Book Reviews

Book Reviews

The Artistic Furniture of Charles Rohlfs by Joseph Cunningham (Yale University Press, 2008, 304 pp., hardbound, $65 from Yale University Press, [www.yalebooks.com] or [800] 405-1619).

A traveling exhibition of furniture by Charles Rohlfs (1853-1936) will begin in June 2009 at the Milwaukee Art Museum, travel to the Dallas Museum of Art in September, to the Carnegie Museum of Art (Pittsburgh) in January 2010, to the Huntington Library (San Marino, California) in May 2010, and to the Metropolitan Museum of Art (New York City) in October 2010 to mid-January 2011. All across the country we'll have a chance to learn more about Rohlfs, who has defied categorization beautifully. This book is the catalog that accompanies the show.

On September 28, 2007, Cottone Auctions sold a chair that had been pulled from the trash quite a few years before and kept in a small home until being consigned. Signed and dated by Charles Rohlfs, the chair sold for $198,000. That sale was covered in M.A.D., among other places, and reminded us that the output of Rohlfs is not huge, though according to this book there are more items than previously thought. He was active as a furniture designer for a relatively short time, but his influence has been quite extensive. This erudite and comprehensive biographical catalog explains how.

The fascinating history of entwined interests between Anna Katharine Green and Charles Rohlfs is analyzed clearly. Cunningham balances counterpoints of historical data, some of which he unearthed with Sarah Fayen (a Chipstone Foundation curator and a contributor to the book) in descendants' keeping, and his own aesthetic insights. Here's an example at the end of chapter two: "Three forward-looking—indeed modern—objects designed by Charles Rohlfs in collaboration with his wife, Anna Katharine Green, can now be confidently dated to the remarkably early date of circa 1888. Charles Rohlfs, an industrial designer by day and actor by night, was by this date a fledgling maker of artistic furniture. [They] created this early furniture to fill their home with beautiful objects of decorative art. Even these works of limited ambition show glimmers of design genius that would later place Charles Rohlfs, an actor of modest accomplishments, on the world stage as a furniture-maker and designer." This collaboration has not before been given much, if any, credit.

Back in Buffalo, New York, after a tour of Europe to renew his and his wife's spirits, Rohlfs set up a studio in an attic loft over a machine shop. Journalists from afar made pilgrimages and then wrote in flowery terms about his talent, probably inspired by Rohlfs's own eloquence and charm. It quickly put him on the map as a studio artist in furniture. Sometimes the writers of early articles made points that have been erroneously perpetuated until Cunningham's corrections. Such points are numerous throughout this catalog and helpful for future reference.

All along, promotion of artists and artisans has been a key factor in success; talent alone is insufficient. Rohlfs was a master of self-promotion. Signing work is one example, as Cunningham notes. "Once in business as a furniture designer and maker, Rohlfs marked every piece he made with his 'Sign of the Saw.' As the holder of several patents and the husband of a wildly successful author, Rohlfs certainly understood the value of intellectual property. Aside from his pride of authorship, Rohlfs must have considered marking his works essential for good business. A Marshall Field and Company advertisement featuring his furniture, on 18 December 1899, included the statement that 'each piece is sealed with an autographic signature of the maker….'''

Rohlfs's designs and carving were original and cannot be called strictly Arts and Crafts or Art Nouveau or medieval or modern, but all of the above. Certainly, almost all the items are dramatic and well made. To comprehend the intricacies of how Rohlfs sought to place himself in the artistic continuum, Cunningham provides extensive quotations from Rohlfs's lectures on design and art. Cunningham's insights, based on a career of keen observations and critical knowledge, are presented with clarity. This fully annotated and well-illustrated book will become an invaluable resource, a keystone in Charles Rohlfs scholarship. There also is a good chapter on "Growing Old Gracefully," which completes the biography of this remarkable couple, long after the decline of his furniture business and when he became interested in "civic pursuits."

The design and production of the book is mostly fine, except that the sans-serif typeface, though clean-looking on the page, makes sustained reading a bit difficult.

Incidentally, because some of the items in the exhibition come from the sponsoring foundation, they are promised to museums after the show rather than being sold. This will avert an appearance of conflict of interest, since the stature (and probably the prices) of Rohlfs furniture will be boosted by this attentive scholarship and the traveling exhibition.

A.C.V.

This presentation of Scottish folk furnishings catches the feel of the nooks and crannies of old Scotland so well that it is easy to spend hours perusing the pages. One comes to understand the reasons and ways the Scots made their houses, furniture, baskets, and tools. Appreciation for them grows as naturally as a tree.

This is a scholarly book, with full notes, glossaries, archival and modern illustrations (544, with 412 of them in color), but it is not a dry textbook in style; its layout and writing is clear and fun to read.

"Sometimes we found furniture on islands now deserted, in houses undisturbed except by sheep and seabirds…One such island, which will serve as an example of the pathos and change in such communities and the tasks involved in recording their passing, is Stroma, in the Pentland Firth…."

So begins the adventure. The author, his wife, and a friend lived on deserted Stroma while they cleaned the left-behind furniture and photographed it from all angles. We begin the journey with them and learn about croft buildings, how the Scots fed themselves, how they made the items they needed, and what they prized. The chapters are arranged by task: "Beds and Cradles," "Storage and Display," "Seating Furniture," "Clocks, Spinning Wheels, and Household Goods." There is a helpful appendix about the woods used to make the items. Everything is thoroughly researched. The book is truly a masterwork about the subject and highly recommended.

A.C.V.

Edenton Furniture and Culture: Colonial and Federal Periods by Thomas R.J. Newbern and James R. Melchor (Cupola House Association, in association with Legacy Ink Publishing, 2008, 64 pp., softbound, $30 from Steve Lane, Cupola House Association, e-mail <garret78@mchsi.com> or phone [252] 339-6153; include $5 S/H).

The little town of Edenton, North Carolina, has a prestigious background, with many important historical figures (including a signer of the Declaration of Independence) calling it home in the 1700's. It was a center of prosperity, and a thriving business in cabinetmaking and furniture construction emerged to furnish the homes being built for more affluent residents. A regional style developed that was heavily influenced by local Scottish, English, and Irish craftsmen. A number of original chairs, tables, and other items are pictured in this book, and detailed information is provided about each piece. The authors have woven the history of the area into the book, making it much more than just a guide to regional furniture. A bibliography is also included.

All proceeds from the sale of this book benefit the historic Cupola House in Edenton. See the Web site (www.cupolahouse.org) for more information.

America's Kitchens by Nancy Carlisle and Melinda Talbot Nasardinov with Jennifer Pustz (Historic New England, distributed by Tilbury House, 2008, 208 pp., softbound, $34.95 from Tilbury House, [www.tilburyhouse.com] or [800] 582-8227).

"On days when warmth is the most important need of the human heart, the kitchen is the place you can find it; it dries the wet socks, it cools the hot little brain." So wrote E.B. White in a 1956 essay that is quoted at the beginning of this look at the kitchen in American life.

With extensive use of primary sources from Historic New England and other museums and libraries, this book documents changes in kitchens, food preparation, and home and family life. It begins in 1720 with a discussion of the importance and use of the New England hearth and moves up through the "modern" kitchen (1890-1945) and the postwar era to the present day. Essays engage the reader while many photographs, illustrations, advertisements, and even recipes engage the browser. Entire chapters are devoted to southern plantation kitchens and kitchens along the Rio Grande, as well as modern and post-World War II kitchens, marking specific periods in culinary and cultural American history. The text includes some personal stories of memories and experiences in the kitchen.

This well-documented book, an interesting and informative look at the role and use of kitchens as the centerpiece of American family life, is part of an ongoing project about America's kitchens at Historic New England. For more information, see the Web site (www.historicnewengland.org).

Heirloom Cooking with the Brass Sisters, Queens of Comfort Food: Recipes You Remember & Love by Marilynn Brass and Sheila Brass (Black Dog & Leventhal Publishers, 2008, 304 pp., hardbound, $29.95).

The essence of heirloom cooking is that nothing "tastes as good as something cooked by someone who loves us." Marilynn and Sheila Brass compiled this treasure-trove of heirloom recipes from their own collection of loose handwritten recipes and old handwritten recipe books, which they have acquired over the years at yard sales, in used bookstores, and from friends. The recipes go as far back as the 1870's, and each includes the story of the person or family it came from. The color photos will whet your appetite, and the cooking tips will give you the confidence to try these recipes yourself.

Rocky Neck Art Colony: 1850-1950 by Judith A. Curtis (Rocky Neck Art Colony, Inc., 2008, 160 pp., hardbound, $34.95 ).

This compendium of short biographies of artists who painted Gloucester, Massachusetts, from the mid-1800's to the mid-1900's will provide a good abbreviated introduction to each of them. The jaunty tone is an insider's portrayal of a working fishing town that inspired and continues to inspire art. Most of the artists listed here will be names recognized by anyone attending auctions. Among the biographies, the early development of marketing local art is taken up. This includes the history of the Gallery-on-the-Moors, which lasted about six seasons beginning in 1916. Again, tucked among the short biographies of artists, another marketing venture is described in "Two Kinds of Thinking," about the birth of the North Shore Arts Association. The arrangement of information is a bit jumpy, but the author does begin to pull together the web of information around the central topic.

Throughout the book, Curtis reveals her own love of the place, taking a proprietary tone about the area and its obvious charms. She takes it in hand and gives us intriguing tidbits, such as the palette preferences of Frederick Mulhaupt, who "endured the teaching process in order to pass on his knowledge" and whose studio was "perched on precarious pilings overhanging the water where he had a fine view of the Gloucester fishing fleet in all its glory."

This book is recommended for anyone beginning a collection of East Coast art or curious about the oldest working artists' colony in America and its evolution.

J.C. Leyendecker: American Imagist by Laurence S. Cutler, Judy Goffman Cutler, and the National Museum of American Illustration (Harry N. Abrams, Inc., 2008, 256 pp., hardbound, $50 from Harry N. Abrams, [www.abramsbooks.com] or [212] 206 7715).

Although Joseph Christian Leyendecker (1874-1951) was "the most popular illustrator of his day and was published in the most popular magazines," no archive documenting his life exists. He rarely gave interviews or permitted photographs, and he ordered Charles Beach, his life partner for nearly 50 years, to destroy all mementos, records, correspondence, and even artwork after his death.

Judy and Laurence Cutler maintain that Leyendecker's "time for acknowledgement has arrived." They began working on the manuscript for this book ten years ago but shelved it in order to found the National Museum for American Illustration. With the museum fully established, they restarted their quest for information about Leyendecker's life and work, and this beautifully produced publication is the result.

With 600 color illustrations, including all 322 of Leyendecker's covers for the Saturday Evening Post, this book offers an in-depth look at an artist who created numerous iconic images-the New Year's baby, flowers for Mother's Day, and the Arrow collar man among them-and was a "global standard-bearer for illustrators."

Drawing Babar: Early Drafts and Watercolors by Christine Nelson (The Morgan Library & Museum, New York, 2008, 152 pp., softbound, $30, or hardbound, $50, from the Morgan Library & Museum, [www.themorgan.org] or [212] 590-0390).

Several generations of children worldwide have enjoyed the Babar storybooks, which began with a bedtime tale about an orphan elephant told by a French mother to her children, who enthusiastically related it to their father, artist Jean de Brunhoff (1899-1937). He then wrote and illustrated Histoire de Babar, le petit elephant (The Story of Babar, the Little Elephant), published in 1931. This first Babar storybook was followed by six sequels before its author's untimely death at age 37. Jean's son Laurent de Brunhoff (born 1925) was 12 years old at the time. In 1946, at age 21, Laurent resumed the series, creating his own Babar storybook, Babar et ce coquin d'Arthur (Babar and That Rascal Arthur), which has been followed by 36 sequels. Laurent de Brunhoff has lived in the U.S. since 1985.

In 2004 The Morgan Library & Museum acquired all the surviving working drafts, including watercolors, drawings, and manuscripts, for both of these "firsts" and in 2008 mounted an exhibition of the collection, which runs through January 4, 2009. Drawing Babar, the catalog accompanying the exhibition, reproduces the collection in its entirety, supplemented with enlightening analysis and considerable historical background, including the de Brunhoff family's link to the French publishing business, in particular Condé Nast, publishers of the earliest Babar books.

Essayist Adam Gopnik brilliantly analyzes the allure of the Babar tales, discussing them in relation to other children's books and fables and defending the concepts involved, which began with an elephant crudely orphaned who finds himself in the big city (Paris) where he has extraordinary experiences.

Author Christine Nelson points to historic examples of elephant anthropomorphism and also cites Jean de Brunhoff's all-encompassing role as originator—author, illustrator, and graphic designer. Significantly, Nelson notes that father Jean's first book is "about coming of age, behaving properly, living well, and assuming responsibility," while son Laurent's first book is "a tale of youthful adventure," as exemplified by cousin Arthur's precarious ride on the tail of a green airplane.

Colorful images reflect the charming, primitive quality that endlessly captivates adults and children. For example, a Jean de Brunhoff spread of Babar driving a bright red roadster is a gem of naive art, the sweep of countryside highly detailed with birds, animals, fishermen in boats, etc. The busy Celesteville train station filled with well-dressed elephants and monkeys is another. Throughout, printer-ready watercolors are shown alongside rough studies, showing how the artists worked and changed their minds. Illustrations reveal differences in the working methods of father and son. The complete French text for both storybooks is included side by side with an English translation.

Rose Safran

Grand Scale: Monumental Prints in the Age of Dürer and Titian, edited by Larry Silver and Elizabeth Wyckoff (Davis Museum and Cultural Center, Wellesley College, in association with Yale University Press, 2008, 176 pp., hardbound, $50 from Yale University Press, [www.yale.edu/yup/] or [800] 405-1619).

The exhibition that this book was published to accompany began at the Davis Museum and Cultural Center, Wellesley College, moved to the Yale University Art Gallery, and will be at the Philadelphia Museum of Art from January 31 to April 26, 2009. The exhibit includes 47 mural-size woodcuts and engravings from Italy, Germany, and the Netherlands that date from the late 15th to early 17th century. Compared to smaller prints, far fewer of these large prints (some over 10' high!) have survived. The catalog beautifully illustrates each of the 47 prints and includes five scholarly essays on aspects of Renaissance visual culture.

This hefty book offers an impressive amount of information in a reader-friendly format. The 2384 artists who are profiled had to meet several criteria for inclusion. They had to have been born before the end of 1936, must have produced at least one work with an animal or sporting subject, must have worked in the U.S., and must have been cited in at least one verifiable reference source. Another 350-some artists for whom biographical information was not available or who were not able to be included because of time constraints are listed in an appendix.

The biographical listings range from a few sentences to a full page, and the illustrations, many of which have not been previously published, include 321 in black-and-white and 96 in color. Reuter's list of the individuals, galleries, auction houses, museums, institutions, and publishers that helped him with this endeavor runs to two pages. Wendell D. Garrett contributed the introduction, "The Rise of the Sporting Culture in America," and William H. Gerdts wrote the foreword, "American Animal Artists." A signed and numbered limited-edition version of the book is available for $495.

The Life and Work of Robert Gibbings by Martin J. Andrews (Primrose Hill Press, Inc., 2003, 426 pp., hardbound, $45 from Primrose Hill Press, Inc., 155 Mt. Rock Road, Newville, PA 17241-8916; [717] 776-7359; Pennsylvania residents add sales tax).

As director of the Golden Cockerel Press, author and artist Robert Gibbings (1889-1958) "was responsible for some of the finest books of the private press movement" in the 20th century. Martin Andrews spent ten years researching Gibbings, a man who "lived life to the full and was a traveller and adventurer." Andrews traces the development of Gibbings's style and technique as an artist and wood engraver and tells the story of his colorful life. The numerous illustrations include examples of Gibbings's work as well as family photos.

The Guardian Building: Cathedral of Finance by James W. Tottis (Painted Turtle, 2008, 160 pp., hardbound, $50 from Wayne State University Press, [www.wsupress.wayne.edu] or [800] 978-7323).

Completed in 1929, the Guardian Building (originally the Union Trust Building) in Detroit was widely praised for its daring design and innovative use of materials. Architect Wirt C. Rowland, whom author James Tottis calls a "Gothic Modernist," combined the principles of northern European Expressionist architecture with the use of materials associated with the Arts and Crafts movement. Rowland's design incorporated murals, relief sculpture, and decorative painting; tile mosaics by Rookwood Pottery, Pewabic Pottery, Flint Faience, and the Atlantic Terra Cotta Company; and metalwork by Gorham.

The text of this book tells the tale of the building, the company that commissioned it, "and the underappreciated architect responsible for its design." Eighty-eight color plates show the building as it looks today and as it appeared in the 1930's.

100 Greatest Ancient Coins by Harlan J. Berk (Whitman Publishing, LLC, 2008, 144 pp., hardbound, $29.95 from Whitman Publishing, [www.whitmanbooks.com] or [800] 546-2995).

The 100 coins presented here were selected by a panel of museum curators, historians, coin dealers, researchers, and collectors. Displayed in chronological order, they begin with a circa 650 B.C. Ionian electrum stater from Greece and end with a 1453 Byzantine stavraton issued during the siege of Constantinople. Along with a color picture of each coin (obverse and reverse), the book offers a history of the coin and a guide to its current value. An appendix shows all the coins at actual size, and the introduction gives a history of coins and offers tips for new collectors. Although many ancient coins are extremely rare and pricey, Berk points out that some are available for prices starting at a dollar or two, and many are $5000 or less.

This exact reprint of the 1982 edition documents the life and work of Augustus Saint-Gaudens (1848-1907). The 500 illustrations include cameos, bas-reliefs, monuments, statues, coins, and medals by Saint-Gaudens, plus images of the sculptor and his Cornish, New Hampshire, studio.

Tiffany Style: 170 Years of Design by John Loring (Harry N. Abrams, Inc., 2008, 303 pp., hardbound, $50 from Harry N. Abrams, [www.abramsbooks. com] or [212] 206-7715).

Ah, those turquoise boxes with creamy white ribbons. Long recognized for distinctive style, glamour, and expense, Tiffany needs no introduction, really. This book is a compendium of archival and modern Tiffany moments—beautiful photographs of dancers, models, actors, and jewels, table settings, designers, and dreams. What a fine table book to peruse on a stormy day when you wish to forget that snowflakes turn to slush.

Form & Function: American Modernist Jewelry, 1940-1970 by Marbeth Schon (Schiffer Publishing Ltd., 2008, 256 pp., hardbound, $69.99 from Schiffer Publishing, [www.schifferbooks.com] or [610] 593-1777).

Written with a historical perspective, this book is actually a catalog for two Modernist jewelry exhibits that took place in 2008 at the Fort Wayne Museum of Art and at The University of St. Francis School of Creative Arts. The discussion begins with the Modernist art movement before and during World War II and moves through the 1950's and 1960's. It discusses the influences of various art movements and the materials and techniques artists used in crafting "wearable art." Over half of the book is focused on artist biographies, including a section devoted to the art of Peter Macchiarini. The book includes many large color photographs highlighting examples of the artwork of the 96 artists. Makers' marks are shown at the close of the book.

The American Designs: Jensen Silver by Nancy N. Schiffer and Janet Drucker (Schiffer Publishing Ltd., 2008, 192 pp., hardbound, $49.95 from Schiffer Publishing, [www.schifferbooks.com] or [610] 593-1777).

This book focuses on the silver made for the Georg Jensen store in New York City in the 1940's and early 1950's by artisans William G. deMatteo and Alphonse La Paglia. The text outlines the history of Georg Jensen silver and the opening of the firm's branch in New York City under the ownership of Frederick Lunning. The company continued after the death of Georg Jensen in 1935, but during World War II silver became unavailable for commercial use, and the production of Jensen items in Copenhagen became limited.

Lunning needed to procure American-made silver. Large illustrations show the work of La Paglia and deMatteo, including many examples of the jewelry, bowls, utensils, teapots, and other tablewares they designed, plus pages from catalogs, reproductions of their notes, and clear images of marks. Also included are examples of La Paglia's designs made for International Silver Company.

Mother Goose of Yesteryear by Barbara Hallman Kissinger (Pelican Publishing, 2008, 128 pp., hardbound, $19.95 from Pelican Publishing, [www.pelicanpub.com] or [800] 843-1724).

This book would make a pleasant gift for a child or collector or lover of Mother Goose. The book doesn't delve into any lengthy history of Mother Goose because, as the author points out, little is known. It is more of a pictorial walk down Mother Goose memory lane that follows a bit of the publishing history of childhood's favorite poems. The illustrations are taken from 19th- and early 20th-century books, newspapers, magazines, advertising, and postcards. Publishing information and the artist, when known, is given. The best part of the book is the nursery rhymes and riddles themselves, set in large type and perfect for reading out loud. An index of the artists and an index of the rhymes and riddles is included.

A Guide Book of United States Tokens and Medals by Katherine Jaeger (Whitman Publishing, LLC, 2008, 304 pp., softbound, $19.95 from Whitman Publishing, [www.whitmanbooks.com] or [404] 235-5300).

More than 500 medals and tokens, mostly from the collection of the American Numismatic Society, are illustrated in this book. Katherine Jaeger acknowledges that no book on U.S. medals and tokens could possibly cover everything (in the Civil War years alone, for example, almost 11,000 varieties of patriotic and store cards were produced). Instead, this book offers an introduction and overview of seven main categories of collecting. The color images are clear and crisp, and the text includes historical information along with values of tokens and medals in several condition grades.

Jaeger believes that "every medal, great and ordinary, contains fascinating stories and layers of meaning." This book offers a glimpse into many of those stories. Advertisements aimed at medal collectors are interspersed throughout the text but do not detract from the book's appeal.

The Drilling Gun: History, Use, and Technology of a Universal Hunting Weapon by Norbert Klups (Schiffer Publishing Ltd., 2007, 230 pp., hardbound, $49.95 from Schiffer Publishing, [www.schifferbooks.com] or [610] 593-1777).

This book and its companion, Double-Barreled Rifles, were reprinted by Schiffer from their original German language texts, previously published in that country a few years ago. Both volumes elevate the standard European hunting arms to a state of high art and exact scientific research. The photography is extraordinarily crisp and clear. Thorough research spans all phases of development.

Although infrequently encountered in this country, the drilling is to Germany what the Winchester was to the American West. The composition of a drilling is generally two shotgun barrels over a rifle barrel, but there is also the reverse: two rifle barrels over one shotgun. Whatever the arrangement, the drilling provided the hunter with a multipurpose gun that enabled him to take large and small game with the same weapon. The reader is told that in World War II many German pilots flew with drillings as survival weapons.

When a hunter was trying to find fresh meat to feed the family in the late 19th century, a drilling enabled him to multi-task. That, however, went against the American way of stalking rabbits, squirrels, turkeys, or quail with a shotgun and later switching to a rifle or musket for deer, elk, and buffalo, and when American hunting regulations were established, it became prohibited to shoot a rabbit in the middle of deer season.

Thus the drilling has remained an enigmatic European hunting tool in this country, which is all the more reason for this book. Makers, models, wood types, scopes, ammo, insertion barrels, and engraving are covered. Drillings occasionally come up for sale at U.S. auctions, and many are worth thousands. This book gives guidance as to whether to raise your bidding card.

Robert Kyle

Double-Barreled Rifles: Fascination in Wood and Steel by Norbert Klups (Schiffer Publishing Ltd., 2007, 208 pp., hardbound, $39.95 from Schiffer Publishing, [www.schifferbooks.com] or [610] 593-1777).

The majority of early American gun technology originated in Europe. Later, notable exceptions were the Winchester rifle and Colt revolver, both mid-19th-century U.S. inventions. Before the multiple-shot Winchester, U.S. hunters—and soldiers—used a single-shot rifle. Even as late as 1890, the standard issue U.S. military arm was the one-shot "Trapdoor" Springfield. The government, in its wisdom, saw no value in the fast-shooting Winchester. Native Americans loved it. Just ask Custer.

The Winchester eventually found its way into the hands of European hunters. Until it did, hunters who felt they needed a quick second shot used the double rifle. Resembling a double-barreled shotgun, it fired two bullets rather than a spray of tiny shot.

When Britain was colonizing India and Africa, the double rifle was developed to aid the great white hunter in his quest for really big game, such as water buffalo, elephants, lions, rhinos, etc. In 1878 Colt introduced a double rifle in America, but its two shots were still no match for the Winchester. A hundred years later B. Searcy & Co. of California began making double rifles in the $10,000 to $50,000 price range.

As does its companion book on the drilling, this book's text provides everything one needs to know about the origin and purpose of the double rifle. Dazzling color photos show detailed closeups of engraving styles, hunters with game, ammo choices, types of scopes, and more.

Neither book gives any indication of cost or value. A section on what drillings and double rifles have brought at U.K. auctions would be helpful to U.S. collectors. Also missing is biographical data on author Norbert Klups. He's done an impressive job on two books; it would be nice to know something about him.

Robert Kyle

Collector's Guide to Imperial Japanese Handguns, 1893-1945 by James D. Brown (Schiffer Publishing Ltd., 2007, 64 pp., softbound, $19.95 from Schiffer Publishing, [www.schifferbooks.com] or [610] 593-1777).

The purpose of this book is summarized in its introduction. "This volume has been prepared as an inexpensive guide to Japanese military handguns of the first half of the 20th century. It is primarily for the collector who, upon encountering a new specimen, wants information to identify, classify and evaluate it in order to make a decision on its purchase. It will also be useful to dealers in establishing values, and to firearms owners who simply want to know where an individual pistol or its accessories fit in the overall picture of Japanese military collectibles."

This book derives its material from Japanese Military Cartridge Handguns, 1893-1945 by Harry L. Derby and James D. Brown, published by Schiffer in 2003. This collector's guide is a more portable, lightweight reference.

Each of the book's 14 chapters is devoted to a specific type of Japanese handgun. Early models such as the Type 26 and Hino are rarely encountered and thus get a brief mention. The Type 14 Nambu, however, gets more ink as a result of its association with World War II. The reader is told that about 279,000 Type 14s were made from 1926 to 1945 by five different manufacturers. Similar in appearance to German Lugers, they were frequent war trophies brought back to the U.S. from the South Pacific.

With the passing of the World War II generation, considerable war booty is coming in the market, which reaffirms the need for a book such as this. New collectors of World War II and Japanese militaria in particular not only receive a crash course in all Japanese handguns but a thorough dissection of the model they are most likely to see available at auctions and shows, the Type 14.

One of the most obvious differences in the Type 14 is the trigger guard. One example may have a large, almost distorted guard, while another has a conventional ring shape around the trigger. We're told that this change occurred in September 1939 to enable the soldier to wear heavy gloves when shooting. The manufacturing period of September 1939 is indicated with the code 14.9. An example made near the war's end, in June 1945, will bear the highest date code known, 20.6. This fact-filled book contains over 50 photos to augment the vital information provided.

Robert Kyle

Originally published in the January 2009 issue of Maine Antique Digest

(c) 2009 Maine Antique Digest

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