sued by the Clarendon Press. Mr. Sidney Lee's introduction is sure to contain much new matter of bibliographical interest, so here will be another fine book to our credit. Among minor publications it may be noted that Mr. Elliot Stock promises a cheap reprint of Mr. H. B. Wheatley's excellent Book-Lovers' Library, that

Miss Sketchley's articles on English Book Illustration of To-day will shortly appear in book form, and that the present writer has brought together for publication under the title Old Picture Books some of his own miscellaneous essays and articles written during the past ten years.

The history of the book auction in New York does not go back more than eighty years, though the "commission merchant" was doubtless a factor in the life of the town long before he advertised his sales in the papers. Most of the early book auctioneers combined this occupation with others, and their names to-day have little meaning to the bibliophile. Seventy years ago, in 1833, James E. Cooley held perhaps his first auction sale, on December fourth. In 1837, he took into partnership Mr. Lemuel Bangs, the firm taking the name of Cooley & Bangs. From then until now there has always been a Bangs at the front in the book auction business in New York. Four members of the family have belonged

to the six successive firms of Cooley & Bangs, founded 1837, Bangs, Richards & Platt, 1838, Bangs, Platt & Company, 1849, Bangs, Brother & Company, 1852, Bangs, Merwin & Company, 1858, and Bangs & Company, 1876.

Many famous sales have taken place under the auspices of these historic firms. A catalogue of 1838 announced the sale of "Valuable Old English Books from the Libraries of the Dukes of Gloucester, Grafton, Lord Guilford, Mr. Heber, and Many other eminent Collectors." The Strong collection in 1878, and in recent years the Sewall library, the Cist collection of autographs, the two Arnold and the Lefferts libraries, among thousands of others, have been dispersed

under the hammers of the two Andrew Merwins, father and son, who have been the actual auctioneers since 1849.

It is easy to suppose that a half million volumes go out over those counters in a year. The sales occur daily for eight months of the year. One would think the sight of a book might become a trial to an auctioneer after forty years' experience with them. But let one see Mr. Merwin in the midst of a sale chance to open a volume, begin to read, and a bit later "come to," to find a roomful waiting for the sale to proceed, and it is evident that he is among friends.

The first of the two illustrations here given of sales at Bangs's, is reproduced from a contemporary illustrated paper, and the second from a flash-light photograph taken during the Sewall sale, by Rockwood, and reproduced here through the courtesy of Mr. W. H. Arnold. Among the faces in the old wood-cut is that of Horace Greeley, sitting on the rear bench, his heavy-bowed glasses bent

over the broadside catalogue. Standing at the extreme left is Mr. Welford, of Scribner & Welford. Mr. James Harper, ex-Mayor and publisher, shows his benevolent profile near the front. These two are the only hatless men on the floor. The auctioneer is Andrew Merwin the elder, and the upper right hand figure is that of Mr. E. K. Bangs.

The second view is contrast enough, the connecting links being Mr. Fletcher H. Bangs, silhouetted against the window, and Andrew Merwin second, in his father's place. Behind the desk are also Messrs. George W. and Richard Cogan, G. W. Kirkpatrick and Christian Gerhart, all old hands at their work.

Among the few faces of which one catches enough for recognition are Mr. Joseph Sabin, Jr., the Nassau Street book and print seller, the Reverend Thomas R. Slicer, veteran book-collector, and the late Judge J. H. V. Arnold, whose dramatic library was only less well known than his collection of famous trials.

A TREATISE ON TITLE-PAGES, with Numerous Illustrations in Facsimile and Some Observations on the Early and Recent Printing of Books. By Theodore Low DeVinne, A. M. N. Y. The Century Co., 1902. This volume, from which we reprint, simultaneously with its publication, the portion on The Chap-Book and Its Outgrowths, forms the third of Mr. DeVinne's series on The Practice of Typography. The treatise was originally written for and published by the Grolier Club, in February, 1901, in an edition of three hundred and twenty-five copies. As this edition was for bibliophiles alone, the practical side of the subject was subordinated to a historical and critical consideration of the title page.

The

Appreciation of such a work was of course to be found in superlative degree among the book-lover members of the Grolier Club. But to the men who could make it a guide for practical work, it was unavailable. practical printer is, then, to be congratulated that Mr. DeVinne has published it in its new form, with the portion on the practice of title page composition rewritten and much enlarged for the printer's special benefit.

The historical division begins with

"the real beginning," the days when the first printers' colophons followed the precedent of their forerunners, the signatures of manuscript copyists and illuminators. To the colophon was added later the device of the

printer. The device grew in size and elaborateness till the little space after the closing paragraph would not contain it. A page was then given over from last to first page soon followed. to the device and title, and the change From then till now, printers have studied the arrangement of words, devices and ornaments on this page, seeking the best effect, and always looking for something new. Since in an imitation of the very old. Morris, the new has often been sought

In discussing the composition of the modern title page, Mr. De Vinne makes no hard and fast rules, but points out the advantages and defects of various styles of type and arrangement, emphasizes the importance of simplicity and adequate spacing and suggestions and cautions gives the printer food for thought. The author too has need for this, for he often wants his title page built to suit his

by

taste, but has not the experience nor knowledge necessary to dictate a style.

The critical chapters cannot well be divided from the practical, for they analyze the work of famous printers and schools, explaining the methods by which they obtained their results and the causes back of their effects. The weak points to be avoided in making use of their styles are also carefully indicated. Especially good is the chapter on William Morris, broad-minded and appreciative of the excellences of Kelmscott typography and presswork. The taste of William Morris for mediaeval types was in harmony with his passion for the mediaeval literature which he reprinted in those types. The mistake of the many blind followers of Morris is that they try to adapt the Kelmcott style to classes of literature to which it is entirely unsuited.

Modern fads and lapses from standards of good form are dealt with in plain and unsparing terms, though there is no narrowness, no excessive conservatism. The preacher is also practicer, and his creed and works agree. Bigotry is not in this master printer. He rails not at rivals. His illustrations are chosen for their value as examples, regardless of their source.

The illustrations, taken mainly from colophons and book title pages, form the texts upon which this valuable mass of critical matter is focused. Examples of composition to illustrate a point have often been made up by the author-printer, but most of the title

pages are in facsimile, often reduced. The exact facsimile seems not always to be given, however. Comparing the the title page on page 169, of Baskerville's Catullus, we find that the reproduction varies in spacing from the original, and seems to have been newly set, in a similar type which does not give the exact effect of the original. The variations are slight, but the case is noted as a departure from the accuracy which one would expect to be invariable.

The choice of this profusion of examples has called for the greatest care and study, which it has of course received. The reproductions are lavishly interspersed throughout the text. The final chapter consists of a single title page, set in ten distinct styles by Mr. Charles T. Jacobi, of the Chiswick Press. These studies in the use of type, device and ornament make a most interesting series, with surprisingly excellent results.

The style and cover of this volume correspond with the two previous volumes, Plain Printing Types and Correct Composition. The index of twenty-three pages is as good as it can be made.

SOME EARLY PRINTERS AND THEIR COLOPHONS. By Joseph Spencer Kennard. Published by George W. Jacobs and Company. Phila.

1902.

Of this book four hundred and fifty copies have been printed from Jensen type, on very heavy deep cream, handmade paper, and bound in vellum boards. Rubricated marginal captions and initials lend life to the page. The second title page and the first