Friday, February 21, 2014

Happy Washington’s Birthday on February 22nd



There have been prints depicting George Washington with his family since the 1790s, when self-taught artist Edward Savage produced one based on the painting he completed in 1796. Especially numerous in the years surrounding the Civil War when political animosities were rampant, such prints presented scenes of domestic tranquility.

Our personal favorite is the mezzotint that William Sartain engraved, based on a painting by Christian Schussele: 


William Sartain after Christian Schussele. Washington and His Family (Philadelphia: Bradley & Co., 1864). Hand-colored mezzotint (proof copy). Purchased with funds from the Davida T. Deutsch Women’s History Fund.

This lofty mezzotint, with its deep black tones and hand-coloring, was produced for the high end of the print market. So imagine our surprise to see that the Schussele composition gets recycled in the 20th century as a lowly postcard: 

After Christian Schussele. Washington Birthday Greetings (ca. 1910). Postcard. Gift of John H. Serembus.


Do plan a visit to the Library Company to see a selection of prints depicting the Washington family – in a mini-exhibition showing off adaptations and responses to Edward Savage’s original work.
Free and open to the public 9 am to 4:45 pm, Monday through Friday.

Cornelia S. King
Chief of Reference

Monday, February 10, 2014

A Few of Our Favorite Things, Part Fourteen: Antoine Simon Le Page du Pratz’s The History of Louisiana, or of the Western Parts of Virginia and Carolina


My favorite thing to show visitors is a copy of Antoine Simon Le Page du Pratz’s The History of Louisiana, or of the Western Parts of Virginia and Carolina (London, 1774). It is the one-volume English translation and abridgement of the three-volume Paris 1758 edition of du Pratz’s book that the eminent Philadelphia botanist Benjamin Smith Barton lent to Meriwether Lewis to take along on the famous expedition of 1804-06. Lewis returned the book to Barton, making it the only book known to have been carried round-trip on the transcontinental expedition. The Library Company acquired it (for $2.60!) in 1823 at the sale of some of the books in Barton’s library.
Before embarking on the expedition, Lewis traveled to Philadelphia in the spring of 1803 to buy supplies and equipment and to receive valuable instruction from a coterie of the foremost scientists in the nation. These scientists, with their area of expertise, were Robert Patterson (mathematics), Andrew Ellicott (surveying and map-making; an ancestor of mine who, sadly, bequeathed me nothing of his mathematical and mechanical genius!), Caspar Wistar (anatomy and fossils), Benjamin Rush (medicine), and Barton (botany).
Benjamin Smith Barton (1766-1815) is known as the “father of American botany.” He was, at various times, professor of natural history, botany, and medicine at the University of Pennsylvania and served as vice president of the American Philosophical Society. Among his numerous publications in many fields are A Memoir Concerning the Fascinating Faculty Which Has Been Ascribed to the Rattle-Snake, and Other American Serpents (1796); New Views of the Origin of the Tribes and Nations of America (1797); Collections for an Essay Towards a Materia Medica of the United-States (1798); and most significantly Elements of Botany, or Outlines of the Natural History of Vegetables (1803), the first American textbook on botany ( a copy of which Lewis and Clark also took on their expedition).
Du Pratz (1695?-1775) was born either in the Netherlands or France and was raised in the latter country. He graduated from a French cours de mathematiques and considered himself an engineer and professional architect. Serving with Louis XIV’s dragoons in the French Army, he saw service in Germany in 1713 during the War of the Spanish Succession. On May 25, 1718 he left La Rochelle, France, with 800 men on one of three ships commissioned by the Company of the West (known also as the Mississippi Company) bound for Louisiana. Du Pratz arrived in Louisiana three months later on August 25, 1718. At that time the colony’s French population was very small and included secular and religious officials; a limited number of concessionaires, who received large land grants; a larger number of habitants, a group that included migrants sent by non-emigrating concessionaires to work their lands; and those who obtained smaller land grants of their own. It appears that du Pratz was one of the last group. All were supplemented by a far more transient population of traders, soldiers, and indentured servants. Du Pratz spent sixteen years in Louisiana, mostly in the Natchez area, before returning to France in 1734. A fuller account of his sojourn and History can be found at http://lewis-clark.org/content/content-article.asp?ArticleID=2372 . It is not known what the former colonial planter did between the time of his arrival back in France and the publication of his first Louisiana article in 1751. He apparently associated with a literary circle, for he claims it was his “learned friends” who persuaded him to begin writing his memoirs. These first appeared in a series of twelve installments in the Journal Oeconomique between 1751 and 1753. And then followed the three-volume work in 1758.
There is no doubt that Lewis and Clark referred to du Pratz’s work during their journey, for in a journal entry of July 5, 1804 and in another document, known as the Fort Mandan Miscellany, William Clark specifically mentions the History.


At the end of the expedition, when Lewis returned to Philadelphia in 1807, he returned du Pratz’s History of Louisiana to its owner. On the fly-leaf he inscribed: “Dr. Benjamin Smith Barton was so obliging as to lend me this copy of Monsr. Du Pratz’s history of Louisiana in June 1803. it has been since conveyed by me to the Pacific Ocean through the interior of the Continent of North America on my late tour thither and is now returned to it’s proprietor by his Friend and Ob[edien]t. Serv[an]t. Meriwether Lewis, Philadelphia, May 9th, 1807.” What a remarkable association copy!

John C. Van Horne
The Edwin Wolf 2nd Director

Tuesday, January 7, 2014

A Few of Our Favorite Things, Part Thirteen: Benjamin Bradley and Six Months in a Convent


The Todd & Sharon Pattison Collection of Signed Benjamin Bradley Bindings has been my first project as a rare book cataloger at the Library Company of Philadelphia. As a relative newcomer to the world of cataloging, I feel fortunate to cut my teeth on such an interesting and gorgeous set of publishers’ bindings.

The cloths on Bradley-bound books range from stunning ribbon-embossed flowers, vines, fruits, and abstract patterns to plain bookcloth with custom stamping on the covers and spines. Bradley was likely the first binder to advertise on cloth covers, using a special die to stamp his name into many of the books bound in his bindery.

A particularly ornate Bradley-bound book using my favorite of Bradley's bookcloths. This binding features gold blocking on the front cover and spine, and blind blocking on the back cover.
By signing his books, Bradley became known for the decorative elements of his bindings. The visual impact of a Bradley-bound book made him the leading cloth case binder in New England by the end of the 1830s. His ability to bind beautiful, quality books quickly and relatively inexpensively helped develop the acceptance of cloth-bound books, and established the material’s dominance as the chief covering for a variety of printed texts.

B. Bradley Binder stamped on the front cover of Six Months in a Convent.

Bradley owed much of his success to the production of a single book: Six Months in a Convent, or The Narrative of Rebecca Theresa Reed,  published in Boston by Russell, Odiorne & Metcalf in 1835. The book became the first anti-Catholic bestseller in America, with more than 50,000 copies sold in the first year of publication.

Rebecca Theresa Reed was raised Protestant in Charlestown, Massachusetts, but converted to Catholicism in 1831 at the age of nineteen. She entered an Ursuline convent in her hometown that same year.  According to her account, Reed suffered and was witness to cruel treatment within the walls of Mount Benedict convent, forcing her to escape and return to her Protestant family and beliefs after only six months in residence.
Six Months in a Convent bound in plain bookcloth.

The introduction to Six Months compares the effect of Reed’s account to Martin Luther’s call for Reformation within the Roman Catholic Church in 1520. Though this comparison seems extreme, Reed’s account certainly made waves both locally and internationally. In 1834, two years after Reed’s departure, a mob set fire to Mount Benedict convent, burning it to the ground. Reed’s account would not be published for another year, but her narrative had already become quite public within her community. The Ursulines directly blamed Reed for the attack on the convent, and claimed the description of her time at Mount Benedict to be absolute fiction.
Six Months in a Convent showing variance in bookcloth color.

Obviously, Six Months in a Convent had a much more positive effect on Bradley’s bindery. For Bradley to have produced over 50,000 copies of Six Months less than two years after the 1833 fire that destroyed nearly all his machines and tools is remarkable to say the least. To offset the losses caused by the fire, Bradley was forced to rethink his methods in order to stay in business. By breaking the binding process down into specific steps to be performed by unskilled workers, Bradley was able to sidestep the traditionally long apprenticeship required for bookbinders, and create an assembly-line process for manufacturing.  Six Months in a Convent is evidence of this revolutionary approach to bookbinding.
Most copies of Six Months in a Convent feature the same ornamental stamping shown in the images above. This copy features Bradley's lyre stamped on the front cover.  

Whether Rebecca Reed’s narrative is founded in fact or fiction is not for me to say. However, it is undeniable that the production of this one book made it possible for Benjamin Bradley’s business not only to continue, but to flourish.
Arielle Middleman
Cataloging Assistant