Books On Books Collection – Gerald Lange

2023/04/162024/07/13Books On BooksLeave a comment

The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997)

The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997)
Gerald Lange and Rudyard Kipling
H216 x W260 mm. 55 pages with 17 additional illustrated page inserts. Edition of 150, of which this is #149. Acquired from the artist, 11 Febuary 2023.
Photos: Books On Books Collection. Displayed with the artist’s permission.

Gerald Lange’s choice of “How the First Letter Was Written” and “How the Alphabet Was Made” from Rudyard Kipling’s Just So Stories (1902) for this elaborate, delicate but robust edition was fitting. By 1997, he had founded the Bieler Press (1975), co-founded the Alliance for Contemporary Book Arts (1987) and edited its journal AbraCadaBrA for seven years, had been the Master Printer at USC Fine Arts Press and selected as the first recipient of the prestigious Carl Hertzog Award for Excellence in Book Design (1991) and was about to publish the first edition of his Printing Digital Type on the Hand-Operated Flatbed Cylinder Press (now in its fifth edition, 2018). In keeping with his interests leading up to this work, Lange letterpress-printed it from handset Monotype Pastonchi and a digitally altered version of Berthold Post Antiqua. More to the point, as he noted on the Bieler Press site, he chose the stories for “their affinity with subjects related to the lettering arts”. If that affinity is not clear enough from the text, Lange’s treatment underscores it in subtly ingenious ways.

Kipling attributes the drawings throughout to his heroine, Taffi and her father. Where others like Macmillan Children’s Books have rendered them boldly, Lange prints the primitive petroglyph-like images on separate Gampi sheets inserted between the folded Kitakata text leaves of the tortoise shell edge-sewn binding. Those text leaves are individually water colored on their reverse sides (urazaiki manner based on nihonga painting) so that the pictographs beneath reveal themselves through a striated layer. The color and striations are reminiscent of cave paintings. Additional Asian papers (Kasuiri and Chirizome for end sheets, Cogan Grass for covers) increase the work’s tactility — simultaneously soft and rough, flimsy and tough — and contribute a grassy smell redolent of the stories’ physical setting.

The quality and rightness of choices in structure, material and process have placed several of Lange’s works in The British Library, University of California (various), Columbia University, Harvard University, University of Minnesota, New York Public Library, Princeton University, Stanford University, Victoria and Albert Museum, Yale University and others. The initial reason bringing this particular work into the Books On Books collection was its representation of book art inspired by the alphabet. That Robin Price, several of whose works are also in the Books On Books collection, assisted with the design came as a bonus. That this is one of the last bound copies of The Neolithic Adventures of Taffi-Mai Metallu-Mai makes it a treasure.

Books On Books Collection – Don Robb and Anne Smith

2023/03/262024/12/14Books On BooksLeave a comment

Ox, House, Stick (2007)

Ox, House, Stick: The History of Our Alphabet (2007)
Don Robb (text) and Anne Smith (ills)
Casebound, illustrated paper over boards. H280 x W217 mm. 48 pages.Acquired from The Saint Bookstore, 14 August 2022. Photos: Books On Books Collection.
Text copyright © 2007 by Donald Robb. Illustrations copyright © 2007 by Anne Smith/Lilla Rogers Studio.
Used with permission by Charlesbridge Publishing, Inc. 9 Galen Street, Suite 220, Watertown, MA 02472. (617)-926 0329

A fair number of fiction and non-fiction children’s books on the history of the alphabet have made their way into the Books On Books Collection.

Of the fiction variety, there is Rudyard Kipling’s “Just So Story” of the alphabet’s invention: How the Alphabet Was Made (1983), illustrated by Chloe Cheese. Another fiction entry is James Rumford’s retelling of Cadmus’ visit to Crete in There’s a Monster in the Alphabet (2002) and William Joyce’s inventive The Numberlys (2014).

In the non-fiction category are William Dugan’s How Our Alphabet Grew (1972), Tiphaine Samoyault’s Alphabetical Order (1998), Renzo Rossi’s The Revolution of the Alphabet (2009) and the entry here: Don Robb’s and Anne Smith’s Ox, House, Stick.

Ox, House, Stick is scheduled to appear as part of an exhibition at the Bodleian Libraries in Oxford (opening 15 July 2023). “A is for Ox” designates the display case devoted to the question: Where did the alphabet come from? It’s not just a question for archaeologists, historians, linguists and paleographers — or children’s book authors and illustrators. It’s one generating repeated inspiration for book artists as shown by Abe Kuipers’ Letters (1971), Lanore Cady’s Houses & Letters (1977), another rendition of the Kipling tale by Gerald Lange in The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997), designed by Gerald Lange and produced with Robin Price, Dave Wood’s Alphabetica (2002), Cari Ferraro’s The First Writing (2004), and Helen Malone’s Alphabetic Codes (2005).

Artists’ books share much with children’s books in general. They both play with form and structure. They play with words and images, sometimes images without words and sometimes just shapes. Almost always an attention to all the senses. Children’s alphabet books in particular display features that appeal to book artists: play with animals, the Babel of languages, bodies, calligraphy, colors, design (of letters, page and book) and, as above, alphabet origin stories. Viewing and exploring alphabet books and artist’s books side by side heightens the enjoyment and appreciation of both.

Books On Books Collection – John Norris Wood

2023/03/252024/12/14Books On BooksLeave a comment

An Alphabet in Praise of Frogs and Toads (2002)

An Alphabet in Praise of Frogs and Toads (2002)
John Norris Wood
Quarter red morocco over illustrated paper boards, lettered in gilt to spine, housed in black cloth and brown paper slipcase. Slipcase: H245 x W217 x D 20 mm. Book: H235 x W215 mm. 40 pages. Edition of 360, of which this is No. XXI of XXXVI, hand colored by Sylvia Stokeld under the artist’s supervision. Acquired from Sophie Schneideman Rare Books & Prints, 30 March 2022.
Photos: Books On Books Collection.

A passionate lover of animals, [John Norris Wood] opened his home to them (literally: he converted a bedroom to ‘jungle’ conditions, to support tree frogs and snakes, and housed something approaching a private zoo in his extended garden) and maintained an unexpected aviary on the the top floor of the 1960s Brutalist Royal College of Art building. He also undertook natural history expeditions around the world. Writing and broadcasting for television on a number of natural history subjects, he acted as a consultant to the iconic 1979 BBC television series presented by David Attenborough, Life on Earth. Also a committed conservationist, he supported environmental campaigners including Friends of the Earth, the World Land Trust, Fauna and Flora International, the Programme for Belize, the Egyptian Tortoise Appeal and the Environmental Investigation Agency. [Royal College of Art]

Among the subgenres of alphabet books, the animal abecedary reigns. From the animal kingdom, though, frogs and toads are not the highest ranking of the sub-subgenres. Among artists’ books from fine presses, however, this counts among the finest in the Books On Books Collection. Norris Wood drew from life, but it is hard to credit that all 26 of these creatures inhabited his bedroom!

Books On Books Collection – Brynja Baldursdottír

2023/03/102023/03/09Books On BooksLeave a comment

Fuþorc (1992)

Fuþorc (1992)
Brynja Baldursdottír
Casebound in brushed and inked 1.6 mm zinc plate cover. Decorated doublures. Closed: H290 x W160 mm. Open: 320 mm. 32 folios. Edition of 144, of which this is #98. Acquired from the artist, 15 November 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the artist.

Fuþorc, the name of Brynja Baldursdottír’s artist’s book, is the word made from the first six runes of the Runic alphabet, much as alphabet derives from the first two Greek letters alpha and beta. The shield-like covers, laid face down, display all twenty-four runes of the fuþorc. Over time and geography, the runes have changed in number, spelling and meaning, reflected in the explanatory and interpretive Norwegian, Icelandic and Anglo-Saxon versions of the “Rune Poem”. Baldursdottír’s version is “The Old English Rune Poem”, translated by Marijane Osborn and Stella Longland, which is we have the Old English fuþorc rather than the Scandinavian fuþark.

The Runic alphabet divides into three equal parts or ættir (pl. of ætt). In Fuþorc, Baldursdottír signals the beginning of each ætt with a double-page spread in which the eight runes of the ætt arc over a central image containing the ætt’s first letter. Different attributes attach to the ættir and each of the runes they embrace. Using layout of the text and imagery embedded in or surrounding the rune, Baldursdottír has evoked these attributes.

So, for the Ætt of Feoh, figures dance around the Maypole-like rune feoh, which is the first letter of Freyr and Freya who rule over this ætt associating it with agriculture, fertility and sexuality. Although Baldursdottír has Thor ruling over the Ætt of Haegl, it is the Watcher god and goddess Heimdall and Mordgud who rule over it. The seacliff-dwelling goat refers to Heimdall’s usual watch post. The snake to the left of the goat may be Jörmungandr, for which Thor goes fishing in the Prose Edda, which explains the presence of Thor’s hammer in the upper right of the image. Haegl means “hail”, and Heimdall is associated with the kind of disruptive weather threatening the ship at the foot of the image. For the Ætt of Tir, the arrowhead or spear shape of the rune evokes Tyr, the god of war, who rules over this ætt. By shaping each ætt with one of the fundamental geometric shapes of square, circle and triangle, Baldursdottír highlights the elemental nature of the Runic alphabet.

Ætt of Feoh, Ætt of Haegl, Ætt of Tir

In displaying each rune, it is as if Baldursdottír invites the viewer to peer through a rune-shaped stencil to that other world of associated attributes, but as with most divination, the images are partial and ambiguous. Is that a horse or a dragon behind feoh? Hail descending and melting behind haegl? A warship’s prow behind tir?

The runes feoh, haegl and tir

No doubt, more familiarity with the lore of runes would increase the reward of close attention to each image. But many are easily accessible. The image of horses shows well enough through the rune eh (or ehwaz), which means horse, horses or transport, but if there is any doubt, the explanatory text is laid out like reins and a bridle.

The book closes with the Valknut, sometimes called Odin’s knot, at the center of the Acknowledgments. Although runes and symbols such as this may be susceptible to misappropriation, the Acknowlegments themselves serve the Books On Books Collection as a welcome reminder that Fuþorc was first seen among other treasures at Ron King’s home.

Books On Books Collection – Serena Smith

2023/03/102023/06/15Books On BooksLeave a comment

Ekphrasis (2020)

Ekphrasis (2020)
Serena Smith
Case bound with letterpress printed cloth cover H700 x W460 x D20 mm. 23 folios: 2 end leaves, 1 title, 10 hand-colored images printed on to 225gsm Simili Japon, 10 bronzed text printed onto translucent paper. Edition of 5, of which this is #5. Acquired from the artist, 5 January 2023.
Photos: Books On Books Collection. Photos and videos: Courtesy of the artist. Displayed with permission of the artist.

The word ekphrasis refers to the literary practice of verbally representing a visual representation. Think of the poets Keats, Auden and Jarrell using words to “recreate”, re-present, evoke or respond to works of art — an antique urn, a painting by Brueghel, or Donatello’s sculpture of David. Novelists, too. Think of Henry James’ The Ambassadors in which the narrator Lambert Strether describes an imagined stroll through a landscape painting he’s viewing.

Serena Smith has a different point of departure for Ekphrasis. Her dwelling and studio back onto a Leicestershire country park — “part arboretum and part community”. Highlighted with maple, Tibetan cherry and Himalayan birch, the planted woodland of ash and beech with its defined paths offers up “artefact of living trees” as much a constructed work of visual art as any urn, painting or sculpture.

In this bookwork, ten pages of text printed on translucent paper overlay ten images printed from stone. The text reflects on the “wandering, watching and thinking that happens in the parkland”, but then it turns internally to the studio, the ephemera collected from the woodland, and the stage before the images come into being. The process of making becomes an object of the ekphrastic text: smoothing the stone, using a tool to guide the pencil, sharpening the pencil. And gradually the work reveals itself as a self-reflexive meditation on natural and artificial creation, on word and image, and on trace lines of growth and decay.

The translucent pages of text create a palimpsest-like effect over the folios of images. Until the translucent folio turns, the text is indecipherable. As the pages turn, the textual and pictorial play off one another.

Close-up of text

Single-page view of first lithograph

The lithographic image divides into three parts. The jigsaw-like lines around the image of bark come from a stencil tool, and the result chimes with planning lines of landscape architecture, feeding insects’ tracks in the bast, the shape of lichen and ultimately the Ogham runes mentioned in the text and depicted at the end.

First of three-part close-up of the first lithograph

Second of three-part close-up of the first lithograph

Third of three-part close-up of the first lithograph

Glossary

The following ekphrastic words bring the lithographic process to life. Taken together, the glossary, Smith’s descriptive text, and its ekphrastic focus on the lithographic process transform her stone into a kind of Ogham stone itself.

As the drawing progresses I wonder if the hands of Celtic scribes also tired, whilst scoring the lines of Ogham script into fragments of wood. Cutting short repeated grooves against the grain an effort would have been felt, different to that which allowed the tool to willingly travel along the pathways of growth. Perhaps they too made use of a device to control the errant gesture, and aid inscription of measured lines of written text. This can only be speculated.

What the remaining Ogham stones do tacitly share are ciphered incisions that scale their lichen clad faces with a purposeful regularity that resists embellishment. Contouring the edges, the cut lines navigate uneven corners without detour, and prompt me to ask if these scribes, flesh pressed into stone, also briefly held their breath while negotiating the changes in direction prescribed by the matrix.

A version of the text and all of the images can be found in Smith’s brief essay published by IMPACT Printmaking Journal (Spring 2020) and in the following slide show (courtesy of the artist).

Books On Books Collection – Peter Criddle

2023/03/092023/03/09Books On Books1 Comment

Commend Me to the Ampersand (2018)

Commend Me to the Ampersand (2018)
Peter Criddle
Booklet, sewn saddle-stitch, untrimmed at the head. H110 x W154 mm. 10 folios, untrimmed at the head. Acquired 8 September 2022.
Photos: Books On Books Collection.

Like Andrew Morrison’s Ampersand& (2007), also in the Books On Books Collection, Peter Criddle’s booklet is a design festival of ampersands. In his celebration, Criddle uses metal & wood ampersands (whereas Morrison’s are all wooden) , but his effort’s chief distinction is the revival of an extended piece of doggerel, first presented in Punch Magazine (1869).

He’s never bothered, like A.B.C.
In Index, Guide, and Directorie:
He’s never stuck on a Peeler’s coat,
Nor hung to show where the folks must vote.
No, my nice little Amperzand,
My plump and curly Amperzand,
When I’ve a pen in a listless hand,
I’m always making an Ampersand!

Nothing for him that’s starch or stiff,
Never he’s used in scold or tiff,
State epistles, so dull and grand,
Mustn’t contain the shortened and.
No, my nice little Amperzand,
You’re good for those who’re jolly and bland,
In days when letters were dried with sand
Old frumps wouldn’t use my Amperzand!

But he is dear in old friendship’s call,
Or when love is laughing through lady-scrawl:
‘Come & dine, & have bachelor’s fare.’
‘Come & I’ll keep you a Round & Square.’
Yes my nice little Amperzand
Never must into a word expand,
Gentle sign of affection stand,
My kind, familiar Amperzand.

‘Letters Five do form his name:’
His, who Millions doth teach and tame:
If I could not be in that Sacred Band,
I’d be the affable Amperzand.
Yes, my nice little Amperzand,
And when PUNCH is driving his five-in-hand,
I’ll have a velocipede, neatly planned
In the shape of a fly-away Amperzand.

For now, Criddle’s may be “the last word on the ampersand”.

Books On Books Collection – Marie Dern

2023/03/082023/06/09Books On BooksLeave a comment

William Caslon’s Typographic ABC (1991)

William Caslon’s Typographic ABC (1991)
Marie Dern
Double-sided leporello. H11 x W14 mm. 28 panels. Edition of 55, of which this is #1. Acquired from Bromer’s, 5 February 2023.
Photos: Books On Books Collection.

One of the most common precursors to the codex, the leporello, accordion or concertina structure suits this celebration of what is considered the first original English typeface, designed by William Caslon (1692–1766), used to set both the Declaration of Independence and the U.S. Constitution, and so dominant a font since the 18th century that it prompted its own dicta: “When in doubt, use Caslon”. In Marie Dern’s hands, though, the accordion structure is anything but common. Rather than zigzag folding a long strip of paper, she has attached her panels to two parallel strips of linen tape and left just enough space between the pairs of panels to have the hinged leporello fold down into a precise oblong shape.

Caslon has featured in such outstanding books as Oliver Byrne’s The First Six Books of the Elements of Euclid: In Which Coloured Diagrams and Symbols Are Used Instead of Letters (1847), nearly an artist’s book in its own right. Dern might have been more immediately inspired, however, by Chris Van Allsburg’s whimsical children’s book The Z was Zapped: A Play in Twenty-six Acts, Performed by the Caslon Players (1987). From the start, bending the alphabet full circle to the ampersand, Dern’s own whimsy extends beyond the letters themselves.

L: from Byrne’s The First Six Books. Typeroom, 23 January 2020. Accessed 8 March 2023.
R: from Van Allsburg’s The Z was Zapped. Photo: Books On Books Collection.

Given its age and dignity, Caslon attracted a fair amount of rock throwing from designers (especially in the 20th century). While Dern may have her own whimsical fun with Caslon, she doesn’t let the rock-throwers off scot free. Her Caslon’s G puts Frederic Goudy on notice that size does matter, and the Caslon S reminds Eric Gill of the emperor’s new clothes.

Other alphabetical typeface celebrations in the Books On Books Collection include Nicolas McDowall’s A Bodoni Charade (1995), Roberto de Vicq de Cumptich’s Bembo’s Zoo (2000) and Sharon Werner & Sharon Forss’ Alphabeasties and Other Amazing Types (2009).

Books On Books Collection – Lisa McGuirk

2023/02/282023/12/30Books On BooksLeave a comment

If Rocks Could Sing: A Discovered Alphabet (2011)

If Rocks Could Sing: A Discovered Alphabet (2011)
Leslie McGuirk
Casebound, glossy paper over board, illustrated doublures. H21 x W24 mm. 48 pages. Acquired from Paper Cavalier, 2023.
Photos of the book: Books On Books Collection, displayed with permission of artist. © 2011 by Leslie McGuirk. Photos in the book by Denise Ritchie.

Along the Victor Hugo-esque theme of “alphabets all around”, here is a beachcomber’s eye for rock shapes with which to construct not only a complete alphabet but also the images necessary for an abecedary.

Not only a b-shaped stone, but also one shaped like a bird. Likewise a c-shaped stone, but this time a miniature sofa to accommodate the resident stone with a shape to complete the phrase.

McGuirk has spotted stones for verbs as well as adjectives and nouns — all equally astonishing in their serendipity, humor and insight. Perhaps the last is best: the match of the z-shaped stone with a word beginning with z that matches a numeral-shaped stone that, arguably, reproduces the concept at its eroded center.

Books On Books Collection – Maywan Shen Krach and Hongbin Zhang

2023/02/282023/02/27Books On BooksLeave a comment

D is for Doufu: An Alphabet Book of Chinese Culture (1997)
Maywan Shen Krach and Hongbin Zhang
Dustjacket, cased and perfect bound with decorative doublures. H305 x W 258 mm. 32 pages. Acquired from Ultimate Treasures, 9 November 2022.
Photos: Books On Books Collection.
Text copyright © 1997 by Maywan Shen Krach. Illustrations copyright © 1997 by Hongbin Zhang. Permission arranged with Shen’s Books, an imprint of LEE & LOW BOOKS Inc., New York, NY 10016. All rights reserved.
Learn more at leeandlow.com/d-is-for-doufu.

Shen’s Books, founded as a retailer in San Francisco by Maywan Shen in 1985, published D is for Doufu in 1997 as one of its first books in a line of works introducing children to the cultures of Asia and emphasizing cultural diversity and tolerance. That Chinese is, of course, a non-alphabetic writing system presents a challenge and artistic opportunity. D is for Doufu imaginatively and colorfully seized them. Transliteration into Pinyin gave the author Maywan Shen Krach the alphabetic opening, and Hongbin Zhang exploited it by illustrating her twenty-three (no I, U or V in Chinese) words and phrases with their calligraphic representation and his distinctive artwork in handmade papers, brocades and mineral paints.

With its text and art for “Z for zhōng guó” (China), this late 20th century book now has an unintended wistfulness in the context of the minority Uighurs’ plight and the economic and welfare devastation of Covid.

Books On Books Collection – Corinne Ringel Bailey

2023/02/27Books On Books1 Comment

Alphabet Book No. 2108 (1934)

Alphabet Book No. 2108 (1934)
Corinne Ringel Bailey
Linen book. Saddle-stitch, staples, H305 x w255 mm. 8 linen leaves including cover. Acquired 19 January 2023.
Photos: Books On Books Collection.

Known now primarily for its Raggedy Ann books, The Saalfield Publishing Company (1900-77) published a wide range of linen books for children, naturally including numerous alphabet books with different themes. This last of four editions over 1928-34 — an alphabet of games, toys and entertainments — is one of Corinne Ringel Bailey’s more popular illustrated works. Based on library holdings, the most popular was The Adventures of Tom Sawyer published in 1931.

Although spanning the Great Depression, this abecedary depicts a world untouched by hardship. The “Jack & Jill” who come down this hill have a pail overflowing with letters. While the illustrations range back to inexpensive childhood activities (playing catch, hoop rolling, ice sliding and leapfrog), they also include a toy airplane, an electric train set, and a large radio cabinet for bedtime tales. Albeit not technologically advanced, both the pony cart for children under P and the tricycle under V (paying attention?) would have been luxuries — as would the replica steam-driven fire engine as well.

The booklet contains other peculiar leaps. While many of the activities have rural or suburban settings, the organ grinder was and remains an urban phenomenon. Words such as “aeroplane” and “quoits” have a British or European flavor to them (as do some of the dolls’ clothing), but a “yard” is where American children play while British children play in the “back garden”. The children’s clothing looks more American, and although animal crackers (biscuits) originated in England, the box depicted under Z (still paying attention?) looks suspiciously like the one created by Nabisco for its version of animal crackers.

Given the simplicity of most words in the book, “velocipede” seems a rather large one to include — even though it had been used since the mid-19th century on both sides of the Atlantic to cover bicycles and tricycles. Since other alphabet books of the period selected velocipede for V, the choice does not set Bailey’s apart from the crowd pedagogically. The absence of a more considered treatment of uppercase vs lowercase letters, however, does. From hornbooks onwards, most abecedaries present the uppercase and lowercase. In this respect and others, Bailey’s work is more picture book than alphabet book.

Illustration choices seem to have the upper hand. Echoing the animals in the image for Noah’s ark, there’s the clever illustration for “zoo” presenting a box of animal crackers with cookies shaped like those of Nabisco’s “Barnum’s Animals” escaping the box. Although the string attached to the box copies Nabisco’s that it introduced in 1902 for hanging the box as a treat on Christmas trees, the box is labeled “Kiddie Krackers” and does not look like the Nabisco brand box — probably to avoid trademark issues.

In fact, the intensity of colors — in the letters themselves, the bamboo umbrella’s pattern, the children’s ruddy cheeks and knees, and every image — delivers the overriding effect of this abecedary and looks back to the chromolithography of the 19th century, the woodcuts and posters of C.B. Falls and forward to such later 20th century abecedarians as Marie Angel, Sonia Delaunay, Carol DuBosch, Jean Holabird and many others in this collection.

Books On Books

Curated by Robert Bolick

Book Art/Book Arts

Books On Books Collection – Gerald Lange

The Neolithic Adventures of Taffi-Mai Metallu-Mai (1997)

Further Reading

Books On Books Collection – Don Robb and Anne Smith

Ox, House, Stick (2007)

Further Reading

Animal alphabets & artists’ books

Babel, alphabets & artists’ books

Bodies & artists’ books

Calligraphy, alphabets and artists’ books

Colors, alphabets and artists’ books

Design (of letters), alphabets & artists’ books

Structures, alphabets & artist’s books

Books On Books Collection – John Norris Wood

An Alphabet in Praise of Frogs and Toads (2002)

Further Reading and Viewing

Books On Books Collection – Brynja Baldursdottír

Fuþorc (1992)

Further Reading

Books On Books Collection – Serena Smith

Ekphrasis (2020)

Further Reading

Books On Books Collection – Peter Criddle

Commend Me to the Ampersand (2018)

Further Reading

Books On Books Collection – Marie Dern

William Caslon’s Typographic ABC (1991)

Further Reading

Books On Books Collection – Lisa McGuirk

If Rocks Could Sing: A Discovered Alphabet (2011)

Further Reading

Books On Books Collection – Maywan Shen Krach and Hongbin Zhang

Further Reading

Books On Books Collection – Corinne Ringel Bailey

Alphabet Book No. 2108 (1934)

Further Reading