GB 2

Guide to the John DePol Collection, 1930-2004

By Michael Joseph and Catherine Carey

Special Collections and University Archives, Rutgers University Libraries

Finding aid encoded in EAD version 2002 by Catherine Carey, 2014

Descriptive Summary

Creator: DePol, John, 1914-2004
Title: Guide to the John DePol Collection
Dates: 1930-2004
Quantity: 21 linear feet
Collection No.: GB 2
Language: English
Repository: Rutgers University Libraries. Special Collections and University Archives

Biographical Sketch

Artist and printmaker John DePol was born in 1913 in Greenwich Village in New York City. As a child, DePol sketched views of the downtown area—rivers, piers, parks, architecture. DePol’s life as an artist was complicated by the death of his father, which required him to earn money to help support his mother and sister. Having to work at a young age and turn away from school upbringing remained a conditioning element throughout his life. He would say that at 16 his high school report card showed him flunking every subject but wood–working. In 1935, DePol taught himself etching, a skill he improved in 1938 by enrolling in an evening class in etching and lithography taught by George Picken at the Art Students League. From 1943 to 1945, DePol served in the United States Army Air Force, and while on duty in Northern Ireland made lithographs in the art department of the School of Technology in Belfast. During this period, DePol sketched the sights and scenes of Ireland, images which would later form the basis for a series of wood engravings. He also executed etchings of lonely, rustic village scenes, represented in the Rutgers collection.

Between January 1944 and 1945—the year of his honorable discharge from the service—DePol was also stationed at Chipping Ongar in England and later sent to France and Germany as an Intelligence Specialist with the Headquarters 2nd Air Disarmament Wing. He continued to sketch as he traveled and many scenes from his journeys were later developed as etchings or wood engravings. In August of 1945, DePol executed a series of drawings of Kaufbeuren, Bavaria, which he later painted in water-colors, among the paintings by DePol held by Rutgers.

In 1947, DePol turned his interest to wood engraving, the medium in which he would make his name. In 1950, while working for the L. F. White Company, a print shop, DePol also taught himself printing, under the influence of a number of American private printers.

“I began a second career in 1950 working for the L.F. White Company . . .. Here among other things I worked on a Brower proof press and in 1951 designed, set and printed on it Places & Things, a small booklet advertising my services as a wood engraver. It was the first use of Endgrain Press, my private press imprint.”

In 1950, DePol also illustrated his first book, Liam O’Flaherty’s Two Lovely Beasts and Other Stories and years later a James Plunkett’s The Trusting and the Maimed and Other Irish Stories, proofs of which are in the Rutgers collection.

Among the many kindred spirits DePol would befriend during this period was “the voice of NBC,” between 1930 and 1977, Ben Grauer (1908–1977), called at the time “probably the best known radio and television reporter in America.” When they met, Grauer presided over The Between–Hours Press—a comical allusion perhaps to the famous Hours Press founded between the Wars by the heiress and political activist, Nancy Cunard—and moderated a popular TV show called “Seeing is Believing.” DePol recorded that Grauer came into the office one cold winter’s day “bending under the weight of the little press he was carrying. For some reason it had to be fixed and we had to set a few lines and lock them up with a small engraving of Franklin” that DePol had cut the previous night. In a pamphlet A Brief Account of The Between Hours Press, published by The Privy Council Press (1952), Lew White (owner of L.F. White) remembers that Grauer ordered the engraving as a rush job. DePol, Frank Petrocelli, the managing editor, and White made the necessary repairs and pulled several acceptable proofs, and, thereupon, Grauer hoisted it onto his back again and lugged the press over to NBC where he repeated the performance for the camera on live TV. The date was January 17, 1952, and Grauer—Benjamin Franklin Grauer—had staged the first demonstration of letterpress printing over the television airwaves: a dramatic way to celebrate the birthday of the colonial printer, Benjamin Franklin.

DePol also met professional printers and designers at exclusive gatherings of an informal group (male only, then) calling itself the “Typophiles,” to which White introduced him. Originally dubbed the “Biblio–Beef Eaters,” The Typophiles had been meeting for over two decades when DePol became a member in the early 1950s. Arthur Rushmore (1883–1955), the distinguished art director at Harper & Brothers, who had conceived the new group name in 1930, took an interest in him, and published three books with DePol’s wood engravings under his private imprint, The Golden Hind Press, in Madison, New Jersey: The Ghost Ship by Richard Middleton (1953), The Christmas Tree Auction by Ernst Bacmeister (1954), and Three Wise Men from the West by Jan Naaijkens (1955).

Rushmore’s patronage established DePol in a career that forty years later, John Randle, founder of The Whittington Press, would characterize as a “survey of American private press activity of” the second half of the twentieth century. Printers younger than Rushmore (DePol’s peers), such as John Fass (Hammer Creek Press), Donald von R. Drenner (The Zauberberg Press), John Anderson (The Pickering Press), Frank Petrocelli (The Press of the Iron Horse), and Joseph Graves (The Gravesend Press) sought out his engravings whose bold compositions, tactility and muscularity attest to a rapidly growing confidence in the medium as well as lyrical and narrative gifts. While mid–century America could boast of a number of technically and artistically gifted wood engravers and woodcut artists, such as Bernard Brussel–Smith, Rudolf Ruzicka (1883–1978), J. J. Lankes (1884–1960), Paul Landacre (1893–1963), Clare Leighton (1898–1989), Fritz Kredel (1900–1973), Fritz Eichenberg (1901–1990), and Lynd Ward (1905–1985), it was John DePol’s style that became the signature look of the American press book.

Also through Lew White, who designed the first Ben Franklin keepsake in 1953, DePol became the illustrator for a series that produced 30 keepsakes, of which Rutgers has a complete set. The keepsakes were issued every year to celebrate Printing Week in New York. DePol, a worker of indefatigable energies, would engrave more than 400 engravings for these.

In the mid ‘50s, DePol became a freelance engraver. His work designing pieces for Security-Columbian Banknote Company (later United States Banknote Corporation and Pandick Press) earned him a position at the company, which he kept until his retirement in 1978. Roughly during this period, DePol collaborated with writer, Don Weseley, on a series of keepsakes (1976-1981) that feature his two-color engravings, many returning to his theme of New York views.

DePol retired in 1978. In John DePol and the Typophiles, A Memoir and Record of Friendships, Catherine Tyler Brody writes, “The joy and freedom of this so–called retirement brought forth an almost miraculous creativity and energy.” Retirement heralded a personal renaissance for DePol, a period of unprecedented accomplishment, experimentation, collaboration and influence. He now had the freedom to direct the boundless energy, which perhaps was his most distinctive trait, in whatever direction he pleased. He made new prints, editioned blocks he’d engraved decades earlier in Germany, France and Ireland, strengthened and renewed old friendships with printers such as John Anderson, and reached out to yet another generation of emerging printers and artists, as well as book–lovers, bibliophilic organizations, printing historians and rare book librarians for whom he became a dear friend, mentor, drinking companion and a treasured link to a golden age. In the 1990s, DePol organized a series of workshops at Bowne & Co, Stationers, a part of the Southstreet Seaport Museum, and collaborated with their master printer, Barbara Henry on several books and prints, for which Rutgers possesses documentation. Writing in 2000, Cathy Baker notes that in the twenty years between 1979 and 1998, DePol nearly doubled the output of books and ephemera he’d illustrated in the previous twenty-nine years, between 1950 and 1978. “And these numbers do not include numerous press marks, The Typophiles meeting keepsakes, or the images cut for pattern papers.”

His work is part of the permanent collections of libraries and museums throughout the United States and abroad, including the Metropolitan Museum of Art, the New York Public Library, the Library of Congress, and the Bodleian Library, University of Oxford, Georgetown University and the University of Delaware. DePol’s work has been the focus of numerous exhibitions, at Bowne & Co., Stationers, of the South Street Seaport Museum, Fairleigh Dickinson University, Bucknell University, Syracuse University, Juniata University, and Rutgers University. DePol was the subject of a major exhibition at The University of Delaware shortly before his death in 2004.

John DePol has been honored for his work by his colleagues. He was named an Associate of the National Academy of Design in 1954 and in 1980 to the New York Printers Wall of Fame.

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Scope and Content Note

This collection primarily consists of proofs and prints of wood engravings by DePol. Also included are etchings, paintings, correspondence, exhibition announcements, miscellaneous documents and ephemera, as well as publications and other texts that feature his work or were collected by DePol.

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Administrative Information

Preferred Citation

The John DePol Collection, GB 2, Special Collections and University Archives, Rutgers University Libraries.

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Detailed Description of the Papers/Container List

This section provides descriptions of the materials found within each series. Each series description is followed by a container list, which gives the titles of the folders and their locations in the numbered boxes that comprise this collection.

I. Documentation and Prints 1
Documentation of DePol's career--involvement in professional organizations, materials for published books, publications about DePol, correspondence, etc.
1. The Benjamin Franklin Keepsakes
Box Folder
1 1 Typescript “The Benjamin Franklin Keepsakes which were issued as Typophile Monographs.” List of titles and dates and TM numbering. Noted on bottom “All of above have been illustrated by John DePol.

Folded sheet with typewriting, supplied by DePol: John DePol Collection: The Benjamin Franklin Keepsakes

Documentation. “John DePol Relates Intimate History of Famed ‘Franklin Keepsake’ Series.” Printing News (5 March 1988): 2-3.

Documentation. Typescript and letter from DePol to 'Neil' [Shaver] and photocopy of six pages of the Signing of the Declaration of Independence, by Carl Van Doren.

Photocopy of sections of Hanborough Catalogue 50. Printing, Typography Type Specimens. Item 453G (with reproduction) of Franklin, Inventor, a wood engraving by DePol.

16 proofs, some signed, for engravings in FOLDER NUMBER Keepsakes

Dashes for a Typographic Stage. Offset-printed leaflet featuring a number of wood-engraved dashes most of which were used in the Benjamin Franklin Keepsakes. The original layout was designed by DePol, who signed 80 copies. Published in honor of DePol’s appearance at the American Printing History Association’s conference in Newark, Delaware; this was the keepsake distributed at Oak Knoll Fest XI.

Proof. Sailor with sextant. “For Conn Gazette,” undated, signed.

Proof. Sundial on stone support in field. “Conn. Gazette, June 1957 / 32” signed

Proof. “2 Spots for the Unfortunate Miller,” (p. 314 – Poetica Erotica), undated.

Proof. Two men in field, two color image, undated.
2. Two Lovely Beasts
DePol's wood engravings for the second edition of Two Lovely Beasts and Other Stories, by Liam O'Flaherty, appeared in 1950, published by the Devin-Adair Co.
Box Folder
1 2 Signed proof, ill. for Two Lovely Beasts with caption, “The First Book I Illustrated!”

Unsigned proof, woman in doorway

Signed print. “The Wedding,” ill. for Two Lovely Beasts, 1950, edition of 65

Signed print, “Ill. for a Story,” ill. for Two Lovely Beasts, 1950, edition of 25

Signed print. “Two Lovely Beasts,” with caption, “Ill. for ‘Two Lovely Beasts’—A collection of short stories by Liam O’Flaherty,” 1950, edition of 55

Signed print. “Two Lovely Beasts,” ill. for Two Lovely Beasts, 1950, edition of 55

Signed print. “Life,” ill. for Two Lovely Beasts, 1950, edition of 62

Signed print. “The Flute Player,” ill. for Two Lovely Beasts, 1950, edition of 62

Signed, print. “The Old Woman,” ill. for Two Lovely Beasts, 1950, edition of 50

Signed print. “Two Lovely Beasts,” ill. for Two Lovely Beasts, 1950, edition of 75

Copy of c. 1950 newsletter of The Irish Book Club announcing the publication of Two Lovely Beasts, with commentary by DePol, 1996
3. Colleges, Universities, and Schools
Box Folder
1 3 Wood engraving for Ann and Barnard. Bucknell University, Lewisburg, Pennsylvania.

Wood engraving. Connecticut College, New London, Connecticut.

Folder. The Library. Farleigh Dickinson University (Madison, New Jersey), dated December, 1982.

Folder. The Reverend Bishop: Thomas Coke. Lycoming College (Williamsport, Pennsylvania): 2 color engraved port. in pamphlet with letterpress

Pamphlet inscribed “To John Winchester with best from John DePol, January 1962”

Six loose engravings of Lycoming College in 2 colors with letterpress: John W. Long Library, Bell and Flag Court, Tower of Old Main, The Fine Arts Building, Clarke Memorial Chapel, Old Main

Copies of pamphlets with reproductions of DePol’s wood-engraved portraits: The Chapel Bulletin. Wood engraving of Reverend Mr. John Wesley. Lycoming College (Williamsport, Pennsylvania). Vesper Series, 1959-1960. Wood engraving of Bishop Asbury. Lycoming College (Williamsport, Pennsylvania).

1812-1962: Sesquicentennial Lycoming College in Williamsport, Pennsylvania: Six wood engravings by DePol.
3A Wood engraving. Mill's College.

Pamphlet. John DePol: Wood Engraver. The University of Iowa Libraries, dated 1993.

Wood engraving. Tower, University of Nebraska, dated March 7, 1985.

Wood engraving. El Campanil, Mills College, dated March 16, 1989.

Folder. The Library. Phillips Exeter Academy. Wood engraving by DePol and commentary by Robert N. Shapiro, dated March 1993.

Wood engraving. The L.A Beeghly Library, Juanita College, PA, engravings by John DePol

Wood engraving. Swigart Hall, Juanita College, PA

Wood engraving. Ellis Hall, Juanita College, PA

Wood engraving. Oller Hall, Juanita College, PA

Wood engraving. Founders Hall, Juanita College, PA

Wood engraving. Chapin Library (in Stetson Hall) Williams College, Williamstown, Mass.

Prints with letterpress relating to Harvard Medical School and Francis A. Countway: Port. of Francs A. Countway in 2 colors with letterpress Lahey Room; Stairwell in the Francis A. Countway Library of Medicine; Francis A. Countway Library of Medicine

Prints with and without letterpress relating to Bucknell University: The Library at Bucknell University (no letterpress, variously captioned in ms.); The Ellen Clark Bertrand Library, Bucknell University (with letterpress); Daniel C. Roberts Hall, Bucknell University (with letterpress); The Observatory, Bucknell University

Documentation. Gleeson Library Associates Spring Tour. Wood engraving of El Campanil at Mills College. Mills College Library, dated 1989.
4. Correspondence
This file contains miscellaneous correspondence.
Box Folder
1 4 Holiday greetings to friends dated 17 December 1982

Holiday greetings to friends dated 17 December 1992

Holiday greetings to friends dated 17 December 1996

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated 23 September 1995

Copy of correspondence to Jim Fraser discussing the etching "Washington Square." Dated 4 September 1996

Copy of correspondence to Frank Mattson, former Curator of the Berg Collection, NYPL, discussing DePol's etching

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated 11 January 1997

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated 26 June 1998

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated 29 October 1998

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated 26 March 1999

Copy of correspondence to John Anderson, dated 9 April 1987

The following four pieces in Folder entitled "Letters from John," and dated August 20, 1999: Copy of correspondence to Jim Fraser, Farleigh Dickinson University Library, Madison NJ, dated March 15, 1993
Copy of correspondence to Karl Kup, Curator of Prints, New York Public Library, June 27, 1947
Copy of correspondence to John Buechler, University of Vermont, Burlington, dated September 16, 1987
Copy of correspondence to Lewis and Dorothy Allen, dated February 1, 1991

Correspondence from Michael McCurdy dated February 1, 1996

Correspondence to Jim [Fraser], dated April 28, 1998

Envelope for Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated November 5, 2001

Small note to Michael [Joseph], signed by DePol.

Correspondence about Yale University Press. Post Scriptum, dated September 30, 1999

Copy of correspondence to DePol from Alvin Eisenman, dated October 22, 1957

Envelope (empty). Addressed to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated March 17, 2000

Envelope for Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University. Includes exhibition invitations (3 copies) and correspondence dated November 3

Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated January 24, 2002

Invitation for Michael Joseph to an exhibition at the Join Free Public Library of Morristown and Morris Township

Envelope (empty). Addressed Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University, dated January 25, 2002

Correspondence from Michael Tarachow regarding the sale of some DePol materials by bookseller Rockland Bookman, 7/6/1999

Invitation. “A Gathering at the DePol’s,” August 4, 1979

Correspondence (copy of) to James Fraser, June 30, 1995. Includes notations and additional commentary by DePol, April 18, 1999
5. Documentation
This folder contains miscellaneous documentation.
Box Folder
1 5 Holiday greetings to friends dated 17 December 1982

Documentation. [5] pages of typescript about “Keepsakes,” prints issued by the Pandick Press and Security-Columbian Banknote Company during the 1970s (see Folder twenty-a/b)

Documentation. “John DePol.” American Friends of the Bodleian Newsletter. 22 (Winter 1992/93)

“John DePol.” American Friends of the Bodleian Newsletter 28 (Winter 1995/96)

Documentation. Gourley, Paula Marie, ed. "Stanzas for An Imaginary Garden. "First Impressions: A Newsletter from the Institute for the Book Arts at The University of Alabama. 7 No. 1 (Sept. 1990). Notes that DePol, a noted wood engraver, has created two large wood- engraved Engravings for a bi-lingual limited edition book of poems by Octavio Paz

Documentation. Photocopy of Macaulay, Allen. "History Written on Wood. "The Sunday Record Call (27 October 1968): 6-8. Features reproductions of wood engravings of The West Side of Manhattan and The Harvard Medical Library, The Eliot-Sturgis-Prescott-Dreher House, Lycoming College, The Old Observatory at Bucknell University and a likeness of Samuel Colt by DePol

Documentation. Brody, Catherine Tyler. John DePol and The Typophiles: A Memoir and Record of their Friendship. New York: Typophiles, 1998

Documentation. "John DePol." Printing News (7 September 1998): 1, 8-9 (missing page one)

Documentation. Rutherford, Brett. " Tribute to Wood Engraver John DePol Has Many Memories for New York Area Printers." Printing News (8 February 1999)

Exhibition announcement. John DePol: An American National Treasure. The Book Club of California DePol biography by Donald W. Knoepfler. The Buttonmaker Press dated April 1985

Certification of Endgrain Press. Includes commentary by DePol dated May 1999

Focus article, vol. 5, no. 6. Boston Public Library (Boston, MA), dated May-June 1982

Book Arts program having a great year. Volume 71, Number 9. Mills College (Oakland, CA), dated November 13, 1987

Artist Explores Memories of the West Village Area of His Boyhood by DePol. The Villager, dated November 19, 1981

Booklet about “John DePol in Northern Ireland, 12 March- 8 April 2000” containing several ills. of Ireland. Printed by the Joint Free Public Library of Morristown and Morris Township

Documentation. Draft of exhibition catalog, “John DePol: Etchings, New York and Europe, 1935- 1947,” A catalog of an exhibition 24 November 1996 to 31 January 1997, compiled and edited by Eleanor Friedl, also included is a list of etchings included in the exhibit

Documentation. “Clarke & Way, Young New Firm of Fine Printers.” Publisher’s Weekly 159, (June 2, 1951): 2338-2340

Documentation. “Wood Engraving—An Art Revived,” NYPEN News (November – December 1958)

Documentation. Printout of 1999 version of Finding Aid for John DePol, Rutgers University Libraries Special Collections and University Archives. Includes notations by DePol

Documentation. Photocopy of cover of book, The Godine Pocket Paragon Series, with caption by DePol, “Godine’s new series!” undated

Documentation. Photocopy of page of a book, image and discussion of engraving by DePol, 1989

Manuscript. Bibliographical citation with some description of Engravings on Wood (1887). Possibly in DePol’s hand
6. Ampersand Club
The Ampersand Club of Minneapolis, Minnesota, was founded in 1930 by Frank K. Walter and Arnett W. Leslie. On the Club Website, the mission of the Club is given as “fostering appreciation for the historic and artistic importance of the printed book, and for the arts essential to book production, such as typography, fine printing, binding, papermaking and book design.”
Box Folder
1 6
Invitation to The Ampersand Club. Annual Dinner Meeting. With a wood engraving by DePol

Wood engraving for the Ampersand Club, signed and dated

Invitation to The Ampersand Club Annual Dinner Meeting, May 18, 1995. Includes preliminary sketches by DePol
7. Etchings (1944-1947) and Early Irish Wood Engravings
Included here are etchings made 1946-1947 from sketches of Ireland, England, France, Luxembourg and Germany. When the army sent him abroad in 1943, DePol started to make drawings of the landscapes and villages he visited during the next few years while serving in the army as an Intelligence Specialist. After demobilization, DePol returned to New York and resumed etching, which he had taught himself in 1935, using many of his drawings as subjects. Included in the entries below are the catalog numbers from James Fraser’s, John DePol, A Catalogue Raisonne of his Graphic Work, 1935-1998, referenced as (Fraser, [number]), and, where appropriate, from Renee Weber’s catalog published in conjunction with the exhibition Ireland Remembered (Madison, NJ: Fairleigh Dickinson, 1982), and referenced as (Weber, [number]). Also included here are wood engravings DePol made from Irish and English sketches, as well as some other miscellaneous early (pre-1950) wood engravings.
7-A. Etchings (1944-1947): Etchings, Ireland, Kilkeel-N. Ireland
Box Folder
1 7-A
Drawing. “Kilkeel – N. Ireland,” signed and dated in drawing, 1944. Drawing in black pen for “Kilkeel I County Down—1944”

Etching. “Kilkeel – County Down 1944,” [1947?], ed. of 15 (Frasier, 28E; Weber, 21) Rutgers copies with pencil captions, edition statements, signatures and dates; Rutgers copies numbered 4, 5, 7, 13-15.

Etching. “Kilkeel II N. Ireland—1944,” [1947?], ed. of 15? (Fraser 29E, Weber, 22E). Rutgers copies numbered 1, 6.
7-B. Etchings (1944-1947): Etchings, Ireland, Various (1/2)
Box Folder
1 7-B
Etching. “Near Dungiven, County Derry,” 1946, ed. of 4? signed. (Fraser, 31E; Weber, 18). Rutgers copies numbered 3, 4.

Etching. “Greencastle, County Down, N. I.,” 1944, ed. of 25, signed. (Fraser, 33E; Weber 26). Weber gives ed. size of 4, and Fraser, 50, but DePol note gives ed. of 25: note dated September 23, 1996. Rutgers has 17 copies.

Etching. “Leslie’s Hill,” [1944?] ed. of 14, signed (ed. noted in ms.) (Fraser, 36E; Weber, 27). Fraser and Weber note date and ed. of only 4 copies. Rutgers copies dated in pencil by DePol “1936” with ed. limitation of 14. The date is inconsistent with DePol’s other Irish etchings and his time in Ireland. Rutgers copies 9.2 x 6.2 cm. Rutgers has 11 unnumbered copies.
7-C. Etchings (1944-1947): Etchings, Ireland Various (2/2)
Box Folder
1 7-C
Etching. “Old Distillery at Bally Ronan, N. Ireland, 1944,” 1947, ed. of 26, signed. (Fraser, 37E; Weber, 23). Rutgers copies numbered 13, 19, 22, 15, dated, signed in pencil, with title and edition statement.

Etching. “Repairing a Thatched Roof, 1944, N. Ireland,” 1947, ed. of 12? (Fraser, 38E, Weber 24). Rutgers copies numbered 3 and 4.

Etching. “Repairing Thatch II,” 1947, ed. of 10, signed. (Fraser, 39E, Weber, 23). Rutgers copy numbered, 8.

Etching. “Derry, 1944,” 1947, ed. of 6, signed. (Fraser, 41E; Weber, 20). Rutgers copies numbered 2, 3.
7-D. Etchings (1944-1947): Etchings, France
Box Folder
1 7-D
Etching. “Monastery Church, Parey-sous-Montfort, Haute Vosges,” 1945,” 1946, ed. of 14? (Fraser, 34E). Rutgers copies unnumbered, bearing caption, date and signature and limitation (one copy in pen). Statement (“Ed. 14”); however, Rutgers has sixteen copies.

Etching. “Dom Julien-Haute Vosges-1945,” 1947, ed. of 12, signed. (Fraser, 35E). Rutgers copies numbered 4, 12.

Etching. “Monastery, Parey-sous-Montford, Haute Vosges,” 1947, ed. unknown. (Fraser, 43E). Rutgers has twenty-three unnumbered copies all bearing ms. titles and signatures in pen. Rutgers owns original plate. (See Etching Plates.)

Etching. “Monastery Church, Parey-sous-Montfort, Haute Vosges,” 1945,” 1947, ed. of 26. (Fraser, 44E). Rutgers copies numbered 11, 16, 17, 22, 23, 26.

Etchings. “Rue Brahaut—Vittel—Haute Vosges 1945,” 1947, ed. unknown. (Fraser, 46E). Rutgers copy numbered 6, signed and dated.

Documentation. Two-page typescript about the etching “Monastery, Parey-sous-Montford. Haute Vosges,” dated “August 1985.”
7-E. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (1/9)
Box Folder
1 7-E
Wood engraving. “Bishopsgate,” unsigned, undated. (Fraser, 2W) (missing)

Wood engraving. “The Bridge-Dublin,” 1949, ed. of 5?, signed in green pen. (Fraser, 3W; Weber, 67). Weber has no date, Fraser posits 1948; Rutgers copy dated in ms. 1949. Rutgers copy no. 4

Wood engraving. “Back Street-Limerick,” 1949, ed. of 11, signed (Fraser, 12W; Weber, 29). Rutgers copies numbered 3, 7; one unnumbered signed in green pen.

Wood engraving. “Belfast (Albert Memorial),” 1949, ed. of 5, signed (Fraser, 13W; Weber, 30). Rutgers copies numbered 3, 4.

Wood engraving. “Old Buildings-Belfast,” 1949, ed. of 3, signed (Fraser, 14W, Weber, 31) DePol notes a larger version published as “Lonely Corner.” Rutgers copy numbered 3.

Wood engraving. “Carrick Fergus,” 1949, edition of 55, signed (Fraser, 16W; Weber, 32). Rutgers has multiple copies; one copy numbered 1; one unnumbered copy dated, August 18, 1982.

Wood engraving. “Castle at Carrick Fergus,” 1949, ed. of 5, signed (Fraser, 17W; Weber, 33). Rutgers copy numbered 5.
7-F. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (2/9)
Box Folder
1 7-F
Wood engraving. “Chimney Corner-Limerick,” 1949, ed. of 7?, signed. (Fraser, 19W; Weber, 34). Rutgers copies numbered 3, 7.

Wood engraving. “Magherafelt, N. Ireland,” 1949, ed. of 60, signed. (Fraser, 30W; Weber, 38). Rutgers numbered copy 3, with unnumbered copies.

Wood engraving. “Limerick,” 1949, ed. of 3, signed. (Fraser, 47W Weber, 36). Rutgers has later re-strike in edition of 30 copies.
7-G. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (3/9)
Box Folder
1 7-G
Wood engraving. “Lonely Corner, Belfast” 1949, ed. of [70?], signed. (Fraser, 29W; Weber, 37). Rutgers copy numbered 3; also unnumbered copies

Wood engraving. “Mongret St. Limerick,” 1949, ed. of 70 copies, signed. (Fraser, 31W; Weber, 39). Rutgers has five unnumbered copies.

Wood engraving. “Curved Street, Limerick,” [1949-1950?], ed. 40, signed. (Fraser, 20W; Weber, 45). Rutgers has multiple unnumbered copies, with limitation statement; one copy signed in green pen.

Wood engraving. “Green Castle,” 1949, ed. of 50 copies. (Fraser, 25W; Weber, 54). Rutgers has several copies. One marked “trial proof no. 1” and dated January 21, 1949, on thick, handmade paper; another numbered 3, with ms. date and signature in pencil.
7-H. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (4/9)
Box Folder
1 7-H
Wood engraving. “Old Store Fronts, Limerick,” 1949, ed. of 70, signed. (Fraser, 34W; Weber, 41). Rutgers copies numbered 2, 5; five unnumbered copies.

Wood engraving. “Old Store Fronts, Limerick,” 1982, 1949, ed. of 100, signed. (Cf. Fraser, 34W; Weber, 41). Later re-strike to accompany exhibition. Rutgers has six copies.

Documentation. Photocopy of letter to Renee, from DePol describing “Old Store Fronts, Limerick,” as one of his favorite engravings.

Wood engraving. “St. Mary’s Cathedral, Limerick,” 1949, ed. of 4, signed (Fraser, 39W; Weber, 44). Rutgers copy bears pencil ms. “first proof,” and dated “’49.”

Wood engraving. “Leslie’s Hill, N. Ireland 1949,” ed. of 80 copies. (Fraser, 27; Weber; 35) Rutgers has twenty-nine copies, numbered: 7, 8, 9, 11, 12, 13, 14, 17, 18, 20 numbered 80 [limitation statement] & one with signature and title in green ink.
7-I. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (5/9)
Box Folder
1 7-I
Wood engraving. “Repairing Thatch,” 1949, ed. of 40, signed. (Fraser, 35W; Weber, 42). Rutgers copies numbered, 8-13, 15-18, 23-32, 34-37. Two proofs of later re-strike dated 1982.

Wood engraving. “River Junction in the Sperrins,” 1949, ed. of 55, signed. (Fraser, 36W, Weber, 43). Rutgers copies numbered: 5, 6, 8, 9; five unnumbered copies. DePol notes eleven impressions followed by forty to make ed.

Wood engraving. “Air Raid Shelters-Belfast” 1950, ed. of 20, signed. (Fraser, 42W; Weber, 47). Rutgers copies numbered 5, 6, 7, 9, 10, 15; two unnumbered copies bear later, “8/18/82” date, one with typescript caption referencing Morristown Library exhibition “12 March - April 2000.”
7-J. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (6/9)
Box Folder
1 7-J
Wood engraving. “Café,” 1950, ed. of 25, signed (Fraser, 50W Weber, 48). Rutgers copies numbered: 4, 5, 7-12, 16, 17.

Wood engraving. “Central Belfast (Blythe St.),” [1950?], ed. of 20, signed. (Fraser, 46W; Weber, 49). Rutgers copies unnumbered, with limitation statement.

Wood engraving. “Cottage,” 1949/1950, ed. of 88, signed. (Fraser, 50W; Weber, 51). Rutgers copies numbered 2, 9, with five unnumbered with limitation statement.

Wood engraving. “Evening-Limerick,” 1950, ed. of 40, signed. (Fraser, 54W; Weber, 53). Rutgers copies numbered 9, 12.
7-K. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (7/9)
Box Folder
1 7-K
Wood engraving. “Junction-Belfast,” 1950, ed. of 25, signed. (Fraser, 56W; Weber, 55). Rutgers eleven copies numbered: 1-4, 7, 10-12, 15-17, and two unnumbered re-strikes printed in 1982.

Wood engraving. “McGonigle’s Cottage, [1949?], signed. (Fraser, 57W; Weber, 56). Fraser and Weber offer 1950? As date, but Rutgers copies bear ms. date of 1949. Rutgers copies numbered 2, 3; with five unnumbered copies.

Wood engraving. “Near Castle Dawson, N. Ireland,” [1950?], ed. of 65. (Weber, 57). Rutgers copy bears limitation statement.

Wood engraving. “Ale,” 1950. Ed. of 25. Rutgers copy bears ms. date, limitation statement and signature. Rutgers copy numbered 8.
7-L. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (8/9)
Box Folder
1 7-L
Wood engraving. “Falls Ward, Belfast,” 1951, ed. of 10, signed. (Fraser, 67W; Weber, 58). Rutgers copy in L.W. White presentation folder, with letterpress on back.

Wood engraving. “Glentworth Street-Limerick,” 1951 [ed. 10?], signed. (Fraser, 69W; Weber, 59). Rutgers copies (2) dated in ms.

Wood engraving. “Factory District-Belfast,” 1953, ed. of 30, signed. (Fraser, 79W; Weber, 61). Rutgers copies signed and dated but unnumbered.

Wood engraving. “Chimney Repair-Belfast,” [1955], ed. of 17. (Fraser, 84W; Weber, 63). Rutgers copy on smooth paper with ms in green ink.

Wood engraving. “County ‘Derry,” 1959, signed. (Fraser, 101W; Weber, 66). Rutgers (2) unnumbered copies; one copy DePol’s “file copy” with extensive ms notes.

Wood engraving. “Chinking a Slate Roof-Donegal,” 1949, ed. of 35, signed. (Fraser, 47W; Weber, 50). Rutgers copy numbered 2 on anti-stock (?); with thirteen unnumbered copy bearing limitation statement, on Basingwork Parchment.
7-M. Wood Engravings (1947-19--): Wood Engravings, Ireland, Various (9/9X)
Box Folder
1 7-M
Wood engraving. “Donegal,” 1950, ed. of 25, signed. (Fraser, 51W; Weber, 52) Rutgers has 11 copies, numbered: 13, 14, 15, 18, 19, 20, 21, 22, 23, 24, 25.

Wood engraving. [Untitled], undated, unsigned. Block size 10 x 12.5 cm, man with cane walking down country lane past thatched houses, with house in mid-ground and dark hills in background. Rutgers has 2 copies in 2 states; an early state, with dark cloud and uniformly black hills, and a later state with thick lines drawn through a commensurately lighter sky and more mottled or shaded hills. Signed on block “DE POL,” in pencil one print “N Ireland.” The thick, handmade paper resembles that marked “trial proof” in other wood engravings.
Ulster Railroad Station
7-N. Wood Engravings (1947-19--): St. Mary’s Gate
St. Mary’s Gate in Limerick was the subject of DePol’s first wood engraving in 1947. DePol repurposed the block several times as was his lifelong habit, for a Christmas card in 1947 and again in 1997. He re-engraved the view in 1951 (see Box Twelve) and in 1977 used it for a Christmas card (see Folder Sixteen A)
Box Folder
1 7-N
Documentation. “St. Mary’s Gate, Limerick,” photocopy of print with caption by DePol, “…my first engraving on wood; to accompany a long letter to old GI friends…,” 1947, this represents DePol’s first wood engraving.

Documentation. “St. Mary’s Gate in Limerick,” photocopy of print with caption by DePol, “My first wood engraving, Fall of 1947, when we lived in a furnished flat in ‘ugly, teeming Astoria’ (Time Magazine).”

Proofs. “St. Mary’s Gate, Limerick,” wood engraving, [1951]. (Frasier, 70W) Rutgers has three proofs, out of edition. One proof has typescript note dated “May 1998”; proof 2 has title “St. Mary’s Gate—Limerick”, date and signature in pencil; proof 3 has title and signature in pencil.

Documentation. Three photographs of St. Mary’s Gate dated “8/00.”
7-O. Wood Engravings (1947-19--): Sunday in Limerick
Box Folder
1 7-O
Wood engraving. “Sunday in Limerick, 1947,” 1949, ed. of 60, signed. (Fraser, 40W; Weber, 46) Rutgers copies numbered 2, 12, 15, 16, 17, 18, 33, 35, 36, 38, 40, 41, 42, 45, 46.
7-P. Wood Engravings (1947-19--): English Etchings
Box Folder
1 7-P
Etching. “English Air Base.” (Fraser, 50E) Fraser records plate etched in and printed in 1945, then forgotten and rediscovered in 1997. Rutgers has 4 copies: three bear pencil captions, signatures and date, “Jan. 1997.” One copy mounted on board bears ms “Work copy – 2nd proof (I think) DePol.”

Etching. “St. Martin in the Fields, London 1944,” 1947, ed. of 12, signed. (Fraser, 25E) Rutgers copies numbered 9, 11, signed and dated in pencil.

Etching. “Bomb Hit-Near Piccadilly 1944,” 1947, signed. (Fraser, 26E) Rutgers has multiple copies (numbered, 5, 10, 14, 16), with pencil captions, signed and dated. One copy marked in ink “Printed at ASL [Art Students League] March 1947.”
Etching. “Cripplegate-London, 1944,” 1946, signed, ed. of 13? (Fraser, 27E). Rutgers copies numbered 9, 11.

Etching (re-strike). “The Bow Bells, London 1944,”1947, [1996] (Cf. Fraser, 40E) Appears to be a late re-strike of the 1947 etching. DePol ms on accompanying sheet indicates ed. of 30 and date of printing [Sept. 1996], and paper. Rutgers has 21 copies on Magnani paper, 19 of which have pencil captions and 3 copies on Rives paper without captions.
7-Q. Wood Engravings (1947-19--): English Etchings
Box Folder
1 7-Q
Etching. Untitled (village), unsigned, undated. 20 x 15 cm.

Etching. “Rue Wiltheim, Luxembourg,” [1945 or 1946], ed. of [5 or 6], signed. (Fraser, 42E) Fraser gives 1945 as date, but DePol ms. date is 1946. Rutgers has 3 unnumbered copies.

Etching. “St. Martin’s Cathedral, Kaufbeuren, Bavaria,” 1946, ed. of 24, signed. (Fraser, 49E) Rutgers has 19 copies, 17 with pencil captions and dates.
7-R. Wood Engravings (1947-19--): Other Early Wood Engravings & Miscellaneous
Box Folder
1 7-R
Wood engraving. “Bomb Damage, Augsburg,” engraved in 1945 and printed in 1983. Edition of 150, signed. (Fraser, 15W). Rutgers has 3 unnumbered copies.

Wood engraving. “Gemmelaincourt – Vosges,” 1949. (Fraser, 24W)

Wood engraving. “Landsberg,” 1949, [ed. of 4?], signed. (Fraser, 26W) Rutgers copy signed, titled and numbered (”4”) in pencil.

Wood engraving. “St. Remimont-Vosges,” 1949, ed. of 5, signed. Not in Fraser. Rutgers copy “5,” bears pencil caption, name, and date.

Wood engraving. [Ex-libris, John H. DePol], 1949, ed. of 5. Early ex libris (though of a very limited library). Rutgers copy numbered (4), bears additional title “St. John’s Castle-Limerick,” title, date, and limitation statement. Miniature, 38 x 38 mm

Wood engraving. R for Rain, 1950 ed. of 15, signed. (Fraser, 59W) Rutgers copy numbered 8.

Wood engraving. “St. Bartholomew’s Entrance, London,” 1950, ed. of 35, signed. (Fraser, 61W) Rutgers copies numbered (15, 19, 25, 31, 34), bear pencil title, signature, date and limitation, “April 1950.”

Wood engraving. “Station-Starlight, PA,” 1950, ed. of 25, signed (Fraser, 63W) Rutgers copies numbered (1-7, 15, 17, 19, 24) bear pencil title, signature, date, and limitation. Rutgers copies numbered (9, 11), bear pencil signature, date, title and copy number.

Wood engraving. “Detail-London Bridge,” 1950, ed. of 5. Not in Fraser. Miniature 24 x 32 mm. Not signed on block. Rutgers copies (numbered 1 and 4) bear pencil notations, including title, date “April 1950,” and ed. statement (1/5).

4. p. advertisement. “John DePol, wood engraver: Ills., marks, bookplates &c. 35-35 82nd St., Jackson Heights, N.Y.”; with engraving of desk and chair, block, graver, lamp. Printed at the Press of the Iron Horse, Flushing, New York. [ca. 1953]

Proof. Irish man in long coat and hat: possibly for James Plunkett The Trusting and the Maimed, and Other Irish Stories (1955)?

Signed proof. Weathervane, “For Columbia University Press (Title Page Decoration),” January 1957

Print. Odd Looking Boat. Signed in pencil. Ed. 20 1958. Fraser 100W

Drawing. Untitled charcoal sketch, (village scene), undated

Wood engraving. [untitled] (plane in sky), undated, signed. 9.2 x 3.8 cm

Wood engraving. untitled, [thatched cottage with two bare trees: Irish?], undated, signed on block “D” on lower left

Proof. (Place setting), undated (signed D)

Signed proof from early book (?) of three Englishmen in nineteenth century winter clothing and top hats, one carrying a lantern

Folded page with three prints. “Close in Edinburgh,” “Pewter Measure, Victorian, c. 1870,” “St. Bartholomew’s Entrance, London,” undated (signed “DePol” on block)
7-S. Early Inventories
DePol's Inventories of Selected Etchings, Lithographs, and Wood Engravings, with documentation about his Irish period.
8. Keepsakes (Wood engravings)
This folder contains miscellaneous keepsakes. Where possible, other keepsakes have been distributed among private presses, i.e. Typophile Keepsakes, Pandick Press Keepsakes, etc.
Box Folder
2 8
[Poor man in hat drinking cup of coffee]. Issued in folder by L.F. White Company, New York. “Number five in a series.” [Between 1951-1955]

Noah Webster, 1758-1843. Printed “(belatedly)” at The Thistle Press in honor of Webster’s Anniversary” [1958?]

Pamphlet. The John Archer Society: Honoring America’s First Medical Graduate [1957-1958] With 2 color portrait of John Archer

Broadside with red initial: “The Old Mill at Deepdene, built about 1790 . . ..” “printed on the Albion hand press originally acquired and used by the Goudys from 1915 to 1947 . . . March, 1979” and signed in pencil, with engraving.

Wedding announcement. For Eugene L. Brancolini and Kristine L. Rinella, December 3, 1983; with monogram engraved over heart, printed in gold.

Marriage announcement, [4] p. of Karen Werner to Kenneth Botnick, dated “19 May 1985,” with engraving on front, a monogram made up of intertwined letters of couple’s names, printed in red.

Pamphlet. The Goudy Society Celebrates the 125th Birthday of Frederick W. Goudy, Thursday, March 8, 1990. Printed by M.A. Gelfand at The Stone House Press in an ed. Of 325 copies, with engraving by DePol; with engraving by DePol (see box five, B-15).

“A corner of the top floor of the Mill at Deepdene in Marlboro, New York in 1939 . . . printed by John DePol on the Goudy Albion at Endgrain Press in Park Ridge, New Jersey in March nineteen ninety. He was ably assisted by Neil Shaver.”

Pamphlet. The Eighth Annual William Cullen Bryant Lecture (November 17, 1991); with engraving by DePol (correlates to block in collection: (see B-25, box six).

The Ampersand Club, annual dinner for Harold Kittleson. 1995 Dinner Meeting Keepsake with envelope. (missing)

To Robert Lincoln Leslie on his Ninety-Eighth Birthday . . . 1983; with 2-color engraving.

To Robert Lincoln Leslie on his One Hundredth Birthday . . . 1985; with 1-color engraving.

“Thank you, Bob Leslie / / A lamplighter on the streets of New York at 14 . . .” printed by Morris A. Gelfand: The stone House Press, with wood engraving by John De Pol of boy in cap, a lamplighter, lighting a streetlamp.”

Robert Lincoln Leslie, A Goodly Heritage. A keepsake for the memorial honoring Dr. Robert Leslie, engraving by DePol. May 29, 1987, produced at the Stone House Press.

Proof of engraving (of Robert Leslie) with ms annotation: “1st color, made Nov. 1980 . . . no second color was printed.”

“Heralds of Oldtime Trade Relics of Vanishing Americana,” Foreword by P.K. Thomajan, wood engravings by John DePol, Press of the Iron Horse, 1953.

“The Symbols,” John Holmes, wood engraving by John DePol, The Prairie Press, Iowa City, 1955.

Bookmark. “John Sloan Collection,” 1997 wood engraving by John DePol after a 1939 self-portrait drawing by John Sloan.

Keepsake. “Commemorating Chanukah The Festival of Lights,” designed and illustrated by John DePol, undated.

Keepsake. “The Tenth Annual William Cullen Bryant Lecture, Henry Louis Gates Jr.” printed by The Stone House Press, November 14, 1993.

Event Program. “The Delbarton Mothers’ Guild presents The Annual Fall Luncheon, Bridge & Fashion Show,” October 27, 1965.

Keepsake. Javelin House. Headquarters of Canadian Javelin Ltd., St. John’s Newfoundland. [no date]. Rutgers has three copies: c1-2 are printed in black and light green; c2 signed and contained in presentation folder with letterpress about Javelin House: “one of a limited first edition printed directly from the blocks.” C3. Printed in gold and black

Print. 2 colors [Mergenthaler with Whitelaw Reid] historic recreation. In tan folder, made to commemorate the 75th anniversary of Linotype, April 1961.

Proof of the above with typescript by DePol dated, Sept. 1997.

Print. A Book’s Many Forms. Signed and dated with limitation statement: “March 1987, for APHA [American Printing History Association] Journal, ed. 100.”
9. Publications, Miscellaneous Organizations
Publications not included under specific Private Presses, and organizations for which DePol did work. Clubs and organizations for which he did extensive work, i.e. The Typophiles, The Rowfant Club, are housed separately, by name of organization.
Box Folder
2 9
The Old Ste House, Boston: To commemorate the Centennial of the Boston Safe Deposit and Trust Co. 1875-1975. Signed two-color wood engraving dated 1975 accompanies booklet by Sinclair and Catherine F. Hitchings.

Bookways: A Quarterly for the Book Arts. Nos. 13 & 14. October 1994-January 1995. Publication announcement for We the Women: Career Firsts of 19th-Century America, by Madeleine B. Stern

Prospectus for Madeleine B. Stern, We the Women: Career Firsts of 19th-Century America (with wood engravings by DePol)

Engraving of odd assortment of things: scroll or possibly diploma tied up with ribbon, dental instruments and telegraph key. With ms note in pencil and pen pertaining to Old Books/Rare Friends, book by Madeleine Stern and Leona Rostenberg, (NY Doubleday, 1997)

Broadside: Prospectus for An Anthology of Delaware Papermaking: with an Introduction by Gordon A. Pfeiffer; and four wood engravings by John DePol.

Signed proofs titled “Papermakers,” one dated “11.17.90,” and one bearing additional title Delaware Bibliophiles

Repro proof of above

Proofs of Delaware Bibliophiles logo, some signed and dated “8.9.92/xv”

Proofs. Sailing ship with initials “AHHL,” for August Hecksher of Press at High Loft

Print of the above, with pencil note, signed and dated “3 February 1988,” [ed. of] “22”
10. Miniature Prints
Includes a print made for The Miniature Print Society, and miniature engravings (possibly meant for occasions not documented or documented elsewhere in this collection); also small engravings that could not be identified; miniature engravings for specific presses, occasions, of specific place, etc. are housed elsewhere in the collection.
Box Folder
2 10
Ex-Libris Michael Gunn, 1949, ed. of 4. Rutgers copy numbered 2/4, (Fraser, 23W).

B is for Boat, 1950, ed. of 25. Rutgers copies numbered 5, 24, (Fraser, 44W)

Winter, an original wood engraving . . . presented in a limited edition . . . for . . . Miniature Print Society (1953), (Fraser, 83W)

Documentation describing Winter, a wood engraving by DePol. Includes photocopy of Winter, from The Jerry W. Horn Gallery Home Page.

You Can Judge a Book by its Cover, by Bernard Middleton (1995. Pico Rivera, Ca., Kater-Craft Bookbinders): Correspondence, prints and proofs relating thereto, in folder prepared by DePol for his files

Proof of Johannes Gutenberg carrying book under left arm, in oval, signed in pen

Proof of three images: bowls, cup and clock; glass, bottle and pipe; black (back of block?)

Proof of three story house with chimney, signed in pen

Proof. Woman weeping at gravestone beside house

Signed print. Moon in dark sky, signed “D/4/12.20.89”

Signed proof. Barn and silo, in oval, signed in pencil

Miniature of landscape: house, tree, distant mounts, road, sky: mounted on rust colored card stock, folded

Signed proof. Three story manor house or historic house, within oval, signed in pencil, on folded sheet, inscribed on back “At Yale”

Signed proof. Three story tower with rustic attachments, in oval, inscribed on back “At Yale”

Signed proof. Small town, with cobblestone-street, in oval, signed and dated 3.25.93 D”

Signed proof. Irish man in front of two story building, done for James Plunkett, The Trusting and the Maimed, and Other Irish Stories

Typographical joke. Type stick with type (n swapped for u) misspelling “ouch” as “onch”

Proof. Two upper floors of brick tower
11. The Typophiles
On its Website, The Typophiles are described as “a not-for-profit educational association that encourages the appreciation and production of fine typography and bookmaking.” The present (July, 2011) logo of The Typophiles is a reproduction of a DePol wood engraving. The date of origin for The Typophiles association is unknown, thought to be either 1930 or 1933. Material printed for The Typophiles is also located in folders relating to specific private presses, such as South Street Seaport, and The Glad Hand Press, and to occasions, such as The 50th Anniversary Celebration, and possibly in other folders as well. All keepsakes bear DePol engravings and, unless where indicated, unpaginated single folded sheets.
11-A. The Typophiles Keepsakes
DePol's Inventories of Selected Etchings, Lithographs, and Wood Engravings, with documentation about his Irish period.
Box Folder
2 11-A
The Lord’s Prayer. “A facsimile of John Fass’ The Lord’s Prayer, printed by Stone House Press for meeting of Typophiles September 19, 1990

Stephen R. Stinehour, for Typophiles meeting 9/25/1991, printed by The Stone House Press, text by P.S.

Alvin Eisenman, for Typophiles meeting 12/18/1991, printed by The Stone House Press (Jim Ricciardi), with text by Morris Gelfand

Edward Colker, for Typophiles meeting, June 17, 1992, printed by The Stone House Press, text by Morris Gelfand

Calle de Cristo 255, for Typophiles meeting on 7/16/1993, printed by the Stone House Press. DePol underlined some Rutgers copies; text by Morris Gelfand

Martin Antonetti, for Typophiles meeting 12/15/1993, printed by The Stone House Press, text by Morris Gelfand

Kenneth Auchincloss, for Typophiles meeting, 3/16/1994, and printed by The Stone House Press, with text by “K.A.”

Second copy of this from DePol’s collection includes ephemera and ms. Material loosely inserted: photocopy of Frederic Goudy photo with caption; unfinished drawing of James Boswell by DePol (with flaps to suggest that it was intended to be used in engraving); second drawing of Boswell with note “for an etching!! JD,” but bearing two “X” marks, signed in full; proof of block for this meeting keepsake signed and dated 4.11.94 and ed. statement /30: signed in full; Typophiles dues notice for 1997 with return address Barbara Henry, curator/ Bowne & Co., Stationers; photocopy of text bearing reproduction of painting of Boswell.

ATF, for Typophiles meeting, 9/21/1994, printed by The Stone House Press, text by T.R. [Theo Rehak]

J.M. Edelstein, for Typophiles meeting on 12/21/1994. Hand printed by the Stone House Press. Text by Morris Gelfand

Antonie Eichenberg. For The Typophiles meeting on June 15, 1994. Handset . . . by Jim Ricciardi for The Stone House Press. Includes wood engraving by Fritz Eichenberg. (See also folder Prints from Blocks by Other Artists)

R. Stanley Nelson, for the Typophiles meeting on 6/21/1995, printed by The Stone House Press (Jim Ricciardi), with text by “T.R.” [Theo Rehak]

One Library copy includes proof of engraving, dated and signed

Fernand Baudin from Mechanical to Cybernetic Exercises, for Typophiles meeting 9/20/1995, printed by The Stone House Press (Jim Ricciardi), with text by Morris Gelfand

Au Revoir but Not Goodbye, for Typophiles meeting December 20, 1995. Printed by The Stone House Press (Jim Ricciardi), text by Morris Gelfand
11-B. The Typophiles Keepsakes & Miscellaneous
Box Folder
2 11-B
Carol J. Blinn, Warwick Press, for Typophiles meeting, 1996, printed by Howard M. Bratter, text unsigned [One Library copy bears typewritten date: March 20, 1996, possibly by DePol]

Ratdolt-Hammer, for Typophiles meeting, 12/18/1996, printed by Woodside Press. Text unsigned.

Typophiles, for Typophiles meeting 3/19/1997, broadside printed in an ed. Of 100 copies by Bowne & Co., Stationers, South Street Seaport Museum: text by Barbara Henry? “Stephen Heaver, Jr. began the study of the piano at the age of nine, organ at thirteen.”

Typophiles, for Typophiles meeting 6/18/1997, broadside printed by Howard M. Bratter at Woodside Press; text by Howard M. Bratter? (“Dan Carr is a poet, typographer, and publisher”); with caption by DePol

Peter Koch, Printer, for Typophiles meeting 9/17/1997, broadside printed by Bowne & Co., Stationers, South Street Seaport Museum; text by Barbara Henry? One library copy signed by DePol.

The Hunt For Subiaco, for Typophiles Christmas Luncheon, 1997, with text by Theo Rehak, printed in an edition of 175 copies at the Woodside Press.

Honoring Clarence Pearson Hornung, printed by The Stone House Press (Jim Ricciardi), with text by Catherine T. Brody, [1997?]

Nineteenth-Century New York Type Foundries: Stephen O. Saxe, for Typophiles meeting, 3/18/1998, printed by Bowne & Co., Stationers, South Street Seaport Museum. Text by Barbara Henry?

Typophiles, June 17, 1998, for Typophiles meeting, 6/17/1998, broadside printed in ed. Of 100 copies by Bowne & Co., Stationers, South Street Seaport Museum. (“The Typophiles welcome Jan V. White.”) Text by Barbara Henry?

Typophiles . . . The Typophiles welcome David Pankow, for Typophiles meeting, 9/16/1998, printed broadside with colophon on verso: Handprinted at Woodside Press, text unsigned.

Morris A. Gelfand, for Typophiles meeting, 3/17/1999, monotype composition by Woodside Press, printed by Bowne & Co., Stationers, South Street Seaport Museum, text by Catherine Tyler Brody. (“We celebrate . . . the life . . . of Morris Gelfand . . . who died October 1, 1998.”)

Typophiles . . . Irene Schlegel . . ., for Typophiles meeting, 6/16/1999, printed broadside by Bowne & Co., Stationers, South Street Seaport Museum; text by Barbara Henry?

Typophiles, for Typophiles meeting, 12/15/1999, broadside printed by Bowne & Co., Stationers, South Street Seaport Museum. (“The Typophiles welcome Marvin Mondlin.”) Text by Barbara Henry?

B.R. on T.B.M., for Typophiles meeting, 6/14/2000, printed by the Ascensius Press in an . . . edition of 10 inscribed copies lettered A – J and 65 numbered and signed copies. [One library copy “G” bears inscription by Philip R. Bishop to John DePol]

Mergenthaler Re-Examined, for Typophiles meeting, 3/22/2000, broadside printed by Bowne & Co., Stationers, South Street Seaport Museum; text by Barbara Henry? (“Carl Schlesinger has been involved with printing and publishing since he was nine years old.”) Library copy signed by DePol

Typophiles, June 14, 2000, for Typophiles meeting, 6/14/2000, broadside printed by Bowne & Co., Stationers, South Street Seaport Museum; text by Barbara Henry? (“The Typophiles welcome Philip R. Bishop”)

To Dr. Robert Lincoln Leslie on his Ninety Eighth Birthday, The Typophiles & The New York Club of Printing House Craftsmen, December 1983. (Correlates to blocks in the collection; see box five, B-12, 13)

Pamphlet, The Typophiles, A Historical Note, by Chandler B. Grannis, adapted from the bibliography the Typophile Chapbooks, 1935-1992. Designed by Jerry Kelly.

Albion Press, set and printed by Neil Shaver, The Yellow Barn Press, Council Bluffs, IA, for the Typophiles in 1990, celebrating the centennial year of John Fass’s birth. Unfolded sheet, printed on one side.

Publication announcement for John DePol and The Typophiles, A Memoir and Record of Friendships by Catherine Tyler Brody, 1998.

Publication announcement and order form for, John DePol and The Typophiles by Catherine Tyler Brody.

(3) Proofs of types “RLL” (Robert Lincoln Leslie) signed by DePol and annotated in pen; one signed, “For Dear Robert Leslie,” one signed and folded; one signed with typescript that dates block to October 22, 1985 and indicates John Anderson printed it. [For Typophile keepsake?]
11-C. Typophiles Proofs & Prints
Printed single sheets and folded sheets bear DePol’s annotations in pencil. We’ve dated them according to DePol’s annotations, checking them where possible against printed keepsakes. Where the printing date differs from DePol’s we’re indicated the printing date in brackets. Drawings present where noted; unless noted, all items are printed sheets.
Box Folder
2 11-C
Initial T type with books, 9/17/1991 edition of 30

Initial T in front of pile of books, 9/17/1991 [9/25/1991], ed. of 20. (Incorrectly labeled by DePol)

Initial T with candlestick and holly, 12/2/1992, ed. of 30

Calle Del Cristo 255, with caption, Cases del Libro/Typophiles, 6/3/1993, ed. of 50

Ill. of gondolier with St. Mark’s Basilica in background, for Typophiles, 12/8/1993

Drawings. Six preliminary sketches on tracing paper, ill. of gondolier with St. Mark’s Basilica in background, for Typophiles, 12/1993

Ill. of city scene behind upright tome, 4/11/1994, ed. of 30

Initials A T F, for Typophiles, 9/1994 [9/21/94] ed. of 40

“Vaughan House, Cummington,” 12/15/1994, ed. of 40

Initial S type, for the Typophiles meeting on 6/11/1995

Initial T with ‘Typophiles’ in script, 9/1995, edition of 50

Initial T with candlestick, holly, bowls, for Typophiles, Christmas 1995, ed. of 50

Initial T with rose, for Typophiles keepsake, 6/17/1999
11-D. Typophiles Proofs & Prints (cont.)
Box Folder
2 11-D
Initial T with “CJB” (Carol J. Blinn) in type stick, with feather, for Typophiles, March 20, 1996

Initial T with type, holly and pine, 12/18/1996

Initial T with kite, March 1997

Initial T with watering can, “Typophiles in June,” 1997

Initials PK (Peter Koch) with acorn, 8/27/1997, ed. of 15

Ill. for keepsake for Typophiles Christmas Luncheon 1997, In Quest of Subiaco, 11/1997

Initial T with sun, books, Fall 1998, ed. of 25

Initials DH and gingko leaves, “For Cathy Baker,” 12/16/1998

Initial T with books, glowing candle, “For the Incline Press at Typophiles,” 9/1999

Initials “OM” (Otto Merganthaler) “Mergenthaler for Typophiles,” 2/22/2000

Initial T with books, ruler, inkpot, etc., for Typophiles, undated
12. Exhibitions/Appearances/Events
This folder contains miscellaneous material relating to exhibitions, appearances and events. Material relating to exhibitions for which better documentation exists within the collection (i.e., John DePol’s New York) are kept under the name of the exhibition or sponsoring institution.
Box Folder
2 12
Wood engraving of New York City for The Ninth Annual Congress of the International League of Antiquarian Booksellers, October, 1955

A Brief Hand List: Collector’s Choice: An Exhibition . . . at The Chapin Library, Williams College . . 10 October -15 November 1958, with wood engraving by DePol

Invitation to attention Fifth Annual Book Arts Seminar, Jul 15-20, 1985, Fairleigh Dickinson University Library, Madison, N.J., with photographs of DePol, John Anderson, Lily Wronker, and others

Invitation. “The friends of John DePol invite you to a toast and a Festschrift presentation in honor of our celebrant’s eightieth birthday. Garden Count, The Pierpoint Morgan Library . . . 28 March 1994”: with engraving by DePol of Morgan Library.

Photocopy. The opening reception of Treasures Revealed: Nineteenth- and Twentieth- Century American Works on Paper, March 7, 1999: with marks by DePol

Photocopy. Certification. Ralph Fabri Prize for Reflections, a two-color wood engraving. 174th Annual Exhibition March 18, 1999, with marks by DePol

8 page gathering from bibliography of Yellow Barn Press, with wood engravings by DePol, signed

Press release and 6 page catalog of exhibition at Fairleigh Dickinson University, compiled and edited by Eleanor Friedl. "John DePol: Etchings, New York and Europe, 1935 – 1947," 24 November 1996-31 January 1997

Second copy belonging to JDP with collection of photocopies of larger work in show (35 of 36 exhibits) but none of the miniatures; some bear lengthy typescript descriptions by DePol.

White folder labeled by DePol "The John DePol Collection": Invitation. The Morristown and Morris Township Library. "John DePol and Northern Ireland.", Exhibition catalogue. "John DePol in Northern Ireland.", Photocopy. "Engraver evokes pastoral N. Ireland." Daily Record, by Joseph McLaughlin, Morris County, NJ, dated March 13, 2000.

Envelope from The Book Club of California: Prospectus. John DePol: A Catalogue Raisonné of his Graphic Work, 1935-1998, 2001. The Book Club of California with color photograph of DePol, and engraving signed by DePol., Card. Invitation to exhibition Jon DePol: An American National Treasure. November 12, 2001 - January 1, 2002. The Book Club of California (San Francisco, CA). Reproduction of DePol’s graver-and-turtle block on card.

Card. Publication party invitation for John DePol: AS Catalogue Raisonne of His Graphic Work, 1935-1999: printed letterpress by The Tuscan Press, James Wehlage.

Photocopy. “Noted Printmaker John DePol to Exhibit Etchings in FDU’s F-M Library. Publicity release from Fairleigh Dickinson University, Eleanor Friedl

Broadside. Invitation to DePol's lecture, “John DePol Wood Engraver . . . Mills College, Oakland, California, November-December, 1987, inscribed in pen by DePol

Announcement. Lecture. Wood engraving of El Campanil, Mills College

Broadside. The University of Nebraska at Omaha . . . present . . . “The Art & Techniques of Wood Engraving,” dated April 22-26, 1985, with engraving singed by DePol.

Announcement for 1985 exhibition. Includes wood engraving of The Tower
13. John Fass – Hammer Creek Press
John Fass (1890-1973) was a graphic designer, photographer and amateur printer. His Harbor Press (1928-1939) published a number of books; when it closed, Fass worked for other New York publishers. Beginning in the 1920s, he printed small books from an apartment room at the Bronx YMCA, first under the imprint of The Hell-Box Press and then, in the 1950s and 1960s, The Hammer Creek Press.
Box Folder
2 13
Proof of nameplate (John S. Fass in white on black background), with two engravings of fishhooks on same paper, signed

Proofs of wood engravings made for Hammer Creek Press, probably used in A Primer of Life along the Hammer Creek Press, or Some Friends and Enemies of the Turtle (1956), signed

Offprint from Matrix 19: “John Stroble Fass, and a Visit to Lititz,” by John DePol (includes photograph of Fass, with inserted 4. p. gathering of DePol’s wood engravings)

Booklet. The Far-flung Journey of a Little Turtle (prepared by DePol): text describes the multiple uses of a small wood engraving of a turtle by DePol. The booklet includes two examples of the use of the engraving of the turtle, a reproduction of the t.p. from A Primer of life along Hammer Creek or, some friends and enemies of the turtle, New York, 1956, and a photocopy of a letter from John Ryder of The Miniature Press, Surrey, England, dated September 14, 1957.

Cancelled postcard with reproduction of engraving of graved and turtle

Preliminary drawing on tracing paper of graver and abstract block

The design, graver and block with abstract image anticipates (or imitates) graver-and-turtle block used to advertise Book Club of California Catalogue, 2001. There are several reproductions of the image for various occasions here. (list of things--decide whether to list or do bullets--also with other ones too)
14. (Festschrift) John DePol. A Celebration of his Work
In 1994, James H. Fraser edited a festschrift for DePol, which was published by The Yellow Barn Press. Printers who had collaborated with DePol were invited to contribute brief specimens illustrated by DePol’s engravings, and these were organized and bound together under the title, John DePol: A Celebration of his Work. John DePol: Printed to Celebrate his Eightieth Birthday. The book was published in an edition of 150 copies of which only 90 were put up for sale. The participating presses were: The Allen Press, Press of the Appletree Alley, The Aralia Press, The Barbarian Press, the Press of Harold Berliner, Bowne & Co. Stationers, The Bullnettle Press, The Buttonmaker Press, The Cary Library Press, The Fort Hill Press, The Glad Hand Press, The Golden Hind Press, The Hammer Creek Press, The Press of the Indiana Kid, Pentagram Press, The Pickering Press, Red Hydra Press, The Red Ozier Press, The Rowfant Club, The Stone House Press, W. Thomas Taylor, Printer, The Yellow Barn Press, and The Zauberberg Press. This folder contains offprints from some of these individuals and presses; except where noted these are bound in paper wrappers with paper labels on the front cover.
Box Folder
3 14
Publication announcement for John DePol. A Celebration of his Work. By Many Hands. Edited by James H. Fraser. The Yellow Barn Press. Includes wood engraving of The Shot from Four Stories by Pushkin, Allen Press

John DePol. A Celebration of his Work. Offprint from the Allen Press

John DePol. A Celebration of his Work. Offprint from The Aralia Press

Michael Peich. John DePol: The Aralia Press. Aralia Press 1994 (festschrift offprint with t.p. bound in dark wrappers with cover title)

John DePol. A Celebration of his Work. Offprints [Bowne and Co. Stationers] (includes colophon: “160 copies, with an additional 40 copies for Museum use, . . . printed, with John’s original engravings . . . at Bowne & Co., Stationers, south Street Seaport Museum . . ..”)

John DePol. A Celebration of his Work. Offprint from Bullnettle Press. Text by Asa Peavy

John DePol. A Celebration of his Work. Offprint from Buttonmaker Press. Text by “D.K.” (Donald Knoepfler).

John DePol. A Celebration of His Work. Offprint from Cary Library Press. (Includes t.p.: An Original Wood Engraving by Dr. Alexander Anderson 1775-1870 / with a commentary by Jane Pomeroy and A Portrait Wood Engraving by John DePol. Rochester, New York: Printed for the Cary Library Press, 1993.) Printed in an ed. Of 160 copies by David P. Wall at the Cary Library Press, Rochester Institute of Technology, November, 1993)

John DePol. A Celebration of his Work. Offprint from The Glad Hand Press. (includes caption title: “John DePol’s Press Marks and The Glad Hand Press of Robert M. Jones,” text by “J.F.”) Printed at The Yellow Barn Press

John DePol: Printed to Celebrate His Eightieth Birthday. Pentagram Press.

John DePol. A Celebration of his Work Offprint from The Pickering Press. (Includes caption title: “John DePol and John Anderson: A Glimpse of a Four-Decade Association”: colophon: “Printed by Neal Shaver at the Yellow Barn Press”)

John DePol. A Celebration of his Work. Offprints [The Press of Appletree Alley] (Text by Barnard Taylor.)

John DePol. A Celebration of his Work. Offprints [Press of the Indiana Kid] (Includes colophon: Benedictine book, set and printed by James Lamar Weygand, Press of the Indiana Kid, Nappanee, Indiana.)

[Red Ozier Press], text by Steve Miller, printed by Steve Miller & Tim Geiger. Covers lacking

John DePol. A Celebration of his Work. Offprints [The Rowfant Club] (Text by Robert G. Cheshier, Librarian, The Rowfant Club). Printed by Neil Shaver at The Yellow Barn Press

John DePol. A Celebration of his Work. Offprint from “A Small Old Printing Press,” by Steven O. Saxe. Printed by Neil Shaver at The Yellow Barn Press

John DePol. A Celebration of his Work. Offprints from The Yellow Barn Press. (Includes caption title: “John DePol and the Yellow Barn Press.”) Text by Neal Shaver

Invitation. “The friends of John DePol invite you to a toast and a Festschrift presentation…,” 1994

Photocopy from Matrix 14, review of John DePol, a Celebration of His Work . . ., underlined in red by DePol
15. The Pierpont Morgan Library, NY
Materials mainly document the Gutenberg show at the Pierpont Morgan Library 1994. DePol arranged these materials and dated them 4/19/1998.
Box Folder
3 15
Copy of correspondence to Barbara Henry, Curator, South Street Seaport Museum, New York (12/93)

Copy of correspondence from Charles E. Pierce, Jr., Director, the Pierpont Morgan Library, New York (1/94)

Copy of correspondence to Rowfant Club (5/94)

Pierpont Morgan Library [The Morgan Library and Museum]. Gutenberg and the Genesis of Printing. New York: The Library, c1994: catalog of the exhibition, with DePol’s engraving of (hypothetical) Gutenberg Press, signed by DePol. With Trifold advertising exhibition

Card with wood engraving of Johann Gutenberg's Printing Press by DePol for Gutenberg and the Genesis of Printing, an exhibition at The Pierpont Morgan Library, New York [The Morgan Library and Museum]

Correspondence to Michael Joseph, Librarian, Rutgers University, New Brunswick, New Jersey (4/98)

Documentation, Backgrounder: Johann Gutenberg of Mainz. Produced by The Pierpont Morgan Library

Johann Gutenberg’s Printing Press, hypothetical reconstruction, The Gutenberg Museum, Mainz, wood engraving by DePol. 2 signed, one dated wood engravings

Suite of Engravings for Morgan Library Ghost Stories, The Pierpont Morgan Library, December 20, 1989; Pre-publication announcement . . . The Stone House Press, 1990

Proposed title-page spread for a forthcoming publication, a keepsake for the DePol Festschrift, The Pierpont Morgan Library, New York 28 March, 1994. Proposed title page reads: The Cutting Edge: Forty-Eight Years with a Wood Engraver or, It Has Not Been All Black and White. Council Bluffs and New York: The Yellow Barn Press: includes wood engraving by DePol (holiday image from 1982). Image signed by DePol, t.p. signed Thelma DePol.
16. Christmas and Greeting Cards
With wood engravings (except where noted)
16-A. Christmas and Greeting Cards
Box Folder
3 16-A
Commerce Street, from the Comet Press in 2 colors [ca. 1953]

The Mark Twain House, The Comet Press, Christmas 1957

Bleecker St., The Comet Press, Christmas 1956

Eighth Street, from MacDougal Avenue, The Comet Press, no date

[2] p. text with quotation by Washington Irving, with 2 wood engravings by John DePol, 1956, in tan wrappers with vignette

Men with Campfire (3 copies, 2 gray, 1 rose: one gray signed “Marie and Barbara, 1961”

Chapel in Belmont, Haute Vosges, France . . . Press of the Iron Horse

R.R. Donnelley & Sons Company 1968/1969

“This old brass candlestick (English, circa 1800) . . . 1979”

Thelma Shoveling Snow with John, the Scoundrel, Hiding (1982)

Christmas letter, dated “18 December, 1986” with card

Old-Fashioned Christmas

“Season’s Greetings” with excerpt from The Novel on Blue Paper, by William Morris . . . Blackwell North America . . . thirteenth in a series, 1988

Christmas letter, dated “Monday, December 18, 1989”

[Skaters on frozen river in village with church] . . . 1992

In Seed Time Learn . . ., December 1995 Campbell-Logan Bindery

Merry Christmas . . . The Nativity (3 color engraving) . . . Kathleen and Michael Gunn

[Christmas tree inside of room with grandfather clock, bookcase, etc.]

Old Type Cases and Composing Stick (see wood block box 15)

The Lower Hudson River from the Erie Pier in Hoboken . . . Security Columbian Banknote Co.

The Gate to St. Mary's Cathedral, Limerick, Eire . . . Pandick Press, signed Thelma and John

The Old Distillery at Ballyronan, Northern Ireland (lithograph) . . . Pandick Press, unsigned

Station on the Ninth Avenue Elevated, unsigned

Domjulien, Haute Vosges, France, Security Columbian Banknote Co.

In Northern Ireland

The Square, Belfast, Northern Ireland

The Fan Light Doorway, The Hunt-Morgan House, Lexington, Kentucky

Shepherd at entrance of stable

Shepherd with two sheep

Christmas in Harbor

[Miniature]

[Three Magi within oval and double frame]

[Two children with sled approaching barn]

[Adoration of the Kings and Shepherds within oval and double frame]

[Adoration of the Shepherds within borders and frame]
16-B. Christmas and Greeting Cards, continued
With wood engravings (except where noted)
Box Folder
3 16-B Monastery-Parey Sous Montfort—Haute Vosges

[Eagle with Holly sprig ]Holiday card for Carroll McEntee & McGinley, Inc.

[Two boys on sled with father] . . . Security—Columbian Banknote Company

Old Printing Office [with candle] . . . “no. 17 in a series, 1992” Blackwell

Winter in the Country . . . 1994, . . . Blackwell. With earlier issue of same ill.

Printers' Composing Room. . . Security-Columbian Banknote Co.

[Melting candle, holly sprigs, empty pot on windowsill, black frosted window], printed at the Pickering Press, Philadelphia

Holiday correspondence to Michael Joseph, dated December 17, 2001 with envelope dated December 20, 2001

[Carolers, 3 children on sled, around tree with star outdoors] in 2 colors

[Two children sledding toward third figure sitting on sled beneath tree], in 2 colors

Rutgers “Holiday Card” with mechanical repro. Of above image

[Boards]

Father with Log on Sled with Boy. (No date.) Includes card

Two Boys with Tree (1962)

Two Boys on Sled with Father (1969) Includes card.

Two Boys on Sled (About 1960)
16-C. Christmas and Greeting Cards From DePol's Personal Archive
Box Folder
3 16-C Booklet, “The Song and The Artist,” 1952

Greeting card, from Jack Maclean, 1979

Correspondence, Anto Sepp to John DePol, September 4, 1981

Christmas card with poem by Galway Kimmel and wood engraving by John DePol, 1983

Christmas card, “Peace, Joy and Serenity in 1988,” Morris A. Gelfand/Stone House, 1988

Obituary card, Ruth Cordes, 1993

Christmas card with wood engraving, “Shivering Fancy,” 1994

Christmas card, “Hayprint” by Delight Lewis, for John, 1995

Christmas letter, from John DePol, 1992

Christmas letter, from John DePol, 1998

Christmas letter, from John DePol, 1999

Christmas card with wood engraving, “God Bless Thy Year,” 1999

Christmas letter, from John DePol, 2001, Rutgers has 2 copies, one signed by John and Thelma DePol

Christmas card with wood engraving, “Winter of Our Discontent,” 2001

Christmas letter, from John DePol, 2002

Christmas letter, from John DePol, 2003

Christmas card, “A Merrie Christmas,” greetings from John S. Fass, undated

Christmas card, “God and Man,” with poem, from Waring family, undated

New Year’s Card, “Greetings in the Year of the Horse,” undated

Christmas card with wood engraving, image of angel, undated

Greeting card with wood engraving, “Bowne & Co. Stationers,” undated

Greeting card with wood engraving, “Station on the Ninth Avenue Elevated,” undated

Greeting card with wood engraving, “Robin and Laurels,” undated

Greeting card with 2 color wood engraving, L.A. Beeghly Library, from Mr. and Mrs. Calvert N Ellis

Booklet, “Watchman, Tell Us the Night, An Old Christmas Carol,” printed by John Fass, The Hammer Creek Press, undated. (See also folder thirteen, John Fass.)

Christmas card with wood engraving, “Peace and Happiness for Christmas and the New Year,” undated

Holiday card, “Season’s Greetings, Thelma and John DePol,” Wood Engraving, Street Scene, Belfast, undated

Christmas card, “Season’s Greetings, Thelma and John DePol,” Wood Engraving, Draperstown, undated
17. The Making of a Wood Engraving
Box Folder
3 17 The Making of a Wood Engraving by John DePol. Journal of the Society of Wood Engravers. Winter/Spring 1991

Announcement of exhibition July 7-31, 1997

Publicity release by HarperCollins

Typescript of titles and labels for exhibition

Print out of Web announcement of exhibition at HarperCollins Website (8/21/09)

"John DePol, Wood Engraver, Lauded for Noted Role in Franklin Keepsakes": Printing News (29 April 1978)
18. Pattern papers
Box Folder
3 18 Samples of paper

Prospectus for Cathlee A. Baker, John DePol Endgrain Designs & Repetitions: The Pattern Papers of John DePol (Tuscaloosea, AL: Legacy Press, 2000)

Patterns Engraved on Wood by John DePol: A Small Sampling Printed at the Yellow Barn Press from the Original Blocks by Neil Shaver APA 612. Eight small pattern paper blocks printed on the inside of a small folded sheet made from pattern paper.
II. Private Presses
Folders numbered nineteen through thirty-three contain material relating to DePol’s long term involvement with private presses arranged by press. As the collection has grown, the representation scheme has expanded. Ideally, every folder would have a unique number. Where this has not proven to be possible, we have given it a number followed by a letter. Some presses have a unique number and several letters that relate to the titles of books, projects, printed ephemera, correspondence and miscellaneous material. The lettering scheme is unfortunately somewhat elaborate. (Bowne & Co. runs to seven folders, A-G. The Stone House Press runs to eighteen folders, A-R.)
Some presses do not have a unique number. To keep the private presses section together, and to keep this section within the larger overall numbering scheme, we have had to assign a single unique letter to some presses—those not present in the original scheme. Since the Private Press Section originally ended with folder thirty-four, each subsequent addition is represented by number thirty-three and a unique letter. So, for example, the Helianthus Press has been assigned Thirty-three A, the Privateer Press, Thirty-three B, the Buttonmaker Press, Thirty-three C, the Bullnettle, Thirty-three D, etc.
19. Ben Grauer and the Between-Hours Press
Material about The Between-Hours Press, a small item by The Press, and about Ben Grauer (Benjamin Franklin Grauer); also about the television show Seeing is Believing, on which Grauer demonstrated letterpress printing; also includes material about Grauer’s Albion Press and DePol’s subsequent acquisition of it.
Box Folder
3 19 Folded birthday card for “BR” (Bruce Rogers) with a small engraving (thistle printed in red) by DePol. Colophon: Hand printed by Ben Grauer on his Press in the cellar on East 63rd Street. 87 copies Number [9]
Proofs (one signed), with engraved lettering: Bunny’s Peaches []Not Brandy [] Brandy, (one annotated: “For Ben Grauer”).

Broadside. “TODAY salutes Ben Franklin Printer on the 250the anniversary of his birth.” Broadside printed on TV by Ben Grauer, January 17, 1956. This copy numbered no. 9, with annotation by Grauer to DePol. (Photocopy?) With typewritten note signed JD: “The first printing on television A wood engraving of Benjamine [e crossed out] Franklin.”

Print. “In Affectionate Memory of Peter Beilenson and his early impressions at the Kelmscott/Goudy. . . . 100 copies on 18th century paper. Copy no. 45.” (Photocopy?)

[“GRAUER ALBION”]

Correspondence. Photocopy of telegram, dated 1968 Jul 31, from [John] Dreyfus to Ben Grauer offering Albion press for purchase, and undated response from Grauer accepting offer.

Correspondence. John [Dreyfus] to Ben Grauer, dated 2 August 1968, discussing reception of “enthusiastic telegram” and details of press.

Correspondence. John [Dreyfus] to Ben Grauer, dated 9 August 1968, discussing press and attempt to track down previous owners, including T.N. Lawrence of “Bleeding Heat Yard” in London.

Correspondence. John DePol to Herman & Aveve Cohen, dated January 28, 1980, with discussion of Grauer’s offer of press, its previous owners, etc.

Correspondence. John Dreyfus to John DePol, dated 11 August 1980, with details about the acquisition of the press.

Proof, dated Mar. 80/58. “The Grauer Albion,” with typescript history of the press, its acquisition by Grauer (1968) and subsequently DePol (1980)

Correspondence. Photocopy of latter dated March 10, 1980, describing installation of “Grauer Albion” at DePol’s home in Park Ridge and the Endgrain Press.

[SEEING IS BELIEVING]

Documentation. Typescript and photocopied account of the television program. AIGA Journal Volume IV No. 1. With typescript about Grauer added by DePol, April 10, 1993

Documentation. Photocopy of Publisher's Weekly from February 2, 1952, p. 684 discussing Ben Grauer's “Seeing is Believing” television program, with DePol’s underlining and dating.

Documentation. Photocopy of Ben Grauer pulling print with large television camera filming him. Typed note below reads “First actual printing on television, Benjamin Franklin’s birthday, January 17, 1952, Ben Grauer’s “Seeing is Believing” TV Show, Station WNBT, New York.”

Correspondence. Ben Grauer to Robert M. Jones [See Glad Hand Press], dated August 14, 1959: includes reference to TV demonstration of printing.

Documentation. Photocopy of Alfred in London, by Ben Grauer, wood engravings by DePol, 1965.

Documentation. Photocopies of photographs of printing at The Between-Hours Press: most are captioned and one dated (1961).

Documentation. Photograph with stub for caption attached at bottom, undated.

Documentation. Photocopy of Grauer with dog and one page reminiscence of Grauer and the Between-Hours Press, dated July 3, 1996, by DePol

Documentation. Photocopy of Grauer’s obit in the New York Times of Wednesday, June 1, 1977

Correspondence. John DePol to Ben Grauer, September 4, 1943, on L.F. White Company letterhead

Documentation. Appears to be a cover sheet for a selection of materials about Ben Grauer, possibly referring to the materials in DePol’s personal file given to Rutgers, dated July 8, 1996

2 pages of photocopied prints, including Grauer’s annual greeting cards to Bruce Rogers.

Photocopy of “Alfred in London,” by Ben Grauer
20. Pandick Press
DePol worked as Art Director for Security-Columbian Banknote Company, a division of United States Banknote Corporation and later Pandick Press, from 1976 to 1981. In collaboration with Don Weseley, he published a series of prints in two colors, or keepsakes, accompanied by short essays written by Weseley, within cardboard portfolios or folders. Folders originally published by Hamilton Division Security-Columbian Banknote Company, then under the name of United States Banknote Company, and then Pandick Press. The earliest publication, Beginnings of the Petroleum Industry in Pennsylvania, appeared in 1959, and the last, The Church of Saint Luke in the Fields, in 1981.
20-A. Pandick Press
Box Folder
3 20-A
Documentation: typed list of “Keepsakes” for United States Banknote Corp. and for Pandick Press, with titles and dates. Made after 1990. This sheet is stapled to a leaf from Printing News for 1/31/76 entitled “Pi a la Mode,” by L.H.J. that includes a paragraph about DePol and his work on the Franklin Keepsakes, the Endgrain Press, and on the Pandick Press prints.

Beginnings of the Petroleum Industry in Pennsylvania: A Series of wood engravings by John DePol. Printed by Hamilton Division Security-Columbian Banknote Company. [1959] This series was commissioned by the Erie Natural Gas Company, New York, for a report, "Oil in Pennsylvania" by H. Edward Wolf and issued "on the eve of the centennial of the founding of the petroleum industry in Pennsylvania in 1859." Portfolio included eight two-color engravings by DePol, published as a keepsake by the Security-Columbian Banknote Company

West Side Market – Demolition dated July 1974. Security-Columbian Banknote Company. Print dated 1967

Washington Irving, August 1974. Security-Columbian Banknote Company

Noah Webster, with additional text by Ben Grauer. Originally published in 1958. United States Banknote Corporation, September, 1974

John Marshall “The Great Chief Justice,” September1974. Security-Columbian Banknote Company

Hudson River Pier, November 1974. United States Banknote Corporation, New York.

Homeward Ferry, July, 1975. Security-Columbian Banknote Company [print removed to Boxed Prints box 3]
20-B
The Lower Hudson River from the Erie-Lackawanna Pier in Hoboken. United States Banknote Corporation, October, 1975.

West Side – Manhattan, November, 1975. United States Banknote Corporation.

The Duel: July 11, 1804: Alexander Hamilton and Aaron Burr. Two portraits with 12 page booklet. Pandick Press, 1976

The Duel: July 11, 1804: Alexander Hamilton and Aaron Burr. Two portraits with 12 page booklet. James F. Newcomb Co., 1976

The Eagle: Flagship of the United States Coast Guard and Host Ship to New York’s Bicentennial “Operation Sail.” Pandick Press, June, 1976

The Old Manse, July 1977

The Portland Head Lighthouse, August 1977

Faneuil Hall, September 1977

Another Ireland. Eight wood engravings by DePol and commentary by Don Wesely, dated November 1977

Intersection, September 1978 [print removed to Boxed Prints box 2]

The Church of Saint Luke in the Fields, June 1981. Pandick Press
20-C. Portland Head Lighthouse
Proofs of key and stencil blocks printed in 1983, with copies of print and other related materials.
Box Folder
3 20-C
Photograph of lighthouse with woman (Thelma DePol?)

Proof dated 23 August 1983 with descriptive pencil notes signed D (or JD combined in a monogram?). Stapled together with: Proof of key block and proof of stencil block

Proof copies signed and dated “del. & sc. 1977, ed. 200 impr. 1983”
21. Pentagram Press
The Pentagram Press was founded in 1974 by Michael Tarachow. The press originally contracted offset printing to local Milwaukee houses, but in 1976 Tarachow began using the letterpress of a fellow printer to produce fine press books in limited editions. In 1979 Tarachow moved Pentagram to Markesan, Wisconsin, where he printed books of poetry, fiction, literary criticism, and typographical design. The Pentagram Press produced more than seventy-five books and a host of broadsides and other letterpress ephemera. DePol’s collaborations with Pentagram developed during the 1990s.
21-A. Pentagram Press-Keepsakes
Box Folder
3 20-C Bookmark, with DePol engraving (couple reading a single book beneath a tree), with caption: Until I feared I would lose it, I never loved to read. One does not love breathing. Harper Lee / A bookmark for the 1997 Reading Party, with engraving by DePol

Summer Solstice greeting, with poem by Lew Welch, dated June 21, 1990

Keepsake for the Minnesota AIGA 1991 with envelope

Photograph with wood engraving border, dated September 1991. Photograph by Ardra (1991) Pentagram Press (Minneapolis, MN).

Invitation. "The Ampersand Club Annual Dinner Meeting," dated May 18, 1995. Pentagram Press (Minneapolis, MN)

Card with envelope. “In seed time learn, in harvest teach, in winter enjoy,” dated December 1995.

Spring greeting card with envelope: includes engraving and ornaments, dated 1996. Pentagram Press (Minneapolis, MN) with envelope.

Michael Tarachow. A Simple Ornament Complexly Shown. Pentagram Press (1992, Minneapolis, MN). Collection of 13 printed designs made from type ornament with printed titled envelope

Summer Solstice greeting (1995) from Merce Dostale and Michael Tarachow, with engraving by DePol

Documentation. Photocopy of correspondence, September 4, 1995, from DePol to Michael Tarachow, with engraving (Fourth Avenue Bookshop)

Documentation. Photocopy of correspondence, November 27, 1994, from DePol to Michael Tarachow, with engraving (poppies, for Summer Solstice greeting)

Documentation. Photocopy of correspondence, dated October 18, 1995, from DePol to Michael Tarachow

Keepsake. “John DePol, Printed to Celebrate his Eightieth Birthday,” Pentagram Press, 1993

Print. Moon over hills in oval vignette with scalloped edges. Signed and dated in pencil, (“8.95”)
21-B. Pentagram Press-Miscellaneous Proofs and Prints
Box Folder
3 21-B Bookplate with image of cardinal, “St. Paul Audubon Society Nature Books for Libraries,” verso, “John DePol/Wood Engraver Michael Tarachow Printer,” undated

Unsigned proofs, “For Merce & Michael Tarachow – Pentagram Press – For a Poster…,” c. 1997

Signed and numbered print of blocks with the initials ‘JB’, with caption, “Joseph Blumenthal, For Pentagram Press,” 5/20/1993, ed. of 40

Signed print of couple reading under a tree with caption, “For Pentagram Press,” 7/14/1993

Signed and numbered print of cardinal with caption, “For Pentagram Press,” 4/16/1996

Signed print. landscape, “For Pentagram Press,” August 1995

Signed print. “Walden/Pentagram,” 4/28/1993, ed. of 40

Signed and numbered print. “For Michael Tarachow, Pentagram Press,” 11/14/1992
21-C. Freedom of Press Poster
Box Folder
3 21-C Signed and numbered print of DePol’s two crossed pistols engraving, September 1994

Preliminary sketch on tracing paper, 1994

In process sketch on tracing paper, August 1994

Unsigned proofs, 1994
21-D. American Printing History Association (APHA)
Box Folder
3 21-D Signed and numbered print of wing chair, bookcase, and table, “For APHA,” July 1994

Signed and numbered print of wing chair by fireplace, “For Pentagram Press,” November 1995
22. John Anderson and the Pickering Press
John Anderson, typographer, book designer and proprietor of the Pickering Press of Maple Shade, New Jersey, began his first press in 1932 and established Pickering in 1942. He and DePol met in 1951 and worked together for nearly forty years. Their first collaborations were done while Anderson was working for the Lanston Monotype Corporation in Philadelphia producing advertising material for corporate clients. They continued to work together producing pamphlets, chapbooks, broadsides, keepsakes, Christmas cards, letterheads, and ephemera. In the 1980s, they taught together at workshops for Fairleigh Dickinson University and produced advertising broadsides for the workshops. Their friendship continued until Anderson's death in 1997.
Box Folder
3 22 Pamphlet. The Art of Philip C. Curtis. Northland Press, Flagstaff, Arizona

Pamphlet. The Country Cousin Comes to Paris

Pamphlet. Veritas: Dominican Nuns of the Perpetual Rosary

Invitation from the W.B. Saunders Company. September 21, Philadelphia, Pennsylvania

Announcement by the Board of Trustees of the Philadelphia College of Art, dated July 1, 1965

Cartoon by DePol: Anderson's Party Whisky (signed engraving)

Joke advertisement. Private Sale Exotics

Advertisement for Lindenmeyer Paper Company, dated September 1, 1966

Greeting card. Amsterdam Continental Types: [19]64

Pamphlet. Tennis Courts for Pennsylvania. 25th Reunion Gift Community. Philadelphia, PA

Pamphlet. QVAURE. Information on the Century Club (signed engraving)

Advertisement for Amsterdam Continental

Pamphlet. Hatfield House. Information on the property, house, installation, and renovation

Pamphlet. Izaak Walton: A Selection from "The Compleat Angler" Or, the Contemplative Man's Recreation. Juanita College (Huntingdon, PA)

Pamphlet. Izaak Walton: A Selection . . . 17 April 1967 (with ill. by Barnard Taylor)

Advertisement. Fritz Eichenberg: 100 Prints and Wood Engravings & Lithographs (with engraving, signed Fritz)

The Hope of Award Sweetens Labor. J. Anderson, The Pickering Press (Maple Shade, NJ). (with DePol engraving, not signed)

“This is to inform all interested parties that I am now not responsible for obligations incurred by my wife; she having (quite without warning) left my bed and board this Thursday past.” Advertisement for DePol’s engravings (33-35 82nd Street, Jackson Heights, New York) and Anderson’s printing (Pickering Press at 24th & Locust Streets, Philadelphia): (with signed engraving)

Standard . . . from H. Berthold AG

Pamphlet. New Faces. John Anderson: Pickering Press (Maple Shade, NJ)

Pamphlet. A Portrait of William Bulmer Printed from an Engraving by John DePol in the Two-Hundredth Year Following his Birth [1957]

Pamphlet. An introductory comment to the publication of a facsimile edition of Hugo Steiner- Prag's manuscript book, Rund um Parizka 28." The Library, Florham-Madison Campus. Farleigh Dickinson University, dated May 1987

Pamphlet: The Procrustean Bed, by Eric Gill. Pattern paper engraved by DePol. The Pickering Press (Philadelphia, PA), dated 1957 (with DePol engraving of hand and type stick)

A Common Place Book. Book of quotations. The Arthur W. Rushmore Laboratory Press, dated 1982

Purple and green wood engraving of St. Patrick, dated March 2004, with typescript by DePol, signed

Photocopies of wood engraving with letterpress note signed November 17, 2003, with schematics indicating colors

Port. of Alexander Anderson by John DePol

Wood-engraving by Alexander Anderson

Wood-engraving, “For John Anderson…” by John DePol

Wood-engraving for John Anderson (For Gino), February, 1984

Copy of DePol [2] p. correspondence to John Anderson, Pickering Press, dated April 9, 1987

Broadside: “The Press by Kelsey, the engraving by John DePol”; signed and dated “JA, August, 1983”
23. The Allen Press
The Allen Press began publishing limited edition, handmade books in 1940. They sought out major artists who could interpret a significant literary work without dominating it. DePol began working with Lewis and Dorothy Allen of the Allen Press of Greenbrae, California, in 1987 and lent illustrations to three publications.
23-A. The Allen Press-General
Box Folder
3 23-A Proof of three logos for the Allen Press, 1987

Proof for the Allen Press, 1997

Print. Horizon Magazine, from “The Life of Dante,” by John DePol: Allen Press, April, 1992 (5 copies)

Print of the Duomo of Florence for Horizon Magazine, from “The Life of Dante”
23-B. The Allen Press-“Four Stories” by Alexander Pushkin
Box Folder
3 23-B Signed proof. Profile of Pushkin. Signed and dated June 10, 1987. Ed. of 38

Signed proof: The Blizzard

Signed proof: The Queen of Spades

Signed proofs: The Shot

Signed proof: The Squire’s Daughter

Publication Announcement. John DePol: A Celebration of His Work by Many Hands (with engraving from “The Shot”
24. The Stone House Press (Morris Gelfand)
In A Type Miscellany, Morris Gelfand, proprietor, described The Stone House Press as a private press “dedicated to good design and fine letterpress printing of literary texts by living authors. Despite the manifest attraction of the computer, the Press will persist in printing by letterpress. The fascination of designing and printing real books on fine papers remains irresistible.” The Stone House Press specialized in contemporary poetry. Among the living poets it published were such prominent names as William Jay Smith, May Swenson and William Heyen, and many lesser-known, Constance Carrier, Stephen Stepanchev, Susan Astor, Norbert Krapf, Dorothy Hatch, Gerard P. Meyer, and Jim Elledge. It also published early poems by the prominent American historian, James Thomas Flexner, and a poem by the novelist, Joyce Carol Oates, in addition to an anthology of poems about William Cullen Bryant. DePol illustrated 14 books and 14 broadsides for The Stone House Press between 1982 and 1995, and contributed engravings for catalogs, keepsakes, and occasional publications, such as, in 1996, an engraving for an announcement card for Gelfand’s move from Roslyn to New York City. DePol’s collaboration with Morris Gelfand stands beside those with John Anderson, James Fraser and Don Weseley as the most productive of his career.
24-A. The Stone House Press-General
Box Folder
4 24-A Proofs of 2-color engraving of Stone House: Trial proof of the Stone House Press “first color, 1982” annotated in green ink: “would make a nice note card!”
Stone House Press keepsake: print in two colors, with text about the Press printed on back (wood blocks, A-29, box three, for key and stencil, or first and second color)

Signed proof “for the Stone House Press 24 April 1986”

Multiple proofs, one Japanese paper of the Stone House, “2.15.89". Correlates to wood block in collection (see B-14, box five)

Keepsake for the Stone House Press, with black engraving: undated

Joseph Hillyer Brewer, a keepsake for friends of Joseph Brewer, handset . . . and printed . . . by M.A. Gelfand . . . at The Stone House Press. “The wood engravtng [sic] by John DePol.”

Proof print for Morris Gelfand, with engraving: 1996 (for Dear Friend : I am now settled in my new apartment. Roslyn: Stone House Press, 1996: notice of move to New York City)

Card with ms. note, “Dear Old Morris Gelfand,” with engraving: (wood block, C-13 box seven)

Proof port. of Dr. Robert Leslie (wood block, B-12 box five) ([rejected?] wood block, A-30, box three)

“Darn”: Errata sheet for unidentified text: includes engraving of printer pinching his eyes in dismay, with printed sheet in left hand, printed in blue

Proof “Carpe Diem,” for the Stone House Press “10/17/91”: correlates to wood block in the collection (see B-25, box six)

Proof “used as decoration on Chapin Library Poster,” dated “February 16, 1988”

Announcement: Where I Live: Environments by Jim Gelfand, New York, New York

Catalogue: “Recent and Forthcoming Books and Broadsides . . . 1985/1986 (missing p. 3-6)

Advertisement: John De Pol, From Dark to Light: Wood Engravings for The Stone House Press . . . Flash! This book has just been selected for the 1988 AIGA Book Show

Catalog: The Stone House Press: Tenth Anniversary Year: Recent and Forthcoming Books (1978-1988)

Checklist Stone House Press Books & Ephemera: 1978-1988 (spring, 1989)

Catalog. [4] p. with illus. Stone House Press News Fall 1991

Catalog. The Stone House Press: Books in Print & Forthcoming 1995 / 1996
24-B. The Stone House Press-(1983) Norbert Krapf, Heartwood
Box Folder
4 24-B Pre-Publication announcement

Tan card with wood engraving printed over text

Proofs correlate to blocks in the collection, chiefly in box five.

T.p. ill., dated “August 1982”: correlates to wood blocks in collection (see A-22; see also B-1, 2, box five); some blocks given duplicate identifiers
24-C. The Stone House Press-(1985) Dorothy Hatch, Waking to the Day
Box Folder
4 24-C Various proofs of ill. dated “August, 1985” and one dated “27 August 1985” (two blocks correlate to wood blocks in collection: see Box 2, Box 6, Box 3)
24-D. The Stone House Press-(1985) William Heyen, Poems for Saint Walt
Box Folder
4 24-D Three proofs made for Eight Poems for Saint Walt, by William Heyen: October, 1985 (Chapbook #1): correlates with three wood blocks in the collection (see A-19, A-20 box three)
24-E. The Stone House Press-(1986) John DePol, Under Open Sky
Box Folder
4 24-E Pre-publication announcement: “Under Open Sky: Poets on William Cullen Bryant, edited by Norbert Krapf, Roslyn, New York (signed and annotated by DePol)

Engraved proof: “Design for cover paper”: correlates to wood block in collection (see A-0, box four)

Offprint in two colors of t.p. and frontispiece

Engraved proof of “T.p.,” dated "June 1986": correlates to wood block in collection (see A-4, box four)

Engraved proof of “t.p” dated "June 1986" (different from above) : correlates to wood block in collection (see A-3, box four)

Engraved proof of 2 ill., with titles in manuscript:
“Forest Shadows,” p. 1: correlates to wood block in collection (see A-4, box four)
“Under Open Sky,” p. 13: correlates to wood block in collection (see A-6, box four)

Engraved proofs of 13 ill. unlabelled, identified by cataloger by page number and correlated to wood block within collection: p. 19 (A-5, box four); p. 35 (A-6, box four); p. 40 (A-7, box four); p. 47 (A-5 box four); p. 49 (A-1, box four); p. 61 (A-2, box four); p. 67 (A-7, box four); p. 69 (A-1, box four); p. 78 (A-1, box four); p. 83 (A-11, box two); p. 87 (A-12, box two); p. 93 (A-10, box two); p. 102 (A-8, box two); colophon

Various additional proofs of ills. for Under Open Sky: dated March-June, 1986: loosely inserted in paper wrapper, “August 6, 2002”: correlates with one wood block in collection (see A-9, box two)

Various additional proofs printed in color, including two t.p. blocks
24-F. The Stone House Press-(1988) Stephen Stepanchev, Descent
Box Folder
4 24-F Multiple proofs dated “April, 1988” of 3 ills.: two correlate with wood blocks in collection (see B-8, B-9, box five)
24-G. The Stone House Press-(1988) John DePol, From Dark to Light
Box Folder
4 24-G Advertisement: John DePol, From Dark to Light: Wood Engravings for The Stone House Press. (some copies with added note: Flash! This book has just been selected for the 1988 AIGA Book Show)

Retrospective collection of ills. for books and keepsakes: several correlate with wood blocks in collection (see B-9, B10, box five; A-19, box three)

Signed proof. “Maple Syrup,” undated
24-H. The Stone House Press-(1988) William J. Smith, The Tin Can
Box Folder
4 24-H Invitation to celebrate the publication of The Tin Can and Journey to the Interior by William Jay Smith. Printed at the Stone House Press, New York City, New York

Various engravings for ills. made for The Tin Can “but not used”: one correlates with wood block in collection (see B-4 box five) (Note: two wood blocks are marked B-5) One “used as decoration for Chapin Library poster.”
24-I. The Stone House Press-(1988) Constance Carrier, Witchcraft Poem, 1692 (Chapbook #4)
Box Folder
4 24-I Var. proofs of ill., dated “May, 1988”: correlate to three wood blocks in collection (see two wood blocks marked B-7 and B-8 in box five; B-16, box six)
24-J. The Stone House Press-(1991) Dorothy Hatch, The Curious Act of Poetry
Box Folder
4 24-J Signature gathering (second signature) for The Curious Act of Poetry with ill. printed in green (wood block, A-13, box three, used also for “Waking to The Day by Dorothy Hatch)

Proofs of ills
24-K. The Stone House Press-(1991), Herman J. Liebaers, Books Over Bombs
Box Folder
4 24-K Announcement: new Stone House Press chapbook Books Over Bombs

Proofs of ill. dated “11/95”: correlates to wood block in the collection (see C-10, box seven)
24-L. The Stone House Press-(1992) Charles Bertin, Christopher Columbus
Box Folder
4 24-L Illustrated prospectus

Long post card, printed in blue ink

Engraved proofs of four ills. (All Columbus blocks in box six)

Press Sheet “1992”
24-M. The Stone House Press-(1994) Federico Garcia Lorca, Songs of Childhood
Box Folder
4 24-M Announcing a new Stone House Press forthcoming publication of Songs of Childhood by Federico Garcia Lorca, Roslyn, New York, 1994

[8] p. announcement for Songs of Childhood, dated 1994; printed in blue ink

Various proofs of ill., dated “August, 1984,” loosely inserted in paper wrapper

News from The Stone House Press press release, 3 leaves announcing Songs of Childhood

Folded single sheet with one ill.

Announcement: Photocopy “Celebrating The Centenary of Federico Garcia Lorca, with proofs enclosed, bound in tape

Copy of letter to Lynne [Veatch] that includes story of why DePol changed the dress in one of his blocks

Libraries own all (5) blocks used for title and 1 engraved but not printed

Proof. Dated 8/94
24-N. The Stone House Press-(1995) William J. Smith, The Cyclist
Box Folder
4 24-N Proofs of 2 ill. dated “February, 1995”: correlate to wood blocks in the collection (see C-5, C-6 box seven)

Announcement: a new “Stone House Press chapbook, The Cyclist by William Jay Smith, Roslyn, New York (3 copies)

24-O. The Stone House Press-Stone House Press Broadsides
Box Folder
4 24-O Prospectus for Portfolio One/1983

Proof of t.p. for Portfolio One/1983. Ten Illustrated Broadsides. The Stone House Press, Roslyn, New York

Proof for Longevity, by Susan Astor, (1983): correlates to wood block in collection (see A14, box two)
(Portfolio One, Broadside no. 1)
Proof made for Holiday Altar Tree, by Dorothy Fitzgerald; June 1985 (SHP Broadside #8) correlates with wood block in the collection (see A-18, box two)

Proof made for Appraisal, by Dorothy Hatch, December 1984 (SHP Broadside #9) (correlates with wood block in collection (see A-17, box three)

Various proofs made for Rimbaud en Route, by Gerard P. Meyer, 1985 (SHP Broadside #10): correlates with wood block in the collection (see A-21, box three)

Various proofs for Homemade, by Jim Elledger: February 1985 (SHP Broadside #11): correlates to wood block in the collection (see A-16, box three)

Various proofs made for Journey to the Interior, by William Jay Smith, March, 1988 (SHP Broadside # 14): correlates to wood block in the collection (see B-6, box five)

Proof made for Leavetaking at Dusk, by Joyce Carol Oates, April 1983 (SHP Portfolio One); annotated in green pen “one of my favorites!” Correlates with wood block in collection; (see A-17, box three)

Print with letterpress: A wood engraving by John DePol for “Leavetaking, at Dusk.” A poem by Joyce Carol Oates, in Portfolio One/1983 (The Stone House Press, box 196, Roslyn, New York 11576); annotated in pencil “ed. 100”

Proof made for Come in, Go Out, by May Swenson, October, 1983 (Portfolio One: correlates with wood block in the collection (see A-16, box three)

Proof for At West Hills, Long Island, by William Heyen, Broadside #12 (see A-12, box two)

Folded sheet contains proofs of three images, with typescript captions. Images for:
Longevity, by Susan Astor, (1983): correlates to wood block in collection (see A14, box two) (Portfolio One, Broadside no. 1)
Walnut, for Heartwood by Norbert Krapf, (1983): correlates to wood block in collection (see A-28, box one) (Broadside #6)
Why I Am Happy, by William Stafford correlates to wood block in collection (see A-15, box two) (Broadside #9)
24-P. The Stone House Press-(1991) James Flexner, Poems of the Twenties (Chapbook #7)
Box Folder
4 24-P A keepsake in celebration of Flexner’s 85th birthday … 13 January 1992, with verse by William Jay Smith and engraving
24-Q. The Stone House Press-(1991) William Heyen, The Shore (Chapbook #8)
Box Folder
4 24-Q Keepsake for the Stone House Press at the Grolier Club, “October 28, 1991”: Wood engraving of ill. from The Shore (wood block, B-20, box five)

Proof in green with typescript description by DePol
24-R. The Stone House Press-(1994) William Heyen, With Me and Far Away
Box Folder
4 24-R Gathering from Heyen’s book (NY: Stone House Press, 1994), with DePol signature under ill.
25. The Yellow Barn Press
DePol met Neil Shaver, the proprietor, in 1983 at the Book Arts Program at the Florham-Madison Campus Library of Fairleigh Dickinson University, and over the course of their association, commissioned over seventy engravings for his Yellow Barn Press, in Council Bluffs, Iowa. Shaver said that, like most printers, he felt wood engraving was the “most compatible style of illustration for a seriously printed letterpress book.” Their collaborations were carried out long distance, through the mail. After 1983, they didn’t meet in person again until James H. Fraser once again brought them together in Madison in 1993.
25-A. The Yellow Barn Press-Single Prints
Box Folder
4 25-A Signed print. image of cradle with caption, “For Caitlin James,” 10/6/1993, ed. of 30

Signed print. image of candlestick with caption , “For Neil Shaver,” 11/15/1993, ed. of 20

Signed print. image of car on street with caption , “For Yellowbarn Press,” 1/20/119288, ed. of 20

Signed proof, flower design, “For Yellow Barn Press,” 4/10/1989

Signed proof, ill. of door adorned with Christmas wreath surrounded by snow, 11/22/1989, ed. of 12

Signed print. ill. of three men conversing, 11/9/1987, ed. of 20

Signed proof, portrait of Mark Twain, October 1985

Signed proof, ill. of windmill and cloudy sky, undated

Signed proof, letter “S,” 11/9/1987

Signed proof, portrait of Benjamin Franklin, 7/9/1992

Signed print. portrait of Eric Gill for Neil Shaver, 6/30/1986, ed. of 24

Signed proof, portrait of Eric Gill, undated

Proof, portrait of William Shakespeare, undated

Signed print. image of open book on table with caption, “For Yellowbarn/Blackwell,” 9/13/1988, ed. of 40

Signed print. “Sussex Cottage & House,” December 1988, ed. of 100

Signed print. “Kelmscott House,” December 1988, ed. of 100

Signed print. colored (blue) port. of William Morris, 2/25/1984, ed. of 85

Signed print. colored (puce) port. of William Morris, 2/25/1984, ed. of 85

Signed print. Port. of William Morris, “For ‘Golden Legend’ Yellow Barn Press,” October 1989, ed. of 100

Signed print. ill. of barn, 6/27/1985, ed. of 20

Proof, ill. of barn with slanted roof, undated

Signed print. ill. for The Devil’s Artisan, 1989, ed. of 40

Four page folded sheet with single ill. for Benjamin Franklin, Anecdote and Eulogies. A keepsake: “printed by Neil Shaver 1953”

Proof port. of William Morris, Golden Legend (1984)

Holograph note from Neil Shaver to John DePol: “John—These were just printed. 800 Copies. Neil”
25-B. The Yellow Barn Press-Ephemera
Box Folder
4 25-B Pamphlet. “You just discovered the author’s name is spelled wrong on the title page! Don’t Worry…,” 4.p folded sheet with one ill., published by Yellow Barn press, undated

Errata with DePol logo and short anecdote, signed in pen by Neil Shaver, undated

Two-fold card. “Season’s Greetings from the Peichs,” Christmas 1989

Prospectus. The Red Ozier: A Literary Fine Press, History and Bibliography 1976-1987 by Michael Peich, published October 19, 1993

Engraved proof. “I Love My Little Hohner,” April 1994, with DePol’s wood engraving of press and list of previous owners

Prospectus. The Liberty Bell on the Kelmscott Goudy Press by J. Ben Lieberman, 1996

Excerpt from, Reminiscences of a Wood Engraver, with ill. upside down and annotation by DePol, 1987. (The title has an additional error, “Club” is omitted from “The National Book [Club] of California,” and Rutgers’ copies have “Club” penciled in. One copy has DePol comment “Ouch” in red.

Printer’s dummy, with pencil drawings. From Hardware to Software, 9/1/1991

Photocopy of prospectus and proofs for Dress… by Eric Gill, 6/30/1986

Proof of Eric Gill from drawing dated 3.3.25, with DePol pencil ms. Dated 6/30/86, and ed. (24)

Prospectus. Oscar Wilde: A Problem in Biography by Julian Symons, April 7, 1988 (unfolded)

Pamphlet. Excerpt from Hand Composition by Hugo Jahns, undated, with DePol ornament>

Pamphlet. Castle Press pressmark, printed by Neil Shaver for the APA Wayzgoose, 2000

Pamphlet with portrait of William Shakespeare for Typocrafters 1999 at Kansas City

Pamphlet. “How This Pattern Paper Was Made,” undated. Printed on the inside of a folded piece of pattern paper printed in brown, with single block reprinted inside

Keepsake for a Typophiles celebration, ill. of an Albion Press, 1990

Broadside. “John DePol Wood Engraver Exhibition, Illustrated Books, Prints, Keepsakes, November & December 1993, University of Iowa, North Lobby, Main Library,” 1985

Photocopy of review of John DePol: A Celebration of his Work by Many Hands, 1994

Keepsake for the DePol Festschrift, “Proposed Title-Page Spread for a Forthcoming Publication, An Amazing Revelation!” 1994

Signed publication announcement, John DePol: A Celebration of his Works ed. James Fraser, 1994

Invitation card. “Inside the Yellow Barn Press: Exploring a Contemporary Fine Press,” January 28- March 9, 2003

Broadside. “Inside the Yellow Barn: Exploring a Contemporary Fine Press,” Opening Reception Thursday, January 30, 2003, with handwritten note, “From Jim Carwin, Multnomah County Library, 801 SW 10th Ave, Portland, OR 97205”

Publication announcement and proofs for A Goudy Memoir, 1987

Proof. “Wilde’s Cell, Reading Gaol,” Oscar Wilde: A Problem in Biography, undated

Broadside: Wood Engraving: An Introduction, taught five evenings from 6:30 to 9 p.m., April 22- 26, 1985 . . . Mr. John DePol¸ with wood engraving. Presented by The University of Nebraska at Omaha, privately printed by the Buttonmaker Press and Yellow Barn Press in an edition of 250.
25-C. The Yellow Barn Press-(1988) Walter Shewing, Late Verses and Earlier
Box Folder
4 25-C
Signed proof. Ill. of broken column and roses for Late Verses and Earlier, page 11, c. 1988

Signed proof. Ill. of apple tree for Late Verses and Earlier, page 10, c. 1988

Signed proof. Ill. of broken sword for Late Verses and Earlier, page 13, c. 1988

Signed proof. Ill. of a castle on fire for Late Verses and Earlier, page 15, 1988

Signed proof. Ill. of sky for Late Verses and Earlier, c.1988

Signed proof. Ill. for Late Verses and Earlier, c.1988

Printer’s paste-up for Late Verses and Earlier, pages 9-16, 1988

Signed proof. Ill. of mountain and clouds reflected in lake, April 1988

Broadside. “The Art & Technique of Wood Engraving…” at the University of Nebraska at Omaha, 1985.

Broadside. “Iowa’s Most Famous Barn…,” 1988.
25-D. The Yellow Barn Press-(1992) Willie Morris, My Two Oxfords
Box Folder
4 25-D
Publication announcement from the Yellow Barn Press for My Two Oxfords by Willie Morris
Photocopy of publication announcement from the Yellow Barn Press for My Two Oxfords by Willie Morris

Signed print of 2-colored ill. of Oxford, England, October, 1991

Signed proof of 2-colored ill. of Oxford, Mississippi, undated

Computer printout of engraving Oxford, “Lake Oswego, OR: Blackwell North America, 1993”
25-E. The Yellow Barn Press-The Rowfant Club
Materials printed for Rowfant by Yellow Barn Press; for more see The Rowfant Club (folder 47).
Box Folder
4 25-E Three proofs for the Rowfant Club, one dated “3.16.89” and the other one “5.12.92”
25-F. The Yellow Barn Press-Yellow Barn Books
Box Folder
4 25-F Proofs of ill. for books published by the Yellow Barn not included in individual folders (Note: Entries for the proofs contained in this folder refer to Walsdorf, Jack. Yellow Barn Press. Council Bluffs, Iowa, 2001.)

Publication Announcement. The Yellow Barn Press: A History and Biography. Jack Walsdorf and Neil Shaver: includes two photographs.
25-G. The Yellow Barn Press-(1994), Steven O. Saxe, Travels With Pat
Box Folder
4 25-G Discursive note by John DePol, typescript (undated)

Proof. “Pat’s Chevette 6/94 XLD”

Proof signed “D”
25-H. The Yellow Barn Press-(1986), Eugene Field, Our Debt to Monkish Men
Box Folder
4 25-H Signed print. Ill. of monk at writing desk with caption, “For the Yellow Barn Press,” 12/10/1986, ed. 30

Publication announcement for Our Debt to Monkish Men by Eugene Field, c. 1986

Signed print. Ill. of books, quill, and paper with caption, “For ‘…Monkish Men…’,”12/10/1986, ed. 30

Signed print. Three ills. in same design as t.p., with caption, “For ‘Monkish Men…’ The Yellow Barn Press,” 4/7/1987, ed. 10
25-I. The Yellow Barn Press-(1986), Herbert Hoover, A Boyhood in Iowa
Box Folder
4 25-I Publication announcement for A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Initial “A” from page 16 of A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Initial “T” from page 26 of A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Initial “T” from page 10 of A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. 2 page ill. for A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Ill. of dirt road and snow for A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Ill. of house and cloudy sky for A Boyhood in Iowa by Herbert Hoover, 1986

Signed proof. Ill. man and barn for A Boyhood in Iowa by Herbert Hoover, 1986

Proof. Ill. of “West Branch in the 1880s” from Herbert Hoover, A Boyhood in Iowa, (1986)
25-J. The Yellow Barn Press-A Goudy Memoir
Box Folder
4 25-J Proofs of Falls at Deepdene, a two-colored wood engraving (1957), reprinted in 1987 by Neil Shaver in an edition of 165 copies on Basingwerk Parchment

Typescript note on letterhead, dated July 12, 1987, and signed by DePol. Note concerns the re-printing of Falls and A Goudy Memoir

These pieces have been inserted into a [4] p. pamphlet, Evening at Deepdene: An Essay by Frederic W. Goudy; a Wood engraving by John DePol, published by Lanston Monotype
26. The Yellow Barn Press-The Barbarian Press
Crispin and Jan Elsted founded the Barbarian Press in Boughton Monchelsea, Kent, in 1977, having been trained in letterpress by Graham Williams at the Florin Press. In 1978, they moved the Press to Canada, establishing it on five wooded acres in Steelhead, British Columbia, near Mission, about 50 miles east of Vancouver in the Fraser Valley, where they continue today (2013) to print books using letterpress and wood engraving.
During the nineties, DePol created twenty-one illustrations for Theresa Kishkan’s Inishbream, published in 1999, four years after The Barbarians had established itself as the premier Canadian press for wood engraving with their Endgrain: Contemporary Wood Engraving in North America. That there was sufficient interest in let alone material for a publication on North American wood engraving was a tribute to John DePol. Inishbream won First Prize, Limited Editions, Alcuin Society Citations for Excellence in Book Design in Canada, and it may be DePol’s only Canadian publication.
Box Folder
5 26 Proofs of six ills. dated either April or August, 1997, or undated

Typescript of note with engraving with initial “L” dated March 15, 1996. Note discusses progress of DePol’s work on Inishbream

Envelope from Crispin Elsted to John DePol, Esqr, stamped “10 Oct. 1987”

Folder: Final ills. for Inishbream . . . August 1997. Contains only 4 ills.
27. Thomas Nelson & Sons
Box Folder
5 27 Various proofs of eight ills. for Fisher, Aileen. Fisherman of Galilee. T. Nelson, New York 1959.
28. Press of Appletree Alley (Barnard Taylor)
Barnard Taylor met DePol in 1951 in Maple Shade, NJ, and straightaway commissioned scenes of campus life for Lycoming College, Juniata College and Bucknell University. In the 1980s, in affiliation with Bucknell University, Taylor founded the Press of Appletree Alley, a literary press affiliated with Bucknell University, and invited DePol to illustrate for him. The first of his four books: William Butler Yeats’s Ballylee, The Tower: Selections from the Tower Poems, appeared in 1983, followed by D.H. Lawrence’s The Man Who Loved Islands (1986), Wendell Berry’s Traveling at Home (1988), The Press of Appletree Alley, 1982-1992: A Keepsake to Mark the Anniversary (1992) and Louis Simpson’s Jamaica Poems (1993). DePol also engraved several printer’s devices for the press.
28-A. Press of Appletree Alley-General
Box Folder
5 28-A Press announcement for Ballylee: The Tower: Selections from the Tower Poems of W.B. Yeats. Lewisburg, Pa.: The Press of Appletree Alley, 1983

Prospectus for Printing as Art, William Morris and His Circle of Influence. The Press of Appletree Alley, 1993 (engravings by Linda Holmes)

Engraved port. of Philip Roth for His Mistress's Voice. Lewisburg, Penn. The Press of Appletree Alley, 1995

Packet of unsigned, undated proofs loosely inserted into a folded sheet with several ills.

Print of peacock, with caption: “For Barnard Taylor / Oct. 1964 D. / 20 proofs”
28-B. Press of Appletree Alley-(1986) D.H. Lawrence, The Man Who Loved Islands
Box Folder
5 28-B Proofs of images, some signed; includes a fourth [?] island not used in book, and signed proofs of two continuous blocks, possibly intended as a double-block cover
28-C. Press of Appletree Alley-(1988) Wendell Berry, Traveling At Home
Box Folder
5 28-C T.p. for Traveling At Home with copyright and contents printed on verso

Print of t.p. ill. (two blocks); some copies signed with limitation statement and date, “Mar, 88, “ ed. 25”

Print of Gate (p. 10): some copies signed with limitation statement and date, “Mar, 88,” ed. of 100

Print of aerial view (p. 22): copies signed with limitation statement and date, “Mar, 88” ed. of 100

Print of barn and fence (p. 42): copies signed with limitation statement and date, “Mar, 88” ed. of 100

Packet of signed proofs: Plough and barn (dated “3.30.88” in ed. of 30); Water running over rocks (dated “4.6.88” in ed. of 30)

Bookseller’s catalog: Appalachian Mountain Books (1989) with reproduction of t.p. ill.
28-D. Press of Appletree Alley-(1993) Louis Simpson, Jamaica Poems
Box Folder
5 28-D Two-page opening (22-23), with ill. Of Columbia’s Low Library

Proof. Of Low Library (second engraving?) titled and signed

Documentation. Proof of Low Library (second engraving?) with explanatory text by DePol, who notes “Being signed DePol dates it sometime in the 1950s. In later years it turned to D.” (Dated December 6, 1999)

Wood engraving. Columbia University

Correspondence. Columbia University, dated December 6, 1999

Preliminary sketch and outline with list of ills., “12.11.91”

Preliminary sketches on tracing paper, of Fort Charles

Proof, Fort Charles

Preliminary sketches on tracing paper of ships anchored in harbor

Proofs, ships anchored in harbor, some signed

Preliminary sketches of nets and three canoes

Proofs, nets and three canoes, some signed

Preliminary sketches on tracing paper of sunken schooner

Proofs, of sunken schooner, some signed

Preliminary sketches on tracing paper of street scene

Proof, street scene

Proofs of t.p. ills.

Preliminary sketches on tracing paper of early stage t.p. ill. with title The Other Jamaicans, one dated “12.27.91”

Preliminary sketch, mock-up of t.p. with title The Other Jamaicans

Prospectus

Signed photocopy of prospectus

Correspondence. T.l.s. to DePol from Barnard [Taylor], 9/28/1991

Correspondence. T.l.s. to DePol from Barnard [Taylor], 10/18/1991

Typescript list of acknowledgments
28-E. Press of Appletree Alley-Miscellaneous Packets 1983
Sets of engravings printed on seven sheets of paper DePol arranged apparently as a gift set (possibly to be sent to libraries). Some prints are dated and bear an edition statement of “48” copies.
29. Bowne & Co., South Street Seaport Museum (Barbara Henry)
Bowne & Co., Stationers is a recreation of a late nineteenth century printing office, operated by the South Street Seaport Museum. The area on the East River on the southeast side of Manhattan, nestled among the piers just south of the Brooklyn Bridge was familiar to DePol from a very early age. He used to sketch here as a boy, and among his first wood engravings (1950) are views of both South Street and Fulton Street, formerly the home of The Fulton Fish Market. One of his last wood engravings is of Wall Street, which is just to the south, and where he had his first job as a runner.
DePol’s association with the Museum began in the late nineteen seventies. In 1978, his work was featured in a one-man exhibition, and he was profiled in the Museum’s membership newsletter, in “South Street People: John De Pol.” In 1982, 1983 and 1984 Bowne & Co. invited DePol to teach classes in wood engraving. By then, Barbara Henry had become the curator/master printer. The partnership between Henry and DePol proved especially fruitful. Making use of the shop’s extensive collections of rare nineteenth century foundry type, they produced notecards and posters for the Bowne shop, including views of the Museum’s historical ships, the Peking (a four-masted barque) and the Ambrose (a lightship), and a portrait of Robert Bowne, who in the 1820s founded a printing shop on the site. They also produced keepsakes for The Typophiles and for the American Printing History Association (APHA), as well as a broadside for the APHA’s A Type Miscellany: Twentieth Anniversary Broadside Portfolio (1994), among whose contributors are several of the printers featured in Out of Retirement, Michael Peich, Morris Gelfand, Steve Miller, Neil Shaver and Michael Tarachow. Henry was the model for DePol’s design of a compositor at a type case.
Their major works are: The Wood Engraving Portfolio (1988), which includes a print by DePol as well as an extra print of the seaport. Edgar Allen Poe’s The Pit and the Pendulum (1991), and Carroll Boltin’s A Practical Guide to Light Refreshment (1996). Henry also contributed a fascicle to John DePol a Celebration of His Work (1994), with DePol’s engravings of the shop, and curated an exhibition, “John DePol’s New York: an Exhibition of Etchings and Wood Engravings” (Nov, 1997–Jan, 1998), which traveled to Rutgers-Newark.
29-A. Bowne & Co., South Street Seaport Museum-(1991) Edgar Allan Poe, The Pit and the Pendulum
Box Folder
5 29-A Publication announcement

Signed proofs of two ills.

Photograph of DePol engraving block for Pit and the Pendulum, with folio from book

Signed and numbered proof, of punch bowl and lemons with caption, “For Publication Party-Poe’s Pit and the Pendulum,” dated 6/20/1991

Proof of ill. for Pit and the Pendulum
29-B. Bowne & Co., South Street Seaport Museum-(1996) Caroll Boltin, A Practical Guide to Light Refreshment
Box Folder
5 29-B Publication announcement (Broadside)

2 proofs dated “June 16, 1995”

Card announcing publication

Offprint of, A Practical Guide to Light Refreshment, 1995

Signed and numbered proofs, of corn, pitcher, and jug on table with caption, “For Bowne,” dated, 6/16/1995

Proofs of six ills. for “Boltin’s Cookbook,” dated, 1994

Signed proof with caption, t.p. image for A Practical Guide to Light Refreshment, dated June 15, 1995

Unsigned proof with caption, t.p. image for A Practical Guide to Light Refreshment, dated, June 15, 1995

Proof, image from A Practical Guide to Light Refreshment, dated 1995
29-C. Bowne & Co., South Street Seaport Museum-John DePol's New York, November - March 15, 1998.
Box Folder
5 29-C Documentation. John DePol's New York: An Exhibition of Etchings and Wood Engravings. Reproduction of exhibition pamphlet including an introduction by Barbara

Barbara Henry, curator, an essay by Don Wesely, and an exhibition checklist

Holiday card with wood engraving The Lower Hudson River from the Erie Pier in Hoboken

Documentation. Press release from the South Street Seaport Museum. "A Lost Art Form is Found at the South Street Seaport Museum, The Famed Works of John DePol to be Shown"

Documentation. Essay from Barbara Henry, Curator, South Street Seaport Museum. Photocopied from the limited edition, John DePol, A Celebration of His Work by Many Hands. Edited by James H. Fraser. Council Bluffs, Iowa: The Yellow Barn Press, 1994. Photocopy of notice, “Wood Engraver's 50 Years of Picturing Manhattan.” The New York Times, 14 December 1997

Documentation. Photocopy of newspaper article. Helfgott, Hali. “Memories engraved: art exhibit captures a bygone New York.” North Jersey. 14 December 1997. NJ1-NJ2. Includes ill. of DePol at work and the reproduction of three engravings.

Documentation. The Villager, dated July 3, 1947

A reproduction announcement for “John DePol’s New York; An Exhibition of Etching and Wood Engravings July 27, 1998 – October 1, 1998”

Proof of South Street (1950)

Signed four-fold card announcing “John DePol’s New York: An Exhibition of Etchings and Wood Engravings,” John Cotton Dana Library, Rutgers Newark, 1998, Bowne & Co. Stationers, dated 1998

Broadside. “John DePol’s New York: An Exhibition of Etchings and Wood Engravings,” John Cotton Dana Library, Rutgers Newark, 1998
29-D. Bowne & Co., South Street Seaport Museum-Classes in Wood Engraving
Box Folder
5 29-D Pamphlet, School Programs, South Street Seaport Museum, 1993-1994

Card, “Wood Engraving & Letterpress Printing Workshop,” undated

Signed broadside. The Wood Engraving Portfolio, dated 1988

Signed and numbered broadside. Introduction to Wood Engraving, undated

Card, “Wood Engraving and Letterpress Workshop,” undated
29-E. Bowne & Co., South Street Seaport Museum-APHA Keepsake
To celebrate its twentieth anniversary, the American Printing History Association published a portfolio of original broadsides, A Type Miscellany: Twentieth Anniversary Broadside Portfolio (1994). For his contribution, DePol executed a wood engraving of Barbara Henry standing at the type case.
Box Folder
5 29-E Two states of Keepsake: one uncorrected, second corrected. B Henry drawn & engraved by JDP. B Henry subsequently revised drawing and JDP did a second engraving.

Photocopy of sketches and proofs of “Setting Type,” dated 1994

Annotated proof with caption, “Setting Type,” dated 1994

Prints of both blocks with various ms markings, dated 1994

Holograph note on Bowne & Co. letterhead, dated “11-21-03,” from Barbara Henry to John DePol regarding changes to the sketch for the APHA Keepsake.

Holograph note on Bowne & Co. letterhead dated 3/18, from Barbara Henry to John DePol. Note reads “Here’s your blocks. [sic] Thanks, it is beautiful.” Not clear that the subject is the Keepsake.
29-F. Bowne & Co., South Street Seaport Museum-Printed Ephemera (Cards and other stationery)
Box Folder
5 29-F Signed proof. Image from “The Meeting of the Waters of the Hudson & Erie,” caption, “For Bowne in Fulton Street,” undated

Broadside. “The Meeting of the Waters of the Hudson & Erie,” undated

Signed print. image of the Peking, 9/20/1988

Card announcing publication of, “Robert Bowne: Of Private Enterprise and Public Works,” undated

Card. “The Albion Printing Press,” handwritten note to DePol from “Julia” within, dated 1990

Signed print. “Robert Bowne,” undated

Signed two-color print of Robert Bowne, Bowne & Co. Stationers, 11/12/1002, edition of 120

Card. Ambrose (Lightship), 1995

Photo-offset card with image of The Ambrose (lightship), 1995

Booklet. Wood Engraving (South Street Seaport Museum, 1997)
29-G. Bowne & Co., South Street Seaport Museum-Miscellaneous
Box Folder
5 29-G Ex Libris Paul Preston Davis: 1997 Wood engraving by john DePol after a 1939 Self-portrait drawing by John Sloan. 450 copies printed . . . with a 1901 Golding Jobber, Bowne & Co., Stationers. Rutgers copies in brown and in blue green

Press Release. “A Lost Art Form is Found at the South Street Seaport Museum,” dated 1998

Signed Annual Report of the South Street Seaport Museum, 1987 & 1988

Signed proof, image of subway tunnel from Descent, undated

Proof, image of wood block and engraving tools, undated

Proof, image of a can of tobacco and group on deck of ship; verso: port. of Eric Gill, undated

Signed print. group of people on stage, Oct. 1985

John DePol. A Celebration of his Work. Offprint from Bowne & Co.

Photocopy of Celebration offprint, 1993-1994

Broadside. “Thank You John DePol: Ninety Birthday Wishes! From Bowne & Co., Stationers,” 2003
30. The Thistle Press
The Thistle Press was created by Bert Clarke and David Way, in 1951. In 1953 Clarke and Way bought the assets of the L.F. White Company, for which DePol had gone to work in 1950.
Box Folder
5 30 Announcements with ill. (self-portrait?) on front, “Designing and Engraving on Wood”

Wood engraved port. of Noah Webster (1758-1843). “Printed at the Thistle Press in honor of Webster's Anniversary and the completion of the Skeel-Carpenter” (See also Pandick Press for add. printing and Grauer text)
31. Red Ozier Press and Red Hydra
Steve Miller founded the Red Ozier Press in Madison, Wisconsin, in 1976, after studying with Walter Hamady at the University of Wisconsin. Red Ozier was a literary press that published works by notable and emerging writers. In 1979, Miller moved to New York City where he met Ken Botnick and under their joint stewardship, the press gained an outstanding reputation for the distinguished quality of its authors and the craftsmanship of its books. It was also in 1979 that Miller met DePol at his home in Park Ridge. Fifteen years later, for the Festschrift honoring DePol on his 80th birthday, John DePol a Celebration of His Work, Miller recalled that when they met, DePol had recently retired. “What you need to understand is that ‘retirement’ to John means working harder than most people half his age, working for no pay. John told me early on that he had worked in the ‘real world’ long enough, and that now he wanted to call the shots himself. He would work for no one, he would only work on projects that interested him and with people he liked, and only in trade for copies of whatever was produced.”
By then, Miller had closed the Press to take a teaching position at the University of Alabama, and started another, the Red Hydra Press, using a printer’s device engraved by DePol. One can still (2013) find the stark, understated “R.H.” advertising the Press’s recent publications on its Website.
DePol illustrated a number of books, keepsakes and a bookmark for The Red Ozier. In addition to providing the printer’s device for Red Hydra, DePol illustrated two of its publications: Six Pieces of Wood, featuring six wood engravings to celebrate “the Paper & Book Intensive resident workshops in advanced paper and book arts held at John Knox Ranch ... between San Antonio and Austin, May 22-June 3, 1993,” and The Hours, a chapbook of poems by Richard Foerster (1993).
31-A. Red Ozier Press and Red Hydra (1981-1999)
Box Folder
5 31-A Valentine card, [2] p. Poem by Steve Miller, with engraving “R.O.” by DePol: on verso “Thank you John DePol for the wood engraving this Valentine’s Day of 1981”

Proof, printer’s cap (?), “offered to Red Ozier, 10 proofs, 12/27/82,” signed

Pamphlet: [8] p. remarks by Robert Phillips at William Goyen’s memorial, September 6, 1983, with signed engraving on cover

Proofs, 4 engravings done “For Red Ozier,” dated 6 October 1983, 20 proofs”

New Year’s Greeting [4] p., “A Neo-Midrashic New Year’s Greeting for Wise New-Yorkers and Others” . . . by Edouard Roditi from The Red Ozier Press, dated on p.[4] New York City, 1983, with reindeer [by DePol?]

Trifold flyer for Church of the Holy Apostles Soup Kitchen, with engraving by DePol: “typeset and designed by the Red Ozier Press & Charles Albert Carson,” [ca.1984]

Broadside card, with poem by Connie Martin & engraving by DePol, dated 1984

Proof, irises “For Red Ozier,” dated 27 June 1984, 20 proofs

Marriage announcement, [4] p. of Karen Werner to Kenneth Botnick, dated “19 May 1985,” with engraving on front, a monogram made up of intertwined letters of couple’s names, printed in red

Print of marriage monogram, “For Ken Botnick, April 1985, 16, D.”

Print. Open book, signed, “for Red Ozier Press, Steve Miller, 11/20/86.” Ed. 20

Print: Resurrection Ball (1988), (see wood block in collection, C-17, box seven)

Print. Books, storm clouds, lightning, “10/30/86” (“enlarged for a poster for an exhibition at the Watson Library at the Metropolitan Museum of Art”): ed. 20

Proof, “For change of address notice,” of two men loading up pick-up truck: “For Red Ozier Press,” dated 16 February 1988,” 32 [copies]

Flyer, [4] p. Announcing exhibition at The Institute for the Book Arts, Amelia Gorgas Library, The University of Alabama, November 10 – December 31, 1988: Red Ozier, 1976-1988. (Uses blown-up engraving of books, storm clouds)

Proof, circle in cruciform against backdrop of storm clouds, printed in blue green, “For Steve Miller, Red Hydra Press, 6.30.93

Red Hydra “RH” logo

Proof. “Dard Hunter” A/P “25 Oct 1998”

Print. “Dard Hunter” dated “Oct. 1999/110”

Documentation for Cathleen Baker, By His Own Labor: The Biography of Dard Hunter, Red Hydra Press, 1999

Proof, undated: monogram (ABK) within heart: unsigned

Documentation, undated. List of DePol’s involvement on [8] of Red Ozier’s “81 item.”

Documentation, undated, relates to DePol’s work for Red Ozier

New Year’s Greeting, 1982, with wood engraving by Fritz Eichenberg, signed by Ken Botnick, Steve Miller, and Eichenberg
31-B. Red Ozier Press and Red Hydra (1982), William Faulkner, Father Abraham
Box Folder
5 31-B Prints or proofs of all ills. in Father Abraham

Print: three ills.: “ed. 28 1982”; (on back: “From The Collection of Patricia G. DePol”)

3-color print of t.p. for Father Abraham, dated “Dec, 1982”: ed. of 50

Documentation. Photocopy of review of Father Abraham in Fine Print (April, 1984), with correction by DePol)
31-C. Red Ozier Press and Red Hydra (1993) Bibliography by Michael Peich, published by NYPL and Yellow Barn Press
Box Folder
5 31-C
Prospectus for The Red Ozier: A Literary Fine Press, History and Bibliography 1976-1987 / by Michael Peich. Publication date: Oct. 19, 1993

Card, printed in two colors. “Reservation for The Red Ozier: A Literary Fine Press . . .,” printed by Yellow Barn Press

Offprint, [4] p. From The Red Ozier: A Literary Fine Press, History and Bibliography 1976-1987, with DePol engraving from Precious Door on front. (some copies signed)

Documentation. Page of a review of The Red Ozier: A Literary Fine Press, History and Bibliography 1976-1987, with excerpt of a letter from DePol (August 1982)
31-D. Red Ozier Press and Red Hydra, Broadsides
Box Folder
5 31-D Broadside poem. Jess Anderson,” White and yellow shaggy giant,” with engraving by DePol. “Red Ozier Press 1981 New York City,” signed by Anderson and DePol

Broadside poem by Antonin Artaud, “It is thought from below,” with printed drawing by Nancy Spero, dated April, 1984
31-E. Red Ozier Press and Red Hydra, Correspondence
Box Folder
5 31-E Postcard, holograph from Steve [Miller] to John, dated 3 December ‘86

Postcard greeting, 1989, from Karen, Ken [Botnick] & Claire

Holograph letter signed, from Ken Botnick, dated 1/5/98
32.The Glad Hand Press (Robert M. Jones)
The Glad Hand Press was founded in 1953 by Robert M. Jones, an art director of RCA and Columbia Records, and a collector of wood engravings. Jones operated the press out of his home in Stamford, Connecticut. In the early sixties, DePol created a series of hilarious and absurd hand images for Jones as possible press devices. In 1981, DePol added to these, creating fifteen hands altogether. Some were reprinted (fittingly enough) in DePol’s festschrift, John DePol, a Celebration of his Work by Many Hands, and in a gentle card DePol designed for a Typophiles’ Keepsake for the Christmas Luncheon of 1993 as a tribute to Jones who died in February of that year.
Box Folder
5 32 Broadside for Robert M. Jones 1913-1993

Printed hands, five sheets

“John DePol’s Press Marks and The Glad Hand Press of Robert M. Jones,” Printed at the Yellowbarn Press, undated

Photocopy of, “John DePol’s Press Marks and The Glad Hand Press of Robert M. Jones,” Printed at the Yellow Barn Press, undated

Signed proof of four hands, Honest, Hopeful, Careless*, Curious, with caption, “Engraved in August 1962 *Permanent Press Mark,” 8/28/1993

Unsigned proof of four hands, (same as above), undated

Signed proof of five hands, dates of their engraving indicated underneath each, June – November 1964 and caption “That-A-Way!”

Signed proof of three hands with caption, “Country & City Gentlemen Salute a Laureate!” May 1981

Signed print of three hands with caption, “Thumbs Down,” November 1964, June 1981, ed. 50

Photocopy of Newsclipping and Keepsake, “Robert Miller Jones, Award-winning artist,” Sunday, February 7, 1993 and “Robert M. Jones 1913-1993…farewell,” by Sam Antupit/Cycling Frog Press

Signed Keepsake, “A Tribute to Robert M. Jones Typophile 1913-1993, A Reproduction of his 1963 Typophile Keepsake,” 1993

Photocopy of handwritten note by Robert M. Jones regarding his friendship with John DePol with caption, “Written several days before he passed away on February 6, 1993, Bob would have been 80 in July 1993”

Typewritten transcript of note with annotation by DePol: “God bless dear Bob, a great friend, we did some great art together!!”

Card with handwritten note to John and Thelma DePol, dated 10/9/1984, signed ‘K & J’

Keepsake. “Robert M. Jones, 1913-1993, spirited Artist, generous Mentor, irrepressible Wit, ribald Gentleman, farewell,” 1993
33. Miscellaneous Private Presses
Presses for which DePol minimal contributions. Presses for which Rutgers has minimal print material are represented in Miscellaneous Engravings.
33-A. The Helianthus Press (Dana Williams-Capone)
The Helianthus Press operated by Dana Williams-Capone in Tuscaloosa, Alabama, published three small, minimalist books between 1995 and 1996. Helianthus (sunflower) probably arose under the tutelage or inspiration of Steve Miller, of the Red Hydra. Thousands Live, by Alison Baker, bearing two wood engravings by DePol, was this press’s last publication.
Box Folder
5 33-A [4] p. Prospectus for Thousands Live! by Alison Baker, with engraving

Print of B: “3.15.96” ed. of 25 signed “D.”

Print of man facing building (prospectus ill.)

Print of man turned to right facing buildings, signed, “3.18.96 D. 25.”

Print of man turned . . . with note to D (Dayna Williams) from DePol (never sent?), dated 3.25.96
33-B. The Privateer Press (Steven L. Watts)
The Privateer Press was founded by Steven L. Watts.
Box Folder
5 33-A Booklet prepared by DePol with front page “The Privateer Press of Steven L. Watts, John DePol”; includes 1 p signed typescript to Lynne & Bob [Veatch], dated June 14, 1997, [4] sheets of wood engravings [ca. 1957-1960], photocopies of correspondence from Steven Watts and documentation
33-C. The Buttonmaker Press (Donald W. Knoepfler)
Donald W. Knoepfler and DePol met in Madison, New Jersey at a workshop at Fairleigh Dickinson University, in 1983. In 1985, he invited DePol to teach a seminar at the University of Nebraska at Omaha, for which, DePol engraved a view of the university’s library. A subsequent visit to Knoepfler’s summer home in Indiana resulted in the discovery of an unpublished—and unfinished—manuscript by Mark Twain, Buttonmaker published in 1986, with DePol’s engravings, as The Quaker City Holy Land Excursion: an Unfinished Play by Mark Twain. DePol also engraved an illustration for a broadside, published in1987, of Frank O’Connor’s Kilcash, and the Press’s device.
Box Folder
5 33-C Signed prints of 8 ill. to Mark Twain, Quaker City (1986), dated “Oct. 1985/55.”

Photocopy. Prospectus for The Quaker City.

Signed print for Frontispiece (bears) for Barry Lopez’s Renegotiating the Contracts (1989): L/4.10.89.

Signed proof. “For Don Knoepfler/The Buttonmaker Press/Omaha/ For an Errata Slip…,” 9/2/1986.
33-D. The Bullnettle Press (Asa Peavy)
The Bullnettle Press of Tuscaloosa, Alabama, published a range of material for 20 years, only ending when its proprietor, Asa Peavy, left Tuscaloosa for positions at the Yale University Press and the San Francisco Public Library. DePol created the printer’s device and illustrated three small books: Flesh of Best Intention, by Cydney Adams, (1989), Sir Galahad: a Christmas Mystery, by William Morris, (1996), in which Morris provided a somewhat more conflicted and chivalrous portrayal of the “perfect knight” than his predecessors, notably Sir Thomas Malory, and A Goodfellowes complaint against strong beere, or, Take heed goodfellowes for heere you may see how it is strong beere that hath undone me (1992). In its colophon, Peavy describes this melodiously titled publication as “the first in a series of occasional pamphlets from the Bullnettle Press featuring old ballads drawn primarily from the English and Scottish tradition.” DePol also provided illustrations for the Yale University Press and San Francisco Public Library when Peavy hopped between jobs at those institutions.
Box Folder
5 33-D Booklet (12 cm.) The Bullnettle Press: A Pair of Pressmarks Printed as a Keepsake for the Typocrafters. ([Tuscaloosa, Ala.: Designed and printed by Asa Peavy], 1989)

Print of 2 plant images, possibly logo candidates “For Asa Peavy”

Signed proof of open stone structure, possibly a kiln, with caption: “For Asa Peavy, Bullnettle Press 11.95 L/D”

Print of flying eagle above patterned fields and wood, “for Bullnettle Press 2.28.89/30”
33-E.The Ardentia Veritas Press (Alan Waring)
DePol produced several engravings for The Ardentia Veritas Press operated by Alan Waring, in 1996.
Box Folder
5 33-E Envelope marked “prints on handmade paper & vellum for John DePol.” Includes 6 prints on paper and 1 on vellum, printed in two colors, inscribed for DePol.

Packet of prospective printer’s devices marked “For Ardentia Veritas Press, 10.95 L D.” in black

Unsigned proof

Unsigned proofs of three prospective devices in black
33-F. Tideline Press (Leonard Seastone)
Leonard Seastone, an artist and faculty member at SUNY, Purchase, where he teaches letterpress and bookbinding, founded the Tideline Press in 1972, in Sayville, New York, and continues to publish limited edition artist books (2013). In 1980, Seastone published James H. Fraser’s study of John Anderson, John Anderson and the Pickering Press, which included contributions by DePol, and in 1987, The Hudson River: From the Source to the Sea in Photographs, based on a lecture delivered by Thomas Cole before the Catskill Lyceum in 1841 on American Scenery. DePol modeled his wood engravings on portions of photographs, in a way comparable to his Under Open Sky illustration modeled after Asher Durand’s Kindred Spirits.
Box Folder
5 33-F Print of four illustrated initials inscribed in pencil and dated (5 May 1986 D.): ed of 20

Print of bay with cumulus clouds, “For Leonard Seastone The Tideline Press 5 May 1986 D. 20” (with variant).

Unsigned proof. Three illustrated initials, “A I T,” unsigned.

Signed proof. Oval shaped image of lake with caption by DePol, “For Leonard Seastone, The Tideline Press,” 5/5/1986, edition of 20.
33-G. Privy Council Press
The Privy Council Press was a low jest contrived by Lew White, Frank Petrocelli and DePol, which, which, affecting the suave, plummy tones of a professional announcer (perhaps an impersonation of Ben Grauer) DePol explained, “is not to be confused with that most august of English assemblages, the body of distinguished advisers to the king. With a lower case ‘p’ it is defined as an old-fashioned country convenience, Lew White was Chief Councilor and Frank Petrocelli and I were Councilors. The printing was done at White’s plant.”
Box Folder
5 33-G Unsigned proofs of a privy

[4] p. blank note-card with image identified as Hudson River Waterfront – A wood engraving by John DePol / Printed at The Privy Council Press, New York City

Unsigned Proof. Image of outhouse with caption by JDP, “Mark for The Privy Council Press, Lewis F. White, Chief Councillor, and Councillors Frank Petrocelli and John DePol,” 1951

Wood engraving. “Cirrus,” undated, signed, titled in ms. Rutgers has 2 copies. This is another view of the outhouse above
33-H. Chama Press
The Private Press file at the University of Missouri states that Chama Press is located in Dallas, Texas and published its first book in 1989. Since then it has continued to publish material about the American Southwest.
Box Folder
5 33-H Signed and unsigned proofs for John Graves. Self-Portrait, with Birds: Some Semi-Ornithological Recollections. Dallas: Chama Press, 1991)




33-I. Zauberberg Press
The Zauberberg Press of Coffeyville, Kansas, was operated by the poet, Donald von R. (von Ruysdael) Drenner. DePol illustrated three books for the Zauberberg Press (named after the poet/printer’s favorite book, Der Zauberberg, or The Magic Mountain, by Thomas Mann) early in his career, and four later. The first three contained poetry by von R. Drenner, The Usage of the Past: a Memoir (1954), Anna, Anna! (1955), and The Graphics of Love: xxxviii Sonnets (1961). The colophon for Anna, Anna! includes this droll commentary: “Some of the poems which, over the years, he [the poet/printer] considers worthy of recording for perusal and exagmination [sic] by divers printers & poets and others so disposed toward irascibility, and which are here gathered under the title, Anna, Anna! as is appropriately indicated by the prefatory poem to the poet’s wife.” In 1986, DePol again provided illustrations for von R. Drenner’s poetry in The Final Anna (1986), and thereafter for other poets and authors: George Meredith, Modern Love (1991), Susan Perry, Early Poems (1992), and A.E. Housman, A Shropshire Lad (1992). DePol recalls: “I knew and corresponded with old friend Don for over forty years and illustrated several of his books. He died on April 7, 1995.” (See boxes Twenty-one—Twenty-four).
Box Folder
5 33-H Print. [Abstract flowery stuff] for The Final Anna, signed and dated “5 May 1986”; ed. 20; see box twenty-one

Print. [sun or sun and rain breaking through clouds] for The Final Anna, signed and dated “5 May 86”; ed. 20; see box twenty-one

Documentation. 1 p. typescript with proof by relating to DePol’s illustrations for A Shropshire Lad (1992). Includes note of Don Drenner’s demise (April 7, 1995). (See box twenty-three)
III. Documentation and Prints 2
34. Rutgers Pharmaceutical Conference
Box Folder
5 34 5/28/99 Correspondence to Michael Joseph, Rare Book and Jerseyana Catalog Librarian, Rutgers University regarding an engraving done for a program for the ninth annual Rutgers Pharmaceutical Conference in 1960

Photocopy of wood engraving for the Ninth Annual Rutgers Pharmaceutical Conference. Rutgers, The State University of New Jersey, 1960.

Booklet. Important Quotes from the Ninth Annual Rutgers Pharmaceutical Conference. New Brunswick, N.J.: Rutgers, The State University, College of Pharmacy and University Extension Division, 1960
35. Smith, Kline, and French
Box Folder
5 35 Copies of various promotional publications for Thorazine, with engravings by DePol.
Obstetrical chair of the sixteenth century. A wood engraving by DePol for Smith, Kline & French laboratories

Revolving Bed--an old time ..device for calming mental patients. A wood engraving by DePol for Smith, Kline & French laboratories

[Huddled mental patients] A wood engraving by DePol for Smith, Kline & French laboratories

O'Halloran's Swing & Hammock for the Insane. A wood engraving by DePol for Smith, Kline & French laboratories

English Coffin. 1958. A wood engraving by DePol for Smith, Kline & French laboratories

Print. O’Holloran’s Swing & Hammock for the Insane. (Cork, Ireland, circa 1830). Printed in red with ms. title and signature in pen

The Bath of Surprise. No. 1. A wood engraving by DePol for Smith, Kline & French laboratories

The Bath of Surprise. No. 2. “An old time device for calming mental patients.” A wood engraving by DePol for Smith, Kline & French laboratories

Pamphlet discussing Cytomel, a new hormone for the treatment of “hypometabolism.” June, 1957

Copy of Cytomel pamphlet. Includes wood engravings by DePol

Cytomel, a folded sheet with copies of three wood engravings by DePol

[Hippopotamus] Copy of a wood engraving by DePol for Smith, Kline & French

Copy of an engraving of Philippe Pinel (1745-1826), French Physician. A wood engraving by DePol for Smith, Kline & French laboratories

Beef (1960) (two color print). With photocopy and explanatory ms. by DePol)

Port. of Philip Pinel (Two color). Rutgers copies on glossy and matte paper

Port. of Lucretius (1973). Enclosed in brochure for Astra Pharmaceutical Products, Inc. (Astra AB), a rival company

Port. of Lucretius. Later ed. of the above, signed and numbered, 30/1994

Heraldic shield of Aesculapius combined with Staff of Hermes (Caduceus), inscribed in red pen “Cut for Smith, Kline & French laboratories . . . Sept. 18, 1966

Proof on glossy paper, with typed caption: Leather waist band with wrist manacles,” signed in pen (for Smith, Kline?)
36. A Time for Recolletion
12 page collection of wood engravings from several of DePol’s works. This seems to be the nucleus of a book idea that never materialized.
Box Folder
6 36 Folder. “About the possibility of a book…or an exhibition, somewhere?... A Time for Recollection…or another title?,” ideas and mock-ups for A Time for Recollection, June-September 1998.
37. Yale University Press
DePol organized a folder on a sheet of white paper printed in red “The John DePol Collection” and typewritten “The Yale University Press.” This folder contains five items.
Box Folder
6 37 Folded sheet: “Variations on a Composition. Preliminary drawings for a wood engraving as a color ill.”: this sheet seems to have been intended for Time for Recollection, and includes a note dated, “November 18, 1998”

Copy of two wood engravings: “Yale University Press 1994 Additions to 302 Temple Street in New Haven. Engraved in 1976”

Wood engraving of addition to 302 Temple Street; annotated in pencil, “Yale University Press, 9.6.94 XL D”

Copy of five wood engravings: "Five Homes of the Yale University Press, 1951”

Post card for The Merritt Parkway, with slightly reduced copy of wood engraving for cover (1993); signed in pen
38. Portraits
Box Folder
6 38 2 color proof of Abraham Lincoln for Lincoln’s Journey into Greatness, by Earl Searcher. Philadelphia: John C. Winston, 1959.

Clement C. Moore, August, 1983

William Pickering, March 9, 1984

Mock-up (port. of Chatham with typescript glued on): “Six portraits . . . Illustrations for ‘The Rout of the Classical Tradition,’ by Hugh MacLennan. Horizon, November 1960, III: 2 (November, 1960)”: Dante Alighieri, Francis Bacon, Isaac Newton, Earl of Chatham, John Jay, Thomas Jefferson

Isaac Newton, October 20, 1993

Earl of Chatham, October 20, 1993

Thomas Jefferson, October 20, 1993

John Jay, October 20, 1993

Alexander Anderson

Dante, October 20, 1993

Dante (for the magazine Horizon, undated)

Sir Francis Bacon (for the magazine Horizon, undated)

Washington Irving (2 colors with letterpress, undated) (in folder with letterpress by Paul P. Boehmcke) (Same block printed by Pandick Press)

Col. [E.L.] Drake (2 colors undated). Two Rutgers copies captioned and signed in ink; one copy bears letterpress caption

Francis A. Countway (2 colors with letterpress, undated)

John Baskerville (2 colors, for The Pickering Press, undated)

Samuel Colt (2 colors, undated)

Charles Dickens (2 colors, undated). Rutgers has copies with typescript about the printing of this engraving, with note “140 copies on basingwerk parchment,” signed and dated 4.25.94.

Black print (key) with typescript note by JDP about the printing of the block, about the Binnacle Press, and Bob Levy, dated 4.25.94.

Edgar Allan Poe (2 colors, undated)

Tolbert Lanston (2 colors, undated)

John Archer (2 colors, undated)

Paul Revere (2 colors, undated). Rutgers copies on coated and uncoated paper; some copies signed.

Drake of Titusville (2 colors, undated)

2 color proof: Thomas Hardy, Jude the Obscure, Crescent Moon Publishing (Easton Press, 1997)

William Shakespeare

Charles Baudelaire

Dwight Eisenhower
39. Printing Presses
DePol engraved many of these illustrations for American Iron Hand Presses by Steven Sax, New Castle, Del.: Oak Knoll Books, 1992.
Box Folder
6 39 The Stanhope Press, August, “1986” (p. 2)

The Columbia Press, “July, 1987” (p. 8)

The Ruthven Press, “February, 1988” (p. 16)

The Wells Press, July 1987 (p. 22)

Smith Acorn Press, August, 1987 (p. 36)

Rust Washington Press, “October, 1987” (p. 42)

The Tufts Press, August 1987 (p. 62)

The Foster Press, August, 1987 (p. 74)

The Ruggles Press, August, 1987 (p. 82)

John Fass Press, “August, 1949”

Linotype machine for Mergenthaler Linotype Company, “April, 1961”

The Goudy Albion, “July 29, 1977”

The Common Press, “1982”

Old Printing Office

The Rushmore Press, (Washington Press) “December 1982” (printed ’96)

The Kelmscott Press, (Hopkinson & Cope) “February, 1984”

The Isaiah Thomas Press, “January, 1987”

The Union Press, “July 1987”

The Couillarad Press, “Oct. 28, 1987”

Unidentified eighteenth century screw press, dated, “March, 1989”

Franklin’s Press, “April, 1990”

Benjamin Franklin’s Press (Hopkinson & Cope), undated

The Goodman Press, “March, 1999”

The Press at Landaus Valley Museum, “June, 1992” for APHA Journal 28

The Gutenberg Press, [for Morgan, 1994]

The Lithographic Press

Signed print. “The Allen Press,” 4/20/1990, edition of 60.

Mock-up of page of book. “The So & So Press,” 1983.

Preliminary sketch on tracing paper. Image of printing press with caption, “Wesel at John’s…,” undated.
40. Single Prints
Box Folder
6 40 1942, Election Night, Barrow Street(Del. 1942, sc. 1948-49; imp. 1983)

1945, Bomb Damage, Augsburg (del. 1945, sc. 1949, imp. 1983)

1948, Park Old Chelsea (sc ca. 1948-49. imp.1983)
(correlates with wood block in collection, see D-1, box eight)

1951, Coal Hopper (sc. 1953, imp. 1983), St. Thomas Church, New York

1953, North River Front (designed 1953, printed in ed. of 126 1983)

1956-7, The Eliot-Sturgis-Prescott-Dreher House, Darien Connecticut

1958, Floating Crap Game

1962, Kennedy with Reporters(reproduced on the cover of the November 1962 issue of The Quill)

1968, Eighth Street (Del & sc. 1968? Imp. 1983), Hudson River Pier (orange and black), Hudson River Pier (blue and black), West-Side Manhattan (New York Collection) correlates with wood block in collection; (see D-7, box eight)

1971, Domjulien, Haute Vosges, France

1973, Hudson River from Hoboken

1979, Reflections (sc. 1979, impr. 1983), Endless Day (del & sc. 1979, imp. 1983), Roadside, Collowges-La-Rouge (del. 1979, sc. 1980; imp. 1989), Old Church at Saillac (del & sc. 1979, imp. 1983)

1981, Magic Hour, Autumn (sc. 1981, imp. 1983)

1987, American Antiquarian Society

1994, Proof [Private Library] "For APHA 7/94”

1995, The Street (New York Collection)
41. Printing Week
Box Folder
6 41 Pamphlet: 9th Annual Printing Week Banquet: Syracuse Club of Printing House Craftsmen (Syracuse: Syracuse University, [1958]), “Tuesday, January 14, 1958: Illustrated with wood engraving by DePol printed in maroon

1982 Printing Week Dinner, January 21, 1982, with engraving in two colors originally executed in 1956

Packet of unsigned, undated proofs loosely inserted into a folded sheet with an ill. “Printing Week”
42. Floral Portraits
Box Folder
6 42 Ten engraved proofs of floral decorative themes
43-A. 50th Anniversary Prints
To celebrate the wedding anniversary of the DePols, Michael Tarachow, of the Pentagram Press, solicited tributes from a wide variety of DePol’s friends and customers—printers, engravers, clubs, binders, etc.—and, together with a printed broadside greeting “Happy Anniversary from your friends all around the world,” presented them in a clamshell enclosure.
Box Folder
6 43-A Includes all contributions.
43-B. 50th Anniversary Prints-miscellaneous
Additional copies of prints.
Box Folder
6 43-B Broadside, with DePol engraving (couple reading beneath a tree) and text: unsigned.

Broadside, with DePol engraving (armchair and books by the fireplace): signed, The Campbell-Logan Bindery (Pentagram Press on verso)

Booklet (quarto sheet), with 2 DePol engravings done for the Typophiles. “Congratulations John and Thelma, the Typophiles, dated May 1996

Print. Yellow paper with colored press engravings, from Lili and Erich Wronker, dated May 1996

Broadside. Happy Anniversary, Thelma and John, engraving for Bill Haywood, by John DePol, November 12, 1981

Broadside, with DePol bookplate (D over house), with text: “May 31, 1996 . . .”

Broadside, with two figures composed by an elaborate arrangement of type ornaments, printed in color, with text “Gelsy Petrocelli sent a copy of Woodcuts USA . . .” : (Pentagram Press on verso)

Broadside, with DePol wood engraving (early printer looking over impression). Printed by Norman Cordes

Broadside, with impression of drawing by Will Bradley, from The Ampersand Club: printed by Pentagram Press

Broadside. Impression of drawing by Merce Dostale, hand colored, with text: printed by Pentagram Press

Red and blue typographical design: Merce and Michael, Pentagram Press

Broadside (cover sheet). List of contributors (Pentagram Press, 20 May 96, verso)

Broadside. Press of Appletree Alley

Broadside, frontispiece, “Thelma and John,” (engraved by Sandy Connors, Pentagram Press, verso)
44-A. Miscellaneous Engravings
The engravings in this folder tend to be ones the curator cannot identify; there is some duplication of materials in other folders, noted where possible.
Box Folder
6 44-A Aralia Press
Print with caption: For the Aralia Press / 12/13/85 D./20: man and woman walking by water illuminated by fool moon

Proof of manger scene, with JDP pencil ms. For Michael Peich, Aralia Press, Dec. 4, 1987, D. 24”

Proof of clipper ship on sea within engraved frame; printed in black and blue. Signed “DePol”

Signed print. Double-decker bus on street, undated.

Signed print. Street scene with four figures, undated.

Initials
Signed print of illustrated initial I (man and boy on street with church and clouds); “D/20/1.25.90”

Signed print of illustrated initial I (carnival half-mask with burning taper); “D/20/1.25.90”

Signed print of illustrated initial T (moon, stars, 2 birds, above sea at night); “D/20/1.25.90”

Signed print of illustrated initial W (hatted man in wide doorway); “D/20/1.25.90”

Signed print of illustrated initial W (man and woman in empty room); “D/20/1.25/90” bears “X”

Signed print of illustrated initial Y (audience in movie-theater watching a film on a screen that has broken out in flames); “D/20/1.25.90”

Signed print of illustrated initial W (large book on table in library); “D/20/4.6.90”

Print of illustrated initial F (college building with stone steps); annotated in pencil: “F for friendship . . . / Friendship Library . . . / Fairleigh-Dickinson Library / For an exhibit ‘John DePol makes a wood engraving . . ..”

Unsigned proof, below-decks on ship

Signed proof, pencil, notepads, mortarboard, classical architecture

Signed print, of bottle, “Success to the rail road,” printed in blue, signed DePol

Unsigned proof of bottle: “Success to the rail road” printed in blue, signed DePol

Signed print of ill. for: “Windswept” Selected Poems, by Frederick C. Spreyer. Oyster Bay, N.Y: printed at The Printery, 1992; “9.21.92/L”

Signed proof of row houses built on top of a bridge above water

Signed proof with caption: “Spring Mill Park, Mitchell, Indiana” -- same as above, dated 1985

Signed proof with caption: Knightsbridge, London

Unsigned proof of large estate house on the water

Print of Old printing Office, in brown

Unsigned proof of stone house below clouds

Unsigned proof of upright letter R through which sun shines, with bottle and glass on grass

Signed print. Port. of Bruce Rogers; dated April 1998/125

Signed print. Port. of Bruce Rogers, 1936

Unsigned proof of two block image [title page?]: island with clouds overhead; rain, two islands and water

Unsigned proof port, unidentified male

Unsigned proof of woman in profile writing letter with quill pen beside half open window

Unsigned print: Ulster Railroad Station

Unsigned print: Factory District, Belfast

Signed print “2.1996/L”: flowers on otherwise bare table beside closed window

Proof of 5 vignettes

Proof of NY water view [ca. 1950], undated

Photocopy of etching of South Slip of Christopher Ferry, with caption; accompanied by documentation on typewritten sheet of paper, signed “JD November 1966

Wood engraving on old paper of what appears to be Hudson waterfront, in DePol’s style; it is accompanied by a note: “John cut this from his sketch book.” The note is unsigned and undated

Signed proof: carolers and children on sled around small Christmas tree in forest

Proofs of doorway in brick building; one proof of key block, one proof of key and stencil; signed in pencil
44-B. Miscellaneous General
Box Folder
6 44-B Dummy for Ireland Remembered (Madison, NJ: Fairleigh Dickinson, 1982). Includes frontispiece photo, a t.p. reading “John DePol Ireland: A GI’s Recollections,” a page with letterpress pasted down: the rest of the book is blank; in green paper covers.

Illustrated announcement of St. Joan, by Bernard Shaw, put on by Corning Summer Theater, with engraving printed in dull gold; with annotation in DePol’s hand: wood engraving by DePol.

Reduction of a poster, definition of apprentice from Johnson’s Dictionary, 1755, with typescript caption: Poster … made for Joseph Graves of the Gravesend Press, Lexington.
44-C. Miscellaneous Self-portraits, Photos of artist and Cartoons
Box Folder
6 44-C Self-portraits, cartoons, caricatures, etc. for various occasions; some with ms and some letterpress
44-D. Johan Gutenberg at the Press
Box Folder
6 44-D Proofs, some signed and dated, 7/25/86
44-E. Miscellaneous Book-plates, Logos, Trademarks, Press-Marks
Also both private and commercial; some without lettering included here speculatively, marked (?)
Box Folder
6 44-E Ex-Libris John DePol. DePol’s ownership mark printed in black and red on white paper, with capital “D” and front view of the DePol house in Park Ridge, New Jersey

Letterhead. “John DePol,” undated (printed in red)

Leaf of DePol letterhead, with bookplate image of Park Ridge House and D, printed in red and blue

Slip: Thanks / Moorestown Library / Moorestown, N.J. 08057

Pressmark for The Binnacle Press of Robert E. Levy

Lantern with flame above laurel garland (?)

Bookplate of Dorothy Seelig

Proof of open book on table within library, with caption: “For Steve Corey’s Bookplate / 6.3.91 xx D. / University of San Francisco

Signed print: “For the Veatchs 1.25.92/12 D” (2 logos)

Pile of books, open book with large magnifying glass laid across gutter (?)

Pile of books, open book, framed landscape; with pencil inscription, W. Morris bookplate (through Ben Grauer), 1961

Signed proof. Pile of books, upright books, open book (?)

Chair before roaring fireplace with bookcases to either side: oval within lined frame: printed in purples (?)

Signed proof: Stack of books, with open book (?)

Heraldic shield “Pro Pelle Cutem,” inscr. In pencil “for Hudson’s Bay Company, Winnipeg,” 6/1957/47

Copies of wood engraving contained in an envelope with printed advertisement for DePol’s wood engravings, available through “Upper Canada through Cooper & Beatty, Limited,” and viewable “in Toronto at 196 Adelaide Street West,” with two small oval wood engravings

Proof. Image of plow, undated. Accompanied by photocopy of plow image and another image of a silo with caption, “Just found these. I think it is the trademark I had done for Victor Borsodi…,” March 1998. (with Silo Press “trademark”)

Arts of the Book. Catalogue Fifteen. 1992. Includes wood engraving on cover by DePol

The Veatchs. Arts of the Book. Catalogue 27. Cover wood engraving by DePol. Signed and dated. With a note by DePol

Signed insignia for The Legal Aid Society

Ex libris. Pofessor Edward Glas Collection, Florham-Madison Campus Library (Fairleigh Dickinson)

American Classic, by Harvey Satenstein, engraving by John DePol, January, 1962 (Book Craftsmen Associates, Incorporated)
44-F. Miscellaneous White Line
Another ad-hoc category consisting of engravings that DePol executed at an undetermined period in which he seems to have been experimenting with a Bewickian-Andersonian style of engraving popular ca. 1800. Several of the engravings appear to illustrate a story, though we have found no published title.
Box Folder
6 44-F [boys’ story]
Proofs of four wood engravings on various kinds of paper:
Three boys at watering-hole; two in water, one diving into water; oval engraving surrounded by rectangular frame and border

Two boys by water, one with fishing pole; oval engraving surrounded by rectangular frame and border

Two boys beside a log, with moon in sky; oval engraving surrounded by rectangular frame and border

Two boys beside campfire; oval engraving surrounded by rectangular frame and border

Two boys on hill beside river; one sits dangling feet in water, the other pissing into the water upstream; vignette without framing

Note from Monotype Department of Typographic Development, with wood engraving by DePol of Pony Express Rider, oval engravings surrounded by rectangular frame and border, hence probably engraved at around the time of [boys’ story]

Proof. Boat under construction on wooden support beside a wooden shed under thick clouds

Proof. Rowboat at sea beside headland under storm clouds; signed in pencil

Proof. Interior general store: boy making a purchase at counter from clerk, while older man in woolen hat observes from a chair

Proof. Lamp, three burins, block leaning, ink, bookcase

Proof: fence, cottage, yard, distant hills; signed in pen
45. Prints from Blocks by Other Artists
Box Folder
6 45 T.p., front. & half title from Specimens of the works of Thomas Bewick, Wood engraver, Newcastle-On-Tyne, with Biographical and Literary Extracts relating to him. (London: John Gray Bell, 1849)

Unsigned engraving cut from book: King Neptune with trident reclining on large dolphin or whale atop brick platform bearing heraldic shield of three castles in center within rectangular block; at his back, a ship burns at sea and sailors gather to douse it with water? Or talk to fourth man looking ill while a fifth man seem o Chinese stands at water’s edge; at Neptune’s front, men are carrying wares out of burning building. Behind Neptune a jet of water emanating from unknown source arches into the flame but seems to be doing no particular good.

Two c18 century unsigned wood engravings on one sheet of c19 paper (T Bewick?) Rustic girl pouring contents of two large vases into pond with egrets Man with pitchfork and dog under tree watching other man carrying [hay?]

C18 century unsigned wood engraving on small sheet of handmade paper (T Bewick?) Oval within rectangular block with vertical lines: Rustic man with crop under arm walking behind donkey bearing burdens on his back and saddled horse, with tall trees and flying birds in background

C18-19 unsigned wood engraving on paper (several copies) (T Bewick?) Rustic scene of roosters and hens in field; one rooster crowing on stone pillar; wooden gate appears to be open; swooping down upon them is a bird of prey, hawk or eagle perhaps; with rural houses and in the background, a church steeple. One piece of paper has a flap suggesting that perhaps JDP used it at one time to identify this block in his collection

Man in hat, looking to the side, holding whip underarm (T Bewick?)

Page with two wood engravings: (T Bewick?) Man in hat walking behind horse. (Man shielding his face, and jacket blowing.) Boy holding hat with duck quaking at him

Print (re-strike) of block by Alexander Anderson Boy in hat with fishing pole resting on shoulder sitting on bank beside rock and short leafy trees or shrubs; signed “A” (several copies)

Page with wood engraving and caption “The Mountain Sparrow,” unsigned

Sheet with 4 wood engravings (c18?) pasted on

Sheet with two proof of soldier with some military transport

Print (re-strike) The Willows, DePol’s 1996 re–strike of a late nineteenth century block by Henry Wolf. Rutgers has several copies, one with typescript with excerpt from DePol’s talk in October, 1994, with discussion of his acquisition of this block and the proofs he pulled from in on April 31, 1996

Port. of DePol in profile engraved by Bernard Brussel-Smith. Ms note inside dates port (ca. 1955) and names DePol as printer

Nineteenth century English folded sheet, printed on one side only, with wood engravings, “printed for and sold by Emerson Charnley, Newcastle.”

Antonie Eichenberg. For The Typophiles meeting on June 15, 1994. Handset . . . by Jim Ricciardi for The Stone House Press. Includes wood engraving by Fritz Eichenberg. (See also folder Prints from Blocks by Other Artists)
46. Out of Retirement: The Later Wood Engravings of John DePol
Material relating to the exhibition (Fall, 2010)
Box Folder
6 46 Typescript of talk presented by Barbara Henry at exhibition opening

Exhibition catalog, by Michael Joseph
IV. The Rowfant Club
DePol had an extensive involvement with the Rowfant Club, an association founded February 29, 1892, whose members are interested in "primarily the critical study of books in their various capacities to please the mind of man." The name derived from the house of a well-known nineteenth century bibliophile and writer of light verse, Frederick Locker-Lampson.
47 A-B. The Rowfant Club, Keepsakes
Keepsakes housed in two folders marked A-B. Arrangement in folders does not follow strictly chronological arrangement in finding aid.
Box Folder
6 47 A-B

Mr. Neil Shaver, for meeting of The Rowfant Club, April 11, 1990

Mr. Christopher Coover, for meeting of The Rowfant Club, May 16, 1990

Dr. V.G. Kulkarni, for meeting of The Rowfant Club, December 12, 1990

Associate Professor Alexander P. Lamis, for meeting of The Rowfant Club, January 30, 1991

Professor Yoh-Han Pao, for meeting of The Rowfant Club, January 23, 1991

Dr. Grayson Lappert, for meeting of The Rowfant Club, February 14, 1991

Mr. Sheldon R. Jaffrey, for meeting of The Rowfant Club, March 13, 1991

Dr. David S. Brose, for meeting of The Rowfant Club, March 20, 1991

Dr. Osman K. Mawardi, for meeting of The Rowfant Club, March 27, 1991

Michael Schwartz, for meeting of The Rowfant Club, October 9, 1991

Herman David Stein, for meeting of The Rowfant Club, October 16, 1991

Francis X. Blouin, for meeting of The Rowfant Club, October 23, 1991

Klaus George Roy, for meeting of The Rowfant Club, October 30, 1991

Michael Heaton, for meeting of The Rowfant Club, November 13, 1991

Sandy Bonaiuto, for meeting of The Rowfant Club, November 20, 1991

Annual Christmas Festivities, meeting of The Rowfant Club, December 18, 1991

John Ruskin, for meeting of The Rowfant Club, January 22, 1992

David Wittkowsky, for meeting of The Rowfant Club, January 29, 1992

Feast of Candlemass, meeting of The Rowfant Club, February 1, 1992

Stephen N. Fliegel, for meeting of The Rowfant Club, February 19, 1992

Charles de Vere, Earl of Buford, for meeting of The Rowfant Club, March 4, 1992

William Andrew Moffet, for meeting of The Rowfant Club, March 11, 1992

Michael Gallagher, for meeting of The Rowfant Club, March 18, 1992

John C. Bonebrake, for meeting of The Rowfant Club, March 25, 1992

The American Theatre, for the meeting of The Rowfant Club, April 8, 1992

Les Roberts, for meeting of The Rowfant Club, April 22, 1992

W.S. Kuniczak, for meeting of The Rowfant Club, April 29, 1992

Eliot H. Stanley, for meeting of The Rowfant Club, May 13, 1992

Andrew Hoyem, for meeting of The Rowfant Club, May 20, 1992

Dr. Walter M. Spink, for meeting of The Rowfant Club, October 14, 1992

Dr. David Bowers, for meeting of The Rowfant Club, October 21, 1992

Dr. David Forte, for meeting of The Rowfant Club, October 28, 1992

Rowfant Centennial Recognition Day, November 1, 1992

Luke Ives Pontifell, for meeting of The Rowfant Club, November 11, 1992

The Great Book Clubs of America, for meeting of The Rowfant Club, November 15, 1992

James M. Babcock, for meeting of The Rowfant Club, November 18, 1992

Dr. Joseph Kelly, for meeting of The Rowfant Club, December 9, 1992

Annual Rowfant Auction, meeting of The Rowfant Club, December 16, 1992

Dr. Edward J. Olszewski, for meeting of The Rowfant Club, January 13, 1993

Dr. Thomas G. Bishop, for meeting of The Rowfant Club, January 20, 1993

E. Joseph W. Mosbrook, for meeting of The Rowfant Club, January 27, 1993

Centenary Year, for meeting of The Rowfant Club, February 2, 1993

Dr. Jack A Soules, for meeting of The Rowfant Club, February 17, 1993

Arthur Klebanoff, for meeting of The Rowfant Club, February 24, 1993

Dr. Steven Tracey, for meeting of The Rowfant Club, March 10, 1993

Dr. Glending Olsen, for meeting of The Rowfant Club, March 17, 1993

Dr. Charles Mould, for meeting of The Rowfant Club, March 24, 1993

Dr. Conrad H. Rawski, for meeting of The Rowfant Club, March 31, 1993

Diana Tittle, for meeting of The Rowfant Club, April 14, 1993

Dr. Barton R. Friedham, for meeting of The Rowfant Club, April 21, 1993

Timothy H. Barret, for meeting of The Rowfant Club, April 25, 1993

“Et in Arcadia Ego: Contemporary Fine Presses in Italy,” for meeting of The Rowfant Club, April 28, 1993

Barry Moser, for meeting of The Rowfant Club, April 30, 1993

Michael C. Luton . . . May 12, 1993

Victor Schreckengost, for meeting of The Rowfant Club, May 19, 1993

Sir James Watt, for meeting of The Rowfant Club, September 29, 1993

Robert Carr, for meeting of The Rowfant Club, October 13, 1993

Stephen Loewentheil, for meeting of The Rowfant Club, October 20, 1993

Norman Zollinger, for meeting of The Rowfant Club, October 27, 1993

Dr. Robert P. Bergman, for meeting of The Rowfant Club, November 10, 1993

Joan L. Clark, for meeting of The Rowfant Club, November 17, 1993

Larry E. Sullivan, for meeting of The Rowfant Club, December 8, 1993

Annual Auction, meeting of The Rowfant Club, December 15, 1993

Robert G. Chesier, for meeting of The Rowfant Club, January 19, 1994

Paul T. Ruxin, for meeting of The Rowfant Club, March 9, 1994

Kermit J. Pike, for meeting of The Rowfant Club, March 16, 1994

Joseph W. McCullough, for meeting of The Rowfant Club, March 23, 1994

Dr. John G. Suess, for meeting of The Rowfant Club, March 30, 1994

David Bamberger, for meeting of The Rowfant Club, April 13, 1994

Victoria Pelz, for meeting of The Rowfant Club, April 20, 1994

Martin Antonetti, for meeting of The Rowfant Club, April 27, 1994

Leon S. Cohan, for meeting of The Rowfant Club, May 11, 1994

Thomas Chema, for meeting of The Rowfant Club, May 18, 1994

Wyatt Earp, for meeting of The Rowfant Club, May 25, 1994

Henry Snyder, for meeting of The Rowfant Club, April 12, 1995

“The End,” for meeting of The Rowfant Club, May 24, 1995: (also mentions, John DePol, A Celebration of His Work by Many Hands”)

Michael Agnes, for meeting of The Rowfant Club, February 22, 1995

Paul Needham, for meeting of The Rowfant Club, March 8, 1995

Dr. Robert DeMaria, for meeting of The Rowfant Club, March 22, 1995

Priscilla Juvelis, for meeting of The Rowfant Club, March 29, 1995

Sandra Zagarelle, for meeting of The Rowfant Club, May 9, 2001

Rev. Eric Hollas . . . , February 13, 2002

Keepsake. “…issued on the occasion of John DePol’s visit to Cleveland and his lecture on the making of a wood engraving…,” 4/19/1989

Invitation. “The One Hundredth Anniversary of The Rowfant Club,” 29 February, 1992

Pamphlet. “About The Rowfant Club: Questions & Answers,” Cleveland, 1960

Pamphlet, “The Rowfant Club, 1994 Christmas Auction and Dinner”
47-C. The Rowfant Club, Proofs & Prints
Box Folder
6 47-C Signed print. “Cleveland Medical Library Association, Honorary Fellow John DePol,” 2/19/2993

Signed print. Cleveland Medical Library, 5/12/1992, edition of 125

Signed print. “For The Rowfant Club” (groundhog with candlestick), 4/10/1990, ed. of 20

Preliminary sketch on tracing paper, “Woodchuck” (groundhog with candlestick), 1990

Color Xerox from 35mm slide. “Groundhog stain glass window-NW- in the Refectory of The Rowfant Club, Cleveland, Ohio,” 5/22/1990

Signed print. “Rowfant Club,” (side entrance), 1989

Preliminary sketch on tracing paper. (side entrance), 1/19/1989

Unsigned proof. Two images of doorway, number 250, undated

Signed print. “For Rowfant Club” (candlestick, cup, sign), May 1991, ed. of 15

Preliminary sketch on tracing paper. (cup), 1991

Unsigned proof. (lion’s head, mask, two skulls), undated

Preliminary sketch on tracing paper. (mask), undated

Signed print. “The Rowfant” (fireplace with groundhog painting above), undated

Preliminary sketches on tracing paper and outlines. Image of Rowfant fireplace with groundhog painting above, undated

Preliminary sketches on tracing paper and outlines. Image of Rowfant fireplace with groundhog painting above, undated

Preliminary sketches on tracing paper. Image of Rowfant Club fireplace with inscription, “light seeking light doth light of light beguile” above, undated

Signed print. “Rowfant Club” (Rowfant Club Building), 3/16/1989, ed. of 20

Preliminary sketches on tracing paper and outlines. Rowfant Club building, 1989

Signed print. “Rowfant Club,” (doorway), 6/20/1991, ed. of 36.

Preliminary sketches on tracing paper (doorway), 1991

Envelope of small prints. groundhog with candle, undated

Wood engraving of “The Rowfant Club,” dated “April 1989,” with envelope
47-D. The Rowfant Club, Prints-Candlesticks
Box Folder
6 47-D Signed print. “Rowfant” (three candlesticks), 6/20/1991.

Signed print. “For The Rowfant Club” (nine candlesticks), undated.

Unsigned proof. (eighteen candlesticks), undated.

Unsigned proof. Two-fold, (nine candlesticks), undated.

Unsigned proof. Two-fold, (nine candlesticks with title, “light seeking light doth light of light beguile,” with notations on tracing paper), undated.

Unsigned proof. Two-fold, (nine candlesticks with title, “light seeking light doth light of light beguile,” with notations on tracing paper), undated.

Preliminary sketch (photocopy). Thirteen candlesticks, with caption “These are all actual sizes relative to each other…,” undated.
47-E. The Rowfant Club, The First One Hundred Years 1892-1992
Box Folder
6 47-E Preliminary cover designs. “The First One Hundred Years…,” 1989-1992.

Preliminary sketch on tracing paper. Cover design of “The First One Hundred Years…,” 1989.

Page layouts. “The First One Hundred Years…,” various dates.

Preliminary sketches for images. “The First One Hundred Years…,” various dates.

Unsigned proof. Tall clock, 1991.

Page layouts with notations. “The Tall Clock in The Rowfant Club,” 1991.
47-F. The Rowfant Club, Photographs
Box Folder
6 47-F Photographs. “Signing letter transmitting a candlestick to the Rowfant Club on the occasion of having been made an Honorary Member,” 1990.
47-G. The Rowfant Club, Correspondence
Box Folder
6 47-G Communication. Bob Targett, Chairman of the Publications Committee of The Rowfant Club to John DePol, 12/5/1991

Communication. Sheldon R. Jaffrey, Librarian of The Rowfant Club to John DePol, 6/4/2000

Communication. Bob Targett, Chairman of the Publications Committee of The Rowfant Club to Neil Shaver, 3/15/1991

Communication. Neil Shaver to The Reverend David Novak, 3/11/1991

Communication. Bob Targett, Chairman of the Publications Committee of The Rowfant Club to John DePol, 1/6/1989

Communication. Eugene T. Stromberg, Chairman, Membership Committee of Rowfant Club to John DePol, 9/15/1989

Communication. Reverend David Alan Novak to John DePol, 10/10/1990

Communication. Neil Shaver to John DePol, 2/21/1921 (?)

Communication. Anthony Phelps to John DePol, 5/6/1990

Communication. Anthony Phelps to John DePol, 4/22/1990

Communication. Anthony Phelps to John DePol, 6/9/1990

Communication. Anthony Phelps to John DePol, 5/1/1991

Communication (copy). John DePol to the Council of Fellowes of The Rowfant Club, 4/10/1990

Communication. Editor, The Rowfant Yearbook to John Depol, July 1990

Communication. Hugo Alpers to John DePol, 5/1/1990

Communication. Anthony Phelps to John DePol, 5/13/1989

Communication. Reverend David Alan Novak to John DePol, 6/4/1991

Communication (copy). John DePol to Dr. Richard B. Fratianne, President Cleveland Medical Library Association, 2/23/1993

Communication. John DePol to Robert Chesier, The Rowfant Club Librarian, 1/22/1988

Communication. Robert Chesier, The Rowfant Club Librarian, 5/19/1988

Communication. Anthony Phelps to John DePol, 2/19/1992

Communication. Revered David Alan Novak to John DePol, 3/18/1991

Communication. The Rowfant Club Christmas Fund to John DePol, Thanksgiving 1991

Communication. David Alan Novak to John DePol, 10/10/1990

Documentation. Beguiling Light, Newsletter of The Rowfant Club 7, no. 1(May 2002)

Birthday card, “Land of the Free, Home of the Brave…Happy 90th Birthday John DePol from your fellow members of the Rowfant Club,” 2003

Birthday card, “Land of the Free, Home of the Brave…Happy 90th Birthday John DePol from your fellow members of the Rowfant Club,” 2003
47-H. The Rowfant Club, “Random Ephemera 1892-2000”
Box Folder
6 47-H “This is the Candlemas Notice,” 1929

“Candlemas 1960”

“Candlemas 2001”

“List of Books to be Auctioned to Members,” December 15, 1961

“List of Books to be Auctioned to Members,” December 13, 1963

“The Rowfant Club Auction,” 1914

Pamphlet. “The History and Customs of Valentine’s Day”

“Candlemas 1910”

“Notes on the Origin and History of ‘The Ark’,” January 11, 1902

“Vendue,” April 23, 1898

Announcement of Auction of Rowfant Club Publications, April 14, 1901

Lecture announcement, February 10 ?

Annual Auction of Rowfant Club Publications, November 19, 1921

Candlemas, February 2, 1923

Invitation to Rowfant Club members to the home of Louis Rorimer, September 3, 1932

Candle lighting at Rowfant Club, February 25, 1928

Arthur C. Cole, “In Lincoln’s Day – When Women Wore Hoop-skirts and Men Wore Beards,” for meeting of The Rowfant Club, March 23, 1940

Voting proxy slip, 1897

The Rowfant Club Auction, March 21, 1914

D.R. Sharpe, “Up the Glittering Mountain Peaks,” for meeting of The Rowfant Club, October 24, 1936

Norman C. Yarian, “Orchid-Hunting in Costa Rica,” for meeting of The Rowfant Club, October 31, 1936

Rowfant Candle lighting, December 28, 1918

Robert J. Harris, “Fifty Years of Kipling, 1886-1936,” for meeting of The Rowfant Club, January 25, 1936

Professor Albert S. Cook Jr., “The Dark Voyage and the Golden Mean,” for meeting of The Rowfant Club, January 23, 1948

George Brooks Shepherd, “Shakespeare’s Insomnia & the Consequences Thereof,” for meeting of The Rowfant Club, April 22, 1922

Pamphlet, meeting of The Rowfant Club, October 12, 1901

Pamphlet, meeting of The Rowfant Club, October 12, 1901

Pamphlet, for meeting of The Rowfant Club, October
V. Single Prints (matted)
A selection of John’s prints were removed for conservation, matted and boxed separately.
Box Folder
1 1 Portrait of Dante

Portrait of John Baskerville

Portrait of Washington Irving

Portrait of Johann Gutenberg (7/25/86)

Portrait of Edgar Allan Poe

Portrait of Aaron Burr

Portrait of Alexander Hamilton

Portrait of Sir Francis Bacon

Bowne [Barbara Henry at Case]

Portrait of The Lycoming John Wesley

Portrait of Col. E. L. Drake

Portrait of The Lycoming Thomas Coke

Portrait of Charles Dickens

Portrait of Francis A. Countway

Portrait of John Marshall

Portrait of Philippe Pinel

Portrait of Philippe Pinel (1 color)
1 GI Stove, Vittel (del. 1944, sc. 1973, imp. 1983)

Fourth Avenue (includes self portrait)

Station in Park Ridge (1983)

Wood engraving for “Fisherman of Galilee” by Aileen Fisher (New York, 1959)

Ellis Hall, Juniata College

The Observatory, Bucknell College

Juniata College Huntingdon, Pennsylvania

Portrait of Mrs. Samuel Wesley

The Lycoming Charles Wesley

Francis A. Countway Library of Medicine, Harvard Medical School

Javelin House

Twelfth Street, Manhattan (1951)

Intersection, (1978) (Removed from Pandick Press folder)

Merritt Parkway (1993)

Chipping Ongar Aerodrome, (1945; imp. 1995)

Some Garden Accessories (del. & sc. 1979, imp. 1983)
1 Factory District, Belfast

The Old Manse

“Block: Marked ‘for John Fass – The Hammer Creek Press’” (Oct. 7, 1997)

Swigart Hall, Juniata College, Huntingdon, Pennsylvania

The L.A. Beeghly Library, Juniata College, Huntingdon, Pennsylvania

Ulster Railroad Station

St. Thomas Church

Westside Manhattan (no 92, 1968)

Daniel C. Roberts Hall, Bucknell University

The Ellen Clarke Bertrand Library, Bucknell University

The Library and Landes Gateway, Susquehanna University

Chapin Library (in Stetson Hall) Williams College, Williamstown, Mass.

Founders Hall, Juniata College

Portland Headlight (1977/1980)

Eighth Street (del. & sc. 1968? Imp. 1983)

St. Luke-in-the-Field (1981)

Homeward Ferry (1957/1975)
VI. Oversized
A selection of John’s prints were removed for conservation, matted and boxed separately.
Drawings of Kaufbeuren, Germany, signed and matted
Box Folder
1 1 “Tower and Old Wall” [undated]

“People chopping wood and…in Kaufbeuren, Germany-1 June 1945”

“The Fliegerhorst at Kaufbeuren-Germany, 3 June 1945”

“The Fliegerhorst at Kaufbeuren-Germany, 3 June 1945”
Miscellaneous Art
Box Folder
1 1 In-process drawing. “Pier on Lower North River, NY, from memory 2.14.37 at home,” signed

Water-color: Domjulien-Haute Vosges (1945)

Signed water-color painting with marginal note “Painted from original sketch I made at DomJulien – Near Vittel, France, in 1945,” signed dated “July 1946.”

Print: Dry Brush, untitled, signed DePol 1948 Mar.

Pencil drawing. Vittel. Marginal note “Scene in Vittel – Haute Cosges – pencil sketched on scene, “inked” indoors,” dated “18 Feb, 1945.”
Paintings on Canvas Panels, Miscellaneous (35 cm. x 25.5 cm.)
Box Folder
1 1 The Ferry Slip at Christopher Street (signed on back)

West Side Manhattan, about 1940 (signed on back)

Bombed out St. Giles Church in Cripplegate in London, 1944 (signed John Depol N.A.)
Irish paintings (39.8 cm. x 30.3 cm.)
Box Folder
1 1 The Old Distillery at Ballyronan, about 1946 (signed on back)

Untitled, undated, unsigned

Lonely Corner, Belfast, about 1946, (signed on back)
South Street Seaport
Box Folder
1 1 Signed broadside. “A Practical Guide to Light Refreshment,” undated

Broadside. “A Practical Guide to Light Refreshment,” undated

Broadside. The Art & Technique of Wood Engraving, dated 1983

Signed broadside. Copy of the above, signed.

Broadside. The Art & Technique of Wood Engraving, 1984

Matted broadside. Bowne & Co., Stationers south Street Seaport Museum presents The Art & Technique of Wood Engraving . . . November 3, 1982 . . . printed on a 1901 Golding Jobber at Bowne & Co., Stationers, New York City

Broadside. Copies of the above, unmated.

Broadside. “The standing position of a compositor”: printed in an ed. of 210 for APHA by Bowne & Co., Stationers, August, 1994.
Pentagram Press
Box Folder
1 1 Signed broadside. “Browsing is time so wonderfully spent at Oak Knoll Fest…,” 1997

Broadside. “Viking Library System, In Celebration of Twenty Years of Service,” 1997

Signed broadside, “Freedom of the press belongs to those who can defend it,” 1994

Signed broadside, “The Amenities of Civilization,” 1994 (oversized)
Miscellaneous
Box Folder
1 1 Etching: Laughing Witch, by Marie Buckley: 10/25 1987, inscribed by artist to DePol

Sheet of pattern paper

Glossy cover to The Merritt Parkway by Bruce Radde, jacket ill. by John DePol, jacket design by Ken Botnick

Broadside. A Type Miscellany . . . The Stone House Press, undated. Signed in pen below engraving, and underlined by DePol. (multiple copies with underlining in pen by DePol)

Broadside. Exhibition Wood Engraving, Prints . . . April 1985, John DePol in the library, University of Nebraska at Omaha. Printed by the Buttonmaker Press and the Yellow Barn Press from the original block. 250 copies printed

Broadside. Iowa’s Most Famous Barn: A Wood Engraving by John DePol. (1988). Edition of 200: signed. (four copies, one matted)

Print. Franklin Press. Large paper copy, signed and titled in pen by DePol

Print. Quiet Afternoon in the Park. (1979) Signed and titled in ms by DePol, with ed statement: “del 1979, sc 1980 / ed. 175 impr. D. 1983”

Print. Antiquarian Hall, AAS, 1987. a/p (1987), signed in pencil. Enclosed in folder with letterpress, “American Antiquarian Society / Worcester, Massachusetts / The 175th Anniversary of its Founding / 1812-1987. Wood Engraving by John DePol N.A.”

Print. Wood engraving of three men on city [Belfast?] street with damaged building. 17.8 cm. x 14 cm. Signed “DePol” (so before 1960). Composition similar to “Falls Ward, Belfast,” 1951 (See folder Seven-L)


VII. Paintings
John DePol made sketches onsite in Augsberg and Kaufbeuren, Germany, in the summer and fall of 1945, just as the War ended. He later painted these in water colors. He signed all of them “DePol” and dated them “1945,” and on a select few supplied additional details, noted below. In 2010, fifteen of these paintings were framed and hung in the Alexander Library on one of the walls in student lounge on the basement level of the new building. The following brief list includes all of the fifteen framed paintings, with notes by DePol.
Box Folder
1 13 Aug. 1945
2 22 Aug. 1945
3 1945
4 Kaufbeuren
5 Base of Tower – St. Martins – Kaufbeuren 1945
6 St. Martins – Kaufbeuren – 1945
7 Kaufbeuren
8 Airfield at Kaufbeuren, Germany, August 1945
9 “Gosthof Zum Landhaus” 1945 (text part of building façade)
10 Kaufbeuren
11 Kaufbeuren, 1945
12 Hafen Markt [hafenmarkt] – Kaufbeuren 1945
13 Bomb Damage at Augsburg June 1945
14 City Wall and Gate House, Kaufbeuren 1945
15 Hafen Markt [hafenmarkt] 1945
VIII. Wood Blocks
Arrangement: The arrangement of the first section of engraved wood blocks in The Libraries collection (boxes 1-8) is John DePol’s. In most instances, DePol wrapped the block in white paper, with a proof of the enclosed block on one side, and handwritten description on the other. Special Collections has photocopied both the text and image of each block on the reverse side of single sheets of paper and placed them inside the boxes. The inventory list below includes selective transcriptions of DePol’s texts. Where The Libraries own prints or proofs of the blocks, a note has been made beside an entry for the print or proof, e.g. Correlates to wood block in the collection (see C-10, box seven)
Numbering: Although he grouped blocks together according to purpose—usually according to the book for which he designed them—DePol did not generally give individual blocks unique numbers. For example, the three blocks he used for William Jay Smith’s The Tin Can (Roslyn: Stone House Press, 1988) are all marked “B-4.” Often he applied the same code for all of the blocks pertaining to a specific book, but he did not do this systematically. Blocks he designed for Norbert Kraft’s Heartwood (Roslyn: Stone House Press, 1983), are marked “B-1,” “B-2,” “B-3.” Three blocks designed for Constance Carrier’s Witchcraft Poems (Roslyn: Stone House Press, 1988) are each marked “B-7,” but another block, “B-16.” A block for Eight Poems for Saint Walt, by William Heyen (Roslyn: Stone House Press, 1985) is marked "A-19", the same designation as a block he designed as the American Printing History Association (APHA) logo. Some blocks do not have a mark at all, and these have been designed as [X]
List: Boxes 1-8 in the following list represent the cataloging system arranged by John DePol. (Note that sometimes this means entries for blocks engraved for a particular book are generally, but not always, listed together.) With a couple of exceptions, each box description consists of three parts: the first is a brief Scope Note that begins with a count of the blocks in the box, a general statement about their purpose and approximate dates of creation; the second part is a more precise Contents Note, beginning with the phrase “Box X contains,” that gives a count of the blocks used for each particular book with dates of first publication. Here, blocks that were created for other reasons than for books are clumped together under the allusive rubric, miscellaneous. The third part is the actual Inventory. Scope and Contents notes were combined when the scope and content of a particular box could be described clearly in a sentence or two. Within each box, the entries appear in alphanumerical order. Entries that duplicate a figure previously used are indented.
Entries for book illustration blocks (the majority of entries) appear in two general forms—author and title, for the initial entry, and title only for each successive entry.
Boxes after Box 8 had been cataloged by DePol and are arranged more or less as they arrived at the Libraries.
Box 1 (A22-A28)
Box One contains: 12 wood blocks for Norbert Krapf, Heartwood, published by the Stone House Press, 1982 (see also box five). Each block has been identified by the tree or flower it illustrates or by its formal use within the book; 1 block for Waking to the Day
Box Folder
1 A-0 [lower cover pattern] (1982)
A-22 t.p. (first color, August, 1982)
A-22 t.p. (second color, August 1982)
A-23 “American Beech” (August, 1982)
A-23 “Sweet Gum” (August, 1982)
A-24 “Sycamore” (September, 1982)
A-25 “Sassafras” (September, 1982)
Box Folder
1 A-26 “Persimmon” (August, 1982)
Box Folder
1 A-26 “Pin Oak” (September, 1982)
A-27 “Weeping Willow” (September, 1982)
A-28 “Walnut” (August, 1982)
[X] “August 27” (Small Waking to the Day block of woman)
Box 2 (A8–A15) 13 wood blocks predominantly for Stone House Press publications (1983-1986)
Box Two contains: 5 blocks for Under Open Sky (1986) (some correlated with page number; see also box four); 1 block for At West Hills, Long Island (1985); 1 block for Waking to the Day (1985); 1 block for Portfolio One (1983); 1 block for Susan Astor, Longevity; 1 block for Why Am I Happy? (1983); 1 block for Holiday Altar Trees (1985); 2 miscellaneous
Box Folder
2 A-8 Norbert Krapf, Under Open Sky, p. 102
A-9 Under Open Sky, p. 101
A-10 Under Open Sky, p. 93
A-11 Under Open Sky, p. 83
A-12 Under Open Sky, p. 97
A-12 William Heyen, At West Hills, Long Island, (broadside, 1985)
A-13 Keepsake for [Dr. Robert] Bob Leslie (November, 1985)
A-13 Waking to the Day
A-14 Keepsake, XIV Congress of International Association of Bibliophiles (August, 1985)
A-14 Susan Astor, Longevity, in Portfolio One/ 1983
A-15 Portfolio One: Ten Illustrated broadsides, t.p. (October, 1983)
A-15 William Stafford, Why Am I Happy? (broadside, 1983)
A-18 Fitzgerald, Dorothy Hobson, Holiday Altar Trees, (broadside, 1985)
Box 3 (A16–A22) 13 wood blocks predominantly for Stone House Press publications (1983-1985)
Box Three contains: 1 block for Waking to The Day (1985); 1 block for Homemade (1985); 1 block for Come In, Go Out (1983); 1 block for Appraisal (1985); 1 block for Leavetaking, at Dusk (1983); 3 blocks for Eight Poems for Saint Walt (1985); 1 block for Rimbaud en Route (1985); 4 miscellaneous blocks.
Box Folder
3 A-16 Dorothy Hatch, Waking to The Day
A-16 Jim Elledge, Homemade (broadside, February, 1985)
A-16 May Swenson, Come in, Go Out (October, 1983)
A-17 Dorothy L. Hatch, Appraisal
A-17 Joyce Carol Oates, Leavetaking, at Dusk (April, 1983)
A-18 William Heyen, Eight Poems for Saint Walt
A-19 Eight Poems for Saint Walt
A-19 Logo for APHA (May, 1983)
A-20 Eight Poems for Saint Walt
A-21 Gerard P. Meyer, Rimbaud en Route (broadside, 1985)
A-1 [Stone House Press building], “first color”
A-1 [Stone House Press building], “second color”
A-1 Doctor Leslie, second color (“not used for memorial”), May, 1987; (see also B-12)
Box 4 (A0 – A7)
Box Four contains 15 wood blocks: 14 for Under Open Sky: Poets on William Cullen Bryant (1986) (some correlated to page number; see also box two); 1 for "small Stone House print," April, 1982.
Box Folder
4 A-0 Norbert Krapf, Under Open Sky (April, 1986) [pattern paper]
A-0 [Vignette of Stone House Press building] (April, 1982)
A-1 Under Open Sky, (June, 1980), p. 78
A-1 Under Open Sky, 49
A-1 Under Open Sky, 69
A-2 Under Open Sky, 61
A-3 Under Open Sky, (t.p., June, 1986)
A-4 Under Open Sky, "Forest Shadows," (June, 1986)
A-4 Under Open Sky, t.p.
A-5 Under Open Sky, 19
A-5 Under Open Sky, 47
A-6 Under Open Sky, 35
A-6 Under Open Sky, 13
A-7 Under Open Sky, 40
A-7 Under Open Sky, 67
Box Five (B1-B15)
Box Five contains: 3 blocks for Heartwood (1983) (see also box one); 5 blocks for The Tin Can (1988); 1 block for Journey to the Interior (1988); 4 blocks for Witchcraft Poems (1988); 3 blocks for Descent (1988); 2 blocks for From Dark to Light; 6 miscellaneous blocks.
Box Folder
5 B-1 Norbert Kraft, Heartwood
B-2 Heartwood
B-3 Heartwood
B-4 William Jay Smith, The Tin Can
B-4 The Tin Can
B-4 The Tin Can
B-5 The Tin Can (not used)
B-5 The Tin Can (second block)
B-6 William Jay Smith, Journey to the Interior
B-7 Constance Carrier, Witchcraft Poems, (1988)
B-7 Witchcraft Poems
B-7 Witchcraft Poems
B-8 Stephen Stepanchev, Descent: A Selection of Eight Poems (1988)
B-8 Witchcraft Poems
B-9 John DePol, Descent (also used for From Dark to Light) (1988)
B-9 From Dark to Light (second block)
B-10 Descent
B-10 Cory Memorial, keepsake, November, 1988 (key block)
B-11 From Dark to Light (Title page)
B-12 Portrait of Doctor Leslie, for the Stone House Press
B-12 APHA logo rejected by John DePol, May, 1983
B-13 Portrait of Doctor Leslie, for the Stone House Press (second color, 1981)
B-13 Turtle for John Fass
B-14 Stone House front view February, 1989
B-15 Keepsake for Goudy Society Dinner (8 Mar ‘90) (Old Parker Building, 225 4th Avenue)
Box Six (B16-C4)
28 wood blocks, predominantly for Stone House Press publications (1988-1994). 2 blocks for Witchcraft Poems (1988), 3 blocks for Poems of the Twenties (1988), 3 blocks for The Curious Act of Poetry (1991), 2 blocks for The Shore (1991), 9 blocks for Christopher Columbus (1992), 8 blocks for With Me Far Away (1994), and 1 miscellaneous block
Box Folder
6 B-16 Leaf [Witchcraft Poems, possibly pattern paper]
B-16 Witchcraft Poems
B-17 James Thomas Flexner, Poems of the Twenties, by Stone House Press
B-17 Poems of the Twenties
B-18 Poems of the Twenties
B-19 Dorothy Hatch, The Curious Act of Poetry (not used)
B-20 William Heyen, The Shore
B-20 The Shore
B-22 The Curious Act of Poetry
B-23 The Curious Act of Poetry
B-25 “Carpe Diem”
B-25 Charles Bertin, Christopher Columbus
B-25 Christopher Columbus
B-26 Christopher Columbus (frontispiece)
B-27 Christopher Columbus [leaning guitar]
B-27 Christopher Columbus (Sextant)
B-27 Christopher Columbus [Compass]
B-28 Christopher Columbus
B-28 Christopher Columbus
C-1 William Heyen, With Me Far Away
C-1 With Me Far Away
C-2 With Me Far Away
C-2 With Me Far Away
C-3 With Me Far Away
C-3 With Me Far Away
C-4 With Me Far Away
C-4 With Me Far Away
Box 7 (C-5 –C10)
19 wood blocks (some without paper wrappers and unnumbered; some in wrappers unnumbered), for the Stone House Press, and the Red Ozier Press, and for various occasions (1982-1995). 2 blocks for The Cyclist (1995); 9 blocks for Songs of Childhood (1994); 1 block for Windswept (1992); 1 block for Resurrection Ball (1982); 6 miscellaneous.
Box Folder
7 C-5 William Jay Smith, The Cyclist
C-6 The Cyclist
C-7 Federico Lorca, Songs of Childhood
C-8 Songs of Childhood
C-8 Songs of Childhood
C-9 Songs of Childhood
[X] Songs of Childhood (“Feb. 1995”)
[X] Songs of Childhood (“Feb. 1995”)
C-10 [St. Basils Church], “for the Stone House Press”
C-10 “’Moving’ for Morris Gelfand”
C-10 [candlestick]
C-11 Songs of Childhood
C-12 Windswept (Frederick C. Spreyer, 1992)
C-13 “For Morris Gelfand,” (Aug. 1985)
C-14 Songs of Childhood (redo of C8; engraved on both sides; 2d side flower)
C-15 Partly engraved on both sides, with pencil drawing: (Printing shop with candle—see box fifteen); [ladies and preacher or captain aboard ship--The Quaker City, Buttonmaker Press]
C-16 Partly engraved with ink on both sides: [Songs of Childhood, see C8]
C-17 Leslie Nail, Resurrection Ball
[X] Earlier? Duplicate block for “Moving” (see also C-10)
[X] “For William Heyen, For Morris Gelfand…” [Man and boy fishing, With Me, Far Away, see C-3]
Box 8
Box eight contains: 14 wood blocks, largely views of New York City (1951-1995), with several miscellaneous blocks. (Note: The alphanumeric figures have been devised by the cataloger.)
Box Folder
8 D-1 “Old Chelsea Park” (December, 1983)
D-2 “West Side Market Demolition” August/September, 1967
D-3 “The Bowery” (undated)
D-4 “Fulton St. Fish Market Area” 1950 (later images engraved on back)
D-5 “Pearl and Beekman Street N.Y” (1950)
D-6 [“Queen of Spades”?] (undated)
D-7 “West Side Manhattan” (second color, 1960)
D-8 “Bookstore-Fourth Avenue” (not used, 1995)
D-9 “Stevens-Nelson Paper Corp, 109 E31st St.” (ca. 1951)
D-10 “Homeward Ferry” (January, 1957)
D-11 “A House on the 12th St.” (redone, undated)
D-12 Spiral Press logo [reject] (1990)
D-13 [vignette of New York City], (undated)
D-14 “Liberty Bell,” made for Barbara [at] Bowne [& Co., Stationers] (1996)
Box 9
Box nine contains 18 wood blocks made for Christmas cards during the 1950s-1960s.
Box Folder
9 “Christmas card 195?”: outdoors scene: people with sleds, framed by building and tree; [verso: unfinished engraving of image published in Fisherman of Galilee (1959)]
“Christmas card 195?” [Stencil block]
Two children on sled, mother on sled. “Christmas card 1960?” [verso: skating scene, dated 1960] (Rutgers University Libraries Christmas card)
“Winter in the Country 1958”: (see Holiday Card folder 16)
“Winter in the Country 1958”: [stencil]
“Nov. 25, 1959”: Adoration of the shepherds: (see Holiday Card folder 16)
“Dark grey Christmas card 1962”: Two people dragging tree.
“Christmas card, 1962; second color”: [stencil]
“November 19, 1964”: [4 figures, sled]
“Christmas card 1964” [stencil: engraved verso, “discard”]
“Our house at 280 Spring Valley Road, December 14, 1966 Christmas card 1966”
“Abandoned and redone in two colors: figures in wood, Nov. 27, 1966”: First cut of people gathered around tree (see wood blocks box 16)
“Christmas card 1967” [Stencil] (see wood blocks box 16 for key)
“Old Fashioned Christmas 1968”: (see Holiday Cards folder 16)
“Old Fashioned Christmas 1968” [Stencil]
“Christmas card 1969”: outdoors scene: adult under tree with two sledding children
“For Christmas, 1969” [Stencil]
Box 10
Box ten contains 6 wood blocks made for Christmas cards during the 1980s.
Box Folder
10 “Christmas card 1981”
“Our backyard . . . for a Christmas card!” Dec. 9, 1984.”
“Christmas card 1985, Sundial in the Garden, Dec. 10, 1985”
“Christmas, 1987”: [verso “For Allen Four Stories by Pushkin, rejected redone”]
“For our Christmas card, 1988—Late as usual!”
Christmas in Park Ridge 1989: (see Holiday Cards folder 16)
Box 11
Box eleven contains 7 wood blocks: 3 were made or repurposed for Christmas cards during the 1990s and 4 are undated Christmas cards.
Box Folder
11 “Our Christmas Card 1990”: Interior scene with candle and holly.
“Old Christmas Card 1991; Dec. 4, 1991”: Interior with goose-neck lamp and 2 pitchers.
“Second color for an old Christmas card I cut in the 50s … for our card this year – 1992” [Stencil]
Man pulling log, child, house, tree; undated
Man by fire: Unidentified stencil block:
Key and stencil blocks, undated, [1950-1960?]: Adoration of shepherds
Box 12
Box twelve contains 13 blocks: 12 Christmas card blocks, 1 large and 11 miniature for Patricia DePol (1952-1962); 1 is for the “Smith, Kline & French” (1929-1968) pharmaceutical company [ca. 1955]
Box Folder
12 [Nativity on half block; undated]
[A Gate to St. Mary’s Cathedral, Limerick, Eire]
[3 Wise Men in frame] Miniature
“Tricia’s first Christmas card 1952”
“Yellow Christmas card 1958”
“Christmas card for Tricia 1959” Miniature: Figure waving with house and tree.
“Tricia’s Christmas card 1959” [Stencil]
“Christmas card 1960” Miniature: Two children pulling sled: (see folder 16)
“Christmas card 1960” [Stencil]
“Tricia’s Christmas card 1962” [Stencil]
“1st down” [3 wise men]
“1st down” [Nativity]
“Smith, Kline & French medical series” [ca. 1955]
Box 13
Box thirteen contains 4 pairs of key and stencil blocks from the Nineteen Seventies
Box Folder
13 The Eagle (June 1, 1976)
Faneuil Hall (1977) (see folder 8)
The Old Manse (May 27, 1977) (see box 3; folder 20)
Portland Head Light House (May, 1977) (see folder 20)
Box 14
Box fourteen contains 3 miscellaneous blocks engraved 1940-1960.
Box Folder
14 Domjulian Haute Vosges, 1944. A small block DePol used in later Christmas greeting [ca. 197?]
Factory District, Belfast [1947] (see prints box 3)
Fisherman of Galilee (March 1959) (see folder 27)
Box 15
Box Fifteen contains 9 miscellaneous Christmas Blocks (1/3).
Box Folder
15 3 miniature blocks of, shepherd in barn doorway at night, shepherd in barn with sky effaced, all effaced by barn doorway frame (originally wrapped in newsprint from 1957)
“For M.J. Gunn Nov. 1960 3rd down black” [Nativity miniature]
“Started November 1963 as a Christmas card” [Madonna and child]
Two figures on left tending campfire, skaters on lack in distance: block dated on back “1961”; (see holiday cards folder 16)
Four figures on sled, undated (inked though possibly unfinished)
Key and stencil: Candle in print shop with typecases, composing stick and type spelling out “A
Merry Christmas” (published as Old Type Cases and Composing Stick) (see holiday cards folder 16)
Box 16
Box Sixteen contains 6 miscellaneous Christmas blocks (2/3).
Box Folder
16 Two blocks: "Nov. 1958" Nativity scene, viewed from outside barn, within oval: key and stencil (see Christmas and Greetings cards, folder 16)
“For a Christmas Card, November 1967”: figures in woods standing by tree topped with star (see Christmas and Greetings cards, folder 16 & see box 9 for stencil)
“Old Brass Candlestick, English circa 1800.” “Engraved on wood Dec. 10 & 11, 1979”: (see Christmas and Greetings cards, folder 16)
Two blocks: Three carolers in nineteenth century clothing in front of village shop: within oval and frame: key and stencil
Box 17
Box Seventeen contains 7 miscellaneous Christmas blocks (3/3).
Box Folder
17 “Nov. 1958” Shepherd with sheep gazing toward barn, within oval
“Nov. 25, 1959” Shepherd and two sheep, in double frame
Nativity, viewed over shepherd's shoulder from outside barn, undated
Two children dragging a log, a third younger child watching, three tall trees, undated
“2nd down,” Nativity with three wise men, undated (miniature)
“Blue plate, December 1958” (stencil block, miniature)
“2d Down”: three wise men, Mother and child, undated (miniature)
Box 18
Box Eighteen contains 10 miscellaneous blocks; one from library of James H. Fraser.
Box Folder
18 “T” Typophiles T with bird and Aldine device
Dueling pistols (See folder 21c)
Second color for Reflections (see folder 40)
Belle Da Costa Green: for Morgan Library Ghost Stories (rejected), Jan. 1990 (see folder 15)
Cat with initial I “for Morgan Library Ghost Stories
“Goudy Press, Unfinished” (Goudy Press in DePol’s studio)
Laurel Wreath
“For The Allen Press, the last book they had made!” “For Rappacini’s Daughter” “Not used!”
Split block (broken portrait head)
JHF in type. “Dr. James H. Fraser, a wood engraving by John DePol, N.A. For Dear Jim John April 30, 1999”
Box 19
Bowne & Company Stationers Books: includes blocks for three books DePol illustrated for Bowne between 1983 and 1995.
Box Folder
19 Edgar Allen Poe, The Pit and The Pendulum (1991)

Frontispiece (block split)
I block (signed and dated, “3.20.1990”)
[abstract block with diagonal] (signed and dated “6.24.90”)
Pendulum, (signed and dated, “March 13, 1990”)
[Man with ghosts, diagonal line] (signed and dated, “June 20, 1990”)
Rats, facing left (signed and dated, “May 7, 1990”)
Rats, facing left (signed and dated, “3. 20. 1990, Redone!”)
Rats facing right (signed and dated “3.20.90, backwards? Damn!”)
Rats (unfinished)
Pattern block (pattern paper, dated “10.18.09”)
Caroll Boltin, A Practical Guide Cookbook (1996)

Introduction cut (signed and dated on back “. . . 1994”)
Roman punch, May, 1994
Mushrooms, (“May, 1994”)
Jugs (“6.15.95”)
Pot on stove (“6.15.95”)
Stove, May, 1994
Ornament 3 x 5.3 cm. (signed)
Lemons (6.20.91”)
Basket on ground, berries on bush
Punch with lemons (“June 30, 1995?”)
Shad Fishing (“Nov. 30, 1993”)
Hawser Martingale, The Old Soldier (1983)

[Ship, tobacco], 1983
[Crew and captain] October, 1983
Box 20
Bowne & Company Stationers, Ephemera: includes blocks for cards sold at the store between 1983 and 1992, and a block possibly sold at the store engraved in 1948; DePol’s contribution to the APHA Type Miscellany, 1994; blocks DePol made for the Typophiles and printed at Bowne, 1996-1998, and three miscellaneous blocks, 1959-1990.
Box Folder
20 Bowne Miscellaneous

Bowne Poster (block, stand, engraving tools), September, 1982
Shrub
Pioneer (Ship) January 12, 1985
Ambrose (Ship) October 5, 1984
Peking (Ship)
Titanic Memorial (front of Bowne, ships in rear), 1983
[Double engraving]: Side 1: The Titanic memorial at South Street Seaport, Side 2: For Morris Gelfand, no. 16 (See Heartwood, 1983, Box 5)
Robert Bowne, October, 23 1992
Robert Bowne, second color, October, 1992
Robert Bowne, signature
Barbara at Type case (for APHA) August 2, 1994
Barbara at Type case . . . August 17, 1994 (no. 2 of 3)
Barbara at Type case (for APHA collection) August 18, 1994 (“no. 3 of 3”)
Fulton Fish Market (about 1948)
Typophiles

Typophiles in March, 1997
Typophiles June 17, 1998
September, 1996
Miscellaneous

Ornamental bar, November 7, 1959
Canal Boat, April, 1984
Medieval Mace (one ball flail) April 30, 1990 (in two pieces)
Box 21
Zauberberg Press and Don Drenner: DePol illustrated eight books for the Zauberberg Press; The Usage of the Past: A Memoir, Don Drenner (1954); Anna, Anna, by Drenner (1955), The Graphics of Love: xxxviii Sonnets, by Drenner (1961), The Final Anna, by Drenner, 1986; Modern Love, by George Meredith, 1991; A Shropshire Lad, by A. E. Housman, 1992; Early Poems by Susan Perry, 1991-1992. This box contains blocks for The Graphics of Love (1961), and possibly one block for The Usage of the Past (1954), and The Final Anna (1986). The quotations, except where noted, are from DePol.
Box Folder
21 The Graphics of Love, by Donald von Ruysdael Drenner (1961)

Abstract flower stuff, January 7, 1961 (“p. 22 for ‘Graphics of Love’”)
Star in swirly sky, January 7, 1961 (“for ‘Graphics of Love’”)
Untitled block (7.7 x 13 cm) (back with eng. house, engraving dated “1961”)
Untitled block (7 x 14.6 cm) ((back with eng. house dated “1961”)
Untitled stencil block (10. 7 x 14 cm) (back engraving beginning of house, similar to ones dated “1961”)
Untitled swirly stuff (12 x 7 cm.) (undated, collected here because of similarity in size and design with ’61 blocks)
The Final Anna, by Drenner (1986)

Abstract flowery stuff, similar to earlier work, but dated May 4, 1986. (?)
Sunlight breaking through clouds shining on hill, May 4, 1986 (see proof dated 5 May 1986)
Sunlight breaking through clouds shining on water (“Drenner”: comparable to “May 4” block and with “Drenner” in red on side: x on back)
Disconnected ear and doorway (“p. 27”; “Drenner” in red on side)
“Night Song” (“Drenner” in red)
Star above city (“Love and the city awake” rough end grain like “x” block)
Face (3 x 3.2 cm) (wood like other blocks used here)
Untitled block, tailpiece? (3.3 x 5 cm.)
Cabin with trees (wood from this period)
Box 22
Zauberberg Press and Don Drenner (continued)
Box Folder
22 Modern Love, George Meredith (1991)

Nude from behind, with man and large moon, August 6, 1991
Nude in flowers from behind, August 11, 1991
Reclining nude, August 12, 1991
Reclining nude on back in bed, August 15, 1991
Nude in woods, man behind tree, August 17, 1991
Early Poems, Susan Perry (1992)

Abstract, excised lines, November 1, 1991 (in band titled “Perry Poems”)
Bird flying through clouds, November 8, 1991 (in band titled “Perry Poems”)
Cat and book, November 1991 (“Drenner/Perry”)
Moon in open sky, November 1991 (“Drenner/Perry”)
Box 23
Zauberberg Press and Don Drenner (continued)
Box Folder
23 A Shropshire Lad, A.E. Houseman (1992)

Fires on hill under clouds, March 11, 1992 (“no. 2 poem I not used! Don used larger fire”)
Fires on hills under clouds, March 12, 1992 (“no. 2. poem I alternate”)
Hillside with daffodils and swirling clouds, March 14, 1992 (“no. 4 Poem X”)
Bugle resting on book, tower in distance, March 17, 1992 (“no. 3, Poem III, ‘The Recruit’”)
Young man and woman facing each other in woods, April 1, 1992
“Grecian lad”(Houseman) in robe and jonquil in woods, April 7, 1992 (“no. 5. Poem XV”)
Flower (flower repeats flower in block of April 7, 1992)
Flower (repeat of above)
Tower, April 9, 1992 (“no. 6 tailpiece, Rush Job”)
Landscape with tracks crossing arched bridge, May 20, 1992
Man (holding gun?) staring at bush in sunshine (rain?), June 8, 1992
Two arches, dated April 3, 1992 and July 7, 1992 (“This was 3 arches! Don cut one off!!”)
Plough, July 12, 1992 (“XXVII ‘is my team ploughing,’ Houseman”)
Doorway, tree, July 14, 1992 (“Shropshire Lad, by AE Houseman”)
A.E. Houseman (face), July 15, 1992
A.E. Houseman (face), second color, July 16, 1992
Box 24
James Plunkett, The Trusting and the Maimed: And Other Irish Stories (1955). Six of eleven wood blocks engraved for 1955 publication.
Box Folder
24 View out of window; “Eagles and trumpets” written on back
Street view; “Janie Marie” written on back
Boy with suitcases in doorway; “Wearing of the Green” and citation for book on back
Inside of Alehouse, man at table; “Dublin Fusilier” and citation for book on back
Bird flying over houses; “Trusting and the Maimed” on back
Man lying on ground, on one side rat, on the other faithful dog; “Mercy” on back
Box 25
Blocks by Others: The DePol Estate donated engraved wood blocks in John’s collection. A small number of these, prepared and engraved by Lynd Ward, have been housed with The Libraries’ Ward collection and described separately (see finding aid entitled “Lynd Ward Collection of Unidentified Wood blocks”). The blocks here are by various individuals not specifically collected by Rutgers.
Box Folder
25 Bernard Brussel-Smith, [Man seated at café table]; “Wood engraving by Bernard Brussel-Smith, John DePol Collection” written on back
Anonymous, [Boy, barefooted, in hat with feather, standing on stilts, with prancing dog]; “V. Grottenthaler, Phila.” stamped on block back. (Firm supplied boxwood to engravers, see Inland Printer, v. 17, no. 5, 1896)
Anonymous, [Bearded man viewed between ropes (rigging?)]. “BR Built” on ink on block side: Accompanying note in pen reads “Figurehead of the ‘Joseph Conrad,’ which was made by ‘Bruce Rogers’ signed John DePol
“John DePol”: Various wood type letters mounted on wooden base; paper label on base conveys season’s greetings to John, with explanatory typescript: “from Sy Lemler of York Type, Christmas, 1971”
Box 26
Pieces: six wood blocks and one fragment engraved for unidentified publications.
Box Folder
26 Fist clutching mug
Sunrise (broken)
Unreadable (broken)
Contents unclear (broken)
Two elaborate lamps or candle-sticks, possibly for Rowfant Club. One marked “For Anderson” on side. (See John Anderson)
Running figure holding musical instrument (?) aloft
IX. Etching Plates
Box Folder
Etched plate. For Monastery, Parey-sous-Montford, Haute Vosges,” 1947. Plate mounted on stained wooden board. (Fraser, 43E) (See folder 7D, Etchings, France) (20 x 15 cm.)
Etched plate. For “Station on the Ninth Avenue Elevated. New York. 1938.” Frazer ays drawn on site in 1938, engraved and printed in 1942, and that DePol is the left foreground (right on plate) (Fraser, 14E) (21.6 x 18 cm.)
Two small un-engraved plates, one steel plated. (10 x 12. 6 cm.)