1-2x2 1-8.

63. Lois Kellogg:. Armorial. Modified " Restora-
tion." A very interesting and well engraved plate,
somewhat difficult to classify heraldically. The square
shield has a very pronounced eared top ; the mantling
is not so ample as is common in Restoration heraldry ;
the "lining" shows the fish-scales characteristic of a
slightly later period ; the torse does not encircle the
helmet, but extends beyond it ; and the whole is en-

* ■ ■ -

closed in a broad, plainly moulded frame with cusped
comers at the top. The efiFect is, however, good and
vigorous, the broad, cut, strap scroll for the name
being particularly happy. The arms, as blasoned by
Burke, under " Kellock," are as follows : " Gules, a
bar between two fleurs-de-lis stalked and leaved in
chief or, in base an annulet of the last. Crest : a
heart between two wings or." Motto : Gloria in Ex-
celsis Deo. In the plate, the two charges in chief
but remotely carry out the above description, probably
being based on some drawing earlier than the present
ex-libris, and the crest is a heart gules between two
wings argent. Engraved ; signed J, W. S. '99. 21-8
X 2 3-4.

64. Detroft Public Library* Decorative. Unframed.
In a broad circular frame, the edges of which are dec-
orated with clusters of apples and leaves, is the bust
of a lady in profile, reading a book ; the background
is a rigidly conventionalized landscape of grass, trees,
stream, and clouds. Above, on a torn scroll, is en-
graved " Detroit Public Library ; " a narrow end rip-
ples down the right of the plaque and broadens again
beneath it to receive, in large type, the " Ex-libris."
At the left, from bottom to top, rises a slender pedes-
tal, the shaft encircled by a serpent ; and on top of
this rests a lighted antique lamp. Engraved ; signed
Nob/e Ives. [des]. y, W. 5., Sc, '99. 2 1-2x4.

65. Charles Goddard Weld* Armorial. Victorian.
" College of Arms " shield. Arms : Azure, a fesse
nebulae between three crescents ermine. Crest :
From a three-leaved coronet a wivern issuant, guttle,

ti«..

tincture not shown. Engraved; signed X W. S. Sc. '99.
y 2x33-8.

66. Gcorsfe S* Chambliss* Book-Pile. Back of a
table-shelfy strewn with books and papers, are three
shelves filled with well bound volumes. The richly
decorated frame rests on a broad name tablet along
the upper edge of which spreads a cluster of acorns
and oak leaves. At the sides are dentil mouldings,
with branches of laurel between them and the simple
inner frame. Across the top runs a ribbon inscribed
" Ex-libris " : the decoration here suggests an Ionic
capital, with central palmette and large volutes at the
comers. A vigorous, finely executed plate. Engraved ;
signed X W. S. '99. 2x3.

67. Unhrersfty of Missouri Armorial-Decorative.
Three varieties. First : Filling the central half of
the plate are the arms of the State of Missouri, the
supporters flanked by great branches of acanthus,
each springing from behind a pile of three books at
either side. The achievement and books rest on a
name tablet, with beaded moulding, inscribed : " Li-
brary of the University of Missouri." Above the
arms, in a large wreath of laurel and oak is the mon-
ogram, " U. of M." Back of this a broad, plain
scroll spreads to the egg-and-dart moulding of the
frame which is slightly cusped at the upper corner^.

Second : The above, with " The gift of
added beneath the frame of the base.

Third : Inscribed beneath, " The gift of | Dr. A.
Litton I of St. Louis | 1898." Engraved; signed ^.
IV. Spenceley^ Boston^ 1899. 25-8x3 3-4.

f 68. Grace Andenoo Smith. Decorative. On a
simple, graceful cartouche is the inscription : " Nor
ask advice of any other thought but faithfulness
and courage." Beneath winds a ribbon with the
owner's name ; at the sides are scrolling acanthus
leaves and wild flowers ; at the top is a lighted antique
lamp. The whole is enclosed in a plainly moulded,
lozenge-shaped frame. Engraved ; signed jf. IV. S.
'99. 2x2 1-2.

69. Gcofge HigKinton^ Jf. Portrait with Book-
Pile. An admirably executed portrait of President
Lincoln, in an oval frame of bound laurel, occupies
the centre of the plate. At either side, the back-
ground represents the thick trees and underbrush of
a forest. Above is a broad scroll which stretches to
the edges of the simple frame and is inscribed : " The
wise want love, those who love want wisdom." The
ends of this scroll twist down the sides, winding
about the long, slender shafts of two lighted torches.
Beneath the portrait, and resting on the tablet-base
which bears " Ex-libris " and the owner's name, is a
pile of finely bound books and some prints. Etched
and engraved ; signed 7*. IV. Spenceley, Boston, 1899.
21-8x3.

70- The V. R Perry Llbrarr- Decorative. In
the centre, on an architectural panel, is a broad scroll
inscribed: "The | W. H. Perry | Library | 1899." Be-
neath it swings a garland of laurel. Above is a pic-
ture of two pyramids wreathed with clouds, the sun
setting behind them, and a clump of palm trees to the
left. All is enclosed in a narrow frame, somewhat
elaborated at the top, springing from a tablet base, on
z6

which rest some books and a large roll of parchment.
On the tablet at the base is "No," with a space to
write in the number of the book. Etched and en-
graved ; signed ^. IV. S. '99. i 3-4x2 3-8.
f/ 7'- CWillChappeU. Library Interior with Land-
scape. From the name-plate, along the upper edge of
which runs a branch of charmingly drawn briar-rose,
rises a narrow, richly beaded frame, with 3 ribbon at
the top, inscribed, " Old Orchard." Within, beside an
open window, stands a tall bookcase, and before it a
table on which rest some books, a small bowl of
flowers, and a large lamp. The casement looks out on
a sunny orchard, well trimmed little paths cutting
through the flowered turf and crossing each other
under gnarled, broad spreading fruit trees in blossom.
Etched and engraved ; signed % W. S. 1900.

I 1-2x3 1-2,

T- Mary M. Emery. Decorative, with Library
Interior. Within a broad oval, framed at the top and
sides by narrow branches of acanthus, and at the
bottom by a half-wreath of laurel, is depicted the comer
of a library. At the left are rows of well titled book-
shelves, with columns in front rising to the beamed
ceiling ; on the wall at the right hangs a framed land-
scape ; the lower foreground is tilled with a pile of
large books and a roll of parchment. Beneath is a
smaller oval circled by broad scrolls of acanthus.
This, in turn, frames a lighted antique lamp on a low
pedestal, and rests upon the plain, broad name-plate,
from which springs the simple, rectangulat* outer
frame of the whole. Etched and engraved ; signed
y. IV. S. 1900. 2x3.

J 73. William Whitins;. Landscape, with Book-
Pile. In the central panel of this plate is a beautiful
landscape. The foreground shows the grassy bank of
a river, a great oak tree filling the left side of the
picture, with branches and leaves spread across
the top. The river winds from the right in long,
gleaming perspective, its low wooded shores twice
spanned by tiny bridges. In the distance, a mountain
rises with gentle slope, the elouds above it glowing ia
the clear sunlight. Beneath the landscape, which is
simply and gracefully framed, is a plain name panel ;
above it, at the top, is a pile of books half hidden by
a ribbon which bears the initial " W " between two
acoras. The whole is enclosed in a narrow frame
with inner egg-and-dart moulding, the upper comers
cusped. Etched and engraved ; signed % W. S.
1900. 2x3.

74' Maud Heyrard. Armorial. A Chippendale
lozenge is surrounded by scrolling plant-like decora-
tions, unshaded against a black background. At the
base, back of this are books and a painter's palette
and brushes ; these rest upon a scroll bearing the
name. The whole is enclosed in a simple frame.
Arms ( Heyward, of London ) : Azure, a chevron per
pale or and ermine, between three garbs [of the
second ] . A steel plate, etched and engraved ;
unsigned, i 1-2x2.

7S> Alkne LeC MenilL Decorative with Book-
Pile, On a table-shelf, half circled from the base by
fronds of acanthus, lies an open volume of music be-
fore a row of books, with small prints and book-plates

scattered about. Above, at each side, is a cluster of
poppies. At the top flies a little Cupid holding a rib-
bon inscribed "Ex-libris." His head and arms rise
beyond the rectangular frame which is decorated
with a conventional, oriental leaf pattern, a narrow
name plate filling the base. Etched and engraved ;
signed Mrs. Rath Merrill, Del., J. W. SpenceUy,
5ir.,i9CX3. I 3-4x2 1-8.
•i 76. HeniT Kidder Gilbert. Library Interior.
Within a narrow, arched moulding is shown the corner
of a library near an open latticed window. A well
stocked bookcase lines the wall, books and several
pieces of porcelain filling the top ledge with three
framed prints above. Near the window is a desk
covered with books and papers ; back of this stands a
large mounted globe. At the top of the arch, held by
a swinging motto-ribbon, is the owner's crest, — a
squirrel cracking a nut, proper ; Motto : Mallam
mori quam mutare. Scrolls of acanthus fill the.
space between the arch and the plain outer frame
that springs from a name tablet, on the upper edge of
which lie more books. Engraved ; signed y. W.
Spenceley., Del.-Sc, 1900. 13-8x3.

i 77- Minerva Gushing; Crocker. Library Interior.
In a round cartouche, bordered with acanthus scrolls,
and, at the base, with branches of laurel, is engraved a
library interior. In the centre is a doorway with
partly drawn portiere. At the right is a half-curtained
bookcase, a large stuffed owl and some porcelains
standing on the top ledge ; at the left is a tall
"secretary", the desk being cluttered with books and

papers, and more volumes in five compact shelves
rising behind glazed doors. At the top of the car-
touche is an "Ex-libris" ribbon ; at the bottom, on a
long scroll, is the owner's name. In the upper
corners, filling the spaces between the circle and the
plain, rectangular outer frame, are two square, eared
shields, each of which bears a crest on a torse, with
motto ribbon beneath. The crest at the dexter corner
is : Two lion's gambs proper, holding up a heart gules,
and surmounted by a three-leaved coronet. Motto :
Virtute el numitu. The crest at sinister is : A lion
issuant azure. Motto ; Deus eos alii. Engraved ;
signed y. W. SpenceUy, 1901. 31-4x1 5-8.

78- EUzabeth Hhchcock Bfarton. Armorial with
Book-Pile. Above a book-pile, across which winds a
ribbon with the inscription, is a simple cartouche, on
which rests a framed lozenge bearing the owner's
arms. At the top, draping cartouche and lozenge, are
garlands of roses and gentians. The whole is held in
a plain, narrow frame. Arras : Azure, two chevrons
between as many stars or. A beautiful plate. En-
graved ; signed % W. Spenceley, Boston, 1901.
I 1-2x2 1-4.

79. Jenny Prince BUck. Pictorial. Within a nar-
row frame, the inner moulding lightly decoratedi lie
scattered a book, some prints, a painter's palette with
mahlstick and a pot full of brushes, a lute on a sheet
of music, and a jar of wild flowers. Behind these rise
three rows of books. A most attractive little etching.
Etched and engraved ; signed y. W. Spenceley, 1901.
17-8x2 3-8.

scene is in Paris, taken from the comer of the Place
de ta Sorbonne and the me Victor Cousin ; at the
right is the church belonging to the Richelieu family,
beside the Ecole des Charles : one looks down the
rue de la Sorbonne to the h6tel de Cluny, over the
roofs of which, in the distance, rise the towers of
Notre Dame. On the architectural base, forming the
name-plate and bottom of the frame, lie some books
and papers. Square, fluted columns with Corinthian
capitals rise at either side, supporting the entablature,
the architrave and frieze of which are merged into a
single broad member. On this is engraved Religio,
Historia, Litterae, Ars Vivendi; and beneath it swing
garlands of myrtle. On the typanum of the pedi-
ment is a fleur-de-lis. Etched and engraved ; signed
y. W. Spenceley, Boston, 1901. 21-8x3 l^.

81. The Alton Road. Armorial. The elaborate
shield, full-faced, seven-barred helmet, and rich
mantling are suggestive of the early seventeenth
century heraldic work of Michel le Blond, and are
very gracefully composed. The arms, which display
the <■ trade mark " of the Railway, might be roughly
blasoned as follows : Or, within a triangle formed by
three long, interlocked links of a chain argent, the in-
scription (in three lines) "The Alton Road:" within
the links are written, at dexter, sinister, and base, re-
spectively, " Chicago," " St. Louis," " Kansas City."
Crest : The headlight and smoking funnel of a loco-
motive, winged, proper. Cry: "The Only Way."
Signed y. W. Spenceley, Boston, 1901. 2 1-8x2 1-4.

H 82. Alice A. Do<{iwortIi. Library Interior with
Landscape, A bookcase stands beside an open win-
dow, with two pieces of porcelain on the upper ledge.
On the floor in front is a pile of books, on top of
which rests a jar of wild roses ; one book lies on the
nig, and a spaniel stands there sniffing at the flowers,
his fore paws on the open pages. At the sill is a
tufted window-seat furnished with cushions and a
couple of books. In the sunny road outside the win-
dow, hitched to a post beside some steps, stands a
saddle horse, looking in toward the room expectantly.
Behind him is a narrow stretch of lawn fringed with
shrubbery and trees, and in the background rises a
little bill. At the top of the narrow, beaded frame,
on a loose garland of laurel, is a small tablet with
" Ex-libris ; " at the base is a plain name panel.
Etched and engraved; signed % W. S. 1901.
15-8x2 1-4.

83. Ethdbert Uc Low. Decorative. Unframed.
A youth in a peaked hat, jerkin, long hose, and
pointed shoes sits on a low Turkish stool reading.
Back of him is a pile of books, a mounted globe, and
a lighted antique lamp set on a tall, slender shaft.
Before him is an owl perched on a large book, and be-
tween the two stands an hour-glass. Supporting
these is a long, narrow, single book-shelf, " Ex-libris "
and the name filling the central space, with a few
volumes at either side. Signed y. W. S., Sc., 1901.
23-8x2.

84. Hannah Adams Pfaff. Book-Pile with Land-
scape. On the lower ledge of the plain frame, in the

^^J

centre, above the name, stands an open, illuminated
missal, leaning against a large mounted globe. At
the left is a pile of richly bound books ; at the right
are more volumes and a roll of parchment. Back of
all these, a shelf of books stretches across the plate,
several volumes, a porcelain jar, and a vase of roses
resting on the top. Curling from the globe to the
lower ledge and up the sides of the frame are fronds
of acanthus, stopped at the centre of each side by
large clusters of arbutus. From behind these last,
soft curtains rise to the upper comers, and, draped
across the top, come down the middle of the plate
again, thus making the frame serve as the casement of
a double window. One looks out, above the book-
shelf, on a broad stretch of water, dotted here and
there with sails and fringed with low, wooded shores.
Etched and engraved, signed y. IV. Spenceley^ Boston^
1901. 23-8x1 3-4.

85. Zella Allen Dizon. Pictorial with Book-Pile.
In a plain frame with cusped upper corners is a
pleasant picture of a suburban wooden dwelling
house, with shrubbery, a picket fence, g^ssy side-
walk, and tall elms before it. Above, in a small
circular frame is shown another house, — a low gabled
homestead set on a grassy slope, a large tree before it
and one or two more at the right. This circle is
flanked by full, graceful sprays of wistaria. Under-
neath and down the right side ripples a ribbon bearing
" Ex-libris " and the owner's name. On a shelf formed
by the decorated base of the frame are a row of
books — one of them opened, some prints, and a

lighted candle. The remarque is a delightful little
kitten looking out over a pillow. Etched and en-
graved, signed y. Jf. 5. 1901. 2x31-2.

86. Ohio State University. Decorative. Beneath
a name tablet is a large wreath of laurel, with a
sword and a quill pen thrust through the ribbon that
binds it at the bottom. Within the wreath is in-
scribed : " Outhwaite | Collection [ of Works | on the ]
Civil War." The whole is enclosed in a plain, broad
frame. Signed y. W. Sperueley, Boston, 1901.
21-2x3 >-2-

S?- DartaKMith Q>Uefe Librmry. Decorative.
Within an oval frame are shown three alcoves of
an early renaissance book-stack. Across the top
Soats a ribbon inscribed : "1769 Dartmouth College
Library 1901 ;" at the bottom another bears: "The
Gift of Mellen Chamberlain, Class of 1844." The
broad, rectangular outer frame is filled with a decora-
tive chain of large oval links, those at the top and
sides enclosing the names of thirteen famous libraries,
those at the base the names of five distinguished
bibliographers. In the circular links at the corners
are small pine-cones. Designed by F. G. Moore.
Signed F. G. M., Del., y. W. S., Sc. 21-2x1 7-8.

88. Henry LuM Gorbett. Pictorial. This lovely
pictorial plate is a photogravure made from a larger
etching by Gaillard of the famous painting in the Louvre
by Ingres {1808) entitled (Edipe expliquant V hngme.
The picture is too well known to require description.
Mr. Spenceley has arranged it for a book-plate, deli-
cately retouching it where necessary, and adding with

the etching needle "Ex-libris 1902" to the reckon
which the hero rests his foot. Beneath he has en-
graved the owner's name in a very elegant, slanting
type, enclosing the whole in a frame of two lines.
Unsigned. 2 1-2x3 S-8-

89. Mary Florence Taft. Library Interior with
Book-Pile, On the lower ledge of the frame lie a pile
of standard works on homo^pathy, a sealed parchment,
an hour-glass, and an ink bottle with quill pen.
Above them rolls a name ribbon. At the top, be-
tween two more ribbon scrolls, is a small cartouche
flanked with sprays of laurel. The upper scroll is in>
scribed " Ex-libris ;" the lower, — Similia similitus
turanlur. On the cartouche is a lighted antique
lamp before an open book. Filling the centre of the
plate, and circled by branches of acanthus, is a picture
of a library interior. At the right is an open window
with a tall rubber-plant before it. Beside it, in the
comer, is a well filled Chippendale china-cabinet with
glazed and latticed door. To the left is a bookcase,
on the upper ledge of which are more books and a jar
of flowers. A portrait of Swedenborg, a couple of
wall plates, a framed print, a porcelain vase or two,
complete the furnishings of the room. A most in-
teresting and attractive plate. Etched and engraved ;
signed y. W. Spenceley, Boston, 1902. 2 1-4x3.

90- Ffcd Erwin Whiting. Pictorial Figure with
Library Interior. A gentleman in the costume of the
latter half of the eighteenth century is seated in a
" Grandfather " chair, reading a book. In the back-
ground, half screened by a curtain, are the crowded

shelves of a sunny library. On top of the frame,
which suggests that of an old Sheraton mirror, rests
an esquire's helmet. From this floats to the sides of
the frame beautifully rendered mantling, which
balances the acanthus carving at the base. As crown-
ing hnial dances the Hon rampant of the crest. De-
signed by E. B. Bird. Engraved ; signed Bird, y. W.
S. 1902. 3 1-4 X 4.

91. John H*y8 Gudiner. Armorial without hel-
met and mantling. The signature appears on the
proofs only. Three varieties.

First : — Arms ( Gardener of Wallingham and
Bishop's Norton, co. Lincoln, England ; and Gardiner
of Gardiner, Maine, U, S.) : Or, on a chevron gules,
between three griffins' heads erased) azure, two liona
combattant, argent. Crest : A Saracen's head full-
faced, proper, erased at the neck gules, wreathed about
the temples of the last and azure, on his head a cap or.
Motto: Praesto pro palria.

Robert HaUoweU Gardiaeff OaUands. Second : —
The above electrotyped and retouched with name en-
graved.

Jofm Tiulor Gardincf* Third : — As above.
Etched and engraved ; signed, y. W. S. 1902.
I X I 3-4.

93. Joha Wiag;ate Weeks, Armorial. Victorian.
"College of Arms" shield. A fine example of this
elaborate style. Arms : Ai^ent, on a pale endorsed
sable, three greyhounds' heads erased or, goi^ed with
a bar-gemelle gulea. Crest : A greyhound's head as
in arms, holding in the mouth a man's leg couped
36

above the knee argent. Motto : Can Deo nihih
carenl. Etched and engraved ; signed y. - W.
SpenceUy, 1902. 2 1-4x3 t-8.

93- Redmond Conyngham Stewart. Armorial
with Book-Pile. From a name-plate rises a broad,
beaded frame with cusped and decorated upper comers.
On this rests a plain circular frame enclosing the
achievement of arms. Below, resting on the name-
plate are a pile of books and a lighted antique lamp ;
above the circle is a trophy of a fox head, a riding
crop, and a hunting horn. Arms: Quarterly; one
and three, or, a fesse chequey gules and argent, sur-
mounted of a bend gules charged with three buckles
or, in chief a lion passant gules ; two and four
(a variation of Denham ?), gutes, a chevron between
three cranes' heads erased or. Crest ; A thistle and
a sprig of rose-tree in saltire proper. Motto : yuvant
aspera probum. Signed y. W. Spenceley, 1902.
17-8x3.

94- Wiofred Porter TruesdelL Landscape, with
Book-Pile and Arms. Resting on a simple base, from
which rises a slightly richer frame, is a symmetrical,
Louis XV cartouche of acanthus mouldings. This
encloses an exquisitely delicate spring landscape, — a
little dell through which winds a tranquil brook
between blossoming apple*trees. On the base, behind
the cartouche, stand some well bound books. Two-
thirds up swing garlands of roses and gentian. Then,
resting on the top scroll of the cartouche, is a square,
eared shield. Arms : Argent, three piles sable, over
all a fesse gules ; a canton ermines. Surmounting

this and rising beyond the outer frame is the crest :
A boar's head, couped and erect in pale, proper.
Etched and engraved ; signed y. W. SptnceUy, Boston,
1902. 2 1-8 X 3.

^ 95. Mugwet F. G. Whitney. Landscape with
architectural frame. The frame is a plain, finely pro-
portioned Louis XVI wall panel, on the broad tablet
base of which is the following inscription :

" Tht Inquirit of Truth, which is the Lout'
making or Wooing of it ; the Knowledge
of Truth, which is the Pretense of it; & the
Beleefe of Truth, which is the Enjoying of
it ; is the Soveraigne Good of Humane Nature."
Wthin is charmingly etched a view of the terrace
of the owner's country seat, in Brookline, Massa-
chusetts. At the right is a wing of the house, with
tall chimney and dormer windows. This is bordered
with clipped shrubs and a neatly trimmed path. The
level turf stretches away from here till it is stopped
at the left and in the middle distance by a stone
balustrade, the angle of which is guarded by a small
potted yew. Back of the balustrade is a low hedge,
and beyond rise stately trees. At the top of the
frame, in a small round cartouche, surmounted
(unfortunately) by the crest, are the arms of Whitney
of Whitney, co. Hereford : Azure, a cross chequey or
and [sable] gules. Crest ; A bull's head couped argent
[sable, armed argent, the points gules]. The remarque
is a wall sun-dial against a bit of ivy. Etched and
engraved ; signed B. G. Goodhue, des., 1 902 — % W.
Spenceley, Sc. 21-8x3 '-2.

i ^6. Beithe L. Welch. Book-Pile with Arms. Two
Varieties.

First : On a plain name tablet, decorated at the
bottom with a garland of roses, rest some books and
a parchment with seals. At the right is seen half of
a large mounted globe. Back of these, in a broad oval,
framed with acanthus mouldings and branches of
laurel, rises a bookcase with three tiers of books, two
volumes and a jar of roses resting on the top ledge.
Above is shown the lower part of a latticed window.
In the centre, over the oval and beneath an Ex-libris
ribbon> IB a square, eared escutcheon, surmounted by a
crest and motto. Enclosing all is a narrow, rect-
angular frame, with cusped upper comers, which rises
from the name-plate. Arms : Argent, a saltire
between four annulets sable ; a bordure gules. Crest :
On three erieces argent a long cross sable. Motto :
Auspice Numine.

A. Wdcfi. Second : The same plate with name
J changed. Etched and engraved ; signed J. W. S.
1902. 2x2 5-8.

97- Matthew Henry TayUw. Interior, with Land-
scape. Within the broad frame, above a name ribbon
and acanthus scrolls, is shown the comer of a panelled
room. A cushioned "Morris" chair stands before the
half curtained window; to its left is a small table, on
which rest some books and papers, a tobacco jar, and
a lamp. Above, cutting across this picture and filling
the rest of the frame is a wide panel on which is
engraved a brilliant bit of landscape, — the lawn of an
enclosed garden. A wooden settee stands in the

shade of a great tree near the low wall which ts
fringed with shrubs. Behind the wall rises a thick
hedge and trees with dense, rich foliage. More trees
dot the smooth, sunny lawn at intervals and checquer
it with warm shadows. Etched and engraved ; signed
y. W. S. 1902. 21-8x3,

f 98. Marie Winthrop. Armorial in flowered frame.
A charmingly " feminine " design in eighteenth century
French manner. The lozenge in beaded frame bear-
ing the Winthrop arms, — Azure, three chevrons
crenellated gules, over all a lion rampant sable (com-
pare the plate of Henry Rogers Winthrop, No, 120),
rests on a diapered panel. This is quaintly framed by
a broader moulding, which, at the top, breaks into the
graceful scroll work characteristic of Louis XV
engraving. Across the top hang garlands of roses,
from which flutter down the sides streamers of ivy
leaves. On the prim little base of the frame twists a
symmetrical cartouche-like scroll bearing the owner's
name in a flowing script. Etched ; signed y. W. S.
1902. 13-4x2 1-2.

99- Georgfe H. Sfifflin. Decorative, with Arms.
This pretty design by Bruce Rogers shows an old-
fashioned book-press, half filled with seven large vol-
umes. Rolling down in front of them is a simple
scroll which assumes the shape of an escutcheon, and
is tricked, on a field or, with a chevron azure and, in
sinister chief, a star of six points, argent. On the
moulded, architectural base of the press is the owner's
name. Above the books, in the spaces between the
screw and the column-like uprights of the frame is
40

"Ex-libris," in fine eighteenth century script. The cross-
piece resting on the uprights is drawn as an entabla-
ture, and is strengthened at the interior angles by
graceful corbels and decorated at the ends with little
urn finials. On it is engraved the motto, Nil Desper-
andum. Above, as a crest, a dove holding in his bill
an olive branch perches on top of the shaft of the
screw. A most appropriate plate for the owner, in
view of his connection with the famous Riverside
Press. Engraved ; unsigned, i 1-2x2 3-4.

100. Arthur Franklin Johnson* Pictorial landscape.
This quaint pictorial plate is a photog^vure of a
delightful little eighteenth century etched book-illus-
tration. It has been carefully and sympathetically re-
touched by Mr. Spenceley, who has arranged it as a
book-plate by adding " Ex-libris " on a small panel at
the top of the formal frame, and the owner's name, in
a very elegant slanting type, on a larger panel at the
base. The picture represents a wooded garden before
the doorway of a stone cottage. On the steps sits a
shepherd boy in classical peasant dress, strumming a
lyre and singing ecstatically, while his flock of sheep
crowd around him grazing the short grass. A lady in
flowing draperies peeps from behind a great tree beside
the house and listens clandestinely. A pleasantly
appropriate plate, it being a gift to the owner from
one who enjoyed his verses. Signed C, P, Marillier^
Del., D. Nie, Sculp. 2 3-8 x 4.

lOI.

owner's

A[dclaidc] RL S[mith]* Decorative. The
initials in . a gracefully linked monogram

r(.TX

*■ r — ,

k-' ^

appear on a fine, pear-shaped cartouche. From the
upper volutes to the simple little outer frame swing
garlands of laurel, branches of which also peep from
behind the base of the cartouche. Beneath hangs a
player's mask, and at each side, resting on the frame,
are several books. A very pretty plate. Engraved ;
signed y. W, Spenceley^ 1902. i 1-4x1 1-2.

««

1 03. Hak MemoriaL Decorative. Architectural.
A gift I to the City of | Keene I New Hampshire
In Memory of | George Silsbee Hale | by his sons
Robert Sever Hale | and | Richard Walden Hale."
The above inscription aprpears on a mural tablet, en-
graved in formal eighteenth century style, the panel
containing it flanked by fasces. A heavy garland of
laurel drapes the top and sides of the tablet. On the
base is a cartouche bearing the crest of Hale of King's
Walden, co. Hertford. A serpent proper entwined
around five arrow-shafts [or, headed sable, feathered
argent], one in pale, four saltire-wise. From the car-
touche floats a ribbon with the motto. Vera sequor.
Engraved ; signed y, JV. Spenceley^ 1902. 2 3-8 x

3 5-8.

103. MaudTeahon* This charming etching, framed
by a single line, shows the bend of a little stream dot-
ted with water-lilies and edged with sloping, flowered
banks. As the water twists to the left it reflects the
deep afternoon shadows of the wooded background.
" Ex-libris " and the owner's name are engraved at the
top, and at the bottom are etched the lines, — which
the picture finely carries out :

}i^

<;>

" iVith spots of sunny openings
and with nooks to lie and read in.

Leigh Hunt,"
Etched ; signed, y. W, S. 1902. 23-8x2 1-8.

10+, Lowell M. Palmer. Landscape, One looks
from the edge of a lawn into a dense copse, bordered
with luxuriant clumps of ferns, some of the owner's
collection of rare varieties ; behind these show the
trunks and lower branches of many pines and maplesi
the sunlight gleaming here and there far within the
thicket. Above is a small ribbon inscribed " Fern-
wood"; belo«, on the base of the formal frame is
" Ex-libris Lowell M. Palmer, MDCCCCII." It would
be difficult to bver praise the delicate charm of this
plate, or the brilliancy of technique shown in it.
Etched; signed J. W. Speneeley. 31-2x2 5-8.

105. Withheld.
^ 106. Ethel Randolph Tharc. Decorative. Un-
framed. The owner's name appears in white letters
on a black ground, framed by a large, gracefully
twisting torn scroll. This curls up the sides and rolls
over the base of a vigourously etched presentiment of
the great Sphinx, the worn stone head in full sunlight.
Designed by Theodora W. Thayer. Etched and en-
graved ; signed y. IV. Spenceley, 1902. 21-2x2 1-2.

107. l^niversHf CXyk of Chicago. Decorative.
The, design is enclosed .in an oval frame formed by a
heavy black line enclosed by two thinner ones. At
the top, within a smaller oval cartouche simply out-
lined, a large owl sits on a parchment roll with
dangling seal. Beneath is a ribbon with the motto :

Ubique Alma Mafrem Memento. Behind this are
branches of gracefully conveDtionalised foliage, the
stems of which follow the lines of the frame down-
ward and encircle the name of the library which fills
the lower third of the design. Designed by Frederick
W. Gookin. Engraved ; signed F. IV. G. 2 i-8 x 3.

108. Horace Swccory Oaklcr. Decorative. Un-
framed. A limb of an oak tree twists somewhat in
the form of an inverted S. In the upper curve is the
owner's name ; in the lower, " His Book." The
smaller twigs with acoms and leaves branch out grace-
fully till the design assumes the form of a large circle.
Designed by Frederick W. Gookin. Engraved ;
signed F. W. G. 2 3>4 x 2 3-4.

109. Lowell M. Palmer. Landscape. The fore-
ground of this very beautifully etched picture shows
a level lawn dotted with low evergreens and cut across
by a gravel walk. In the background, at the right,
behind a row of more evergreens from the owner's
rare collection, is the wing of a low, rambling build-
ing. Stately trees rise before the verandah, and fill
the distance at the left. The landscape is enclosed in
a Louis XVI frame, rich garlands of roses and
gentians swinging across it at the top, and, at the
bottom, a cluster of fruit beneath the owner's name.
Etched ; signed J. IV. Spenceley, Boston, 1902.
3 5-8x3-

110. Georsfc Qiffofd Thomas. Decorative, with
Book-Pile. The owner's name is engraved on a broad,
scrolling cartouche, the date in Roman numerals on a
ribbon at the base. An open book and, before it, a

lighted antique lamp stand on the upper central
volutes, with a fine garland of fruit beneath. At the
left, against a background of laurel leaves, is an hour*
glass, at the right an ink bottle and quill pen, and
winding under each and behind the book is an
"Ex-libris " ribbon. Beneath the cartouche and rest-
ing on the ledge of the simple outer frame, is a pile
of books and a parchment with seals. At either side
hangs a formal wreath of laurel ; behind them is a
level row of volumes. Engraved ; signed y. W.
Spemetey. 2 1-8x3 1-8-

III- Thoct N. KDller. Armorial, without helmet
and mantling. A Georgian "spade" shield bears,
within a bordure argent, the arms of the United
States, the chief, however, charged with thirteen stars
of six points, seven and six. Crest : An eagle
rising, proper. On a ribbon is the inscription : Hie
liber Caledoni Hibemici Americani est. The shield is
flanked at dexter with branches of finely rendered
shamrock, at sinister, with thistles. At the base of
the plate the owner's signature is engraved, sur-
mounted by « No. — " The whole is enclosed in a
plain, narrow frame. Engraved ; signed y. W.
Spenceley, Sc, 1902. i 3-4x2 1-2.

III. Ourles Rathbone Ballou. Decorative, with
Landscape. In a simply outlined oval, a tall pine tree
stands on a rocky slope covered with stunted shrubs
and low pines in the distance. Far off, through the
little valley at the right, winds a stream at the edge of
a forest, and beyond rises a range of hills. Slender
branches of laurel spring from behind the name-plate

and circle the oval. A ribbon scrolls above the top
and half down the sides, inscribed, Suaviter etforlittr.
Beneath the name-plate garlands of roses and gentians
support a small "spade" shield charged with the arms
of Harvard College. The whole is enclosed in a
plain, outlined frame with fretted inner border."
Etched and engraved; signed y. IV. Spenceley, igo2.
31-2x3 1-8.

113- TheZa*Frfaub. Armorial. Architectural
(Louis xyi). Based on a late eighteenth' century
portrait-plate by Fiquet, From a projecting breast of
wall, with formal cornice, wainscot, and base, stands
out a plain oval frame, with keystone, enclosing the
arms : Gules, on a bend or, between two open books
with double clasps argent — that in chief inscribed
VERI, that in base, TAS — a bear passant, sable.
Two bears stand on the pedestal, flanking the arms as
supporters. A garland of roses and gentians is laid
across the top-of the pedestal; a few have fallen .to
the ground, wliere, in one comer, lie some books. An
extremely dignified and iinely executed plate. Etched
and engraved; Signed J. W. Spenctley, Sc, 1902.
21-2x3 5-8.

114. JulU Marion Hoyt. Decorative, with Book-'
Pile. On a broad, symmetrical cartouche with
scalloped inner field, is engraved " Ex-libris " and the
owner's name. At the top, a lighted torch rises from
behind the cartouche; at the sides are clusters of
roses ; at the base is an open book, with palm branches
at either side and a ribbon inscribed : " There is no
past so long as books do live." Back of these, rest-
46

ing on the ledge of the plain, narrow frame, is a row
of books. A brilliantly toned plate. Engraved ;
signed y. IV. S. 1903. 2 1-8x1 1-4.

"IS- Lowell M. Palmer. Decorative. Within a
flat, oval cartoucbe is an open volume, richly illumi-
nated, with "Ex-libris" inscribed above it on the
pounced field. Broad beaded mouldings curl at the
base, outside the cartouche, and are hidden half way
up by scrolls of acanthus and garlands of roses. At
the top is an oval mirror, draped with a curtain :
before it stands an ink bottle ; at the right, several
books lean against- it ; behind' it is a nimbus of clouds
and rays of light: At the base of the plate are
branches of laurel, a lighted forch. and, rippling across
them, a name ribbon. Etched and engraved; signed
% W. Spenceley, 1903. 23-4x31-4.

116. Withheld.

117. Philander Chase Knox. . Decorative, with
Library Interior. A broad panel with diapered back-
ground is enclosed in a simple eighteenth century
frame. On it rests an oval containing a library
interior. The centre is filled with- a wide, latticed
window flajiked by crowded book-shelves ; at the right
\i a table strewn with books and papers; at the left
is a mounted globe ; on the ledge above the closed
windows stands a jar of flowers between two plates.
At the top of the oval is a small cartouche bearing an

■open book. Garlands of finely rendered roses swing
from either side, and behind all is a draped curtain
festooned from the upper comers of the outer frame.
A fluttering "Ex-libris" ribbon and a broad name

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scroll fill the lower portion of the panel. Etched
and engraved ; signed y. IV. 5. 1903. 23-8x1 5-8.

/ 118. Herbert Spencef Allen* Pictorial. A literal
transcript of a pen drawing by F. G. Hall. A young
man in flowing drapery is strolling past a renaissance
archway, — probably part of a cloister. In his hands
he holds a half-opened book. Back of him, from
pillar to pillar, hangs a curtain, diapered with small
escutcheons (quarterly ; first and fourth argent, the
letter A sable ; second and third chequey argent and
sable), surmounted by German noble's coronets of
five pearls. In the spandrels of the arch are laurel
wreaths framing the arms of Allen, of Derbyshire:
Per chevron argent [gules] and ermine, in chief two
lions' heads erased [or]. Within the arch, above the
curtain floats a scroll bearing the owner's name ; be-
neath the base of the frame are " His Book " and a
rich garland of fruit. Engraved ; signed Frederick
Garrison Hall, Del,, y. Win/red Spenceley, Sc, 1903.
2 1-4 X 4.

119. W. B.L[eeds]. Decorative. The initials, in
Old English type, are engraved on a charming little
cartouche, decorated at the top with a dolphin's head,
at the sides with tridents, and at the base with a small
shell. Beneath ripples a ribbon inscribed with the
name of the owner's yacht, "Noma." The whole
rests on a simply moulded, rectangular panel. En-
graved ; signed y, IV. S. 1903. i 1-4x1 5-8.

120. Henry Rogfers Winthrop« Armorial. Late
Gothic. A very small and very beautiful example of
late Gothic heraldry, — the chief charge being more

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primitive in style than the rest of the arms. The
achievement is enclosed in a narrow frame with
cusped upper comers. Arms (a slight variation of
Winthorp of Groton, co. Suffolk) : Azure, three
chevrons crenelles gules, over all a lion sable. Crest :
On a mount vert, a hare courant proper. Motto :
Spes vincit thronum. Engraved ; signed y, W. S.
1903. y-S X I 1-4.

121. Morris & Lenore Black« Landscape. With-
in a circle is pictured a stretch of lawn beside a
narrow, quiet sheet of water bordered with trees. An
apple tree fills the middle foreground; beneath it is
a low wooden bench. The circle is enclosed in a
square frame of three lines, the spandrels filled with a
conventionalised pattern of maple leaves in outline.
Outside of this, along the top and sides is another
border of two lines enclosing the motto : " And a
river flows on through the vale of Cheapside." In
the base are the owners' names, the family name be-
neath the two others, flanked on either side by two
little turtles. Etched and engraved ; signed y, W, S,
1903. 2 1-4x2 5-8.

122. Lucy White Williams* Library Interior with
Landscape. A narrow, ruled frame encloses a view
of the comer of a library. At the right is a tall book-
case ; in front of it is a settee beside a low table on
which rests a tea equipage. At the left stands a
lower bookcase, surmounted by a bust of Emerson
and other objects. Framed prints and a bit of tapestry
cover the walls, and pots of ferns and jars of flowers,
and a large rug on the polished floor complete the

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furnishings of the sunny apartment. Cutting across
the angle of the room is a latticed door, through the
glass of which one catches a glimpse of garden path
and shrubbery, with trees, water, and hills beyond.
A panel at the top of the picture is filled with the
verses :

" That book is good
Which puts me in a working mood.
Unless to thought is added will,
Apollo is an imbecile.

Emerson!'
At the base is " Ex-libris " and the owner's name.
Etched and engraved ; signed y, W. Spenceley^ 1903.
2 1-8 X 3.

123. Ohio State University* Decorative. On an
engrailed scroll surrounded by graceful branches of
conventionalised foliage is the inscription : " A Gift
from the Library of Emerson Elbridge White." Be-
neath is a plain name panel. The frame is in outline.
A very effective example of the balancing of simple
tones. Signed J^ W. Spenceley^ 1903. 2 3-4 x 2 1-4.

124. Georgfia Medora Lee. Library Window with
Landscape. The centre of the plate shows the case-
ment of a library window set between well filled
shelves of books. The seat beneath is strewn with
more volumes and several embroidered cushions.
From the open window, one latticed sash of which is
half closed, one looks out on a delicately brilliant
landscape: — at the edge of a lake bordered by dis-
tant mountains, a winding road leads to a low gabled
house with woods beyond. On the cornice of the

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formal frame rests a large cartouche bearing the -^^
quotation : " With my friend and my book I walk
through the Forest of Arden." At either side are *v>-V^
branches of laurel, across which winds a ribbon scroll
inscribed with the names of six favourite authors ;
and at the lower volutes of the cartouche is an open
book. The architectural base is filled with " Ex-libris "
and the owner's name. A well conceived and finely
rendered plate. Etched and engraved ; signed J, W,
SpenceUy, Sept,, 1903. 2 1-8x3 3-8.

125. Henry and Alice Young:* Decorative. In
the centre, standing on the name-plate, is the image
of knight crusader, holding with outstretched arms
a broad ribbon inscribed "Credo." His Norman
pointed shield hangs before his sword from a strap at
his left hip ; the charges, untinctured, are : — barry of
five, in canton a leopard contournd. At either side of
him rises a large acanthus-like scroll surmounted by a
leopard's head ; behind him hangs an arras-curtain,
draped and knotted at the top. Across the base
ripples a ribbon, inscribed " Ex-libris | Henry and
Alice I Young." The whole is enclosed in a narrow,
formal frame. Etched and engraved ; signed % W, S,
1903. 17-8x2 3-4.

126. Gfffofd Alexander G>chran« Landscape.
Within a delightful Louis XVI frame, across the top
of which swing garlands of roses and gentians, is a
picture of the old Phillips Manor on the Hudson, as it
looked in the eighteenth century, — ^very beautifully
reduced by Mr. Spenceley from an early lithograph.
At the right the river flows over a mill-dam, thence

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it winds to the left, and, dotted here and there with
small vessels, with another turn to the right, it is lost
behind the rising point of wooded land in the middle
distance ; beyond, far off to the left again, stretch the
" Palisades." The foreground is a sloping, shrub-
fringed bank ; on the opposite shore beside the mill-
wheels stand the mill and several other wooden
buildings ; behind these, in the middle of a large
expanse of cleared ground, stands the rectangular,
gabled manor-house, white in the steady sunlight.
On a small tablet at the top of the frame is
" Ex-libris ;" at the bottom of the picture is a narrow
ribbon inscribed "Phillips Manor, 1784"; on the
frame beneath is the owner's name. Etched and
engraved; signed J, W. S. 1903. 27-8x2 1-8.

127. Robert Gorham Fuller. Decorative. Un-
framed. A literal transcript of a pen drawing by
F. G. Hall. A three-masted, sixteenth century
galleon, with high stem and four-decked stem, rides
the water under full sail. The mast-heads fly long
pennants, and a great curling banner at the stem is
charged with an elephant. Half circling the design at
the base are two large dolphins ; at the top twists a
ribbon in three lines bearing the owner's name ; be*
neath this, at the left, another ribbon is inscribed
"Ex-libris." Signed 1902 Frederick Garrison Hall,
y, W, Spenceley, Sculp, 1903. 17-8x2 3-8.

128. Helen Vemera Drake. Library Interior with
Arms. The graceful frame suggests that of an old
Sheraton mirror with broken, voluted pediment and
garlands of flowers hanging down the sides. At the

top is a square, eared shield, charged with the anns
of Leonard : Or, on a fesse azure three fleurs-de-lis
argent. Motto : Memor el fidelis. On the base of
the frame is the owner's name. Within is shown the
chimney-breast of a room, presumably a library. On
the plain, colonial mantel stand a jar of roses, an hour-
glass, an ink bottle and quill pen, and several books.
Above hang a framed print and a Dutch plaque. A
brisJt log ^re blazes on the andirons, its gleam
reflected in the polished floor. At the right a pair of
fire-tongs lean against the mantel and at the left
hang the bellows. Etched and engraved ; signed
y. W. Spenceley, 1903. i 7-8 x 3.

119- An^fcw Christiaa Zabriskie. Book-Pile. On
the wide base of an architectural wall-panel is the
owner's name in three lines ; beneath swings a rich
garland of roses. Within a broad oval frame, with
an " Ex-libris " ribbon at the bottom, which rests on
this base is shown a table-shelf on which stand a
number of finely bound books, one of them lying
open on some sheets of parchment, and an ink bottle
and quill pen. Garlands of laurel hang across the top
of the frame, where, on a small cartouche, is engraved
the crest of the family of Jastrzembiec, Counts
(1792) Zborow-Zborowski : From a three-leaved coro-
net, a goshawk rising, proper, [belled or] holding
raised in his right talon a horse-shoe argent [or] with
ends up and between the prongs a crosslet patt^e of
the same. Engraved ; signed y. W. S. 1904.
2 1-4X2 7-8.

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130- diaries Stewart Smhlu Book-Pile. From a
broad architectural base across which rolls a formal
name-ribbon spring two fluted pilasters, topped by a
narrow architrave. Between the pilasters are three
shelves of books and above them a panel inscribed :
Semper silentes sed \ semper fideles sunt Itbri. On
the ledge of the base, covering most of the lowest row
of books, is a large open volume with rich clasps ; on
its left page is the apothegm : Nunquam \ minus \
solus I qiiam \ solus. A curious bronze lamp hangs
from the centre of the architrave half way down in
front of the shelves. Engraved ; signed y. W. S.
1904. 21-8x3 1-8-

131- Martha Hougfhtalingf Ingfalls* Decorative.
On a simply bordered panel is the quotation : Nil
nisi I divinum \ stabile est | coetera \ fumus. Be-
neath winds a ribbon in three lines bearing the
owner's name. At the left, on a narrow ledge at the
base of the plate, is a lighted antique lamp, from
which thick, curling smoke twists behind the name-
ribbon and over the lower right corner of the central
panel, appearing again at the left and top. The
whole is enclosed in a plain, narrow frame. A finely
balanced little design, beautifully toned. Engraved ;
signed y. IV, 5. 1904. i 1-2x2.

132. Frederick Norton Finney* Decorative with
Landscape. A broad, cartouche-like scroll stretches
across a richly decorated frame. An " Ex-libris "
ribbon and the name in a single line fill the centre.
Beneath, at the bottom, an open book rests on
branches of laurel, the scroll curling in graceful

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■^

volutes at either side. Above the name and ribbon,
in an oval framed by the upper twists of the scroll, is
a. mountain landscape: — a railway winds round a
curved incline at the left ; in the middle distance are
tall pines and firs; and in the background is a range
of snow-capped peaks. Within the frame, at the
bottom of the plate stand a row of books, almost
hidden by the name-scroll. At the top, in each cor-
ner of the inner panel is a large jewel, and in each of
the four corners of the frame itself is set a great
pearl. The design finely expresses the interests of
the owner, a civil engineer and builder of bridges and
railways, and a connoisseur of gems. Etched and en-
graved ; signed y. IV. S. 1904. 2 1-2 x r 3-4.

133- James Cowao Greenvay. Armorial with
Book-Pile. The frame is a book-cabinet with base,
pilasters, and entablature in colonial Doric. Nearly
filling the space within and covering most of the
three shelves of books is a square shield, the top
braced and eared-couped, with the crest on a torse
above and a motto ribbon beneath. Behind the crest
hangs a cloth draped from two wall-pegs, and from
these, garlands of flowers swing to the frieze where
above the two pilasters they are held by rosettes.
Arms ( Greenway, of Devonshire ) ; Gules, a chevron
or between three covered cups argent [of the same] ;
on a chief argent as many griffins' heads erased azure.
Crest: A grifiin's head erased azure, holding in the
mouth an anchor [gules]. Engraved ; signed y. W. S.
1904. 21-4x2 3-4.

134- Harvard College Ubfafy. Decorative with
Arms. On a formal eighteenth century mural tablet

ia 3 panel framed with an egg-and-dart moulding and
decorated at the four inner angles with square rivets
in the form of Maltese crosses. The inscription
reads " A Gift | in Memory of | George | Augustus I
Nickerson | A. B. 1876. LL. B. 1879. | 1904.
Above the panel, on the tablet is cut "Harvard
College I Library ;" beneath, at the base, is " Folk
Lore," On the top rests a simple cartouche bearing
the arms of Harvard College. Behind this lie fascea
and branches of pine. The whole is enclosed in a
frame of three lines. A very dignified plate. En-
graved ; signed y. W. Spemeley, 1904. 23-8x3 3-8.
13s- Harvard C>Ueg:e Librarr* Framed Inscrip-
tion with Arms. Within a simple eighteenth century
ruled frame is the inscription : " Harvard College I
Library | From the Library of | Konrad von Maurer
of Munich | The Gift of | Archibald Cary Coolidge I
Class of 1887 I Assistant Professor of History | 1904.'
At the top of the frame the arms of Harvard College
in an oval rest on a plain cartouche-like panel, the
base slightly scrolling, the top arched with a cornice
moulding which lines with the frame. From above
the oval a small draped curtain swings to the upper
interior angles of the frame where it is held by wall
pegs. Engraved ; signed J. W. Spenceley, 1904.
23-8x3 1-2.

o BIOS 117 990 718

CECIL H. GREEN LIBRARY

STANFORD UNIVERSITY LIBRARIES

STANFORD, CALIFORNIA 94305-6004

(650) 723-1493
grncirc@sulmall.stanford.edu

All books are subject to recal
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