University of Virginia Library

Dust-Jackets, Dealers, and Documentation

IN JUNE 1971, I PUBLISHED IN THE LIBRARY AN ARTICLE ENTITLED
"Book-Jackets, Blurbs, and Bibliographers" (5th ser., 26: 91-134),
which set out to give a brief history of the book-jacket, to recite
some of the reasons for the importance of jackets in historical research,
and to offer suggestions for recording jackets in descriptive bibliographies.
To that account I appended a list of some 260 examples of
pre-1901 printed jackets, slip-cases, and other detachable coverings. Now,
over three decades later, I should like to add a postscript to the earlier
piece, reporting on developments in the study and preservation of dust-jackets [1]
in the intervening years and providing a new list of early
examples.

When I spoke in 1971 of the "general neglect" of book-jackets, I was
aware that some collectors had for decades been willing to pay premiums
for books in jackets; I was referring to the fact that many people still
regarded them as unworthy of serious bibliographical attention. Most
printed ephemera go through a stage of being disregarded and discarded
before their historical value is recognized; that book-jackets had not
fully emerged from that stage in the early 1970s is suggested by an anecdote
John Carter revealed to me. My 1971 article originated as a paper
that I delivered before the Bibliographical Society in London on 17
March 1970, during Carter's presidency. He had been pleased when I
had proposed that topic in response to his invitation to speak, for he
always welcomed any scholarly development in the study of nineteenth-and
twentieth-century books. He had long been interested in jackets
himself, having located an 1832 example thirty-six years before; and his
discussion of jackets in his ABC for Book-Collectors (1952) had been
ahead of its time, sketching the history of jackets accurately, mentioning
their historically valuable features (such as illustrations and blurbs), and

noting that the concept of original condition demands their presence,
even when they lack such interesting features. I gave Carter a copy of
my paper a few days before the meeting, and his way of expressing his
satisfaction with it was to suggest that I had justified his advocacy before
the Council of the Bibliographical Society: he sent me a note at my
hotel saying that "there were a few sniffs among the stuffier characters
when your topic was announced (by me, with enthusiasm), as if such
things as dust-jackets were a trifle frivolous—and this should blow them
out of the water." Even allowing for a little over-dramatizing of the
situation, I have no doubt that Carter's characterization of the Council's
attitude was essentially accurate.

I would not wish to claim that no such sniffs would be possible today,
but certainly jackets have come to be taken more seriously over the past
thirty years, at least by collectors, dealers, bibliographers, rare-book
curators, and historians of graphic art, if not always by publishing historians
and non-rare-book librarians. Indeed, Brian Alderson has said
that the date of my article "may be considered, coincidentally, as the
time when disregard [for jackets] began to lessen."[2] The points I made
thirty years ago are still valid, and what I have to say now will not supersede
them. But I can supplement those earlier remarks in three ways: by
surveying what has been written about jackets since 1970; by examining
the role of dealers in calling attention to jackets and thus assisting in
their preservation; and by augmenting my earlier discussion of the kinds
of documentation that jackets offer—the information they transmit and
the evidence they provide for the history of jackets themselves—supported
by an appended list of early examples that incorporates those I
have learned about since 1970.[3] In the end, I hope that these comments
will encourage further recognition of the various ways in which book-jackets

constitute one of the most significant classes of printed ephemera
and a basic category of evidence for publishing history.

I

The most consequential book on dust-jackets is the most recent, Ned
Drew and Paul Sternberger's By Its Cover: Modern American Book
Cover Design (2005), which studies the influence of European modernism
and eclectic postmodernism on twentieth-century American designs
for jackets and paperback covers. Its starting point is the "rise of
the book jacket as an object of graphic design" (rather than what led to
that rise); and it notes perceptively that the rise "coincided with the
definition of the field of graphic design as a profession" and with the
dominance of modernism as an artistic program. Therefore the jacket
was in a position to become a "forum" in which designers could "engage
modernism and define their practice" (p. 20). The authors offer a
well-illustrated historical analysis of the evolution of jacket and cover
designs from Rockwell Kent and Ernst Reichl in the 1930s to Chip Kidd
and John Gall at the end of the century, tracing the artistic movements
and cultural issues, as well as the commercial demands, reflected in those
designs. This book caught the attention of John Updike, who wrote a
piece about it for The New Yorker ("Deceptively Conceptual," 17
October 2005, pp. 170-172), thus creating one of the rare instances when
a major author has reflected on book-jackets in a popular magazine.

Other book-length treatments of dust-jackets in the past thirty years
have followed the general pattern of Charles Rosner's pioneering The
Growth of the Book-Jacket (1954)—that is, a rather breezy text accompanied
by a large number of illustrations, primarily from the 1920s and
onward.[4] There is nothing wrong, of course, with paying attention to
the designs of post-1920 dust-jackets, since they constitute an important
genre of twentieth-century graphic art; but one wishes that jackets could
receive more thorough historical treatments, even for the period covered
by these books and certainly also for the earlier period, when most jackets
were not artistically interesting. Thus Alan Powers's two recent
books, Front Cover: Great Book Jackets and Cover Design (2001) and
Children's Book Covers: Great Book Jacket and Cover Design (2003),

provide a considerable repository of illustrations of jackets (along with
front covers of books, especially paperbacks); and, being organized
chronologically, they do make a sketchy start on a historical account.[5]
Although the second of these books shows some covers of children's
books going back to the eighteenth century, it pays no attention to pre-twentieth-century
detachable coverings (except for one illustration of an
1830 slip-case). And the earlier book, containing a brief chapter called
"The Evolution of the Book Jacket" (pp. 6-11), devotes less than one
paragraph to the period before 1901 and makes the erroneous statement
that "Only after 1900 did book jackets begin to become commonplace"
(p. 7).[6]

A decade earlier, Steven Heller had brought out two similar books.[7]
The first, Covers & Jackets!: What the Best Dressed Books & Magazines
Are Wearing (1993), compiled with Anne Fink, emphasizes the artistry,
rather than the history, of jackets and magazine covers, offering a large
number of color illustrations. The other, Jackets Required (1995), produced
with Seymour Chwast, is described by the subtitle on its front
cover: "An Illustrated History of American Book Jacket Design, 19201950."
After a hundred pages of illustrations of miscellaneous designs
(first for fiction, then nonfiction), the remaining thirty pages are devoted
to "The Great Designers," with sections showing the work of E. McKnight
Kauffer, W. A. Dwiggins, Arthur Hawkins, Georg Salter, Alvin
Lustig, and Paul Rand. The minimal attention, in the introduction, to
the early history of jackets (pp. 11-12) accurately takes note of the
"package-style" wrapping used in the mid-nineteenth century but inaccurately
claims that jackets' "aesthetic, or even promotional, potential was
ignored until after the turn of the century."[8] One does not go to this
book, however, for information on the nineteenth century; and its survey
of the great period of 1920-50 reflects a serious historical interest—
as shown in the statement that jackets of these years "are artistic treasures

every bit as endemic to this modern visual culture as are the great
affiches from 1920s and 30s France, Germany, and Italy" (p. 7).[9]

Recognition of the place of book-jacket design in art history has
led to books about individual designers and to exhibitions.[10] Not surprisingly,
George (Georg) Salter, who had already been the subject of
an exhibition and a small catalogue at least as early as 1961,[11] has recently
been accorded substantial monographs in German and English.[12] And
there have now also been books on Vanessa Bell (1984, 1999), Brian
Cook (1987), Chip Kidd (1993, 2003), Don Maitz (1993), Wendell Minor
(1995), Stephen Bradbury (1996), Richard Powers (2001), and Ezra Jack
Keats (2002), among others.[13] Examples of recent exhibitions of jackets[14]

are the show Alan Horne organized (drawing heavily on his own collection)
for the Robarts Library of the University of Toronto in 1989,
on "British Illustrated Book Jackets and Covers";[15] a display of American
pictorial jackets of the 1920-50 period at the Broward County
(Florida) Main Library in January and February 1997 (accompanied by
a small catalogue, Pictorial Covers, containing a "Brief History of the
Book Jacket" by James A. Findlay, who treats this subject in more scholarly
fashion than it usually receives);[16] an exhibition of "Australian
Dustwrappers" at the 25th Australian Antiquarian Book Fair in Melbourne
in 1998; and a gathering of jackets (again of 1920-50) on books
with a Chicago connection, organized by the Caxton Club in 1999 (and
documented in an attractive catalogue, Chicago under Wraps, with an
introduction by Victor Margolin). At least two jacket designers, Gary
G. Gore and Chip Kidd, have created exhibitions themselves and actively
lectured about jackets.[17]

If the preservation of jackets for their artistry is by now well established,
there are of course many collectors whose primary interest is the
verbal content of books rather than graphic art, and for them the reason
for collecting jacketed copies of books is (or should be) simply the fact
that books published in jackets are not in their original condition if they
lack the jackets. We should expect, therefore, to find that introductory
manuals for book-collectors contain a fuller rationale for collecting jackets
than is provided in the books on the art of the jacket. But we would
be disappointed by the books that appeared in the 1970s and 1980s, when
there was a flurry of largely unfortunate guides.[18]

The most absurd is Maurice Dunbar's Fundamentals of Book Collecting
(1976). Although he is not alone in being uninformed about the
early history of jackets (believing that publishers "did not begin the
practice of issuing books with jackets until about the turn of the twentieth
century" [p. 55]), his manual is the only one to recommend "improving"
jackets that are in poor condition (they can often, he thinks,
be "salvaged and improved to an astonishing degree" [p. 58]). The first
step is to "place high grade drafting tape along the margins" (that is, the
edges of the unprinted side); next one uses "a smooth porous-pointed
pen to restore the original color"—the preferred pen being a Bic Banana
Ink Crayon (p. 59). The idea that jackets are important underlies this
silliness, but the author clearly has no understanding of what historical
evidence means. When he revised his book in 1980 under the title Books
and Collectors, the same advice is, incredibly, still present—though he
must have received a few protests because he admits that dealers and
curators "wince" at such recommendations. But he cannot comprehend
why: "They believe that it is better to leave them [jackets] hanging in
shreds" (p. 58).[19]

The other introductory manuals of the time do not descend to this
level, but invariably they are not fully satisfactory in their discussion of

jackets. Seumas Stewart's Book Collecting: A Beginner's Guide (1972)
defends the integrality of jackets to books by noting that reference to
jacket designs may appear within books (pp. 251-252)—without saying
that jackets are in any case part of what the publisher published. Catherine
Porter, in Miller's Collecting Books (1975), after erroneously claiming
that jackets were not "in common use in Britain or America until
around 1910" (p. 51), warns collectors to "be wary of the exorbitant
prices demanded for early dust-jackets" (pp. 62-63), without explaining
the serious reasons that jackets are "now de rigeur" (p. 51) among collectors.
Salvatore J. Iacone's The Pleasures of Book Collecting (1976)
reasonably states that the presence of a jacket is of "paramount importance"
because it is an integral part of the book (p. 42) but three pages
later says, "If one is going to play the book collecting game, one must
abide by the rules, one of the strangest and most unreasonable perhaps
being the preference for dust jackets." G. L. Brook's Books and Book-Collecting
(1980) asks, but does not answer, the question whether a book
is complete without its jacket and then pointlessly asserts that publishers
should never print on jackets any information that is not also included
within the book (pp. 74-75). Robert A. Wilson's Modern Book Collecting
(1980) takes for granted that jackets are important (pp. 99-102) and
points out that a jacketed copy will sell for twice (and in some cases
much more than twice) the price of an unjacketed copy; but he does not
explain the reasons, which are obscured by his view that there is no
harm in switching jackets from one copy to another. William Rees-Mogg,
in How to Buy Rare Books (1985), similarly gives neophytes no idea of
why the attention to jackets is more than a fad; anyone who believes that
jacketed copies should not bring higher prices is going against the "consensus
of opinion in today's market," he says, and "to disregard the sentiment
of other collectors may be to throw your money away" (p. 67).[20]

However unsatisfactory the treatment of jackets in these books, they
at least show that jackets had become a topic that could not be ignored.
And all the while, new printings and editions of Carter's ABC for Book-Collectors
appeared, with a discussion of jackets that set a standard unequaled

by the other books. Its original 1952 entry for "Dust-Jacket"[21]
remained unchanged through the second (1953), third (1961, hardcover
and paperback), and fourth (1966, 1967, 1971) editions. For the fifth
edition in 1972, Carter made only minor adjustments, adding additional
reasons for the importance of jackets (such as biographical information
and photographs), along with a reference to my 1971 article. This succinct,
sensible, knowledgeable, and witty account has stood the test of
time and has remained unchanged through the three succeeding editions
revised by Nicolas Barker. The commercial success of the ABC
(with sixteen printings of its various editions called for between 1972
and 2005) suggests that more people—fortunately—have read about jackets
in this book than in any other.[22]

Those who wished to have a more detailed, yet reliable, introduction
to all aspects of the subject had to wait until 1998, when Anthony Rota
included an eighteen-page chapter on "Book-Jackets" in his Apart from
the Text (pp. 124-141). Rota gives an accurate historical sketch of the
evolution of the jacket from protective covering to marketing device, and
he surveys the characteristics of the jackets of a number of twentieth-century
British publishers, noting the artists and designers they employed.
After mentioning other reasons for being interested in jackets—
such as the "remarkable amount of information about authors" they
may contain—he makes, and then elaborates on, a basic point: "Jackets
are worthy of preservation and of study, even if they present nothing but
the names of the author and the publisher, and the title, because even
such scanty information may provide clues to prevailing literary taste,
economic circumstances, or snippets of publishing history" (p. 134).
Among other topics he treats are the writing of blurbs by prominent
authors and the use of advertising bands occasionally placed around jackets;
and he recognizes that jackets are defective if prices have been
clipped from them and that the switching of jackets is "tampering with
bibliographical evidence" (p. 140). His enlightened approach is epitomized
by the conclusion of the chapter:

For a general introduction to the subject, one can do no better than to
turn to Rota's essay.[23]

It is superior to what had appeared in the glossy book-collecting
magazines, though Antiquarian Book Monthly Review did pay considerable
attention to jackets, publishing two serious articles on the subject
and a number of briefer comments in the 1970s and 1980s. The earlier
of the articles, George Locke's "Dustwrappers & Sundry Confusions" of
March 1979 (6: 102-105), deals with the process of attempting to identify
first-printing jackets when they are separated from the books, and it was
the occasion for two important points to be made. One, expressed by
Locke himself at the end of his article, is that "systematic bibliographical
consideration of 20th century dustwrappers is long overdue." What this
amounts to is a request for fuller treatment of jackets in descriptive
bibliographies, including attention to how jackets on later printings
differ from those on firsts, and there is no doubt that bibliographers
should be urged to pursue and record jacket variations. The other point
came in a letter written by Alan Smith after reading Locke's article and
published in the May 1979 issue ("Jacket Conservation Year?", 6: 213).[24]
Smith calls the discarding of jackets "a refined form of vandalism" and
finds it a "tragedy" that "most institutional libraries have perpetrated
this particular crime" and have thus shirked "their obligation to students

of the book"; he then calls for "a national archive of jackets," perhaps
to be promoted during a "Jacket Conservation Year." One can
only wish that these points about the preservation and recording of jackets
had received wider attention, and everyone interested in book history
should continue to publicize them. The other substantial article on
jackets in Antiquarian Book Monthly Review came nearly a decade
later, in December 1988, when John Miller published "The Book Jacket
—Its Later Development & Design" (15: 452-461), a thoughtful treatment
of the gradual development of the marketing function of jackets, with
comments on the practices of a number of publishers.[25]

Consciousness of book-jackets in the culture at large, beyond the
restricted circle of the readers of book-collecting magazines, is shown by
the way the subject erupts periodically in mass-circulation publications.
To take the New York Times as an example, one may note that Walter
Kerr's article on retaining jackets elicited a large response from readers.
On 6 December 1978, Kerr published a piece called "Book Jackets Were
Not Made for Stripping," in which he expresses his shock on learning that
the celebrated editor Maxwell Perkins threw away jackets before shelving
books.[26] Kerr himself had always kept them and had given his wife
"a stern little lecture on the rectitude of preserving a book whole, pristine
as the day it was born." His recognition that a book published in a
jacket is not "whole" without it showed more understanding than many
collectors and dealers displayed. And one of his editor-friends, he reported,
saved jackets because of their artistry and the information on
them. Six weeks later, on 23 January 1979, Kerr published another
article ("Book Jackets: Other Readings"), expressing surprise at the
quantity of mail he had received, which reveals that everyone in our
"dust-jacket-conscious society" has "very firm thoughts on this particular
subject."[27] The New York Times Book Review gave attention to jacket
blurbs by well-known authors on 23 July 1978, when William Cole

wrote about his experiences in the publicity departments of Knopf and
Simon & Schuster ("The Blurb and I"), and on 8 December 1996, when
Pico Iyer, citing many interesting examples, called the blurb "a wonderfully
coded subset of literature, rich with as many subtexts as a
Derridean anthology" and offering "an unrivaled glimpse into the literary
pecking order" ("Jacketeering"). And Henry Petroski, the engineer
who has written about lead pencils and bookshelves, explained his
devotion to jackets (despite the fact that one more book for every forty
could be shelved in the same space if the jackets were removed) because
they are often better made than the books and "do not strike me," he
says, "as ephemera."[28]

Treatments of jackets were not entirely absent from scholarly journals
in the post-1970 period.[29] Serif—the journal of the Kent State University
Libraries—was in the 1970s particularly hospitable to the subject,
as evidenced by Joan St.C. Crane's sixteen-part series called "Rare or
Seldom-Seen Dust Jackets of American First Editions." In this series
Crane gives detailed descriptions of "unusual, variant or rare" jackets,
mostly from the Barrett Collection in the University of Virginia Library
(where Crane was a staff member). What she accomplishes here is not
only to place on record thorough descriptions of nearly a hundred scarce

jackets from four decades (approximately 1890 to 1930) but also to set
a model of what a careful description of a jacket should entail (involving
quasi-facsimile transcriptions of texts and Centroid Color Chart designations
of colors). All told, she takes up jackets for books by twelve authors,
ranging from Bierce and Hearn to Hemingway and Faulkner, and fourteen
of the jackets are from before 1901. Her admirable work supplements
several author bibliographies and should be better known.[30] In
addition to her series, Serif published two lists of pre-1901 jackets (one
from Kent State, one from Ohio State) to supplement my 1971 list, an
account of a 1791 printed covering, and a note on a scarce Gertrude
Stein jacket.[31]

Two well-known scholars also made contributions to the early history
of book-jackets. Peter C. G. Isaac, writing in The Library in 1975 on
"Some Early Book-Jackets" (5th ser., 30: 51-52), reported (and illustrated)
three items from his own collection that provide early examples
of several features. Two are jacketed books published by Reeves & Turner
(London), in 1873 and 1878, with the text of the jacket for the latter
printed on the reverse of the jacket for the former; both carry advertising
on the front and back, and Isaac notes that the "bibliographical
information on the [1878] jacket [such as the size of the edition] is consistent
neither with itself nor with that given on the copy" of the book.
The third jacket, on Charles Hindley's The History of the Catnach
Press (1886), displays twelve wood engravings, including five on the flaps.
Twenty-five years later, B. J. McMullin contributed "Precursors of the
`Dust Wrapper' " to the Bulletin of the Bibliographical Society of Australia
and New Zealand (24 [2000], 257-266), discussing both the cardboard
sheaths that were common on the literary annuals of the 1820s and

1830s and the printed wrapping paper that is known to have been used,
at least occasionally, in the 1830-60 period.[32] Besides reporting several
of the former in Australian libraries, helping to confirm their regular
use on this class of book, he explains that an 1860 example of the latter
(on The Museum of Classical Antiquities, ed. Edward Falkener) shows—
more clearly than had been known before—how such wrapping was originally
sealed over the edges of books.[33]

The ultimate test of the scholarly recognition of the importance of
jackets is the kind of treatment they receive in descriptive bibliographies.
Although a few instances of detailed description can be found in
the 1930-70 period, there was also a reluctance to deal with jackets on
the part of some bibliographers, who occasionally expressed their views
with force in the pages of their bibliographies.[34] And this unfortunate
tradition has lingered to mar the work of a few bibliographers of whom
one would have expected better. Edwin Gilcher, for example, in his
1970 bibliography of George Moore, is defiantly assertive: "As dust jackets
and slip cases can in no sense be considered an integral part of the
books they serve to protect and can easily be switched from copy to copy,
they are not noted in the descriptions" (p. xiii). Yet even Gilcher makes
an exception, for an instance in which the jacket designer is named in
the book; one would have thought that this exception might have
caused Gilcher to begin rethinking his whole position, but it apparently
did not.[35] Equally disappointing is Dan H. Laurence's position in what

is in many ways a major work, his bibliography of Bernard Shaw (1983).
Despite his inclusion of a section of dust-jacket blurbs written by Shaw
(pp. 851-860), he declines to make jacket descriptions a regular part of
his treatment of Shaw's own books:

This statement reflects the outmoded view of descriptive bibliographies
as collectors' guides rather than publication histories. And in any case
it can scarcely be true: surely the collectors of Shaw do not lag so far
behind those of other authors that they have not come to prefer their
author's books in jackets.

Fortunately, disparagement of jackets by bibliographers has not been
an influential attitude in recent years (hard as it is to believe that it
exists at all). And because the majority of serious descriptive bibliographies
of twentieth-century authors has appeared since 1970, one can
now say that the standard treatment of jackets is acceptable (indeed,
often admirable) in those bibliographies where the presence of detailed
jacket descriptions makes the biggest impact. A helpful influence was
the Pittsburgh Series in Bibliography, which began in 1972 with Joseph
Schwartz and Robert C. Schweik's Hart Crane. The authors say,

This somewhat apologetic statement was replaced in the next volume,
Matthew J. Bruccoli's F. Scott Fitzgerald (1972), with the simple assertion
that "Dust jackets for Section A entries have been described in detail
because they are part of the orignal publication effort" (p. xx). This
is all the justification required, and it was repeated in varying forms in
most of the succeeding volumes of the series, which covered more than
a dozen other twentieth-century writers.[36]

The excellent example that had already been set by Joan St.C. Crane

in her Serif articles (1970-74) may have played a role here; it certainly
underlay her own admirable Robert Frost: A Descriptive Catalogue of
Books and Manuscripts in the Clifton Waller Barrett Library, University
of Virginia (1974), which in turn no doubt influenced the thorough
jacket descriptions in another series, the Linton R. Massey Descriptive
Bibliographies, published by the Bibliographical Society of the University
of Virginia (including volumes on Burroughs, Bishop, Warren,
and Jarrell). The Soho Bibliographies have not been consistent, but
one that pays attention to jackets is Richard Lancelyn Green and John
Michael Gibson's A. Conan Doyle (1983); and the St. Paul's Bibliographies
have been similarly inconsistent, with brief jacket descriptions in
Robert Cross and Ann Ravenscroft-Hulme's Vita Sackville-West (1999)
and thorough ones in Gillian Fenwick's George Orwell (1998). Other
bibliographies, not in series, have also sometimes been careful in their
treatment of jackets: James L. W. West's Styron (1977) is an admirable
instance, and Bradford Morrow and Bernard Lafourcade's Wyndham
Lewis (1978) contains some seventy-five illustrations of jackets (because
Lewis designed most of them).[37] I need not cite more examples to make
the point that descriptive bibliographers are increasingly cognizant of
the necessity for including jacket descriptions in author bibliographies
and that a large body of such descriptions is now in print. Because the
entries for books in responsible descriptive bibliographies become the
standard accounts of those books as physical objects, such bibliographies
can play a powerful role in promoting widespread acceptance of the
idea that jacket details are an expected, routine part of book descriptions,
and thus that jackets are parts of books.

II

When we turn to the role that dealers have played in the dust-jacket
story, pride of place goes to Ken Leach of Brattleboro, Vermont, who in
the 1970s and early 1980s assembled, and then dispersed, the largest
collection of pre-1901 jackets that has ever been formed (that is, since
the days when they were current). In the first of his 1977 catalogues
(77-1), he announced, "I am trying to build a collection of American
books in their original DUST JACKETS published prior to 1900."
After mentioning his two earliest (a printed envelope of 1848 and a

regular jacket of 1876), he stated, "If anybody has any for sale I would
like very much to hear about. Or if you have any information about any
early ones I would like to hear about." By 6 February 1979, about two
years later, he had accumulated 212 examples, and in a letter to me
(enclosing a list of them) he said, "I am beginning to suspect that probably
at least 90% of all books published after 1890 were issued in dust
jackets"—a statement he publicly altered the next year by changing the
date to "1880" in a letter he published in AB Bookman's Weekly. The
purpose of his letter was to correct some errors in Adeline R. Tintner's
article "Henry James Writes His Own Blurbs": he noted that decorative
jackets appeared at least as early as 1878 (not 1902) and blurbs as early
as 1880 (not 1906), citing examples. But he acknowledged that information
of this kind was not readily available: "There are probably," he
said, "not more than two or three actual collections in the world. But I
can walk upstairs to my `collection room' and inspect the shelves that
contain over 270 American books printed prior to 1900 in their original
Dust Jackets."[38]

A little more than a year later, in the fourth of his 1981 catalogues
(81-4), Leach offered his whole collection, then numbering "over" 440
items, for sale as a lot for $21,500 (item 82). In his description, he called
it (accurately) "the largest extant collection of its kind in the world,"
noted that it "had been about ten years in the building," and gave a correct
idea of the "enormous amount of information contained in and on
these jackets; the salesmanship (or lack of) of the publishers, the artists
involved, the advertisement information, the decorations, etc, etc." He
also astutely pointed out that the lot was "two collections in one": since
the jackets had protected the bindings, it was also a collection of pristine
examples of late nineteenth-century publishers' bindings. Despite these
valid points and a listing of some high spots,[39] the collection did not sell,
and Leach wrote to me a year later (on 2 November 1982) asking for suggestions
of possible purchasers. By that time, there were about 550 items,
and the price was $26,000.

Another year and a half passed, with no more success in placing the
collection en bloc, and Leach decided to sell it at auction. On Sunday,

10 June 1984, at Hotel Northampton in Northampton, Massachusetts,
Oinonen Book Auctions (of Sunderland, Massachusetts) offered as Sale
No. 71 The Ken Leach Collection of Nineteenth Century American
Books in Original Dust Jackets and Boxes. The sixty-page catalogue
contains 608 lots arranged chronologically (and alphabetically by author
within each year), with an author index. Since each entry includes some
description of the binding and of the jacket (or box) and the name of
the publisher, the catalogue is a useful reference tool, as Leach had
hoped. In his introduction he says that the catalogue, which will "preserve
a record of the collection as a whole," "should continue to provide
a valuable sign-post for collectors." Another of his aims in selling at
auction—"to establish a price guide for each individual item"—was more
ambiguously realized, however, for a third of the lots failed to sell, even
at the minimum bid of $5 (they were simply given to the successful
bidder for the next lot sold), and books that were of little interest aside
from their jackets fetched low prices (139 of them brought $5 apiece).[40]
Thus the idea of buying jackets primarily to document their history was
not much in evidence in the saleroom, despite the example set by Leach
himself.

At the beginning of the auction, the entire collection was once more
offered as a whole, with a reserve of $25,000, as stipulated in the catalogue,
but there were no bidders. In the end, the sale realized a total of
$18,632.50—an average of $46.58 for the four hundred lots that sold (or
$26.29 if one eliminates the eleven items that brought more than $300).
The highest price by far, $3400, was fetched by Norris's McTeague
(1899), the other top prices being only in three figures: $700 for Stevenson
and Osbourne's The Ebb-Tide of 1894 (the only Stone & Kimball
jacket known); $600 for F. O. C. Darley's Six Illustrations of Rip Van
Winkle of 1848 (in a printed envelope); $575 for Muir's two-volume
Picturesque California of 1888 (in unprinted buckram jackets); $400 for
the 1877 edition of The Rime of the Ancient Mariner, illustrated by
Gustave Doré; $380 for Abraham Cahan's Yekl (1896); $310 for Remington's
Crooked Trails (1898); and $350-$440 for three Stephen Crane
titles, The Little Regiment (1896). The Third Violet (1897), and The
Monster (1899). The only other price that was over $300—the second
highest one, in fact, at $900—was for the only lot (no. 31) that did not
contain a detachable covering: an album (dated as "collected circa 18811895")
of some 250 "original printed proofs of illustrated covers and
dust jackets" from the New York firm of A. Hilgenreiner, produced
largely for the Century and Scribner publishing firms.

The earliest item in the sale was the Darley Six Illustrations (1848),
labeled "The earliest recorded American dust jacket" but more accurately
described (in Leach's words from his note in catalogue 77-1) as a
"printed envelope." The next five lots, from 1851 through 1870, were
books in publishers' slip-cases, not jackets. The earliest jackets in the
collection were from 1875, represented by three volumes in Scribner's
"Bric-a-Brac Series," and only thirteen more lots were for books dated
before 1880—including a presentation copy of the first volume of Charles
B. Turrill's California Notes (1876), published by the celebrated Edward
Bosqui (Leach called this lot "The first California dust jacket?",
but it brought only $110). From 1880 on, the rapidly increasing number
of lots per year reflected the relative availability of such jackets in general:
figures ranged from six for 1880 to twenty for 1888, with the total
for the 1880-89 period coming to 108. Thus of the 608 lots in the sale,
all but 128 dated from 1890 or later (the number from 1899 alone was
seventy). The catalogue therefore offers a good basis for making generalizations
about the widespread use of jackets in America in the 1890s.
But the range of features represented even in the relatively few pre-1890
examples is considerable. Leach's introduction, for instance, mentions
the earliest use of color printing in the collection as from 1878 (for
Bryant's The Flood of Years) and the earliest blurbs as from 1880 (for
Mary Russell Mitford's Our Village). And the geographical spread before
the early 1880s includes San Francisco, Richmond, Toronto, and
Chicago, in addition to New York, Boston, and Philadelphia. Useful as
the catalogue is, however, it does not come close to having the research
value of the collection itself; the dispersal of so large a group of nine-teenth-century
American jackets is indeed a setback for the study of this
aspect of publishing history. Nevertheless, Leach's attentiveness to jackets
was a notable contribution to the growing recognition of their historical
value, which is a prerequisite to their preservation.

Another dealer that has offered an unusual number of early jackets
(though far fewer than Leach) is Wilder Books of Elmhurst, Illinois.
In catalogue 9 (1984), for example, there were five nineteenth-century
books in jackets,[41] all important but assigned prices that were high for
the time (especially in light of those realized at the Leach sale the same
year): Kate Greenaway's A Day in a Child's Life (1881), $850, and her
Almanack for 1891, $675; Poe's Lenore (illustrated, 1886), $1750; Henry
Demarest Lloyd's Wealth against Commonwealth (1894), $1250; and
Hardy's Wessex Poems (1898), $3500. The following year, catalogue 15

opened with a section of thirty-nine items headed "Books in Dust Jackets,
1880-1900" (three of which were unprinted). All five from catalogue
9 reappeared here, and except for Wessex Poems they were listed at
sharply reduced prices (the Lloyd, for instance, had dropped to $450).
Twelve of the items were from the Leach sale, where none had sold for
more than $100; their prices now ranged from $100 to $500 (Bellamy's
Equality of 1897, for example, had gone up from $80 to $500).[42] Two
years later Wilder's List 87-A, consisting of sixty items, was entitled
Books in Their Rare Original Dust Jackets, 1881-1915. Half the items
predated 1901, but fourteen of them were brought forward from catalogue
15 (many at considerably reduced prices),[43] and four came from
the Leach sale; of those not previously listed, the most significant were
E. W. Waterhouse's The Island of Anarchy (1887), known to science-fiction
collectors, and Henry Blake Fuller's The Cliff Dwellers (1893),
priced at $685 and $1025, respectively.

The Wilder firm's continuing interest in jackets was further shown
eight years later with its catalogue 72 (1995), entitled Books in Rare
Original Dust Jackets, 1882-1923, though the proportion of pre-1901
printed jackets had declined to twenty out of fifty-three items. Of those,
three still remained from the 1987 list, and two (not listed there) had
been in the Leach sale. Notable jackets from the early years of the
twentieth century should not be overlooked, such as the 1910 jacket
reproducing Will Bradley's cover design for Walt Mason's Uncle Walt
($150), the 1910 jacket with a color illustration by Harrison Fisher on
André Castaigne's The Bill-Toppers ($175), or the 1903 decorated jacket
(possibly printed at the Merrymount Press, as the book was) on Helen
Keller's Optimism ($250). Other Wilder catalogues have listed early
jackets from time to time, and at least one of them, number 61 (1993),
had nine entries for pre-1901 items, including an 1827 slip-case for the
1828 volume of Forget Me Not.

The English dealer George Locke also deserves to be singled out for
his attention to early jackets. A collector of science fiction and fantasy
literature, he sells and publishes books under the firm name Ferret
Fantasy, and in February 1988 he published a catalogue entitled Thirty
Years of Dustwrappers 1884-1914. It is a sale catalogue only in part, for
about half of the 159 items are unpriced, marked "NFS" (not for sale).
The primary purpose of the catalogue (inspired, he says in his introduction,
by his purchase of two dozen jacketed books at an Edinburgh

auction in October 1987) is "to describe a number of dustwrappers of
English language books published during the 30 years prior to the first
world war." Each entry, besides describing the binding, gives a detailed
acount of the jacket, often ending with interesting observations.[44] Altogether
the catalogue contains thirty-four entries for pre-1901 jackets,
five of them for 1880s books, including the twenty-five-volume Centenary
Edition of Scott's Waverley Novels (1885-88, £385). The prices for individual
nineteenth-century jacketed books (as opposed to the Scott set)
range from £15 to £350 (for George MacDonald's Phantastes of 1894).
Early jackets also turn up in other Locke catalogues, such as Q88 (January
1990), which lists an 1886 Jules Verne item. Locke's interest in
jackets has not been limited to the pre-1915 period, however. In the
summer of 1978 he purchased, from Picture Books of Brighton, a group
of about three hundred jackets from the 1920s and 1930s (jackets only,
without the books) that had come from a rental library. His account of
the process of cataloguing them[45] (in the Antiquarian Book Monthly
Review article mentioned earlier) is a good outline of some of the clues
(such as prices, blurbs, and the dates of other titles) that must be investigated
to determine whether a given jacket is consistent with what could
have appeared on the earliest copies of the book or whether it is clearly
a later printing. Even in the extensive index to his three-volume catalogue
of his own collection (A Spectrum of Fantasy, 1980-2002), he uses
a symbol to mark each pre-1941 title for which he has a jacket.

Many other dealers, of course, call attention to early jackets when
they have them for sale, generally placing a heading (like "In the Rare
Original Jacket") above the relevant entries in their catalogues.[46] And
at least one such dealer, Kevin Mac Donnell (of Austin, Texas), who has
handled a hundred or more nineteenth-century jackets over the years,

has been assembling pre-World War I jacketed books to form a special
catalogue.[47] For dealers in twentieth-century first printings, jackets have
for many years been a major concern;[48] and it is no longer uncommon to
find such dealers' booths at book fairs stocked exclusively (or nearly so)
with books in jackets. Because dealers who list books on the internet
often provide images, their websites constitute a large (though uncoordinated
and impermanent) archive of illustrations of jackets.[49] One
of the major firms specializing in modern firsts, Bertram Rota Ltd., has
been a leader in the responsible handling of jackets, as Anthony Rota's
admirable 1998 essay on "Book-Jackets" (in Apart from the Text, mentioned
above) shows. The Rota firm, indeed, has sometimes been taken
to task by those who do not understand the significance of jackets: John
Turner, for instance, in his April 1977 column for Antiquarian Book
Monthly Review, claims that a Rota catalogue shows how "this rather
odd phenomena [of valuing jackets] may have taken root, or is perhaps
being nurtured, in this country and not exclusively in the U.S.A." (4:
161).[50] Dealers who take jackets seriously (like the Rota firm) condemn
the practice of switching jackets as a violation of bibliographical evidence
(a point Anthony Rota makes explicitly); and one is therefore not
surprised to see that his son Julian has recently chaired an Antiquarian
Booksellers Association subcommittee to consider refinements in the
organization's "Terms of the Trade," including the matter of replacing
jackets.

Although Julian Rota's position is the same as his father's,[51] the work
of his subcommittee has occasioned considerable debate, first within the
ABA leadership in late 2004 and then, in early 2005, in the pages of the
Bookdealer. On 6 January 2005 the Bookdealer printed (under the heading
"Code of Good Practice") a letter from Jonathan Potter, president
of ABA, stating that "the Association is now recommending that its
members indicate clearly not only any variance in condition between

the book and wrapper, but, where applicable, to state that a wrapper
has been supplied from another copy" (p. 9). Two weeks later (20 January
2005) James Fergusson devoted much of his column ("Catalogue
Review") to arguing that switching jackets produces "a sort of forgery"
and to criticize Potter's statement: "it is surely shocking," Fergusson
says, "that the ABA should appear to be condoning or at least licensing
the sophistication of modern first editions." Rather than implying that
dealers may switch jackets so long as they state the fact, the ABA should,
Fergusson says, "be purist in its insistence on authenticity, it should be
rigorous about original condition, it should stand up for bibliographical
truth" (p. 10). This forceful and admirable statement was echoed by
another dealer the following week (27 January 2005): Laurence Worms
said, "The switching of dust-jackets can never be a responsible practice,
whether declared or not" (p. 8), and he added (p. 10) that "the bookseller's
bibliographical duty of care in these matters is actually more important
on the humble and humdrum books that (as yet or perhaps for
ever) fall outside the scope of the full-scale bibliographies" (which offer
"the protection of some other documentation or evidence"). And Potter
himself wrote to affirm that "dust-wrappers must be considered an integral
part of a book" (p. 10). This whole exchange, and its extension in
the ensuing weeks,[52] gives welcome publicity, in a journal aimed at a
booktrade audience, to the fact that switching (or "enhancing") jackets
is as serious a bibliographical offense as inserting or replacing a leaf
within a book.

If jackets are both important and scarce, as well as being integral
parts of the books they cover, one should expect them to command high
prices. Anthony Rota once said, after explaining the significance of
jackets, "For all these reasons my firm has always preached that it was
worth paying a premium to buy a copy in the dustjacket as opposed to
one that lacked it."[53] That the market has followed this dictum in recent

decades is unquestionable, and one regularly sees notable instances cited
—such as the 1982 auction prices of £75 and £500 for an unjacketed and
a jacketed copy of Ian Fleming's Casino Royale (1953); Biblioctopus's
1984 price of $17,000 for The Adventures of Sherlock Holmes (1891) in
jacket; the 1986 auction price of £2600 for Kipling's Just So Stories
(1902) in jacket (called by Sotheby's "the highest auction price, we believe,
for a dust-jacket; the book on its own being worth about £100");
and the 1999 auction price of £80,700 for Conan Doyle's The Hound of
the Baskervilles (1902) in jacket.[54] F. Scott Fitzgerald jackets have become
celebrated for their high prices, but in fact jacketed copies of books
by all the major authors of the 1920s and 1930s have been steadily rising
for many years. Twenty years ago, for instance, Pepper & Stern (in their
List N) asked $7500 for a jacketed copy of Faulkner's Soldier's Pay
926); but at any book fair today one can see a considerable number
of jacketed copies of books from this period priced in five figures. Dealers
have often made generalizations about the percentage rise in price that
a jacket brings about. Allen Ahearn, in The Book of First Books (1975),
for example, stated, "On the average the presence of a dust wrapper will
increase the value of a book by 50%. On books 20 years old or older the
average increase in value added by the dust wrapper would be closer to
100% providing the dw is in fine condition," though he added that for
Fitzgerald books the figure would be 300-400% (p. 6). Eight years later
the Los Angeles dealer Gordon Hollis was of the opinion that "when a
desirable pre-1925 book has its jacket, it is worth 10 to 15 times more
than a copy without the jacket" (and a post-1925 book is "next to worthless
without its jacket").[55] Some dealers have even worked out charts to
summarize the price levels under varying circumstances,[56] but such attempts
at precision can never be more than vaguely indicative.

Whether jackets are worth the large premium often asked for them
is one of the most ubiquitous topics that jackets have generated, and one
of the silliest. If the price difference between an unjacketed and jacketed
copy of a book is, say, $500, it is pointless to claim, as some purchasers

complainingly do, that the jacket has cost them $500. The truth
is that the unjacketed copy is simply a defective copy; and the higher
price is what is required (taking the usual factors into account) to buy
a perfect copy. Even if one, illogically, were to think of jackets as separate
items, there would still be no grounds for complaining about high prices,
for jackets would then have to be compared with so-called ephemera,
and important ephemera of all classes always bring high prices, given
their rarity. Indeed, one should be surprised not at how expensive some
jacketed books are but rather at the fact that, in light of their historical
significance and their scarcity, they are not more expensive. Gordon
Hollis, in his excellent discussion of the reasons that justify high prices
for jacketed books, points out that jackets add significantly to the prices
only of those books that would bring relatively high prices even without
jackets. Then he adds,

Dealers can play a leading role in bringing this desirable change about.
They cannot of course afford to set prices that customers will not pay;
but they do play an important role in educating collectors, and the respect
they give to jackets, manifested in the prices they ask, is a part of
the process. Prices support preservation, for items not widely perceived
to be valuable are less likely to be taken care of, and dealers have already
had a major influence on the preservation of jackets.

The pricing of reputable dealers reflects an expert assessment of
authenticity, which is complicated in the case of jackets by their detachability.
But this problem, though perhaps different in degree, is
certainly no different in kind from the task of critically examining
every other feature of books. One point that did not emerge explicitly
from the Bookdealer exchange is that a distinction must be made between
dealers' own switching of jackets and their selling of books that
came to them with switched jackets. The former should be absolutely
forbidden; it should be considered a practice that no responsible dealer
ought ever to engage in. But the latter is impossible to avoid because
the changing of jackets has long been widespread, and still is. Every
jacket encountered on a book should be initially regarded with suspicion,
until a close inspection leads to the conclusion that the jacket is not

inconsistent with what could have originally been present on that copy—
which is the most one can ever say.[57] When dealers find that books in
their stock are wearing switched (or probably switched) jackets, they
should annotate those books accordingly and report the information in
their catalogue entries, just as they would do with any other defects they
have discovered. Some mistakes will of course be made, but the goal
must always be to present as accurate an assessment as possible of the
status of each book in every respect. Once jackets are understood to be
an integral element in what "original condition" means, all the rest—
both pricing and commentary—follows as a matter of course. The professionalism
of dealers requires that they (along with other bibliographical
scholars) set an example of how jackets should be approached as historical
evidence, just as they have regularly treated other aspects of books
in this way. And there are many dealers who have indeed already shown
this sense of responsibility and thus have invigorated the study of jackets.

III

Everyone who has ever seen a publisher's book-jacket—and thus virtually
everyone—knows that such jackets usually carry both a design
(however minimal in some cases) and information. Although not everyone
is necessarily interested in either of these aspects of a jacket's content,
both constitute historical documentation and offer ample reasons for
the importance of jackets and the desirability of preserving them. A
jacket's design may be spare or elaborate; it may display only words (in
typography or calligraphy) or words in combination with decorations
or illustrations. Whatever the design, it shows something of the publisher's
taste and of the style of the times, and it may in addition display
the work of interesting or significant designers and illustrators. As for
the more overtly informational content of jackets, there are several
noteworthy categories: (1) commentary on the book, in the form of
signed "blurbs" (by the author or by other writers) or unsigned sentences

or paragraphs of description and praise (generally written by the
publishing-house staff); (2) biographical information about the author,
including photographs, lists of books, and summaries of dates and events;
and (3) details of publication history, relating both to the specific book
(such as the price, the size or date of the printing, or a date or name that
supplements or clarifies what is provided within the book) and to other
books (such as notices of related books recently published or, in the case
of books in series, lists and serial numbers of other titles in the series).
Besides these specific items of documentation, all of them taken together
help to document the publisher's approach to advertising.

In my 1971 essay I gave many examples of these various means by
which jackets preserve notable content. To underscore the value of
jackets as historical documentation, I shall simply note here a few further
examples. In regard to typographic design, one need only mention Berthold
Wolpe's jackets for Faber & Faber and Stanley Morison's for
Victor Gollancz[58] to make the point that the full picture of these major
figures' accomplishment requires access to jackets. The same can be said
of the designer-illustrator Warren Chappell, as David L. Vander Meulen
has demonstrated in his comprehensive collection, with its rows of jacketed
copies. He has made the point[59] that a large number of Chappell's
designs, because they were on popular books and therefore can be found
in many people's houses, have become part of the stock of imagery
known to a mass audience, including persons not particularly alert to
graphic art—a point that applies equally to the yellow Gollancz jackets
and many other famous designs. Some of Vanessa Bell's decorations for
Hogarth Press books appear on jackets; and John Minton's illustrative
jackets for John Lehmann, Rex Whistler's and John Piper's for Faber
& Faber, and Brian Cook's for Batsford suggest the quality of the artwork
that can be found on jackets. The drawings by Irene Hawkins for
Sacheverell Sitwell's books were overseen by Sitwell himself, who went
so far as to claim that "they are perhaps an unique instance of careful
collaboration between an author and an artist."[60] The illustrations on

jackets sometimes do not appear within the books themselves, a situation
that Brian Alderson has noted as a fairly common one in connection
with children's books.[61] Jackets may also include illustrations not specifically
created for these jackets: the one on the American edition of
Pio Baroja's Weeds (Knopf, 1923), for instance, displays a painting by
John Dos Passos (as well as a blurb by him).

Nineteenth-century jackets are not normally associated with specific
designers (understandably, given their generally sparse layout), but
sometimes the designer can be identified: for example, The Pageant of
1897 (published by Henry & Co. of London) notes on the leaf following
the title-leaf, "The outer wrapper is designed by Gleeson White." Although
the designers of the decorative bindings of the 1880-1910 period
have received a great deal of attention, there is a tendency to ignore the
jackets that frequently covered those bindings, since they were often very
plain, but sometimes they reproduce the binding designs. Thus Charles
Gullans and John Espey's Margaret Armstrong and American Trade
Bindings (1991) gives almost no notice to jackets; but Eunice R. Schwager's
notable collection of Armstrong, which contains jackets for thirty-seven
titles,[62] shows that contemporary book-buyers would have encountered
many of Armstrong's designs first in their usually single-color
and sometimes abbreviated form before experiencing their full
splendor on the covers beneath. She obviously did not intend her designs
specifically for jackets, but one cannot fully gauge the presentation
and influence of those designs without taking the jackets into account.
Other binding designs by well-known designers of the great period of
publishers' bindings also were repeated on jackets, along with their
monograms: examples are W. Reader's design for Andrew Lang's Johnny
Nut and the Golden Goose (Longmans, Green, 1887), Laurence Housman's
for Christina Rossetti's Goblin Market (Macmillan, 1893), Elihu
Vedder's for the Rubaiyat (3rd Houghton Mifflin edition, 1894), Amy
Sacker's for Louisa May Alcott's A Hole in the Wall (Little, Brown,
1899), and Ernest Seton Thompson's for Frank M. Chapman's Bird Life
(Appleton, 1899). In the case of the American edition of Kipling's The
Seven Seas (Appleton, 1896; noted on the 1899 printing), the designer's

initials appear on the jacket but not on the same design on the cover of
the book.[63]

Turning to the explicitly informational content of jackets, we may
note that the importance of blurbs has been recognized by at least one
collected edition: in 1980 the Pterodactyl Press of San Francisco published
a volume of Carl Van Vechten's blurbs for his own books (Ex
Libris, edited by Paul Padgette and Bruce Kellner). This book reminds
one of the value of attempting to discover the authorship of unsigned
commentary, since it may be by the author or by a well-known member
of the publisher's staff.[64] Sometimes it offers a useful supplement to the
book, as in the case of the 1881 American edition of Disraeli's Endymion
(Chicago: Belford, Clarke), where the front of the jacket includes a key
to the characters of the novel; or the Fugitive anthology Driftwood
Flames (Nashville: Poetry Guild, 1923), where the front flap prints a
concise summary of what the Fugitives stood for; or Kenneth H. Myers's
SRDS: The National Authority Serving the Media-Buying Function
(Northwestern University Press, 1968), where the jacket flaps carry an
"Addendum" bringing the story to January 1969.[65] Among the innumerable
examples of signed blurbs by famous authors, I shall simply
note that the publisher B. W. Huebsch, whose jackets were usually fairly
sedate, went all out to promote Roger L. Sergel's Arlie Gelston (1923)
by lining up blurbs from Sherwood Anderson, Ben Hecht, and Theodore
Dreiser. This combination can symbolize the groupings of signed
blurbs on many thousands of other books and can suggest the ways in
which literary reputations, friendships, and rivalries are reflected on the
surfaces of book-jackets. The more straightforwardly biographical information
on jackets can also be revealing, since the details included in
biographical sketches are likely to have been selected by the authors—

or written by them, as in the case of Michael Sadleir's signed two-paragraph
statement about "the chief influences" on his work for the jacket
on the American edition of Forlorn Sunset (Farrar, Straus, 1946), which
also includes a picture of him.

Indeed, photographic portraits and drawings of authors (sometimes
not easy to locate elsewhere) are often striking supplements to other
biographical details. One thinks of the famous photographs of Truman
Capote and Gore Vidal, but of course there are thousands of less well
known instances that are equally communicative of the author's character.
A few of my favorites are the photograph of May Sarton by Jill
Krementz (different from the one used as the frontispiece) on the jacket
for Sarton's A World of Light (Norton, 1978); the Leon Kroll drawing
of Nancy Hale on the jacket for Hale's The Prodigal Women (Scribner,
1942) and the Rollie McKenna photograph of her on Black Summer
(Little, Brown, 1963); and the drawing of David McCord by Grace
Thayer Richards (Mrs. James Bryant Conant) on the jacket of McCord's
In Sight of Sever (Harvard, 1963). If one lines up Wright Morris's novels,
one has a whole portrait gallery, for nearly every one displays a different
jacket photograph—sometimes taken by Morris himself, as on The Works
of Love (Knopf, 1952) and Ceremony in Lone Tree (Atheneum, 1960).
A picture on the jacket for one of an author's books may also be relevant
to the reading of another one. As David L. Vander Meulen has reported
to me from his Peter De Vries collection, Henry A. Hagel's photograph
of De Vries on the back of the jacket for Comfort Me with Apples (Little,
Brown, 1956) includes De Vries's daughter Emily, whose death from
leukemia in 1960 provided the backdrop for The Blood of the Lamb
(1962). All these photographs are on back panels; but B. W. Huebsch
placed a photograph of Joyce on the front panel of the jacket for his
edition (1918) of Chamber Music. The effect that jacket portraits can
have on readers is suggested by a comment of Ted Morgan's in Churchill:
Young Man in a Hurry, 1874-1915 (1982): "On the jacket [for Churchill's
The Story of the Malakand Field Force (1898)] was a pensive
young man with thinning hair who, dressed in a morning coat with silk
lapels, did not look in the least like the officer on active duty whose experiences
the book recounted" (p. 93).

The usefulness of jackets in reconstructing a book's publication and
marketing history is illustrated by instances of variant jackets. The first
jacket, in three colors, for J. D. Salinger's Franny and Zooey (Little,
Brown, 1961) was disapproved of by Salinger, and a new one was designed.
Frank Conroy's The Disinherited (Covici, Friede, 1933) appeared
in a jacket with an illustration on the front and another jacket with
blurbs by Whit Burnett and Erskine Caldwell, among others. Thomas

Wolfe's Look Homeward, Angel (Scribner, 1929) also had its first jacket
replaced with one quoting from reviews; and two jackets have been recorded
for Jack Kerouac's On the Road (Viking, 1957) and for Twelve
Poets: A Miscellany of New Verse (Selwyn & Blount, 1918). An unusual
instance is Paul Goodman's Stop-Light: Five Dance Poems (Harrington
Park, N.J.: 5 × 8 Press, 1941): some copies carry a later jacket, the front
flap of which reports new information, introduced by the words "Being
obliged to replace lost dust jackets we now may note that . . . ." The
survival of proof states of jackets may also preserve variants, as in the
case of advance unbound copies of Thomas Pynchon's Slow Learner
(Little, Brown, 1984) covered with proof jackets.

Discovery of some of these variants has been facilitated by the fortuitous
existence of copies of the books carrying both jackets;[66] but there
are other instances in which books were intended to be clothed in two
jackets simultaneously at the time of publication. The second volume of
the Parke-Bernet catalogue for the A. Edward Newton sale (1941), for
example, was published with two jackets, the one underneath being a
replacement for the original first-volume jacket; a printed notice in the
second volume states that the original jacket was "not substantial enough
to withstand the amount of handling to which the book is exposed."
And Alexander King's Mine Enemy Grows Older (Simon & Schuster,
1958) has an outer jacket that includes the following comment: "If this
jacket (the author painted it) is too strong for you, take it off. There's
a conservative jacket for conservative people underneath." Purchasers
of Billy Graham's Just as I Am (Harper/Zondervan, 1997) were offered
a similar choice, except that the alternative jackets were not on the same
copies but rather were displayed together in bookstores and pictured
side by side in advertisements: one showed Graham (both on the front
and on the spine) in a suit and tie, whereas the other depicted him in a
frayed denim shirt open at the throat.[67] (In the Newton and the King instances,
by the way, and perhaps in the Graham as well, there is the
implied expectation that the books will be kept in jackets.)

When a later printing of a jacket appears on a first printing of a
book, there is normally good reason to be suspicious, but not always:
some copies of the first printing of the American edition of Dylan
Thomas's Collected Poems (New Directions, 1953) bear a second-printing
jacket (so labeled), but at least one copy is known to have a letter from
the publisher laid in, stating that "we simply ran short of jackets."[68]
Sometimes information appears on the inside (or reverse) surface of
jackets, in addition to the familiar use of that space to list titles in a
series.[69] The inside of the jacket for Bruce Palmer's novel of the Spanish
Civil War, They Shall Not Pass (Doubleday, 1971), prints sketches and
brief descriptions of seven major characters in the book. And readers'
comments on Humphrey Cobb's Paths of Glory (Viking, 1935) appear on
the inside of the jacket. Instances of cross-references between the jacket
and the book can go both ways: the verso of the title leaf of William
Verral's The Cook's Paradise (London: Sylvan Press, 1948) notes an error
on the jacket, whereas the jacket for John Fowles's The French Lieutenant's
Woman (Cape, 1969) states, "The author and the publisher
assure the reader that there are no pagination errors in the final chapter
of this story." Among the kinds of information that may appear only
on the jacket, the publisher's name is one of the most surprising; but
the Golden Hind Press reprint of the Biblion Society's 1927 Pasquerella
and Madonna Babetta (Boccaccio) mentions the Golden Hind Press only
on the jacket.[70]

Even when jackets survive, they often are not intact, and the commonest
kind of mutilation is the clipping off of the price (or the words
"Book Club Edition") from the corner of a flap (or from the spine or
front, where prices more often appeared in the nineteenth and early
twentieth centuries). Such clipping is of course usually perpetrated by
those who give books as presents, but used-book dealers have also been
known to conceal books' original prices in this way. Although there are
other sources for the price (such as advertisements and publishing-trade
journals), the jacket price serves as confirmation and can document price
changes. Obviously the documentary value of a jacket is lessened when
any part of it is missing, and those collectors who now insist on unclipped

jackets (when it is feasible to do so) are to be applauded. There are,
however, instances where jacket clipping is done by the publisher in connection
with a price change: the seventh printing (1960) of R. B. McKerrow's
An Introduction to Bibliography for Literary Students has a
jacket with the price of 28s. printed in the lower corner of the front flap;
the eighth printing (1962) has the price clipped off and a sticker with
the price of 30s. affixed nearby.[71] Some publishers have also abetted clipping
by printing a diagonal dotted line at the corner of the flap where
the price is given or where a concise or coded identification of the book
is placed (enabling booksellers to get credit for unsold copies by simply
clipping those corners and sending them to the publisher).[72] Jackets with
these various features bear witness to marketing history with a level of
detail probably not available elsewhere.

Further insight into marketing history is afforded by jackets supplied
by bookseller-distributors rather than the original publishers: I have a
copy of Pio Baroja's Youth and Egolatry (Knopf, 1920) in a printed jacket
with the spine imprint of the Chicago bookseller-publisher Argus Books;
its spine and front panel give the title and author, but its other surfaces
list other publishers' books that were available from Argus. Even the

number of surviving copies of jackets for particular books, especially if
they are in fine condition, can in itself be evidence of publishing history:
that certain books of the late nineteenth and early twentieth centuries
are found in jackets more frequently than one might expect suggests that
publishers' stocks of those books were not quickly exhausted and that
new copies of the original printings were still being sold many years after
publication. (The dealer Cedric L. Robinson indicated in a 1977 catalogue
that he could supply "new copies" in jacket of an 1885 Lippincott
book, Gabriel Harrison's John Howard Payne.) As with any other class
of historical evidence, there is no way of predicting all the kinds of information
that book-jackets may reveal or corroborate when examined
in context by a knowledgeable person.

IV

Besides disseminating graphic design, transmitting information, and
simply being an element in the original published form of a book, every
jacket plays its role in documenting the history of book-jackets in general.
The account of the early development of the jacket that I offered
in 1971 was based primarily on a sampling of only 262 items through
1900; I now know of more than that number just through 1890 (half
again as many), and the number from the next decade is close to a
thousand.[73] But I need not retell the story in detail, for the outline remains
the same. There were the sheaths (slip-cases open at one or both
ends) that covered the literary annuals, gift books, and pocket diaries
during the last years of the eighteenth and the first half of the nineteenth
centuries. Then by the 1830s came printed wrappings that were sealed
to cover all edges of books—a style that persisted at least through the
1860s, simultaneously with the emergence of jackets with flaps. The
latter form—that is, the one that became standard—carried little printing
in general during the nineteenth century, often only on the spine (or
the spine and front panel), though there were early examples in which
advertising appeared on the back and illustrations on the front and back
(the flaps were not much used for printing until the 1890s). Although
jackets of the 1890s and the first decade or so of the twentieth century
frequently had decorations or illustrations, those embellishments were
generally derived from, if not actual reproductions of, the binding designs;
and the jackets were clearly secondary to the bindings from the
point of view of design and still largely served as protection for the
elaborate bindings, though with a marketing function showing up in

many instances. It was not until the second decade of the twentieth
century that publishers' bindings began to grow plainer and the jackets
more decorative.

If this familiar story is not altered by the knowledge of a larger
number of nineteenth-century jackets, there are nevertheless several contributions
made by the expanded list, in addition to serving as a nucleus
to which additional examples can be added. One is simply that the story
now rests on a broader base of evidence. Second, by providing some help
in the task of locating and examining a larger number of early jackets,
the new list can encourage further study and potentially support additional
insights. Third, it permits more detailed conclusions about the
practices of some publishers and thus allows one to postulate the existence
of jackets for certain books at the time of their publication, even
when none are known to have survived. If, for example, one wondered
whether Hardy's The Mayor of Casterbridge (Smith, Elder, 1886) or the
hardcover issue of Howells's A Hazard of New Fortunes (Harper, 1890)
originally appeared in jackets, one could consult the list and feel fairly
certain in the first case and quite certain in the second that these books
were published in jackets (since the list records a Smith, Elder book in
1882 and one in 1885 and shows eight Harper books in 1890). And when
one book from a series or set is listed (such as a volume of the Longman
"Badminton Library" from 1888 or the Warne "Chandos Classics" from
1889) one can sensibly believe that the others also once had jackets or
boxes.

Although such an exercise provides useful support for a surmise, one
could argue that the range of examples in the list as a whole may give
one some reason to suppose that any book from a major firm after the
mid-1870s or so is probably more likely than not to have been published
in a jacket. The list can serve these various purposes even though it is
not a systematic attempt at a census of all surviving examples of early
British and American publishers' detachable book-coverings. It is simply
a list of those that have come to my attention during more than thirty-five
years (including, that is, those in my 1971 list as well as those encountered
since), and there are unquestionably many hundreds more
that I have not learned about. But even if the total is two or three times
the present number, what is now known constitutes a significant mass
of evidence for studying an extremely scarce and widely scattered body
of material. A few observations not made in 1971 are therefore in order.[74]

It seems reasonably certain that the earliest detachable coverings enclosing
publishers' bindings were the sheaths that came with pocket diaries
beginning in the late eighteenth century and with children's doll-dressing
books beginning about 1810. Examples of the former are known
for The Royal Repository, or Polite Pocket Diary for 1796 (London: J.
Evance and W. Richardson, 1795) and The American Ladies & Gentlemans
Pocket Almanac and Belles Lettres Repository for 1802 (New York:
David Longworth, 1801); examples of the latter from 1810 to 1814
survive for a number of the little books with loose paper-dolls and costumes
published by S. & J. Fuller at their Temple of Fancy. The
German Taschenbuch of this period, with sheaths sometimes printed
with calendars, was probably the model, at least for the diaries.
Thus when in 1822 the London publisher Rudolph Ackermann, drawing
on his knowledge of the German custom, set in motion the vogue for
annual gift books in the English-speaking world by publishing the first
number of the Forget Me Not, there was already a precedent for enclosing
annuals in sheaths. For nine years, through the volume for 1831
(1830), Ackermann published the Forget Me Not in sheaths, as confirmed
and explained by the Gentleman's Magazine review of the volume
for 1832. According to the reviewer, Ackermann considered the
glazed-paper-over-board covers no longer "worthy of this great age of
improvement" and therefore had begun to clothe the annual "in the
splendid but durable attire of crimson silk, which supersedes the necessity
of a pasteboard case, as heretofore, to protect it from the soil of a
dusty table."[75] Many of the other annuals, on both sides of the Atlantic,
also employed sheaths during the 1820s. Although the number of examples
in my list is small, comprising (in addition to eight volumes of
the Forget Me Not) only sixteen instances, they are distributed among
eleven annuals published in Boston and Philadelphia as well as London,
and thus they imply a fairly widespread and regular use. Certainly the
sheath of the literary annual, which was an extremely popular genre,
gave prominence to the idea of a detachable publisher's covering, and

one can agree with Ruari McLean that it "can be called the progenitor
of the book-jacket, since its function was to attract and protect."[76]

The next step was the use of printed wrapping paper rather than
sheaths to cover copies of annuals; the paper—printed with identifying
text—was sealed around each book, enclosing it completely. Although
the earliest examples known are on British annuals, The Keepsake for
1833 (Longman) and The Juvenile Scrap-Book for 1845-50 (Fisher, then
Jackson), this style of covering was also used for other kinds of books at
least through the 1860s. Surviving examples are understandably scarce,
since these wrappings were likely to have been destroyed in the process
of removing them in order to open the books. But a survivor on a book
published by Appleton (New York) and Whitaker (London) in 1857
(Richard S. Gedney's Poetical Works), two others on books published
by Longman in 1860 (Edward Falkener's Daedalus and The Museum of
Classical Antiquities), and one on a book published by the Catholic
Publication Society (New York) in 1869 (Aubrey De Vere's Irish Odes)
suggest—since at least two of the publishers of these books were major
trade firms—that the practice had a continuing life even after jackets
with flaps began to be used. Indeed, sealed wrapping is not unknown in
the late nineteenth and twentieth centuries: at least one number of
Bradley His Book (no. 3, July 1896) was wrapped in glassine printed with
the notice that it was to be unsealed only by the owner; and Oliver
Herford and John Cecil Clay's Happy Days (Kennerley, 1917) came
completely sealed in unprinted glassine.[77] The covers were of course
visible through the glassine, which was thus a forerunner of shrink-wrapping.

Other forms of coverings—related to sealed wrappings in that they
cover books more fully than the now traditional jackets with flaps do—
have been used over the years for certain types of books. For pamphlets
or thin books, the equivalent of a slip-case may seem more like an envelope.
The earliest item in my list is a four-flapped wrapping (like the
eighteenth-century mailing covers) around a 1791 Philadelphia pamphlet
by John William Gerar de Brahm, with a 115-word presentation
epistle (to be signed by the author) printed on the inside, where the
pamphlet would lie. One might also best describe as an envelope the

covering for the 1848 publication of F. O. C. Darley's Six Illustrations
of Rip Van Winkle. And some of Kate Greenaway's small books for children—judging
from surviving examples of her Almanack for 1890 and
1891 (Routledge)—were provided with mailing envelopes.[78] (Of course,
publishers' envelopes—sometimes unprinted—for pamphlets, especially
those intended as gifts, continued to appear in the twentieth century, as
on some of the Paul Elder booklets.) Another variation was to have three
flaps at both front and back, so that a flap could fold over each edge of
the covers (tops and bottoms as well as fore-edges): an 1878 example is
a cloth jacket (now in the Bodleian) on William Stirling Maxwell's
Antwerp Delivered in MDLXXVII (Edinburgh: David Douglas). A possible
example, on Herbert Kleist's copy of Love Poems and Sonnets by
"Owen Innsly" (Boston: Cupples, Upham, 1883), may instead be another
instance of what was once a sealed wrapping, since the flaps are less than
an inch wide and may well have originally been pasted together to cover
the edges of the sheets of the book.

In fact, some of the survivors among previously sealed wrappings are
presently soiled, folded, or cut in such a way as to indicate that they
survived by being forced to fit the book in the fashion of present-day
jackets with flaps, so that they could continue to be used to protect the
books during reading. On occasion publishers even encouraged readers
to engage in this practice: a surviving jacket (in the Leach sale, lot 65)
for John E. Wheelock's In Search of Gold (New York: Thompson, 1884)
has a front flap printed with the words "Cut open at this line and use
wrapper for outside cover." The activity of converting wrappings to
jackets calls to mind the fact that models for jackets with flaps certainly
existed in the early nineteenth century, whether or not they were used
by publishers (and they may well have been), for the circulating libraries
placed books in jackets printed with their names and the rules their
members were supposed to follow. Thanks to Michael Zinman, I can
report three American examples: one for the Glazier, Masters & Co.
Circulating Library (Hallowell, Maine), with the printed date of October
1828; another for Roorbach's Circulating Library (Charleston, S.C.),
which includes an advertisement for Roorbach's book and stationery
store (this jacket is presently on the December 1831 issue of the London

Ladies Magazine); and a third for the Free Library of the General Society
of Mechanics and Tradesmen of the City of New York.

Circulating-library books obviously needed protection, but there is
evidence that individual owners also wished to protect their books,
sometimes using wallpaper or other decorated paper for the purpose.[79]
The rise of cloth binding clearly produced the urge to protect those
bindings, and manufacturers were glad to satisfy this demand with ready-made
covers of varying sizes. By at least the 1870s the London firm of Marcus
Ward & Co. Limited was selling "Marcus Ward's Adaptable Book
Covers, (registered) for Book Clubs, Lending Libraries, Schools and
Home Use." Available in seven-, eight-, and nine-inch sizes, at one shilling
per dozen, these covers were made of patterned paper with a blank space
on the spine for lettering. In America, Sherwood's of New York made for
P. F. Van Everen "The `Van Everen' Self-Fitting Adjustable Book Covers"
(patented 14 February 1888), advertised as "the Aristocrat of book covers"
and as "the standard of perfection since extra covers came into use";
they were offered in three sizes made of "heavy craft paper which sheds
water and is impervious to moisture," with flaps to be folded over all
edges and glued according to detailed instructions printed on the jacket
("leaving no part exposed, even on flat juveniles"). Discounts were available
for libraries and schools, and "Van Everen's perforated and gummed
numbers & alphabets" could also be purchased, so that titles and dates
could be affixed to the jackets.[80] The existence of this kind of product
should not be taken to indicate that publishers' jackets were uncommon;
rather, the emphasis on the durability and protective features of these

"extra covers" seems designed to suggest their superiority to the fragile
and easily detached jackets provided by publishers. Many individuals no
doubt made their own jackets instead of buying such products, and one
can never be sure whether a plain (unprinted) jacket on a nineteenth-century
book was placed there by an owner, perhaps to replace a damaged
printed jacket, or by the publisher—except in those rare cases
where one encounters a number of copies in identical jackets.[81] That
is why I have limited my list of early jackets to ones that are printed, but
there are many examples of plain jackets that one is tempted to believe
are actually publishers' jackets.[82]

Although in assembling my list I have recorded only British and
American examples, it is important to be aware of the European context,
as the relation of the slip-cased Taschenbuch to the form of the
English-language annuals suggests.[83] Sheaths continued to be used for
French as well as German annuals for several decades,[84] but sheaths and

boxes were sometimes used to house other kinds of books as well.[85] At
least as early as 1839 modern-style paper jackets were apparently in use
in Germany. Jerome E. Anderson reported to me in 1971 a copy of an
1839 Bädeker book, Friedrich Hoffmann's Funfzig Räthsel und Bilder
für Kinder von 8-12 Jahren, in a jacket of pink porous paper printed on
the front (title), spine (title, author, decoration), and back (list of other
titles). And by the 1860s and 1870s there are such examples as Chamisso's
Peter Schlemihl (Leipzig, 1860), Lessing's Nathan der Weise (Berlin,
1868, with the date on the jacket), Karl Wilhelm Osterwald's Erzählungen
aus der alten deutschen Welt für Jung und Alt (Halle, 1868, with
the date on the jacket), Album für Deutschlands Töchter (7th ed.; Leipzig,
1871), and Hessel Gerritsz's The Arctic North-East and West Passage
(Amsterdam, 1878). Eric Quayle, whose collection contained a copy of
the Osterwald jacket in 1971, called it "The earliest printed dust-wrapper
that can be dated with certainty. . . . No printed dust-wrapper manufactured
earlier . . . is known to have survived." This comment (if we exclude
slip-cases and wrappings that enclose books completely) could
rather be applied to the 1839 Hoffmann jacket, which—as far as my
knowledge goes—precedes the earliest reported English modern-style
jackets by about two decades.[86]

The Hoffmann jacket makes clear that the idea of using the back
panel for advertising occurred early, and it reminds one that the earliest

known English paper book-covering, for the 1833 Keepsake, also has an
advertisement on the back. In light of the many nineteenth-century
jackets that have printing only on the spine, or the spine and front
panel, one may be surprised by these early instances of advertising on
the back. But one should remember that there was a model ready to
hand in the form of the advertisements and testimonials printed on the
covers of some books in the boards-and-label period spanning the last
years of the eighteenth century and the early decades of the nineteenth
century. Although those covers were not readily detachable, publishers
assumed that many owners would regard them as temporary and have
them replaced with leather bindings. As coverings that were truly detachable
and dispensable came to be used over bindings that were meant
to be retained, it would have been natural to continue the practice of
placing advertising in the same visible position, as the 1833 Keepsake
and the 1869 Magnolia (New York: Leavitt) did. But the custom was
clearly not universal (nor was it, of course, on the printed boards earlier):
examples are known from major publishers in the 1870s (Lee & Shepard,
Putnam, Routledge) and onward, but there is a large number of surviving
jackets from the 1870-1900 period with blank back panels.

This observation reinforces the point (which I made in 1971) that
the use of jacket surfaces in the second half of the nineteenth century
does not display a steady general development but rather reflects the
practices of individual publishers. John Carter was saying much the
same thing in his historic letter to the Publisher and Bookseller (19
August 1932) when he noted that the 1860 jacket for Pilgrim's Progress
"is so far from looking primitive that it would not look out of place on
a book published to-day." Although one can locate jackets of the 1880s
with printing on the front, spine, back, and even the flaps,[87] one also
finds (for example) many Harper and Houghton Mifflin jackets of the
1890s printed only on the spines. Similarly, the retail price was often
included on jacket spines or fronts from the 1870s through the 1910s,[88]
or on flaps (I know of Lothrop examples from 1888 and 1895), or on box
labels (Macmillan, 1894); but often the price is not given at all on jackets
of this period. The indication of the number of copies in print also

appeared fairly early (an 1874 example is "Fourteenth Thousand" on
the jacket for Poe's poems in Griffin's "Emerald Series"; and a later
printing of an 1883 Revell book, Hannah Whitall Smith's The Christian's
Secret of a Happy Life, carried a jacket proclaiming "Thirty-Fifth
Thousand"); but the practice does not seem to have become common
in the nineteenth century. Illustrations, too, were used at least as early
as 1860 (on the Longman edition of Pilgrim's Progress) but were not a
regular feature of nineteenth-century jackets. And binding designs were
repeated on jackets by some publishers in the 1860s (Jonathan Couch's
The History of the Fishes of the British Islands, published in London
by Groombridge & Sons in 1862-65, and The Bryant Festival at "The
Century," published by Appleton in 1865); but many books with interesting
bindings in the 1890s have unattractive typographic jackets.
Among the few general trends that can be asserted with some confidence
is the dominance of the modern-style flapped jacket over other types of
covering by at least the mid-1860s. Another, as I suggested earlier, is that
such jackets were as commonly used by publishers during the last quarter
of the nineteenth century as they were during the twentieth century. I
base this conclusion not simply on the number of surviving examples
but also on the fact that most of the major British and American publishers
are repeatedly represented, with a wide range of types of books, as well
as many smaller publishers from a variety of geographical locations.[89]

Just as the nineteenth century began with gift books in slip-cases, so
the end of the century saw a similar phenomenon. The books were not
annuals but rather popular novels, classics, and travel books that could
be marketed in fancy illustrated editions, frequently in two volumes;
and the slip-cases were not sheaths but boxes with their open sides corresponding
to where the spines of the books would show and with
printed labels affixed to the opposite side (and sometimes the wider
sides). These books, though their bindings were protected by boxes,
also were generally supplied with jackets, commonly made of cloth
backed with stiff paper and printed only on the spines.[90] In some instances
the open (spine) side of the box was covered with a removable
lid, and the label was pasted on one end of the box, indicating that these

boxes were intended to sit, in the bookshop or on the parlor table, so
that the books inside were resting on their fore-edges. When certain
one-volume works were given this treatment—especially thin books with
elaborate bindings, often containing a single heavily illustrated poem—
the lid usually fit over one of the wide sides of the box, exposing the
front cover of the book (or the front panel of the jacket) when removed.
If such boxes for one- and two-volume gift editions were a striking
phenomenon of the late nineteenth century,[91] the use of boxes with
printed labels or hinged lids for multi-volume sets went back at least to
mid-century: they were commonly used for series of children's books,
such as "Cousin Lucy's Stories" by Jacob Abbott (Auburn, N.Y.: Derby
& Miller, 1850), and for standard sets, such as The Handy-Volume
Shakespeare in thirteen volumes (London: Bradbury, Evans; New York:
Wynkoop, 1867).

In the early years of the twentieth century there was little change in
publishers' practices in using jackets and boxes. That their function was
still largely to protect decorative bindings is suggested by a jingle printed
on the jacket of the 1913 Methuen edition of John Oxenham's Bees in
Amber: "This outer wrap is only meant / To keep my coat from detriment.
/ Please take it off, and let me show / The better one I wear
below."[92] It was not always necessary to take the protective jacket off in
order to see the binding, or at least part of it, as my copy of Margaret
Turnbull's Looking after Sandy (Harper, 1914) shows: the jacket has an
oval hole in the front panel, revealing the picture that is pasted to the
front cover of the binding.[93] Despite the appearance, before this time, of
jackets with illustrations and blurbs printed on them, the idea that the
artistry and verbiage of jackets could be a marketing tool had not yet
become a dominant force in the production of jackets, though it was
certainly a growing one. And during the 1910s this situation changed
dramatically, so that by the 1920s many publishers thought of jackets
rather than bindings as the place for striking designs. Since jackets were
an established presence, it made sense to use their surfaces to the full

and save money on the less visible bindings. From then on, the history
of book-jackets is primarily the story of shifting tastes in graphic design
and in advertising style, rather than of changes in form or function.

One formal development worth noting, however, is the occasional
addition of the wrap-around band or "flash," a narrow strip of paper
extending around the jacket, with ends either stuck together or folded
inside the book covers along with the jacket flaps. (An example is the one
on the American edition of Edward Dahlberg's The Flea of Sodom [New
Directions, 1950], which quotes from Herbert Read's introduction.) Such
bands were naturally meant to attract additional attention to the books
they adorned and often reported a late-breaking news item, such as the
award of a major prize to the book or its author. The result for collectors
and other students of publishing history was to create an additional
challenge, for bands are understandably more ephemeral than jackets,
and their survival rate is even lower.[94]

A similar challenge is locating the dust-jackets for paperback books.
The emergence of mass-market paperbacks in the 1930s was of course
one of the major events in Anglo-American publishing history in the
twentieth century, and by that time jackets were such an established part
of publishing that one should not be surprised by their use on some early
Albatross and Penguin paperbacks.[95] There were even more specific reasons,
however, for the jackets that appeared on Pocket Books and Bantam
titles in the 1940s: jackets with new illustrations were added to
resuscitate slow-selling titles, or to call attention to movies, or to indicate

new publishers' takeover of existing stocks. The classic holy grail for
paperback collectors (like the Gatsby jacket for twentieth-century hardcover
collectors) is the Stanley Meltzoff jacket on some of the later printings
(beginning in 1945) of the Pocket Books edition of The Maltese
Falcon. [96] (A related phenomenon is the use of jackets on wrapper-bound
proof copies: an example, reported by David L. Vander Meulen, is the
"Uncorrected Proof" of Frances Parkinson Keyes's The Gold Slippers
[Eyre & Spottiswoode, 1958], in wrappers and with a jacket.)

If surviving examples of paperback jackets and nineteenth-century
hardcover jackets are scarce enough that it is feasible to list them, a different
means must be found for gaining bibliographical control over the
vast quantities of twentieth-century examples on hardcover books. We
can look to descriptive bibliographies of authors and presses and to
monographs on graphic artists for the recording of many significant
jackets, but the number dealt with in this way will always be a tiny
fraction of the total. The logical solution is for libraries to take note of
the presence of jackets in their cataloguing of books[97] and to make it
possible for such references to be located through searching in electronic
catalogues. Some special-collections libraries already do this, but others
do not.[98] In any case, the prior requirement is for libraries to preserve

jackets in the first place—something that research libraries have generally
been loath to do, except for books that go into special collections
(though public libraries have often kept jackets, with a protective covering
around them, on circulating books). The situation is reflected in
Robert A. Tibbetts's comment, regarding the Charvat Collection of
pre-1901 American fiction at Ohio State University, that "most of the
dustjackets that once accompanied its books were lost to library processing
before the collection became an entity." Libraries' disregard for
jackets is epitomized by the response of a major research library when it
was offered the opportunity to purchase en bloc the great Leach collection
of American nineteenth-century jacketed books: it rejected the
offer on the grounds that a large portion of the books duplicated those
already in the collection, ignoring entirely the fact that none of the
jackets would have been duplicates. Barbara Ringer, when she was
Register of Copyrights in the U. S. Copyright Office, was so "appalled"
by the Library of Congress practice of throwing away the "vast majority"
of the jackets it received that she arranged to store them at her own
expense.[99]

Library practices vary, as A. S. A. Struik discovered in the mid-1990s
when he conducted a survey of eighteen Dutch libraries and thirteen
national libraries in other countries. His questionnaire asked, among
other things, whether the jackets of newly acquired books were saved
(and if so, how they were described and housed) and whether pre-1900
jackets had been inventoried or were ever purchased as such. The replies
were not encouraging. Although many of the libraries claimed to save
some of the jackets on newly acquired books, these affirmative responses
were often undercut by various qualifications, and only two libraries
(both Dutch) reported any effort to describe their jackets, even superficially.
And not a single library answered yes to the question whether it
intended to "collect or simply save" jackets in the future. As far as pre1900
jackets are concerned, only one library—the Museum Meermanno
Westreenianum in The Hague—indicated that it maintained an inventory
of such jackets, and only five (the British Library, the Library of
Congress, and three Dutch libraries) stated that they had ever bought a
book purely for the sake of its jacket.[100]

That so many libraries, including copyright-deposit libraries, are so

unconcerned with jackets brings to mind the language (quoted earlier)
of Alan Smith, who calls it a "tragedy" that libraries have shirked their
"obligations" to scholars by engaging in the "vandalism" of destroying
jackets. This language is not too strong because book-jackets, as an important
class of primary documentation of publishing history, are unquestionably
part of what research libraries are pledged to preserve.
Other categories have been neglected in the past, such as publishers'
archives, but for a long time now the value of such records has been well
understood. It is shocking, therefore, that in the early twenty-first century,
with the field called "book history" flourishing, there should be so
relatively little thinking directed toward the preservation and cataloguing
of past and future book-jackets. The picture is not entirely bleak:
thanks to the understanding of collectors and dealers, which has become
widespread only in the past generation or so, special-collections departments
are now in possession of a great many jackets, which have arrived
largely as parts of collections but sometimes through the purchase of
single items. These jackets are likely to be noteworthy because of their
age or the fame of the books they cover, and their preservation seems
assured. What we need to be concerned about is the fate of all the other
jackets that survive and all that will appear on new books in the future.
Some large libraries have not destroyed all the jackets that came their
way; but those they have saved (often intermittently and inconsistently)
tend to be very difficult (or in some cases nearly impossible) to use because
of the way they have been stored and the lack of adequate (or any)
cataloguing.[101] Many jackets of the past are lost, but many others await
an act of reclamation.

The idea of a "Jacket Conservation Year," proposed by Alan Smith,
may be unrealistic; but there is reason to hope that we are entering a
period of consciousness-raising in regard to jackets, judging from the
conference on jackets that was sponsored by the Institute of English
Studies at the University of London on 19-20 September 2005,[102] along
with the news that a future series of Panizzi Lectures may deal with the
subject. Libraries must be encouraged to face (and be given assistance in

dealing with) three long-neglected tasks. First is the proper housing of
all the jackets in their possession that are not in special-collections stacks,
as well as all that come with future acquisitions. Whether jackets are
kept on the books, with mylar around them, or filed separately will be
decided differently by different libraries; the important matter is that
they be carefully and systematically preserved. Second is the inclusion
of a reference to the presence of a jacket in catalogue entries for
books, so that a library's jacket holdings can be ascertained as readily as
its book holdings. Third is the requirement for taking jackets into
account in acquisition policies for noncurrent books.

Besides these basic necessities, the creation of a cooperative database
of digitized images of jackets is a great desideratum (despite the
problems that copyright may pose), so long as it does not lead anyone
to suppose that the originals can be disposed of—a response
that has all too often followed the microfilming or digitization of monographs
and serials. Reproductions of jackets, like reproductions of anything
else, can never replace originals.[103] And the need for the preservation
of multiple copies is just as crucial in the case of jackets as it is for
books, newspapers, and all other printed items, since jackets are just as
susceptible to variation among copies and since the value of widespread
access to originals is just as great. Whenever libraries in quantity begin
to regard the collecting and cataloguing of jackets as an accepted part of
their mission and start contributing to a union database of images, we
will be well on the way to rescuing what remains of a body of material
that enriches publishing history, and thus cultural and intellectual history
as well.

ACKNOWLEDGMENTS

During the course of thirty-five years, my study of book-jackets has benefited
from the help of many individuals. To begin with, I want to record
profound gratitude to the late Richard Colles Johnson, who faithfully over
many years contributed significant pieces of information (as he did for so
many other projects of mine as well). And I am delighted to indicate the great
importance to me of the friendship and support of the late John Carter, the
pioneer student of book-jackets (as of many other aspects of nineteenth- and
twentieth-century books). I also am deeply appreciative of the thoughtful
care given to my work by David L. Vander Meulen, editor of Studies in
Bibliography, and by his assistant, Elizabeth Lynch.

For their repeated contributions of details about early jackets, I wish to
express my gratitude to the following (some of whom are now deceased):
Jacob Blanck, Carey S. Bliss, Charles B. Gullans, Harrison Hayford, Peter B.
Howard, Herbert Kleist, John S. Van E. Kohn, Edward S. Levin, Kevin Mac
Donnell, Sandy Malcolm, Charles W. Mann, P. H. Muir, Michael Papantonio,
David A. Randall, Roger E. Stoddard, and Michael Zinman.

For generous assistance of many kinds to my book-jacket research, I also
wish to thank the following (some of whom are now deceased): Jeffrey Akard,
Brian Alderson, Jerome E. Anderson, Richard S. Barnes, George M. Barringer,
Terry Belanger, John Bidwell, William H. Bond, Richard Cady, William R.
Cagle, Peggy Christian, Philip Cohen, Joan St. C. Crane, Timothy d'Arch
Smith, Christian Y. Dupont, Douglas C. Ewing, Anthony Fair, Donald C.
Gallup, Mrs. C. M. Gee, William M. Gibson, Franklin Gilliam, Mark
Godburn, Frederick R. Goff, Thomas Goldwasser, Selwyn H. Goodacre,
George T. Goodspeed, Dan Gregory, Peter E. Hanff, Jack and Joyce Hanrahan,
Maxwell Hunley, Thomas J. Joyce, Priscilla Juvelis, Dean H. Keller,
Ken Leach, Barbara McCrimmon. Leslie McGrath, David McKitterick, A. L.
McLaughlin, David Magee, A. N. L. Munby, David L. O'Neal, J. Fernando
Peña, Anthony Rota, Robert Rulon-Miller, William H. Runge, Philip
Shelley, Victoria Steele, Mark Stirling, Lola L. Szladits, Terence Tanner,
Bruce Tober, Page Thomas, Michael Turner, David L. Vander Meulen,
Robert L. Volz, Alexander D. Wainwright, Rowan Watson, Burton Weiss,
Brooke Whiting, Michael Winship, David Yerkes, and Jake Zeitlin.

Finally, I am indebted to Philip Errington and Warwick Gould for inviting
me to read an abridged version of this essay at the opening of a conference
on "Dust-Jackets: The Fate and State of Removable Dust-Jackets,"
sponsored by the Institute of English Studies, University of London, on
19-20 September 2005.

A LIST OF PRE-1891 EXAMPLES OF BRITISH AND AMERICAN
PUBLISHERS' PRINTED BOOK-JACKETS, SLIP-CASES, AND
OTHER DETACHABLE COVERINGS

THIS list does not attempt to be a census of all surviving examples; it is simply
a record of those that have come to my attention over a period of
more than thirty-five years. But because it is a sizable list (with nearly four
hundred entries), it provides a reasonable body of evidence for generalizing
about the history of publishers' detachable coverings through 1890. (A list
covering the next decade will be published later.) It also gives one a basis
for extrapolation: by noting which publishers are known to have used jackets
or slip-cases in particular years, one is in a better position to conjecture
whether any other book from the same period was likely to have had such a
covering at the time of its publication. (In the case of series, one can be nearly
certain that the other titles in a series, in addition to those listed here, had
jackets; but the list records only the specific titles known to have survived in
jackets.)

Entries are arranged chronologically, and within each year they are ordered
alphabetically by publisher (then author). The year of each entry is the
date of the copy cited, which may be later than the date of the first printing.
I have generally repeated the dates given in my sources without further investigation
(which would in any case probably be inconclusive without the
copies at hand); but when I have reason to suspect that the year assigned by
a source is based on a copyright-page date and that the book may possibly be
from a later printing, I have placed an asterisk after the citation. Copies that
have been assigned approximate dates are listed separately at the end. The
serial numbers assigned to the entries consist of the last two digits of the year,
followed—after a period—by consecutive numbers within the year. (For the
two eighteenth-century entries, all four digits of the year are used; and for
entries in the "Approximate Dates" section, an "X" replaces the year-digits.)

The amount of information in the entries varies considerably, depending
on what was available in my sources and notes. Each entry normally has four
parts (though the third is lacking in some instances). (1) Publisher and city
(usually excluding the names of any secondary publishers or cities mentioned
in imprints). (2) Author, title, and (if applicable) series or edition (with the
names of editors, illustrators, and translators selectively added). (3) A brief
description of the jacket and/or slip-case, indicating (when my information
allows) the color (if other than white, gray, tan, or cream), the surfaces containing
printed matter (with unusual features of the content mentioned),
and the color of the printing (when other than black). (4) Source(s), including
institutional libraries, private collections (with years signifying the latest
date when to my knowledge the books were in those collections), dealers'

and auction-house catalogues, published articles and books, and private letters
or conversations; when the citations (in all these categories) are brief,
they are usually identified more fully in the index. Published illustrations
are referred to in the following entries: 03.1, 23.1, 24.3, 26.2, 27.2-3, 28.1-2,
29.1, 30.2, 32.1, 44.1, 46.1, 57.2, 60.3, 61.1, 65.1, 69.4, 70.2, 73.1, 76.3, 78.2,
78.6, 78.9, 82.8, 86.5, 86.13, 88.5, 89.24.

The following symbols are used to signal entries for detachable coverings
other than jackets of the now conventional type:

         

§	envelope or all-over wrapping
¢	cloth jacket(s)
†	sheath or box
‡	box and paper jacket(s)
†¢	box and cloth jacket(s)

The index to the list is subdivided as follows: (1) Authors, editors, illustrators,
and translators (plus personal-name subjects, and titles without named
authors). (2) Publishers and series: British (London); British (other than
London); American (New York); American (other than New York). (3) Libraries.
(4) Collectors. (5) Dealers and auction houses. (6) Scholars (and other
persons who have provided information, not covered under previous headings,
in published or unpublished form).

1791

 

§ 1791.1.

Zachariah Poulson (Philadelphia). John William Gerar de Brahm, Time: An Apparition of Eternity. Four-flapped envelope wrapping, printed lengthwise on inside with a 115-word presentation epistle dated 1791, to be signed by the author. [Lilly; discussed by Josiah Q. Bennett in ". . . and other detachable coverings . . .," Serif, 8.4 (December 1971), 31-33.]

1795

 

† 1795.1.

[OMITTED]

1801

 

† 01.1.

David Longworth (New York). The American Ladies & Gentlemens Pocket Almanac and Belles Lettres Repository for 1802. Five-sided cardboard sheath, with label on sides. [Collection of G. T. Tanselle, 2005.]

1803

 

† 03.1.

R. Baldwin (London). Edmond Hoyle, Hoyle's Games. Five-sided cardboard sheath, printed on all sides. [Collection of John Porter; cited and illustrated by McLean (1983), p. 19.]

1810

     

† 10.1.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] The History and Adventures of Little Henry. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 1052.]
† 10.2.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] The History of Little Fanny. Second Edition. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 1052.]
† 10.3.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] The History of Little Fanny. Fourth Edition. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 418].

1811

         

† 11.1.	S. & J. Fuller (London). Frank Feignwell's Attempts to Amuse His Friends. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 418.]
† 11.2.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] Phoebe, the Cottage Maid [1812 on title-page; 1811 on front cover and sheath; back cover advertises a book to be published "early in January 1812"]. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 1053.]
† 11.3.	S. & J. Fuller (London). Young Albert, the Roscius. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 420, and by Brian Alderson and Felix de Marez Oyens (2006), entry 211.]
† 11.4.	S. & J. Fuller (London). Young Albert, the Roscius. Third Edition. Printed cardboard sheath. [Collection of Brian Alderson, 2005.]
† 11.5.	M. J. Godwin (London). Charles Lamb, Beauty and the Beast. Printed brown cardboard sheath. [Houghton (Widener Collection).]

1812

   

† 12.1.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] Hubert, the Cottage Youth. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (195875), p. 1052.]
† 12.2.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] Lucinda, the Orphan. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (195875), p. 419.]

 

† 12.3.

I. & E. Wallis (London). St. Julien, the Emigrant. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 1053, and by Brian Alderson and Felix de Marez Oyens (2006), entry 167.]

1814

   

† 14.1.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] Cinderella; or, The Little Glass Slipper. Printed cardboard sheath. [Toronto Public Library (Osborne Collection); described by Judith St. John (1958-75), p. 1051.]
† 14.2.	John Harris (London). The Swan of Elegance: A New Game Designed for the Instruction and Amusement of Youth. Green marbled paper-covered cardboard sheath, with engraved label. [Morgan; described by Brian Alderson and Felix de Marez Oyens (2006), entry 162.]

1819[?]

 

¢ 19.1.

Richard Phillips (London; printed by William Lewis for Richard Phillips, and sold by J. Souter and "all booksellers"). "David Blair" [Richard Phillips], The Universal Preceptor. 10th ed., 1819. Black limp roan jacket with black paper backing, stamped in blind on front and back (a two-line border around the edges) and in gold on spine (title). One's first thought about this jacket is that it was made by an owner of the book, and it very well may have been. But three pieces of evidence (furnished to me by Selwyn H. Goodacre, the owner of the book in 1982) suggest at least the possibility that the jacket was supplied by the author-publisher or by the bookseller named in the imprint (or another bookseller) at the time of original sale: (1) at the foot of the title-page, the price is stated as "4s. 6d. bound"; (2) the front paste-down endpaper has an inscription dated "October 13 1825"; (3) the binding has no lettering whatever. Thus the binding dates from before 13 October 1825, and in light of the title-page notation (indicating that copies were sold bound) it may date from 1819; and perhaps the reason that the binding has no lettering is that it was to be provided with a jacket carrying a spine-title. This reasoning leads me to include the jacket here with a question mark. [Collection of Selwyn H. Goodacre, 15 October 1982.]

1822

 

† 22.1.

Ackermann (London). Forget Me Not . . . 1823. Four-sided(?) cardboard sheath, repeating cover design. [Collection of Anne Renier; cited by her (1964), p. 11. Cited by Jamieson (1973), p. 7.]

1823

 

† 23.1.

Lupton Relfe (London). Friendship's Offering . . . 1824. Five-sided cardboard sheath, with printed label on front. [Pennsylvania State University. State Library, Victoria; cited and illustrated by McMullin (2000), pp. 260, 262 (noting that design on sheath is different from that on binding). Cited by Jamieson (1973), p. 8 (noting that design on sheath is the same as that on binding).]

1824

     

† 24.1.	Ackermann (London). Forget Me Not . . . 1825. Four-sided cardboard sheath, with green printed label on front and back. [Bodleian (John Johnson Collection). Collection of Selwyn H. Goodacre, 1982.]
† 24.2.	A. R. Poole (Philadelphia). Le souvenir, or Picturesque Pocket Diary for 1825. Cardboard sheath, with light green printed label on front and back. [Collection of Philip Shelley, 1971.]
† 24.3.	Lupton Relfe (London). Friendship's Offering . . . 1825. Five-sided cardboard sheath, with printed label on front. [Massey College, University of Toronto; cited and illustrated by McLean (1983), pp. 24-25.]

1825

     

† 25.1.	Ackermann (London). Forget Me Not . . . 1826. Four-sided cardboard sheath, with green printed label on front and back. [Bodleian (John Johnson Collection).]
† 25.2.	Marshall (London). The Pledge of Friendship . . . 1826. [Bodleian (John Johnson Collection).]
† 25.3.	A. R. Poole (Philadelphia). Le souvenir, or Picturesque Pocket Diary for 1826. (1) Cardboard sheath, with light green printed label on sides. (2) Leather-covered sheath, with yellow printed label on sides. [(1) Collection of Philip Shelley, 1971. Collection of Michael Zinman, 1995. (2) Collection of Ellen K. Morris and Edward S. Levin, 2005.]

1826

 

† 26.1.

Ackermann (London). Forget Me Not . . . 1827. Four-sided cardboard sheath, with green printed label on front and back. [Bodleian (John Johnson Collection). Massey College, University of Toronto; cited by McLean (1983), p. 25. Deval & Muir cat. 30 (1974), item 313 (£6.50). Ken Leach cat. 86-5 (1986), item 55 ($85). Blackwell's cat. B148 (2005), item 1 (£120). Collection of Ellen K. Morris and Edward S. Levin, 2005.]

   

† 26.2.	Carey & Lea (Philadelphia). Atlantic Souvenir . . . 1827. Five-sided cardboard sheath, with green printed label on front and back. [Pennsylvania State University. Collection of Michael Zinman, 1995. Collection of Kevin Mac Donnell; illustrated by him (2001), p. 30.]
† 26.3.	Lupton Relfe (London). Friendship's Offering . . . 1827. Five-sided cardboard sheath, with printed label on front. [Bodleian (John Johnson Collection); cited by Jamieson (1973), pp. 7-8.]

1827

         

† 27.1.	Ackermann (London). Forget Me Not . . . 1828. Four-sided(?) cardboard sheath, repeating cover design. [Monash University; cited by McMullin (2000), p. 258. Wilder cat. 61 (1993), p. 10 ($175).]
† 27.2.	W. Baynes & Son, and Wightman & Cramp (London). The Amulet . . . 1828. Five-sided cardboard sheath, with printed purple labels on all sides. [Massey College, University of Toronto; cited and illustrated by McLean (1983), pp. 10, 24-25. In stock of Mac Donnell Rare Books, prior to 2005.]
† 27.3.	Carey, Lea & Carey (Philadelphia). Atlantic Souvenir . . . 1828. Four-sided cardboard sheath, with green printed label on front and back. [Library of Congress. Pennsylvania State University (3 copies). Cited for both 1828 and 1829 by C. A. Wilson in Publishers' Weekly, 117 (15 February 1930), 894-895; and by Rosner (1954), p. xiv. Mott cat. 199 (1978), item 135 ($150). Collection of Michael Zinman, 1995. Collection of Kevin Mac Donnell; illustrated by him (2001), pp. 30, 46.]
† 27.4.	N. S. Simpkins (Boston). The Moral and Religious Souvenir (1828). Cardboard sheath, with green printed label on front and back. [Collection of Michael Zinman, 1995.]
† 27.5.	S. G. Goodrich (Boston). The Token . . . 1828. Five-sided cardboard sheath, with green printed label on front and back. [Pennsylvania State University (3 copies).]

1828

   

† 28.1.

Ackermann (London). Forget Me Not . . . 1829. Four-sided cardboard sheath, with green printed label on front and back. [Illustrated by Renier (1964), facing p. 9. Collection of Philip Shelley, 1971. Collection of Michael Zinman, 1995. Collection of Kevin Mac Donnell; illustrated by him (2001), p. 29. Collection of Ellen K. Morris and Edward S. Levin, 2005. Collection of David L. Vander Meulen, 2005.]

† 28.2.

Carey, Lea & Carey (Philadelphia). Atlantic Souvenir . . . 1829. Four-sided cardboard sheath, with green printed label on front and back. (See 1827.) [Library of Congress. Pennsylvania State University. Cited for both 1828 and 1829 by C. A. Wilson in Publishers' Weekly, 117 (15 February 1930), 894-895; and by Rosner, p. xiv. Hurley Books cat. 75 (1978), item 6 ($45), item 7 (five-sided, $75). Leach cat. 94-1 (1994), item 12 ($500). Collection of Michael Zinman, 1995. Collection of Kevin Mac Donnell; illustrated by him (2001), pp. 29, 30.]

   

† 28.3.	I. Poole (London). First Flowers, or Literary Bouquet . . . 1829. Sheath with printed label. [In stock of Mac Donnell Rare Books, 2005.]
† 28.4.	Westley & Davis (London). The Amulet . . . 1829. Five-sided cardboard sheath, with printed label on front and back. [Bodleian (John Johnson Collection). Collection of Ellen K. Morris and Edward S. Levin, 2005.]

1829

 

† 29.1.

Ackermann (London). Forget Me Not . . . 1830. Five-sided cardboard sheath, with green printed label on front and back. [Georgetown University. Massey College, University of Toronto; cited and illustrated by McLean (1983), pp. 24-25. Collection of Philip Shelley, 1971. Collection of Ellen K. Morris and Edward S. Levin, 2005; cited by them in The Art of Publishers' Bookbindings 18151915 (2000), entry 6 (p. 20).]

1830

     

† 30.1.	Ackermann (London). Forget Me Not . . . 1831. Four-sided cardboard sheath, with green printed label on front and back. [Bodleian (John Johnson Collection). Collection of Ellen K. Morris and Edward S. Levin, 2005.]
† 30.2.	S. & J. Fuller (London). ["Dr. Walcot" (Amelia Troward?).] The History of Little Fanny. 10th edition. Five-sided sheath, repeating design of binding (wrappers). [Illustrated by Alan Powers in Children's Book Covers: Great Book Jacket and Cover Design (2003), p. 15. Collection of Brian Alderson, 2005 (whose copy provides the evidence for the attribution to "Dr. Walcot" here and in 10.1-3, 11.2, 12.1-2, and 14.1 above).]
† 30.3.	[OMITTED]

1832

 

§ 32.1.

Longman, Rees, Orme, Brown, Green & Longman (London). The Keepsake . . . 1833. Printed on front and back; designed to enclose the book completely, like wrapping paper. [Collection of John Carter, 1952; reported by him in Publishers' Weekly, 126 (22 September 1934), 1121, and in Bibliographical Notes & Queries, 1.2 (April 1935), 1. Cited and illustrated by Rosner (1954), p. vii; illustrated by Kurt Weidemann in Book Jackets and Record Covers: An International Survey (1969), p. v, and by Tanselle (1971), plate 1. This covering was lost in 1952 on the way to the Bodleian, as Carter reports in Books and Book-Collectors (1956), p. 182.]

1844

 

§ 44.1.

Fisher, Son & Co. (London). [Sarah Stickney Ellis], The Juvenile Scrap-Book . . . 1845. Printed on front; designed to enclose the book completely, like wrapping paper. [UCLA; illustrated by Tanselle (1971), plate 2.]

1846

 

§ 46.1.

Fisher, Son & Co. (London). [Sarah Stickney Ellis], The Juvenile Scrap-Book . . . 1847. Printed on front (including price and revealing author's name); designed to enclose the book completely, like wrapping paper. [UCLA; illustrated by Tanselle (1971), plate 3. Collection of B. S. Long, 1935; cited by I. A. Williams in Bibliographical Notes & Queries, 1.2 (April 1935), 1-2. In stock of Beauchamp Bookshop, 1952.]

1847

 

§ 47.1.

Fisher, Son & Co. (London). [Sarah Stickney Ellis], The Juvenile Scrap-Book . . . 1848. Designed to enclose the book completely, like wrapping paper. [Collection of B. S. Long, 1935; cited by I. A. Williams in Bibliographical Notes & Queries, 1.2 (April 1935), 1-2. In stock of Beauchamp Bookshop, 1952.]

1848

   

§ 48.1.	American Art Union (New York). F. O. C. Darley, Six Illustrations of Rip Van Winkle. Envelope slip-case printed on front with design and text different from book and stating "India Proof Copy" in upper left corner. [Leach sale (1984), lot 1 ($600).]
§ 48.2.	Peter Jackson. (London). [Sarah Stickney Ellis], The Juvenile Scrap-Book . . . 1849. Designed to enclose the book completely, like wrapping paper. [Collection of B. S. Long, 1935; cited by I. A. Williams in Bibliographical Notes & Queries, 1.2 (April 1935), 1-2.]

1849

   

† 49.1.	G. E. Eyre and W. Spottiswoode (London). The Book of Common Prayer. Maroon hinged box, with lettering on spine. [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
§ 49.2.	Peter Jackson (London). [Sarah Stickney Ellis], The Juvenile Scrap-Book . . . 1850. Designed to enclose the book completely. [Collection of B. S. Long, 1935; cited by I. A. Williams in Bibliographical Notes & Queries, 1.2 (April 1935), 1-2.]

1850

 

† 50.1.

Derby & Miller (Auburn, N.Y.). Jacob Abbott, "Cousin Lucy's Stories," 6 vols. Box with label. [Collection of Michael Zinman, 1995.]

1853

 

† 53.1.

American Sunday-School Union (Philadelphia). Elizabeth Stuart Phelps, "Kitty Brown Series." 4 vols., 1851-53. Box, with colored pictorial label. [Leach sale (1984), lot 2 ($110).]

1857

   

57.1.

Blackie (London). Charles MacFarlane and Thomas Thomson, The Comprehensive History of England. Printing includes price. 4 vols. [Reported to me by John Carter, 1968.]

§ 57.2.

Whittaker (London). Richard S. Gedney, The Poetical Works, ed. James Ogden. 2nd ed. Printed on front (with three imprints, the first of which is Appleton, New York—but the sheets of the book, and presumably the jacket, were printed in England; the third imprint is Galt, Manchester); designed to enclose the book completely, like wrapping paper. [Bodleian (John Johnson Collection). Lilly. Southern Methodist University. Cited by David Magee in Publishers' Weekly, 133 (15 January 1938), 245 (illustrated). Charles Yale cat. 13 (October 1941), item 176 (labeled "The First American Dust-Jacket"). Cited by L. D. Feldman in Publishers' Weekly, 152 (6 September 1947), B154; by Rosner, p. xiv (illustrated); and in Report of the Rare Book Librarian, The Lilly Library, Indiana University, July 1, 1963-June 30, 1965, p. 23. Illustrated by John T. Winterich and David A. Randall in A Primer of Book Collecting (3rd rev. ed., 1966), p. 119; and by Tanselle (1971), plate 4.]

1859

   

† 59.1.	Brown, Taggard & Chase (Boston). George Coolidge, The Baby Dear. "My Own Little Library" (No. 1). Blue box, printed in gold. [Collection of Michael Zinman, 1995.]
† 59.2.	Brown, Taggard & Chase (Boston). George Coolidge, "My Own Little Library." 6 vols. Box, printed in gold. [Leach sale (1984), lot 3 ($40; lacks one booklet).]

1860

 

60.1.

Longman, Green, Longman & Roberts (London). John Bunyan, Pilgrim's Progress, ill. Charles Bennett. Printed in red on front (including illustration from the book, price, and date) and spine. [Collection of Thomas Balston, 1931; cited by John Carter in Publishers' Weekly, 120 (15 August 1931), 617, and in Publisher & Bookseller, 19 August 1932, pp. 293-294, and by Rosner (1954), p. vii. Scribner Book Store cat. 110 (1936), item 17 ("An amazing copy," the jacket being "one of the earliest recorded"; $35).]

   

§ 60.2.	Longman, Green, Longman & Roberts (London). Edward Falkener, Daedalus. Designed to enclose the book completely, like wrapping paper. [Cited by McMullin (2000), p. 264 (quoting Peter Baring's 1999 description of an auction of "about 8" copies in wrapping).]
§ 60.3.	Longman, Green, Longman & Roberts (London). Edward Falkener (ed.), The Museum of Classical Antiquities. Printed on front; designed to enclose the book completely, like wrapping paper. [Monash University; discussed and illustrated by McMullin (2000), pp. 263-265 (mentioning another copy in Melbourne and quoting Peter Baring's 1999 description of an auction of "about 20" such copies).]

1861

 

61.1.

Blackwood (Edinburgh). [Noel Paton], Poems by a Painter. Printed on front and spine. [Houghton; illustrated by Tanselle (1971), plate 5.]

1862

   

62.1.	Blackie (London). Henry Beveridge, A Comprehensive History of India. 3 vols. (comprising nine parts, 1858-62). Printing includes price. [Reported to me by John Carter, 1968.]
62.2.	Groombridge & Sons (London). Jonathan Couch, The History of the Fishes of the British Islands. 4 vols. 1862-65. Green, printed on sides (design of cover) and spine (title, author, decoration). [Yale Center for British Art (lacking jacket for vol. 2 [1863]); displayed in exhibition "Gold on Cloth," October 1992.]

1864

 

64.1.

Groombridge & Sons (London). Jonathan Couch, The History of the Fishes of the British Islands. 4 vols., 1862-65. Green, printed on sides (design of cover) and spine (title, author, decoration). [Yale Center for British Art (lacking jacket for vol. 2 [1863]); displayed in exhibition "Gold on Cloth," October 1992.]

1865

   

65.1.	Appleton (New York). The Bryant Festival at "The Century." Printed on front and back with binding design. [Cited by John S. Van E. Kohn in Publishers' Weekly, 132 (30 October 1937), 173235; and by Rosner, p. xv (illustrated).]
65.2.	Groombridge & Sons (London). Jonathan Couch, The History of the Fishes of the British Islands. 4 vols., 1862-65. Green, printed on sides (design of cover) and spine (title, author, decoration). [Yale Center for British Art (lacking jacket for vol. 2 [1863]); displayed in exhibition "Gold on Cloth," October 1992.]

1867

     

† 67.1.	Bradbury, Evans & Co. (London). The Handy-Volume Shakespeare. 13 vols. Green hinged box with lettering on top and label inside lid. [Colleciton of Ellen K. Morris and Edward S. Levin, 2005.]
67.2.	Edward Moxon (London). Alfred Tennyson, Guinevere, ill. Gustave Doré. [Cited by Eric Quayle in "The Evolution of Trade Bindings, Part 2," Antiquarian Book Monthly Review, 4 (September 1977), 358-364 (see p. 361). Quayle says that "All of Edward Moxon's series of folio reprints of the poets" were published in jackets, and he mentions Tennyson's Idylls of the King (1868) and Enid (1868), Thomas Hood's Poems (1870), and Keats's Endymion (1873); but it is not clear whether he has seen surviving examples of all of them, and entries for them are not included here.]
† 67.3.	Henry M. Wynkoop (New York). The Handy-Volume Shakespeare. 13 vols. Box with label on lid. [Collection of Michael Zinman, 1995.]

1868

   

68.1.	George A. Leavitt (New York). The Magnolia . . . 1869. Yellow, printed on front, spine, and back (ad for "Choice and Elegant Gift Books"). [Chapin.]
† 68.2.	Sheldon & Co. (New York). Mrs. Sanborn Tenney, "Pictures and Stories of Animals for the Little Ones at Home." 6 vols. Box with orange pictorial label. [Leach sale (1984), lot 5 ($110).]

1869

       

§ 69.1.	Catholic Publication Society (New York). Aubrey De Vere, Irish Odes and Other Poems. Printed on spine; designed to enclose the book completely. [Cited by M. J. Macmanus in Bibliographical Notes & Queries, 1.2 (April 1935), 2.]
69.2.	Sampson Low (London and New York). Robert Buchanan, Ballad Stories of the Affections, from the Scandinavian. [Cited by Goodspeed's Book Shop in Publishers' Weekly, 119 (16 May 1931), 2443; and by Rosner (1954), p. xv.]
69.3.	Macmillan (London). Thomas Hughes, Tom Brown's School Days. Illustrated ed. Printed on front and spine. [Princeton (Robert H. Taylor Collection).]
69.4.	Putnam (New York). William Dean Howells, No Love Lost: A Romance of Travel. Printed on front (including price and subtitle "A Story of Venice"). [Doheny sale (1988), lot 1405 (illustrated on p. 227), sold to Robert Rulon-Miller for $1870; Rulon-Miller cat. 88 (1988), item 151 ($3500), labeled "Third Earliest American Dust-Jacket Extant," and cat. 92 (1990), item 108 ($3500), labeled "The earliest obtainable American dust-jacket." Parkhurst cat. 1 (1996), item 69 ($8500), labeled "Earliest dust jacket known in a private collection." In stock of Mac Donnell Rare Books, prior to 2005.]

1870

     

70.1.	Blackie (London). F.-A. Pouchet, The Universe. Printed in red and brown (including price). [Reported to me by John Carter, 1968.]
70.2.	Chapman & Hall (London). Charles Dickens, The Mystery of Edwin Drood. Printed on front and spine. [Collection of A. Edward Newton (d. 1940). Cited by Raphael King in Publishers' Weekly, 117 (19 April 1930), 2148; by John Carter in Publisher & Bookseller, 19 August 1932, pp. 293-294; by Edgar H. Wells in Publishers' Weekly, 117 (21 June 1930), 3040; by John C. Eckel in The First Editions of the Writings of Charles Dickens (2nd ed., 1932), p. 98 ("the earliest known dust-wrapper") and reproduced as the frontispiece; by A. Edward Newton in Bibliographical Notes & Queries, 1.2 (April 1935), 2; in Publishers' Weekly, 159 (10 February 1951), 899; by Rosner (1954), p. vii; and by Walter E. Smith, Charles Dickens in the Original Cloth (1982), p. 116, n. 1.]
† 70.3.	Lee & Shepard (Boston). Sophie May, "Dotty Dimple Series." 6 vols. Box with colored pictorial label. [Leach sale (1984), lot 6 ($100)*.]

1871

 

† 71.1.

James R. Osgood (Boston). Alfred, Lord Tennyson, Works. 10 vols. Dark green pebble-grained cloth box with hinged top, lettered on top "TENNYSON'S WORKS." [Collection of Penelope C. and George M. Barringer, 1980.]

1872

 

72.1.

Longmans, Green (London). Andrew Lang, Ballads and Lyrics of Old France. [Houghton; cited in The Houghton Library, Reports XXX-XXXIV: Acquisitions 1970-1975 (1979), p. 214.]

1873

 

73.1.

Reeves & Turner (London). The Old Book Collector's Miscellany; or, A Collection of Readable Reprints of Literary Rarities. Vol. 3. Printed on front (including date), spine, and back (front and back contain a listing of the contents); printed on the reverse of the 1878 Reeves & Turner jacket listed below. [Collection of Peter C. G. Isaac, 1975; discussed by him (1975), pp. 51-52 (illustrated).]

1874

   

74.1.	Charles Griffin & Co. (London). Edgar Allan Poe, The Poetical Works, ed. James Hannay. "The Emerald Series of Poets," Printed on front (including "Fourteenth Thousand"), spine, and back (ad for series). [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
74.2.	Macmillan (London). Christina Rossetti, Speaking Likenesses. Printed on front and spine. [Kent State; cited by Keller (1971), p. 33. Deighton, Bell cat. 130 (ca. 1972), item 569 (£38). In stock of James Cummins, 1980s(?) ($5000).]

1875

         

75.1.	Houghton Mifflin (Boston). Henry Wadsworth Longfellow, The Hanging of the Crane. Printed on front. [Cited by C. A. Wilson in Publishers' Weekly, 117 (18 January and 15 February 1930), 351352, 894-895; and by Rosner (1954), p. xv.]
† 75.2.	Hurd & Houghton (New York). Dr. William Smith's Dictionary of the Bible, ed. H. B. Hackett and Ezra Abbot. 4 vols. Box with printed label. [Collection of Michael Zinman, 1995.]
75.3.	Scribner, Armstrong (New York). Charles Greville, The Greville Memoirs. "Bric-a-Brac Series." Printed in red on front (including date) and back (ad for the series). [Leach sale (1984), lot 7 ($30 for three vols. of series).]
75.4.	Scribner, Armstrong (New York). Charles Lamb, William Hazlitt, et al., Personal Recollections. "Bric-a-Brac Series." Printed in red on front (including date) and back (ad for the series). [Leach sale (1984), lot 7 ($30 for three vols. of series).]
75.5.	Scribner, Armstrong (New York). John O'Keeffe, Michael Kelly, John Taylor, and Richard Henry Stoddard, Personal Reminiscences. "Bric-a-Brac Series." Printed in red on front (including date) and back (ad for the series). [Leach sale (1984), lot 7 ($30 for three vols. of series).]

1876

   

76.1.	Edward Bosqui (San Francisco). Charles B. Turrill, California Notes: First Volume. Printed on front. [Leach sale (1984), lot 8 ($110).]
76.2.	Lee & Shepard (Boston). Sarah Flower Adams, "Nearer, My God, to Thee." Printed in red on front (repeating title page, including date). [American Antiquarian Society. Collection of Jacob Blanck, 1970. In stock of The Bookmark, August 1993 ($350). Reported to me by Kevin Mac Donnell, 2005.]

 

76.3.

Macmillan (London). Lewis Carroll, The Hunting of the Snark. Printed on front, spine, and back. [Cited by Raphael King in Publishers' Weekly, 117 (19 April 1930), 2148; by John Carter in Publishers' Weekly, 117 (19 April 1930), 2148, and in Publisher & Bookseller, 19 August 1932, pp. 293-294; and by F. B. A. [Frederick B. Adams] in Bibliographical Notes & Queries, 1.2 (April 1935), 2; in Publishers' Weekly, 159 (10 February 1951), 899; and by Rosner (1954), p. vii (illustrated). Collection of Douglas C. Ewing, 1968; illustrated by Tanselle (1971), plate 6. Swann auction cat. 992 (5 June 1975), lot 64. In stock of Bertram Rota, 6 June 1975. Cited by Selwyn H. Goodacre in Lewis Carroll's The Hunting of the Snark, ed. Martin Gardner (1982).]

1877

               

77.1.	Appleton (New York). Philadelphia International Exhibition of 1876, Gems of the Centennial Exhibition. Printed on front and spine. [Leach sale (1984), lot 12 ($45).]
77.2.	Claxton, Remsen & Haffelfinger (Philadelphia). A. J. Pleasonton, The Influence of the Blue Ray of the Sunlight. Printed on front. [Collection of Michael Zinman, 1995.]
77.3.	William F. Gill (Boston). Poems of the "Old South." Printed on front. [Collection of G. T. Tanselle, 2005.]
† 77.4.	Harper (New York). Samuel Taylor Coleridge, The Rime of the Ancient Mariner, ill. Gustave Doré. Box, with printing on top. [Leach sale (1984), lot 9 ($400).]
77.5.	Lee & Shepard (Boston). William Knox, Oh, Why Should the Spirit of Mortal Be Proud? (1) Printed on front (repeating title-page, including date). (2) Printed on front and back (ad; later printing?). [ (1) Collection of Jacob Blanck, 1970. Leach sale (1984), lot 10 (not sold). (2) Leach sale (1984), lot 11 ($20). In stock of Mac Donnell Rare Books, 2005.]
77.6.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Henry Francis Lyte, Abide with Me. Printed on front and back (ad). [Collection of G. T. Tanselle, 2005. In stock of Mac Donnell Rare Books, 2005.]
77.7.	Lothrop (Boston). Elizabeth C. Clephane, The Ninety and Nine. Printed on front. [Collection of G. T. Tanselle, 2005.]
77.8.	Frederick Warne (London). Walter Crane, The Baby's Opera. [Heritage Book Shop cat. 141 (1981), item 17 ($100).]

1878

 

78.1.

Bell (London). Benjamin Maund, The Botanic Garden, ed. James C. Niven. 6 vols. Light blue, with elaborate decoration (volume numbers on spines added with hand-stamp). [Reported to me by John Carter, 1968.]

                 

78.2.	Bradbury, Agnew (London). Kate Field (ed.), New York Bell's Telephone. [Illustrated by Eric Quayle in "The Art in Binding," Wilson Library Bulletin, 51 (1977), 408-418 (see p. 416).]
¢ 78.3.	David Douglas (Edinburgh). William Stirling-Maxwell, Antwerp Delivered in MDLXXVII. Cloth, with three flaps at front and back; printed on front, spine, and back. [Bodleian (John Carter Collection).]
† 78.4.	Harper (New York). John Townsend Trowbridge, The Book of Gold and Other Poems. Box with label on front. [Leach sale (1984), lot 17 ($25).]
78.5.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Henry Francis Lyte, Abide with Me. Printed on front (repeating title-page). [Leach sale (1984), lot 16 (not sold).]
78.6.	Macmillan (London). Henry James, French Poets and Novelists. Printed on front and spine. [Gilvarry sale (1986), lot 90 (illustrated $3800). Seen at Gekoski booth, New York Antiquarian Book Fair, 16 April 1998 ($15,000).]
78.7.	Porter & Coates (Philadelphia). "Harry Castelmon" [Charles Austin Fosdick], The Boy Trapper. Ad on back for "Best Editions of Popular 12mos." [Leach sale (1984), lot 15 ($55).]
78.8.	Putnam (New York). William Cullen Bryant, The Flood of Years, ill. W. J. Linton. Printed in red on front and back (list of "Holiday Publications 1877-1878"). [Goodspeed cat. 580, item 10 ($100). Leach sale (1984), lot 14 ($30).]
78.9.	Reeves & Turner (London). Charles Hindley, The Life and Times of James Catnach (Late of Seven Dials), Ballad Monger. Printed on front (advertisement for the book, dated), spine (same as label on book spine), and back (reproducing part of one of Catnach's broadsides); printed on the reverse of the 1873 Reeves & Turner jacket listed above. [Collection of Peter C. G. Isaac, 1975; discussed by him (1975), pp. 51-52 (with illustration, and pointing out that the "bibliographical information on the jacket is consistent neither with itself nor with that given on the copy" of the book).]
78.10.	Virtue (London). Anthony Trollope, How the "Mastiffs" Went to Iceland. Light blue, printed on front (repeating title-page). [Burmester cat. 40 (1999), item 113 (£2500); cited by McMullin (2000), p. 266.]

1879

 

79.1.

J. Fairbanks (Chicago). Loomis T. Palmer, General U. S. Grant's Tour around the World. Printed on front (three engravings) and back (advertisement for works by T. DeWitt Talmadge). [Kane auction cat. 55 (6 April 1997), lot 206.]

           

¢ 79.2.	Houghton, Osgood (Boston). Thomas Bailey Aldrich, The Story of a Cat. Red cloth, printed in gold on spine. [Leach sale (1984), lot 18 ($30).]
79.3.	Houghton, Osgood (Boston). Mother Goose's Melodies, ill. Alfred Kappes. Pictorial jacket printed in brown. [Leach sale (1984), lot 19 ($160).]
79.4.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Augustus Montagu Toplady, Rock of Ages. (1) Printed on front. (2) Printed on front and back (ad for "Illustrated Hymns and Poems"; later printing?). [(1) Leach sale (1984), lot 20 ($5). (2) In stock of Mac Donnell Rare Books, 2005.]
79.5.	Old South Fair Committee (Boston). Poems of the "Old South." Limited, signed issue. [In stock of Mac Donnell Rare Books, prior to 2005.]
79.6.	Routledge (London). Kate Greenaway, Under the Window. Printed on front (with illustration from p. 57), spine, and back (with advertisement for holiday books for 1879-80). [Collection of P. H. Muir, 1971; Muir, in a review in the Book Collector, 27 (1978), 126, uses the jacket advertisement to date the book.]
‡ 79.7.	Trübner (London). P. F. Krell et al., The Classics of Painting. Drop-front box, with design and lettering on front; jacket has same design on front. [Collection of P. H. Muir, 1971.]

1880

         

80.1.	Belford, Clarke (Toronto [and Chicago]). Mary Russell Mitford, Our Village. Printed on front (including blurbs, ads, and the Chicago and Toronto imprint). [Leach sale (1984), lot 26 ($35).]
80.2.	Dodd, Mead (New York). Rosina Emmet, The Pretty-Peggy Painting Book. Printed on front. [Leach cat. 71-2 (1971), item 112 ($35); Leach sale (1984), lot 24 ($55).]
† 80.3.	Harper (New York). Jacob Abbott, Franconia Stories. Box with label on front. [Leach sale (1984), lot 21 ($10)*.]
80.4.	Lee & Shepard (Boston). Sarah Flower Adams, "Nearer, My God, to Thee." Printed in red on front (repeating title page, except that it retains the original date, 1876, and is thus the same jacket as that listed above under 1876). [Leach sale (1984), lot 22 (not sold).]
80.5.	Whittet & Shepperson (Richmond). George D. Fisher, History and Reminiscence of the Monumental Church, Richmond, Virginia. Printed on spine [Leach sale (1984), lot 25 (with three copies of the jacket; $25).]

1881

 

81.1.

Appleton (New York). Arabella B. Buckley, The Fairy-Land of Science. Printed on front and spine (repeating cover). [Leach sale (1984), lot 27 ($12.50).]

                           

81.2.	Appleton (New York). Arabella B. Buckley, Life and Her Children. Printed on front and spine (repeating cover). [Leach sale (1984), lot 28 (not sold).]
81.3.	Appleton (New York). Joel Chandler Harris, Uncle Remus. Printed on front and back, with F. S. Church illustration from p. 90 and excerpt from review. [Cited by Dauber & Pine in Publishers' Weekly, 117 (15 February 1930), 894-895; and by Rosner (1954), p. xv.]
81.4.	Belford, Clarke (Chicago). Benjamin Disraeli, Endymion. Printed on front (including date and "Key to the Characters in Endymion"), spine, and back (ad with six-paragraph comment on J. W. Gally's Sand and Big Jack Small). [Leach sale (1984), lot 30 ($25). Wilder cat. 15 (1985), item H ($450); list 87-A (1987), item 17 ($275).]
81.5.	Belford, Clarke (Chicago). G. J. Holyoake, Among the Americans and A Stranger in America. [Palinurus cat. 7 (1980), item 209 ($250).]
81.6.	Estes & Lauriat (Boston). Charles Carleton Coffin, The Boys of '61. Printed on spine. [Leach sale (1984), lot 29 ($10)*.]
81.7.	Estes & Lauriat (Boston). Alfred, Lord Tennyson, Song of the Brook, ill. A. F. Bellows et al. Front repeats title-page. [Leach sale (1984), lot 39 ($5).]
81.8.	Fergus Printing Co. (Chicago). Henry Hurlbut, Chicago Antiquities. Printed on spine. [Seen in Titcomb's Book Shop booth at Washington Book Fair, 8 March 1979 ($75). Wilder cat. 15 (1985), item T ($235).]
81.9.	Fergus Printing Co. (Chicago). Henry Tanner, The Martyrdom of Lovejoy. Printed on spine. [Reported to me by Terence Tanner, 18 October 1972.]
81.10.	Houghton Mifflin (Boston). Charlotte Fiske Bates (ed.), The Longfellow Birthday-Book. "Birthday Books." Printed in dark blue on front and spine (repeating cover) and back (ad for series). [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
81.11.	Houghton Mifflin (Boston). Almira L. Hayward (ed.), The Illustrated Birthday Book of American Authors. "Birthday Books." 2nd ed. Printed on front and spine (repeating cover, including designer's monogram "FP") and back (ad for series). [Reported to me by Edward S. Levin, 2005.]
81.12.	Houghton Mifflin (Boston). [Horace E. Scudder], Mr. Bodley Abroad. Pictorial, with ad on back. [Leach sale (1984), lot 36 ($35.)]
81.13.	Lee & Shepard (Boston). John Howard Payne, Home Sweet Home. Printed on front (repeating title-page). [Collection of Herbert Kleist, 1970. Leach sale (1984), lot 33 (not sold). Reported to me by Kevin Mac Donnell, 2005.]
81.14.	Lippincott (Philadelphia). Thomas Buchanan Read, Brushwood. Printed on front and spine. [Leach sale (1984), lot 34 ($5)*.]
81.15.	Lippincott (Philadelphia). Thomas Buchanan Read, Drifting. Printed in red and black on front and spine (repeating cover) and back (ad). [Leach sale (1984), lot 35 ($35).]

           

81.16.	Lothrop (Boston). Martha Perry Lowe, The Story of Chief Joseph. Printed on front (repeating title-page). [Leach sale (1984), lot 32 ($25).]
81.17.	Lothrop (Boston). Samuel Woodworth, The Old Oaken Bucket. (1) Printed on front (repeating cover). (2) Orange, printed on front (repeating title-page). [(1) In stock of Serendipity Books, November 1977. Collection of G. T. Tanselle, 2005. (2) Leach sale (1984), lot 40 ($5)*.]
81.18.	Kegan Paul, Trench (London). Edgar Allan Poe, Poems, introd. Andrew Lang. "Parchment Library." Printed on front, spine, and back (including quotation from reviews of the series). [Lilly.]
81.19.	Routledge (London). Kate Greenaway, A Day in a Child's Life. Pictorial. [Wilder cat. 9 (1984), item 52 ($850).]
81.20.	Routledge (London). Kate Greenaway, Mother Goose. [Pirages cat. 10 (1986), item 288 ($300); cat. 15 (1985), item P ($375).]
† 81.21.	Thorndike (Detroit). The Handy-Volume Shakespeare. 13 vols. Green box, with printed label inside lid. [Leach sale (1984), lot 38 (one vol. lacking; $5).]

1882

               

82.1.	Appleton (New York). Alfred Ayres, The Verbalist. Includes ad on back. [Wilder cat. 72 (1995), item 6 ($295).]
† 82.2.	Harper (New York). Samuel Adams Drake, The Heart of the White Mountains. Box with label. [Leach sale (1984), lot 42 ($50).]
† 82.3.	Harper (New York). Robert Herrick, Selections from the Poetry, ill. Edwin A. Abbey, ed. Alfred Pollard. Decorated box with lettering. [Leach sale (1984), lot 43 ($45). Collection of Ellen K. Morris and Edward S. Levin, 2005.]
82.4	Houghton Mifflin (Boston). The Poems of Thomas Bailey Aldrich. Pictorial jacket. [In stock of The Scholar Gypsy Ltd., March 1977 ($45).]
82.5.	Moses King (Cambridge, Mass.). B. P. Shillaber, Wide-Swath Embracing Lines in Pleasant Places. Printed on front and spine (repeating cover). [Leach sale (1984), lot 47 ($10).]
82.6.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). John Howard Payne, Home Sweet Home. Printed on front (repeating title-page). [Leach sale (1984), lot 44 ($5).]
‡ 82.7.	Lee & Shepard (Boston). Rosa H. Thorpe, The Curfew Must Not Ring Tonight. Box with printed label; jacket. [Collection of Jacob Blanck, 1970 (without jacket). Reported to me by Kevin Mac Donnell, 2005 (jacket).]
82.8.	Lee & Shepard (Boston). J. T. Trowbridge, The Vagabonds. Printed on front (including illustration from title-page). [Collection of G. T. Tanselle, 2005; illustrated by him (1971), plate 7.]

           

† 82.9.	Lippincott (Philadelphia). Thomas Buchanan Read, Christine. Box with printed label. [Leach sale (1984), lot 45 (not sold)*.]
82.10.	Macmillan (London). Jacob and Wilhelm Grimm, Household Stories, trans. Lucy Crane, ill. Walter Crane. Printed in red on front (repeating title-page), spine (including illustrations), and back (ad). [Toronto Public Library (Osborne Collection).]
† 82.11.	Anson D. F. Randolph (New York). S. Alice Bray, The Baby's Journal. Box. [Morrill cat. 219 (1976), item 293 ($12.50).]
82.12.	Smith, Elder (London). John Addington Symonds, Animi Figura. Printed in brown on front (repeating cover), spine(?), and back. [Collection of Timothy d'Arch Smith, 1970 (spine missing); cited by him in "Babington's Bibliography of John Addington Symonds: Some Additions and Corrections," The Courier (Syracuse University Library), 36 (Fall 1970), 22-27 (see p. 23).]
82.13.	A. Williams (Boston). Tributes to Longfellow and Emerson by the Massachusetts Historical Society. [Cited by C. A. Wilson in Publishers' Weekly, 117 (15 February 1930), 894-895; and by Rosner (1954), p. xv.]
† 82.14.	R. Worthingt à n (New York). Handy Illustrated Shakespeare. 8 vols. Green box with hinged lid. [Leach sale (1984), lot 46 ($10).]

1883

               

83.1.	Belford, Clarke (Chicago). George W. Peck, The Grocery Man and Peck's Bad Boy. [Houghton.]
83.2.	Cupples, Upham (Boston). "Owen Innsly" [Lucy White Jennison], Love Poems and Sonnets. 3rd ed. Printed in red on front; flaps (ca. ⅞″) at top and bottom as well as sides (and thus perhaps originally a sealed wrapping?). [Collection of Herbert Kleist, 1977.]
83.3.	Dodd, Mead (New York). Oliver Wendell Holmes, Grandmother's Story of Bunker Hill Battle. [In stock of Mac Donnell Rare Books, 2005.]
83.4.	Ellis (Boston). Francis Power Cobb, Religious Duty. Printed on spine. [Leach sale (1984), lot 49 ($45).]
83.5.	Estes & Lauriat (Boston). Elizabeth Akers Allen, Rock Me to Sleep, Mother. Printed on front. [Collection of G. T. Tanselle, 2005.]
83.6.	Estes & Lauriat (Boston). Hezekiah Butterworth, Zigzag Journeys in Europe. Printed on front (including blurbs), spine(?), and back (ad for The Boys of '61). [Leach sale (1984), lot 48 ($20).]
† 83.7.	Estes & Lauriat (Boston). Thomas Gray, Elegy Written in a Country Churchyard. Box with printed label (book has unprinted jacket). [Leach sale (1984), lot 51 (not sold)*.]
83.8.	Estes & Lauriat (Boston). Friedrich Schiller, Song of the Bell. Light green, printed on front in dark green. [Leach sale (1984), lot 52 ($5).]

                       

83.9.	George C. Hitt (Indianapolis). James Whitcomb Riley, "The Old Swimmin' Hole" and 'Leven More Poems. Brown, printed in red (over wrappers). [Lemperley sale (1940), lot 817. Described by Anthony J. and Dorothy R. Russo in A Bibliography of James Whitcomb Riley (1944), p. 3. Arthur Swann sale (1960), lot 359 ("slightly chipped"). Black Sun Books cat. 49 (1978), item 67 ($950); cat. 70 (1986), item 142 ($550). Martin sale (1990), lot 2236 ($330; the Swann copy, now "in fragments"). Reese cat. 153 (1996), item 557 ($1000).]
83.10.	Kohler Publishing Co. (Philadelphia). Biblische Geschichten. Printed in brown on spine. [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
83.11.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Caroline C. Leighton, Life at Puget Sound. Printed on front and spine with binding design. [Juvelis cat. 97-3) (1997), item 229 ($250).]
83.12.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Augustus Montagu Toplady, Rock of Ages. Printed on front. [Leach sale (1984), lot 54 (not sold).]
83.13.	Lothrop (Boston). Mary E. Wilkins [Freeman], Decorative Plaques. [Virginia (Barrett Collection).]
83.14.	Charles Mann (New York). Laura M. Colvin, Belles and Beaux, with Other Poems. Printed on front and spine (repeating cover). [Leach sale (1984), lot 50 ($5).]
83.15.	Novello (London). Theo Marzials (ed.), Pan-Pipes: A Book of Old Songs, ill. Walter Crane. 2nd ed. Jacket includes illustration by Crane. [Wilder cat. 34 (1989), item 62 ($350).]
83.16.	James R. Osgood (Boston). Nathaniel Hawthorne, Dr. Grimshawe's Secret. Printed on front and spine. [Virginia (Barrett Collection).]
83.17.	Kegan Paul, Trench (London). George Saintsbury (ed.), French Lyrics. "Parchment Library." Light blue, printed on front, spine, and back (list of titles in "Parchment Library"). [Collection of G. T. Tanselle, 2005.]
83.18.	Putnam (New York). Proceedings at the Dinner Given by the Medical Profession of the City of New York, April 12, 1883, to Oliver Wendell Holmes. [Cited by C. A. Wilson in Publishers' Weekly, 117 (15 February 1930), 894-895; and by Rosner (1954), p. xv.]
83.19.	Revell (Chicago). Hannah Whitall Smith, The Christian's Secret of a Happy Life. Printed on front (including "Thirty-Fifth Thousand") and back (ads). [Leach sale (1984), lot 53 ($55).]
† 83.20.	White, Stokes & Allen (New York). Susie B. Skelding, Songs of Flowers. Box with printed label. [Collection of Jacob Blanck, 1970.]

1884

               

84.1.	Appleton (New York). William Cullen Bryant, Poetical Works (1884 printing?). Printed on front (repeating cover), spine, and back (ad, including Parke Godwin's 1883 biography of Bryant and his 1884 edition of Bryant's Prose Writings). [Juvelis cat. 96-1 (1996), item 155 ($150).]
84.2.	Belford, Clarke (Chicago). Hans Christian Andersen, Fairy Tales, trans. Mrs. H. B. Paull. Printed on front and spine (repeating cover) and back (ads). [Leach sale (1984), lot 55 ($40).]
† 84.3.	J. W. Bouton (New York). Laurence Sterne, A Sentimental Journey through France and Italy. Decorated folding cloth box. [Leach sale (1984), lot 63 ($35).]
84.4.	Clarendon Press (Oxford). James A. H. Murray (ed.), A New English Dictionary on Historical Principles. Jackets on original fascicles, 1884-1915, printed on front (repeating cover and title page, except for border and imprint), spine (vertical: title, device, date, letters covered), and back (advertisements, except the first one, which has a blank back). (Fascicles were published both in quarterly "Sections" [of 64, 128, or 192 pages] and, at irregular intervals, in "Parts" that normally combined Sections into 320-page units; therefore the number of fascicles in a complete set varies according to the relative number of Sections and Parts it contains.) [Lilly (50 fascicles in jackets through 1915); cited in Lilly Library Publication No. 19, Printing and the Mind of Man (1973), item 340. Collection of Sandy Malcolm, 2005 (75 fascicles in jackets through 1915). Collection of David Yerkes, 2005 (68 fascicles in jackets through 1915).]
84.5.	Donnelley, Loyd (Chicago). William H. Thomes, The Gold Hunter's Adventures; or, Life in Australia. Printed on front, spine, and back (illustration from book). [Collection of G. T. Tanselle, 2005.]
84.6.	Fergus Printing Co. (Chicago). Ninian Edwards, The Edwards Papers, ed. E. B. Washburne. Chicago Historical Society Collections, vol. 3. Printed on front and spine. [Wilder cat. 72 (1995), item 28 ($175). Collection of G. T. Tanselle, 2005.]
84.7.	Fergus Printing Co. (Chicago). Harvey Reid, Biographical Sketch of Enoch Long, an Illinois Pioneer. Chicago Historical Society Collections, vol. 2. Printed on front and spine. [Leach sale (1984), lot 60 ($20). Wilder cat. 15 (1985), item BI ($235); list 87-A (1987), item 42 ($180). Collection of G. T. Tanselle, 2005.]
† 84.8.	Harper (New York). Edgar Allan Poe, The Raven, ill. Gustave Doré. Blue box, printed in red on front. [Collection of Harrison Hayford, 1970s. Leach cat. 81-4 (1981), item 202 ($250). Leach sale (1984), lot 59 ($260). Collection of Ellen K. Morris and Edward S. Levin, 2005.]

                     

‡ 84.9.	Houghton Mifflin (Boston). The Rubaiyat of Omar Khayyam, ill. Elihu Vedder. Box and jacket. [Phillips Hill Books cat. 13 (1999), item 26 ($950).]
84.10.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). T. Nelson Dale, The Outskirts of Physical Science. Printed on spine. [Leach sale (1984), lot 56 ($5).]
‡ 84.11.	Lee & Shepard (Boston). Ray Palmer, "My Faith Looks up to Thee." (1) Box with printed label (book is in wrappers). (2) Jacket printed on front, including date (book is in cloth). [(1) Leach sale (1984), lot 58 ($5). (2) Collection of G. T. Tanselle, 2005. Reported to me by Kevin Mac Donnell, 2005.]
84.12.	Lippincott (Philadelphia). J. T. Rothrock, Vacation Cruising in Chesapeake and Delaware Bays. Printed on front (repeating cover), spine(?), and back (ad). [Leach sale (1984), lot 61 ($40). Finer cat. 19 (1985), item 323 ($125).]
84.13.	Little, Brown (Boston). "Medicus" [Daniel Denison Slade], Twelve Days in the Saddle. Pink, printed on front. [Leach sale (1984), lot 62 ($45).]
84.14.	Little, Brown (Boston). James Bradley Thayer, A Western Journey with Mr. Emerson. Printed on front (over vellum wrappers). [Leach cat. 71-4 (1971), item 476 ($35). Leach sale (1984), lot 64 ($40). Wilder cat. 15 (1985), item K ($150). Juvelis cat. 96-1 (1996), item 67 ($600); 97-4 (1997), item 54 ($600). In stock of Mac Donnell Rare Books, prior to 2005.]
84.15.	Longmans, Green (London). Andrew Lang, The Princess Nobody. Printed on front (including illustration from p. 51). [Lilly.]
84.16.	Oliphant, Anderson & Ferrier (Edinburgh). Anne S. Swann, Carlowrie; or, Among Lothian Folk. Printed on front, spine, and back (ad). [Ferret 1988 cat., item 133 (£65).]
84.17.	Pu 9 nam (New York). Helen Kendrick Johnson (ed.), Short Sayings of Famous Men. Printed in red on front and spine (repeating cover) and back (ads). [Leach sale (1984), lot 57 (not sold)*.]
84.18.	Scribner (New York). "Ik Marvel" [Donald Grant Mitchell], Reveries of a Bachelor. Printed on spine. [Collection of G. T. Tanselle, 2005.]
§ 84.19.	Thompson (New York). "Don Juan" [John E. Wheelock], In Search of Gold: The Story of a Liberal Life. Printed on front, spine, and front flap (reading "Cut open at this line and use wrapper for outside cover"). [Leach sale (1984), lot 65 ($32.50).]

1885

   

85.1.	Appleton (New York). Alfred Ayres, The Verbalist. Printed on front, spine, and back (ad for "Valuable Hand-Books"). [In stock of Mac Donnell Rare Books, 2005.]
85.2.	Appleton (New York). John Bach McMaster, A History of the People of the United States. Vol. 2. Printed on front, spine, and back. [Collection of G. T. Tanselle, 2005 (my copy of vol. 1, 1883, lacks the jacket; my copies of vols. 3-5, 1900, have the jackets).]

                           

85.3.	Belford, Clarke (Chicago). George Eliot, Felix Holt. Ads for Sohmer Pianos et al. on back. [Leach sale (1984), lot 69 ($5).]
‡ 85.4.	Belford, Clarke (Chicago). George Eliot, Works. 7 vols. Box with printed label (calling for 8 vols., but 7 fill the box); jackets printed on spines. [Leach sale (1984), lot 70 ($30).]
85.5.	Belford, Clarke (Chicago). W. F. Gill (ed.), Papyrus Leaves. Printed on front (repeating title-page) [and other surfaces?]. [In stock of Mac Donnell Rare Books, prior to 2005.]
85.6.	Belford, Clarke (Chicago). "Siva" [Norman Carolan Perkins], A Man of Destiny. Printed in red on front, spine, and back (advertisement for the book itself). [Collection of G. T. Tanselle, 2005.]
85.7.	Adam & Charles Black (Edinburgh). Walter Scott, Waverley Novels. "Centenary Edition." 25 vols., 1885-87. Pink, printed in brownish red on front, spine, back (ad on vols. 6-25), and flaps (vols. 6-25). [Ferret 1988 cat., item 123 (£385).]
	Clarendon Press (Oxford). See 1884.
85.8.	Estes & Lauriat (Boston). Lizzie W. Champney, Three Vassar Girls in South America. Lavender paper, printed on front (including large picture and price), spine, and back (ad for six other books, with picture). [Collection of G. T. Tanselle, 2005. Another copy seen at booth of Tavistock Books, New York Book Fair, 28 April 2005 ($495).]
85.9.	Estes & Lauriat (Boston). John Keats, The Eve of St. Agnes. Printed on front. [Collection of Jacob Blanck, 1970.]
85.10.	Estes & Lauriat (Boston). Edgar Allan Poe, Lenore. Printed on front. [In stock of Mac Donnell Rare Books, 2005.]
85.11.	Houghton Mifflin (Boston). Henry W. Longfellow, The Early Poems. Printed on front and spine. [Leach sale (1984), lot 73 ($10).]
85.12.	Lee & Shepard (Boston). Michelangelo Buonarroti, Selected Poems. Printed on front and spine (repeating cover). [Leach sale (1984), lot 66 (not sold)*.]
† 85.13.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Eleanor Talbot (ed., ill.), My Lady's Casket. Brown paper-covered box, with printed top panel. [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
85.14.	Lippincott (Philadelphia). Gabriel Harrison, John Howard Payne. Rev. ed. Printed on front (including a musical staff, different from the cover) and spine. [O'Neal cat. 13 (1976), item 29 ($35). Cedric L. Robinson cat. 130 (1977), item 302 ($10), offering "new copies in the original printed dust jacket." Leach sale (1984), lot 71 (two copies, not sold). Collection of G. T. Tanselle, 2005.]
85.15.	Lippincott (Philadelphia). Joseph A. Nunes, A Song of the Isle of Cuba, ill. F. C. Lummis. Printed on front and spine. [Leach sale (1984), lot 74 ($10).]

             

85.16.	Macmillan (London). Charles Kingsley, The Water-Babies. New ed., ill. Linley Sambourne. [Toronto Public Library (Osborne Collection). Cited by John S. Hayes in AB Bookman's Weekly, 66 (17 November 1980), 3295.]
85.17.	McLoughlin Brothers (New York). Josephine Pollard, Our Hero General U. S. Grant. Jacket repeats cover illustrations. [Leach sale (1984), lot 75 ($10).]
85.18.	J. S. Ogilvie (New York). Mrs. M. A. Holmes, Woman against Woman. Printed on front, spine, and back. [Ohio State (Charvat Collection); cited by Tibbetts (1973), p. 42.]
85.19.	Kegan Paul, Trench (London). Andrew Lang, Rhymes à la Mode. Printed on front and spine. [Lilly.]
85.20.	Kegan Paul, Trench (London). Edgar Allan Poe, Poems, introd. Andrew Lang. "Parchment Library." [Lilly.]
85.21.	Roberts Brothers (Boston). Charles T. Brooks, Poems, Original and Translated. [Virginia (Barrett Collection).]
85.22.	Smith, Elder (London). A Journel Kept by Richard Doyle in the Year 1840, introd. J. Hungerford Pollen. Printed on front and spine. [Seen at Ulysses Bookshop, October 2003.]

1886

               

86.2.	Adam & Charles Black (Edinburgh). Walter Scott, Waverley Prayers for Church and Home. Black paper-covered hinged box. [Collection of Ellen K. Morris and Edward S. Levin, 2005.]
86.2.	Adam & Charles Black (Edinburgh). Walter Scott, Waverley Novels. "Centenary Edition." 25 vols., 1885-87. Pink, printed in brownish red on front, spine, back (ad on vols. 6-25), and flaps (vols. 6-25). [Ferret 1988 cat., item 123 (£385).]
86.3.	Cassell (New York). Jeannette H. Walworth, Without Blemish: To-Day's Problem [Negro blood]. [Mott cat. 202 (1979), item 194 ($75, a copy "almost without blemish").]
86.4.	Century (New York). Maurice Thompson, The Boys' Book of Sports and Outdoor Life. Printed in dark brown on front and spine. [Leach sale (1984), lot 88 ($80).]
86.5.	Chatto & Windus (London). Bret Harte, The Queen of the Pirate Isle. Printed in color with name of illustrator, Kate Greenaway, noted. [Hime Biblioasis One cat. (1980), item 49 ($1000, with full-page photograph of front on p. 23).]
	Clarendon Press (Oxford). See 1884.
86.6.	Dutton (New York). Henry Wadsworth Longfellow, The Wreck of the Hesperus. [Collection of Herbert Kleist, 1970.]
† 86.7.	Estes & Lauriat (Boston). Thomas Hood, Fair Ines. Box with printed label. [Leach sale (1984), lot 83 ($5)*.]

                       

86.8.	Estes & Lauriat (Boston). Edgar Allan Poe, Lenore. Printed on front. [Wilder cat. 9 (1984), item 97 ($1750); cat. 15 (1985), item Z ($1250); list 87-A (1987), item 39 ($750); cat. 34 (1989), item 197 ($750).]
86.9.	Gilliss Bros. & Turnure, The Art Age Press (New York). Charles Du Haijs, The Percheron Horse. [Mott cat. 215 (1986), item 53 ($500).]
86.10.	Griffith Farran (London). Edith Nesbit and Robert E. Mack (eds.), Summer Songs and Sketches. Printed on front (includes pictorial design not in book); jacket encloses thin booklet and has no spine. [Described in Ferret 1988 cat., item 1 (£175).]
86.11.	Harper (New York). Lee Meriwether, A Tramp Trip. Printed on spine. [Leach sale (1984), lot 84 ($5)*.]
86.12.	Harper (New York). Howard Pyle, Pepper & Salt; or, Seasoning for Young Folk. Printed on front. [Houghton. Leach sale (1984), lot 85 ($160).]
86.13.	Charles Hindley (London). Charles Hindley, The History of the Catnach Press. Blue, printed on front, spine, back (including comment on Catnach), and flaps (all surfaces including woodcuts; 41 mm. of each flap turned in and pasted down for strength, perhaps by former owner). [Collection of Peter C. G. Isaac, 1975; discussed by him (1975), pp. 51-52 (illustrated). Seen at booth of Tavistock Books, New York Book Fair, 28 April 2005 ($475).]
86.14.	C. F. Lawrence (Worcester, Mass.). Ferdinand Gagnon: Sa vie et ses oeuvres. Printed on front. [Leach sale (1984), lot 81 ($5).]
‡ 86.15.	Lee & Shepard (Boston) and Charles T. Dillingham (New York). Alfred, Lord Tennyson, Dora. Box; jacket printed on front (repeating title-page) and back (ad). [Leach sale (1984), lot 86 (without jacket; not sold); lot 87 (without box; $27.50). In stock of Mac Donnell Rare Books, 2005 (without box).]
86.16.	Sampson Low (London). Jules Verne, Mathias Sandorf. Light blue, printed in dark blue. [Ferret cat. Q88 (January 1990), item 575 (£650).]
86.17.	J. S. Ogilvie (New York). T. DeWitt Talmage, The Marriage Ring: A Series of Sermons. Printed on front (with illustration and frame different from cover and title-page), spine (with title The Wedding Ring), and back. [Brick Row Bookshop cat. 98 (1973), item 747 ($20). Collection of G. T. Tanselle, 2005.]
86.18.	Kegan Paul, Trench (London). Edward Dowden, The Life of Percy Bysshe Shelley. 2 vols. [Seen at Ximenes Book Shop, 18 June 1979 ($50).]
86.19.	Providence Press Company (Providence, R.I.). William F. Hutchinson, A Winter Holiday. Printed on front. [Cited by John T. Winterich in Publishers' Weekly, 117 (18 January 1930), 351-352; and by Rosner (1954), p. xv.]

   

86.20.	Rice & Drake [printer] (Waltham, Mass.). "Didama" [Betsy Ann White], Three Holes in the Chimney; or, A Scattered Family. Printed on front (including decorative rules at top and bottom extending onto spine). [Collection of G. T. Tanselle, 2005.]
86.21.	Scribner (New York). Frances Hodgson Burnett, Little Lord Fauntleroy. [Cited by John S. Van E. Kohn in Publishers' Weekly, 132 (30 October 1937), 1732-35.]

1887

                           

87.1.	Allbut & Daniel (Hanley). "A Middy," Charles Wyndham. Pictorial spine. [Wilder cat. 15 (1985), item W ($225).]
87.2.	Appleton (New York). Ralph Abercromby, Weather. [Wilder cat. 70 (1994), item 1 ($225).]
87.3.	Appleton (New York). Alfred M. Mayer and Charles Barnard, Light. "The Experimental Science Series." Ad on back for the series. [Leach sale (1984), lot 92 ($5).]
87.4.	Arnold & Co. (Philadelphia). Mrs. S. T. Rorer, Canning and Preserving. Printed on front, spine, and back. [Leach sale (1984), lot 93 ($12.50).]
87.5.	Adam & Charles Black (Edinburgh). Walter Scott, Waverley Novels. "Centenary Edition." 25 vols., 1885-87. Pink, printed in brownish red on front, spine, back (ad on vols. 6-25), and flaps (vols. 6-25). [Ferret 1988 cat., item 123 (£385).]
87.6.	A. L. Burt (New York). Augusta Evans Wilson, At the Mercy of Tiberius. Printed on front and spine (repeating cover) and back (ad). [In stock of Mac Donnell Rare Books, 2005.]
87.7.	Cassell (New York). J. H. Chadwick, The Whole Truth. Printed on front, spine, and back. [Kent State; cited by Keller (1971), p. 33.]
† 87.8.	Cassell (New York). Walter Scott, Christmas in the Olden Time, ill. Childe Hassam et al. Box, lettered on top. [Leach sale (1984), lot 94 ($40).]
	Clarendon Press (Oxford). See 1884.
† 87.9.	Harper (New York). William Hamilton Gibson, Happy Hunting-Grounds. Box with printed label. [Leach sale (1984), lot 90 ($45).]
87.10.	Houghton Mifflin (Boston). Elizabeth Stuart Phelps, Jack the Fisherman. Printed on front. [Pennsylvania State University.]
87.11.	Longmans, Green (London). Charles Deulin, Johnny Nut and The Golden Goose, trans. Andrew Lang. Printed in brown on front and spine (repeating signed cover design by W. Reader). [Lilly. Collection of Ellen K. Morris and Edward S. Levin, 2005.]
87.12.	Lothrop (Boston). John Brownjohn, The Exploits of Miltiades Peterkin Paul. Printed on front (repeating title-page) and back (ad). [Leach sale (1984), lot 89 (not sold).]
87.13.	Lovejoy's Library (Reading). E. W. [Elizabeth Waterhouse], The Island of Anarchy. Printed in red on front. [Wilder cat. 15 (1985),

               

	item HI ($650); list 87-A (1987), item 54 ($685). Ferret 1988 cat., item 144 (not for sale; reports having seen another copy in jacket).]
87.14.	Kegan Paul, Trench (London). Andrew Lang, Rhymes à la Mode. Printed on front, spine, and back. [Lilly.]
84.15.	Putnam (New York). Washington Irving, Works. 12 vols. "Tappan Zee Edition." Printed on spines. [Leach sale (1984, lot 91 (10 vols.; not sold).]
87.16.	Franklin P. Rice (Worcester, Mass.). Sancta Croce: A Nicotian Treatise. Printed on front (with title) and back ("Q.B.C." [Quinsigamond Boat Club]—thus possibly not the publisher's jacket; but it may be because the title of the book is printed). [Leach sale (1984), lot 95 ($25; two copies).]
87.17.	Roberts Brothers (Boston). Albion Tourgée, Button's Inn. Printed on front and spine. [Collection of Roger E. Stoddard, 1970.]
87.18.	Walter Scott (London). Walt Whitman, Specimen Days in America. [In stock of Mac Donnell Rare Books, prior to 2005.]
87.19.	Scribner (New York). H. C. Bunner, The Story of a New York House. Printed in lavender on front (including illustration, as on cover, by A. B. Frost), spine, and back (advertisement for other Bunner books). [Collection of G. T. Tanselle, 2005.]
87.20.	Scribner (New York). Harold Frederic, Seth's Brother's Wife. [Swann sale 968, 14 November 1974, lot 214. In stock of Serendipity Books, May 1979.]

1888

         

† 88.1.	Samuel E. Cassino (Boston). Lurabel Harlow, Louisa May Alcott: A Souvenir. Box with printed label. [In stock of Mac Donnell Rare Books, prior to 2005.]
88.2.	Belford, Clarke (Chicago). George Macdonald, Wilfrid Cumbermede. "Caxton Edition." Printed on front and spine (repeating cover) and back and flaps (ads for "Best Edition of Caxton 12mos"). [Leach sale (1984), lot 108 (not sold).]
88.3.	Belford, Clarke (Chicago). Dinah Maria Mulock, John Halifax, Gentleman. "Caxton Edition." Printed on front and spine (with design for the series, incorporating space where title of book is printed in red) and back (list of 200 titles in "1888 Edition"). [Collection of G. T. Tanselle, 2005.]
88.4.	Belford, Clarke (Chicago). "Fanny Fern" [Sara Payson Parton], Fern Leaves from Fanny's Port-Folio. "Caxton Edition." Printed on front, spine, and back (ad for "Caxton 12mos"). [Leach sale (1984), lot 112 ($5).]
88.5.	Century (New York). Theodore Roosevelt, Ranch Life and the Hunting-Trail. Front includes illustration by George Wharton Edwards. [Reported to me by Anthony Fair, 1970; Parke-Bernet's "PB-84" cat. 114 (6 November 1970), lot 161; bought by Charles H. Leavell; illustrated by Tanselle (1971), plate 8.]

                             

88.6.	Clarendon Press (Oxford). Perrault's Popular Tales, ed. Andrew Lang. Printed on spine. [Lilly.]
	Clarendon Press (Oxford). See also 1884.
88.7.	Crowell (New York). Leo Tolstoy, What Men Live By. Printed on front. [In stock of Mac Donnell Rare Books, 2005 (later printing?).]
† 88.8.	Dodd, Mead (New York). Elizabeth W. Little, A Log-Book: Notes through Life. Pictorial box, with label repeating front cover. [Leach sale (1984), lot 106 ($10)*. Finer cat. 21 (1985), item 247 ($35).]
88.9.	Estes & Lauriat (Boston). Elizabeth W. Champney, Three Vassar Girls in France. Pictorial jacket; ad on back for "Capital Books for Young People." [Leach sale (1984), lot 102 ($30)*.]
88.10.	Harper (New York). Charles Follen Adams, Dialect Ballads. Printed on front (including blurb) and spine (including price). [Leach sale (1984), lot 96 ($37.50).]
88.11.	Harper (New York). George T. Fish, A Guide to the Conduct of Meetings. Printed on spine. [Leach sale (1984), lot 104 (not sold)*.]
88.12.	Harper (New York). Kirk Munroe, Derrick Sterling. "Young People Series." [Virginia (Barrett Collection).]
88.13.	Houghton Mifflin (Boston). John Fiske, The Critical Period of American History, 1783-1789. Printed on spine. [Leach sale (1984), lot 105 (not sold)*.]
88.14.	Houghton Mifflin (Boston). Oliver Wendell Holmes, Before the Curfew and Other Poems, Chiefly Occasional. Printed on front (with title and lyre, as on cover). [Beinecke. Houghton. Huntington. James Cummins cat. 16 (1985), item 168 ("Sold"). In stock of Robert Rulon-Miller, 21 October 1988. Collection of G. T. Tanselle (2 copies), 2005.]
88.15.	Houghton Mifflin (Boston). James Russell Lowell, Heartsease and Rue. Printed in dark green on front and spine (repeating cover). [Leach sale (1984), lot 107 ($40).]
88.16.	Houghton Mifflin (Boston). Olive Thorne Miller, In Nesting Time. Printed on spine. [Leach sale (1984), lot 109 ($5)*.]
88.17.	Houghton Mifflin (Boston). Mrs. Schuyler Van Rensselaer, Henry Hobson Richardson and His Work. Printed on front. [Newberry. Collection of Richard S. Barnes, 1970s.]
88.18.	Jordan, Marsh (Boston). Frances Hodgson Burnett, Editha's Burglar. Printed on front (repeating cover) and back (ads). [Leach sale (1984), lot 100 ($80). Martin sale (1990), lot 2315 ($330 for lot of four volumes). Seen at Books of Wonder, 26 March 1994.]
88.19.	Longmans, Green (London). A. G. Steel and R. H. Lyttelton, Cricket. "The Badminton Library." Printed on front and spine. [Lilly.]

                     

† 88.20.	Lothrop (Boston). Emma Huntington Nason, White Sails. Box with printed label. [Leach sale (1984), lot 111 (not sold)*.]
88.21.	Joel Munsell's Sons (Albany). American Ancestry. Vol. 3. Jacket repeats cover. [Leach sale (1984), lot 97 ($5).]
88.22.	Obpacher Bros. (Munich and New York). C. W. Reed and Louis K. Harlow, Bits of Camp Life. Printed in brown on front (with illustration). [Leach sale (1984), lot 474 ($35). Wilder cat. 20 (1986), item 8A ($225).]
88.23.	Kegan Paul, Trench (London). Andrew Lang, XXXII Ballades in Blue China. Printed on front, spine, and back. [Lilly.]
88.24.	Porter & Coates (Philadelphia). T. S. Arthur, Orange Blossoms. "Alta Edition" (No. 59). Advertising on back lists titles in series through No. 162 (1888). [Collection of Herbert Kleist, 1970.]
¢ 88.25.	Anson D. F. Randolph (New York). Fanny B. Bates (ed.), Between the Lights. Blue cloth, printed in gold on spine. [Leach sale (1984), lot 99 ($20; two copies).]
88.26.	Routledge (London). Kate Greenaway, Almanack for 1889. [Reese cat. 40 (1986), item 292 ($200).]
88.27.	Scribner (New York). Frances Hodgson Burnett, Sara Crewe. Printed on front, spine, and back (ad). [Kent State; cited by Keller (1971), p. 33. Seen at Books of Wonder, 26 March 1994. Juvelis cat. 97-3 (1997), item 82 ($2000).]
88.28.	Scribner (New York). "Ik Marvel" [Donald Grant Mitchell], Reveries of a Bachelor. [Noted by Harrison Hayford in stock of D. C. Allen, 1970s. In stock of Serendipity Books, August 1979.]
88.29.	J. Stilman Smith (Boston). Edward Everett Hale, My Friend the Boss. Printed on front (with title page, including date). [Virginia (Barrett Collection). Minkoff cat. 86-C (1986), item 66 ($275).]
88.30.	Stokes (New York). "Owen Meredith" [Edward Bulwer-Lytton], Lucile [title-page dated 1888]. Printed on spine (with publisher as "White, Stokes & Allen" [1883-87]). [Collection of Herbert Kleist, 1977.]

1889

       

89.1.	American Publishers (New York). Mayne Reid et al., Stories about Animals. New Edition. "The Berkeley Series of Books for Boys." Printed on front and spine (repeating cover) and back (ad for series). [Leach sale (1984), lot 125 ($7.50).]
89.2.	Appleton (New York). David Kay, Memory. "The International Education Series." Printed in brown, with ad for series on back. [Leach sale (1984), lot 121 ($5).]
89.3.	Art Lithograph Publishing Co. (Munich and New York). James Russell Lowell, An Indian Summer Reverie. Pictorial jacket. [In stock of Tamerlane Books, prior to 2000 ($100).]
89.4.	Belford, Clarke (Chicago). Charlotte Brontë, Jane Eyre. "Caxton Edition." Jacket with design for series. [Juvelis cat. 96-1 (1996), item 154 ($150).]

                           

89.5.	Belford, Clarke (Chicago). Jane Porter, Thaddeus of Warsaw. Printed on front and spine (repeating cover) and back and flaps (ads). [Leach sale (1984), lot 124 ($5).]
89.6.	Robert Bonner's Sons (New York). Oliver Dyer, Great Senators of the United States Forty Years Ago. Printed on front and spine (repeating cover). [Georgetown University, Leach sale (1984), lot 117 (not sold).]
89.7.	Clarendon Press (Oxford). Francis T. Palgrave (ed.), The Treasury of Sacred Song. Printed in blue and red. [Wilder cat. 61 (1993), p. 16 ($375); cat. 72 (1995), item 43 ($375).]
	Clarendon Press (Oxford). See also 1884.
89.8.	Dillingham (New York). Linn B. Porter, Thou Shalt Not (New Series). Printed on front, spine, and back. [Ohio State (Charvat Collection); cited by Tibbetts (1973), p. 42.]
89.9.	Dodd, Mead (New York). Bayard Tuckerman, Life of General Lafayette. Limited edition. 2 vols. Printed on spines. [Leach sale (1984), lot 127 ($20).]
89.10.	R. R. Donnelley (Chicago). Ernest Ingersoll, The Crest of the Continent. Printed in brown on front and spine (repeating cover). [Leach sale (1984), lot 119 ($30).]
89.11.	R. R. Donnelley (Chicago). Stanley Wood, Over the Range to the the Golden Gate. [Hunley cat. 53 (1981), item 426 ($50).]
89.12.	Estes & Lauriat (Boston). Elizabeth W. Champney, Three Vassar Girls Abroad. Printed on front (including illustration and price), spine, and back (ad). [Leach sale (1984), lot 116 ($30).]
89.13.	Estes & Lauriat (Boston). Charles B. Cory, The Birds of the West Indies. Printed on spine. [Seen at Selected Works (Chicago), 20 August 1996.]
89.14.	Griffith, Farran, O Keden & Welsh (London). E. Oxenford and A. Scott Gatty, Sing Me a Song. Printed on front and back. [Bodleian (John Carter Collection).]
‡ 89.15.	Harper (New York). Old Songs, ill. Edwin A. Abbey and Alfred Parsons. Decorated box; jacket printed on front. [Leach sale (1984), lot 122 ($10).]
‡ 89.16.	Harper (New York). Lew Wallace, The Boyhood of Christ. Box with printed label and a folding side; jacket printed in green on front. [New York University (Fales Collection): 2 copies, both in jacket, one in box. Leach sale (1984), lot 128 ($17.50). Collection of G. T. Tanselle, 2005.]
¢ 89.17.	Houghton Mifflin (Boston). Nathaniel Hawthorne, The Marble Faun. 2 vols. Red cloth, printed in gold on spine. [Collection of Charles Gullans, 1971.]

                       

89.18.	Houghton Mifflin (Boston). Elizabeth Stuart Phelps, Jack the Fisherman. Printed on front. [Leach sale (1984), lot 123 (not sold).]
89.19.	Houghton Mifflin (Boston). F Hopkinson Smith, A White Umbrella in Mexico. Printed on front (including drawing of umbrella) and spine. [Leach sale (1984), lot 126 ($30). Collection of G. T. Tanselle, 2005.]
89.20.	Houghton Mifflin (Boston). Kate Douglas Wiggin, The Bird's Christmas Carol. Printed on front and spine (repeating cover). [In stock of Mac Donnell Rare Books, 2005.]
89.21.	Longmans, Green (London). Richard Jefferies, Field and Hedgerow. 2nd printing. Green, printed on front and spine (derived from cover). [Described in George Miller and Hugoe Matthews's Richard Jefferies: A Bibliographical Study (1993), entry B26.3 (pp. 538-539).]
89.22.	Longmans, Green (London). Andrew Lang, The Blue Fairy Book. Printed on front and spine. [Lilly; cited by Josiah Q. Bennett in The David A. Randall Retrospective Memorial Exhibition: Twenty Years' Acquisitions (1975), entry 123.]
89.23.	Lothrop (Boston). Laura D. Nichols, Lotus Bay: A Summer on Cape Cod. Printed on front (including title-page illustration), spine, and back. [Juvelis cat. 94-4 (1994), item 10 ($175); cat. 97-3 (1997), item 94 ($175).]
89.24.	Sampson Low (London). Ernest Giles, Australia Twice Traversed. 2 vols. Printed on front (including illustration from cover) and spine. [Hordern House cat. of 1999, item 43 (illustrated; $17,500).]
89.25.	David McKay (Philadelphia). Gems from Walt Whitman, ed. Elizabeth Porter Gould. [Waiting for Godot Books cat. 37 (1998), item 1943 ($2750, inscribed and annotated by editor).]
‡ 89.26.	Putnam (New York). Washington Irving, The Life of George Washington. "Limited Centennial Edition." 5 vols. Separate box for each volume; jackets printed in brown on front and spine. [Leach sale (1984), lot 120 ($100).]
89.27.	Routledge (London). Octave Feuillet, The Romance of a Poor Young Man. Printed on front and back (including color illustrations by Ludovic Mouchot) and spine. [Seen at William Hale Bookshop, 15 October 1993 ($250). Collection of Ellen K. Morris and Edward S. Levin, 2005.]
89.28.	Routledge (London). Kate Greenaway, Almanack for 1890. Printed in brown on front. [Collection of Ellen K. Morris and Edward S. Levin, 2005 (in plain mailing envelope).]
89.29.	Frederick Warne (London). Horace, The Odes, Epodes, Satires, and Epistles. "Chandos Classics." Printed on spine (including "Chandos Classics No. 132" [number not given in book]). [Collection of G. T. Tanselle, 2005.]

   

89.30.	Whittet & Shepperson (Richmond, Va.). Carlton McCarthy, Our Distingished Fellow-Citizens. Green, printed on front. [Seen at Antiquariat Hindricks, 23 October 1993 ($125).]
89.31.	Charles Whittingham [printer] (London). A. H. Bullen (ed.), Musa Proteria: Love Poems of the Restoration. Maroon, printed on spine. [Collection of Herbert Kleist, 1977. Wilder list 87-A (1987), item 4 ($100).]

1890

                   

90.1.	American Humane Education Society (Boston). Anna Sewell, Black Beauty (with stamp on contents page reading "Presented by James Hislap & Co., New London, Conn. Xmas 1890"). Jacket has imprint of James Hislap & Co. [Wilder cat. 15 (1985), item CI ($350).]
90.2.	Appleton (New York). Arabella B. Buckley, Through Magic Glasses and Other Lectures. Printed in black and red on front and spine (repeating cover) and back (ad). [Leach sale (1984), lot 136 ($10).]
90.3.	Adam & Charles Black (Edinburgh). Walter Scott, The Antiquary. "The Waverley Novels." Printed on front, spine, back, and flaps. [Bodleian (John Carter Collection).]
	Clarendon Press (Oxford). See 1884.
90.4.	Crowell (New York). Thomas Hughes, Tom Brown's School Days. "Luxembourg Edition." Printed in brown on front and spine. [Leach sale (1984), lot 147 (not sold)*.]
90.5.	Donohue, Henneberry (Chicago). W. Gilmore Simms, Border Beagles. "Caxton Edition" (No. 10). Printed on front (repeating cover), spine (repeating cover, plus series number), and back (list of series). [Collection of G. T. Tanselle, 2005.]
90.6.	Donohue, Henneberry (Chicago). W. Gilmore Simms, Katharine Walton. "Caxton Edition" (No. 53). Printed on front (repeating cover), spine (repeating cover, plus series number), and back (list of series). [Collection of G. T. Tanselle, 2005.]
90.7.	Donohue, Henneberry (Chicago). W. Gilmore Simms, Mellichampe. "Caxton Edition" (No. 61). Printed on front (repeating cover), spine (repeating cover, plus series number), and back (list of series). [Collection of G. T. Tanselle, 2005.]
90.8.	Donohue, Henneberry (Chicago). W. Gilmore Simms, Woodcraft. "Caxton Edition" (No. 106). Printed on front (repeating cover), spine (repeating cover, plus series number), and back (list of series). [Collection of G. T. Tanselle, 2005.]
90.9.	Donohue, Henneberry (Chicago). W. Gilmore Simms, The Yemassee. "Caxton Edition" (No. 107). Printed on front (repeating cover), spine (repeating cover, plus series number), and back (list of series). [Collection of G. T. Tanselle, 2005.]

                               

90.10.	Dunlap Society (New York). Laurence Hutton and William Carey (eds.), Occasional Addresses. Jacket over wrappers. [Leaves of Grass cat. 8 (1979), item 13.]
¢ 90.11.	Estes & Lauriat (Boston). George Eliot, Romola. 2 vols. Red cloth, printed in gold on spine. [Reported to National Library of Canada, January 1976. In stock of Mac Donnell Rare Books, 2005.]
90.12.	Estes & Lauriat (Boston). Fred A. Ober, The Knockabout Club in North Africa. Printed in brown on front (including illustration and ad), spine(?), and back (ad for "Entertaining Juveniles"). [Leach sale (1984), lot 155 ($20).]
90.13.	Fergus Printing Co. (Chicago). Edward G. Mason, Early Chicago and Illinois. Chicago Historical Society Collections, vol. 4. [Reported to me by Terence Tanner, 18 October 1972.]
90.14.	Harper (New York). Lafcadio Hearn, Youma. Yellow, printed on spine. [Virginia (Barrett Collection); described by Crane (Summer 1973), p. 37.]
90.15.	Harper (New York). William Dean Howells, The Shadow of a Dream. [Cited by Alexander S. Graham in Publishers' Weekly, 117 (18 January 1930), 351-352; and by Rosner (1954), p. xv, as the "earliest known USA pictorial dust jacket."]
90.16.	Harper (New York). Jorge Isaacs, María, introd. Thomas A. Janvier. Printed on spine. [New York University (Fales Collection).]
90.17.	Harper (New York). Thomas A. Janvier, The Aztec Treasure-House. [Virginia (Barrett Collection).]
90.18.	Harper (New York). Modern Ghosts, introd. George William Curtis. Printed on spine. [New York University (Fales Collection).]
‡ 90.19.	Harper (New York). Austin Dobson et al., "The Quiet Life": Certain Verses by Various Hands. Decorated box; jacket printed in red on front. [Leach sale (1984), lot 159 (not sold).]
90.20.	Harper (New York). Giovanni Verga, The House by the MedlarTree, introd. William Dean Howells. Printed on spine. [New York University (Fales Collection).]
90.21.	Houghton Mifflin (Boston). Thomas Bailey Aldrich, Wyndham Towers. Printed on spine. [Boss cat. 7 (1991), item 2. Sumner & Stillman cat. 52 (1994), item 2 ($195).]
† 90.22.	Houghton Mifflin (Boston). Nathaniel Hawthorne, The Marble Faun. 2 vols. Red cloth box, with gold lettering on end (books are in unprinted red cloth jackets). [Wilder list 87-A (1987), item 28 (lacks box; $185). Collection of G. T. Tanselle, 2005. In stock of Mac Donnell Rare Books, 2005.]
90.23.	Houghton Mifflin (Boston). Sarah Orne Jewett, Strangers and Wayfarers. Green jacket. [Amherst College.]
90.24.	Houghton Mifflin (Boston). John Greenleaf Whittier, Legends and Lyrics. [In stock of Mac Donnell Rare Books, prior to 2005.]
† 90.25.	Joseph Knight (Boston). Walter Kittredge, Tenting on the Old Camp Ground. Box with printed label. [Leach sale (1984), lot 149 ($10).]

                         

90.26.	Little, Brown (Boston). Nora Perry, Another Flock of Girls. Printed in brown (including illustration on front). [Leach sale (1984), lot 156 ($25).]
90.27.	Longmans, Green (London). Andrew Lang, The Red Fairy Book. Printed on front and spine. [Lilly.]
90.28.	Lothrop (Boston). Margaret Sidney, An Adirondack Cabin. Printed in dark green and red on front and spine (repeating cover). [Leach sale (1984), lot 162 ($20).]
90.29.	National Book Co. (New York). Matilda Betham-Edwards, For One and the World. Red, printed on spine. [Leach sale (1984), lot 130 (not sold).]
90.30.	National Book Co. (New York). D. Christie Murray and Henry Herman, The Bishop's Bible. Printed on spine. [Leach sale (1984), lot 153 (not sold).]
90.31.	Kegan Paul, Trench, Trübner (London). Andrew Lang, Rhymes à la Mode. Printed on front, spine, and back. [Lilly.]
†¢ 90.32.	Porter & Coates (Philadelphia). George Eliot, Romola. Large paper. 2 vols. Box with lettering; red cloth jackets, printed on spines. [Bradley cat. 36 (1974), item 262 (without box?). Lawrence sale (1983), lot 209 (without box; [3 vols.?]). Leach sale (1984), lot 142 (two copies, both in box, one in jacket; not sold). Wilder cat. 15 (1985), item J ($100).]
¢ 90.33.	Porter & Coates (Philadelphia). Grace and Philip Wharton, The Wits and Beaux of Society. Large paper. 2 vols. Red cloth, printed on spines. [Seen at Book Barn, Wells, Me., 15 August 1993 ($35).]
¢ 90.34.	Rand, McNally (Chicago). Edward Bulwer-Lytton, The Last Days of Pompeii. 2 vols. Red cloth, printed on front and spine. [Leach sale (1984), lot 151 ($5)*.]
90.35.	Rand, McNally (Chicago). G. O. Shields, Camping and Camp Outfits. Printed on front and spine. [Leach sale (1984), lot 161 ($55).]
90.36.	Roberts Brothers (Boston). Hamilton Wright Mabie, Our New England, Her Nature Described. Printed on front and spine. [Beinecke: 2 copies.]
90.37.	Routledge (London). Kate Greenaway, Almanack for 1891. Back flap larger than the front, to be wrapped around the fore-edge and sealed to create a mailing envelope (space for postage stamp is part of the printed front panel). [Wilder cat. 9 (1984), item 51 ($675); cat. 15 (1985), item Q ($275).]
90.38.	Routledge (New York). Hugh Craig, Grand Army Picture Book. Printed on front, spine, and back (repeating panorama from cover). [Leach sale (1984), lot 139 ($85).]

         

90.39.	Routledge (New York). Hugh Craig, Great African Travellers. Printed on front (and perhaps other surfaces). [Collection of Michael Zinman, 1995.]
90.40.	Schirmer (New York). Rebekah Crawford and Louise Morgan Still, Musicians in Rhyme for Childhood's Time, ill. Albert D. Blashfield. Printed in brown on front and back (repeating cover). [Leach sale (1984), lot 140 (not sold).]
90.41.	Scribner (New York). "Ik Marvel" [Donald Grant Mitchell], Reveries of a Bachelor. Printed on spine. [Leach sale (1984), lot 152 (not sold).]
90.42.	Stokes (New York). "Owen Meredith" [Edward Bulwer-Lytton], Lucile. [Collection of Herbert Kleist, 1970: imprint on spine conforms to style of firm name from 1887 to 1890; imprint on title-page of this copy conforms to style that began in 1890.]
90.43.	Whidden (Boston), J. H. Emerton, The Structure and Habits of Spiders. Printed on spine. [Leach sale (1984), lot 143 ($15).]

Approximate Dates

Circa 1865

 

† X.1.

T. Nelson (London). Barbara Hofland, "Mrs. Hofland's Library for the Young" (ca. 1865). 4 vols. Box with label (label imprint is "New York: T. Nelson & Sons"). [Leach sale (1984), lot 4 ($30).]

1870s

 

X.2.	Putnam (New York). Washington Irving, The Conquest of Granada (1870s). "Handy Volume Edition." Printed in dark green, with initials "RWC" in lower corner. [Wilder cat. 15 (1985), item U ($45); list 87-A (1987), item 32 ($150).]

Circa 1877-79

 

X.3.	Sampson Low (London). Harrison Weir (ed.), The Poetry of Nature (ca. 1877-79). Printed on front with American imprint ("New York: Scribner, Welford & Armstrong"). [Leach sale (1984), lot 13 ($20).]

Circa 1880

   

X.4.	Appleton (New York). William Cullen Bryant, Poetical Works (ca. 1880). Printed on front and spine (repeating cover) and back (ad). [Leach sale (1984), lot 23 ($20).]
† X.5.	Routledge (London). Thomas Moore, Poetical Works (ca. 1880). "Routledge's Illustrated Edition of the Poets." Box with printed label (including list of other titles in series). [Collection of Ellen K. Morris and Edward S. Levin, 2005.]

Circa 1880s

 

X.6.	Hodder & Stoughton (London). Walter Scott, In Ye Olden Time (ca. 1880s). Printed on front and back (derived from cover designs). [Ferret 1988 cat., item 122 (£55).]

1880s or 1890s

 

X.7.	Raphael Tuck & Sons (London). Helen Marion Burnside, Christmas Lights (1880s or 1890s). Printed in brown; front repeats cover illustration. [Juvelis cat. 94-4 (1994), item 13 ($300).]

Circa 1881

 

† X.8.

Routledge (New York). The Handy-Volume Shakespeare (ca. 1881). 13 vols. Green box, with printed label inside lid. [Leach sale (1984), lot 37 ($10).]

Circa 1885

       

X.9.	Belford, Clarke (Chicago). [Dinah Maria Muloch], Miss Tommy (ca. 1885). "Caxton Edition." Printed on front, spine, and back (ad for "Best Editions of Caxton 12mos"). [Leach sale (1984), lot 67 ($5).]
X.10.	Belford, Clarke (Chicago). Doris: A Novel (ca. 1885). "Caxton Edition." Printed on front, spine, and back (ad for "Caxton 12mos"). [Leach sale (1984), lot 68 (not sold).]
X.11.	Belford, Clarke (Chicago). Jane Porter, Thaddeus of Warsaw (ca. 1885). Printed on front and spine (repeating cover). [Leach sale (1984), lot 76 (not sold).]
‡ X.12.	Dutton (New York). Henry W. Longfellow, The Day Is Done (ca. 1885). Box, printed on front; jacket printed in dark brown on front. [Leach sale (1984), lot 72 ($40).]

Circa 1888

       

X.13.	Belford, Clarke (Chicago). Samuel W. Baker, Eight Years' Wanderings in Ceylon (ca. 1888). "Caxton Edition." Printed on front and spine (repeating cover) and back (ad for "Caxton 12mos"). [Leach sale (1984), lot 98 (not sold).]
X.14.	Conkey (Chicago). Ella Wheeler Wilcox, Maurine and Other Poems (1888 or later). (1) Printed in brown on front and spine. (2) Printed on front and spine (including drawings) and back panel and front flap (ads); jacket has imprint of Albert Whitman (Chicago), Conkey's distributor. [(1) Collection of G. T. Tanselle, 2005. (2) In stock of Mac Donnell Rare Books, 2005.]
X.15.	DeWolfe, Fiske (Boston). Charles Dickens, A Child's History of England (ca. 1888). Printed on front and spine (repeating cover) and back (ad). [Leach sale (1984), lot 103 ($5).]
X.16.	Dutton (New York). J. Denham Smith, F. Whitfield, et al., Resting: A Selection of Verses (ca. 1888). Printed on front (repeating cover illustration). [Leach sale (1984), lot 113 (not sold).]

Circa 1890

                             

† X.17.	Art Lithograph Publishing Co. (New York). Isa J. Postgate, A Flight into Fayland (ca. 1890). Box with printed label. [Leach sale (1984), lot 157 (not sold).]
X.18.	Dana, Estes (Boston). Hezekiah Butterworth, A Zigzag Journey in the Sunny South (ca. 1890). Printed on front and spine (repeating cover). [Leach sale (1984), lot 137 (not sold).]
X.19.	Dana, Estes (Boston). Laura E. Richards, Melody (ca. 1890). Printed on front (repeating cover) and spine. [Leach sale (1984), lot 160 ($5).]
X.20.	DeWolfe, Fiske (Boston). Thomas DeQuincey, Nathaniel Hawthorne, William Makepeace Thackeray, et al., Good Stories (ca. 1890). Printed on front and spine (repeating cover) and back (ad). [Leach sale (1984), lot 145 (not sold).]
‡ X.21.	Dutton (New York). Phillips Brooks, Poems (ca. 1890). Box printed in gold; jacket printed in gold on front. [Leach sale (1984), lot 134 ($10).]
† X.22.	Dutton (New York). Evelyn Nesbit, The Lily and the Cross (ca. 1890). Box with printed label. [Leach sale (1984), lot 154 ($5).]
X.23.	Dutton (New York). A Posy of Winter Roses (ca. 1890). Printed in brown on front with floral decoration. [Leach sale (1984), lot 158 (not sold).]
X.24.	Harper (New York). Ignatius Donnelly, Atlantis (ca. 1890). Printed on spine. [Leach sale (1984), lot 141 ($22.50).]
† X.25.	Illustrated Booklet Co. (Chicago). Life of Abraham Lincoln (ca. 1890). Box lettered in gold. [Leach sale (1984), lot 150 (not sold).]
X.26.	Lee & Shepard (Boston). Nathaniel H. Bishop, Voyage of the Paper Canoe (ca. 1890). Printed on spine. [Leach sale (1984), lot 131 ($35).]
X.27.	Lothrop, Lee & Shepard (Boston). Sarah K. Bolton, How Success Is Won (ca. 1890). Orange, printed on front and spine (repeating cover). [Leach sale (1984), lot 133 ($7.50).]
X.28.	Obpacher Bros. (Munich and New York). Jessie Chase, Resurrection Gladness (ca. 1890). Printed in brown on front with flower ornament. [Leach sale (1984), lot 138 ($30).]
¢ X.29.	Porter & Coates (Philadelphia). R. D. Blackmore, Lorna Doone (ca. 1890). 20th edition. Cloth, printed in gold on spine. [In stock of Mac Donnell Rare Books, 2005.]
† X.30.	Frank S. Thayer (Denver). Gems of Colorado Scenery, ill. from photographs by W. H. Jackson (ca. 1890). Box with label. [Leach sale (1984), lot 144 ($60).]
†¢X.31.	Winston (Philadelphia). R. D. Blackmore, Lorna Doone (ca. 1890). 2 vols. Box lettered in gold; cloth jackets printed on spine. [Leach sale (1984), lot 132 ($10).]