A veritable treasure trove of rare and lovely materials — from volumes of photographs to books that represent the quintessence of literary and printing history — lives in Colgate’s Special Collections and Archives. Many offer visual gems that delight the eye and nurture the soul. Students who visit for research assignments often ask the same two questions: how much the collection is worth (it’s nearly impossible to answer that), and how Colgate came to possess the materials. Although the origins of some are a mystery, many were transferred from Case Library’s main collection, some were purchased to serve the archive’s educational mission, and others, given to Colgate, have an interesting provenance or intriguing story to tell. — Rebecca Costello
 

Green-crowned brilliant (Heliodoxa jacula), Part XVI. Sept. 1, 1858 (left), Elicia’s Golden Tail (Chrysuronia eliciæ), Part XVI. Sept. 1, 1858 (right). Nineteenth-century naturalist John Gould’s 25-volume (1849–1861), depicts 418 species from around the globe. Gould and his studio used gold leaf, transparent oil colors, watercolors, lacquers, and gum Arabic to beautifully capture the iridescent quality of the birds. Colgate has the complete set of what is considered Gould’s masterpiece, produced from hand-colored stone lithographs.

Mission San Carlos de Borromeo, 1926 (above). Spanish Mission California, a portfolio of etchings “briefly described in the order of their founding” by L.N. Scammon, is a fine example of artisanal bookmaking by a fine arts press; in this case, Grabhorn Press of San Francisco.

Red Lily (Lilium montanum), # 166, Plate II (above). From the limited edition lithograph set North American Wildflowers, Vol. 1, 1925, by Mary Vaux Walcott (published by the Smithsonian Institution). Walcott made her watercolor paintings of wildflowers while accompanying her husband, Charles, who was secretary of the Smithsonian, on his business travels. This set was acquired by James C. Colgate, Class of 1884, and his wife, Hope, discerning book collectors who donated many amazing items to the university. Grey Fox, Canis (vulpes) virginianus, Plate XXI, 1843 (right). From Colgate’s two-volume set of J.J. Audubon’s enormous The Viviparous Quadrupeds of North America, a supreme example of color lithography that helped foster Americans’ appreciation of nature. Printed and colored by J.T. Bowen, Philadelphia. Believed to be a gift of the Colgate family.

		Illustration from The Girl With the Golden Eyes (above). This 1928 fine-print edition of Honore de Balzac’s novella, with illustrations by Donald Denton (Peacock Press, Chicago, 1928), was a gift of Norman H. Strouse H’58 to the Thomas M. Iiams Collection of Books about Books. A librarian at Colgate from 1939 to 1959, Iiams led the $2 million drive to build Case Library and was an authority on methods of preserving rare books and manuscripts.

La Beale Isoud at Joyous Gard From ‘Le Morte D’Arthur’ (right), A Catalogue Cover (above).These two rather tame but lovely images come from The Later Work of Aubrey Beardsley (1901), reproductions of art by the controversial English Art Nouveau artist and printmaker known more for his tendency to depict macabre or erotic scenes in black and white.

Front and back covers, Wine, Women, and Song (above). Featuring medieval Latin students’ songs and an essay by English poet and literary critic John Addington Symonds, this book is an 1884 limited edition of only 50 copies, printed by Chatto & Windus. And yet, the text is basically inconsequential. Its significance lies in its cover, embossed with gold and precious stones, which was crafted by the London-based bookbinder Sangorski & Sutcliffe, famous for making books to be sold as luxury products. The records are unclear, but likely a gift of the Colgate family. “In a Piegan Lodge,” Plate 188, 1910 (right). The university has a full set of photographer Edward S. Curtis’s The North American Indian, photogravures printed by John Andrew & Son (published between 1907 and 1930). Curtis’s project to portray the traditional ways of life of tribes throughout the continent became one of the most significant, and controversial, representations of traditional American Indian culture ever produced. Extremely expensive at the time, and offered by subscription only, merely 220 sets were sold. Colgate’s full set, numbered 132 out of only 500 made, was a gift of Hope (Mrs. James C.) Colgate.

The books from which the next three illustrations were selected are prime examples of artisanal bookmaking. “The Hare & The Tortoise” and facing title page (left). Notable British artist Arthur Rackham was known for his highly detailed and fanciful drawings for many classics of children’s literature. Colgate’s copy of this limited edition of Aesop’s Fables (Heinemann, Doubleday, 1912) is signed by Rackham and marked #1386 of 1450. It was given to Colgate by Charlotte Stillman in memory of her father, Thomas E. Stillman, Class of 1859, along with a large collection of books with fine bindings.

Stanza V from the book So Here Then Is the Last Ride (above). This edition of Robert Browning’s poetry was published in 1900 by the Roycroft Shop during the renaissance of fine printing that was part of the Arts and Crafts Movement. It features illustrations by Elbert Hubbard (founder of the Roycroft artisan community in East Aurora, N.Y.) that were hand-illuminated by Harriet Robarge. An inscription indicates Colgate’s copy is #6 of only 50 printed. Gift of librarian Thomas Iiams, who left his beloved collection of Roycroft books to Colgate. Illustration from The Tale of Lohengrin, Knight of the Swan (left). Written by Irish literary figure T.W. Rolleston “after the drama of Richard Wagner,” this fine-print book (T.Y. Crowell Co., 1914) was presented by Hungarian-born illustrator, muralist, and painter Willy Pogany. Gift of Charlotte Stillman.