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150 STRATTON, Florence (ed.) Favorite Recipes of Famous Women. New York: Harper & Brothers, 1925 Octavo. Original black cloth, spine and front cover lettered in green. With the dust jacket. Bookplate: “From the Collection of Cookery Books formed by Marion H. Hatch”. An excellent copy with the price-clipped dust jacket, slightly nicked and chipped. first edition of this jazz-age classic, distinctly uncom- mon in the dust jacket. A compact, witty and entertaining volume of some 160 recipes, it includes contributions from Nancy Astor (“Virginia Butter Bread”), Margot Asquith (“Scotch Haggis”), her daughter Princess Bibesco (“Leek Salad”), screen stars Norma Tal- madge (“White Cake”), Mary Pickford (“Eggs Milady”), Bebe Daniels (“Spanish Rice”) and Gloria Swanson (“Caviar Canapé”). Most fa- mously it includes Zelda Fitzgerald’s recipe for breakfast—described by Meryl Cates in The Paris Review (17 February 2016) as “an anecdotal, two-paragraph wonder”: “See if there is any bacon, and if there is ask the cook which pan to fry it in. Then ask if there are any eggs, and if so try and persuade the cook to poach two of them. It is better not to attempt toast, as it burns very easily. Also, in the case of bacon do not turn the fire too high, or you will have to get out of the house for a week. Serve preferably on china plates, though gold or wood will do if handy”. In her blithe and amusing foreword Stratton lists her attempts to cook using the “assembled recipes of noted men of this country”, starting with “chicken halibut” boiled in court-bouillon, which doesn’t go well: “I threw it out of the window and the dog ate it. The next day I gave the dog a military funeral”. When this book was published, Florence Stratton was a newspa- perwoman, working in Beaumont, Texas, at the local journal, cover- ing the society beat. The recipes “read like succinct narratives—little pearls of creative writing by some of the most accomplished women of the twenties . . . She may have set out with the intention of compil- ing a book of culinary endeavors by famous female figures, but she also succeeded in creating a vivid snapshot of these women” (Cates). Cagle, William Rea, & Lisa Killion Stafford, American Books on Food and Drink , Oak Knoll Press, 1998, p. 524. £975 [121965]
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151 TICE, Clara. Personal scrapbook relating to her illustrations for Aphrodite . 1926 Folio. Brown paper covered boards, cord bound with blue ribbon, titles written in manuscript in black and gilt on silver labels to front cover, and to front pastedown in manuscript in black to gold and silver labels, printed il- lustration in pink and gilt to silver labels to front cover and front pastedown, half-title and title page from printed edition mounted to front free endpa- per. 10 hand-coloured etchings and 10 monochrome plates by Tice mounted to thick grey card. Minute wear to tips, labels a little rubbed, couple of slight marks to covers, margins lightly toned, occasional faint foxing to plates, no- tably well-preserved. Clara Tice’s personal scrapbook containing her original signed hand-coloured etchings and monochrome reproductions for her il- lustrations in the Pierre Louÿs Society’s 1926 edition of Louÿs’s first novel Aphrodite (originally published in French between August 1895 and January 1896), privately printed in an edition of 650 copies. Tice (1888–1973) was a notorious New York bohemian artist, known as “the Queen of Greenwich Village”. She was, according to the New York Times , the first woman in New York to bob her hair, in 1908. Tice began exhibiting her art from 1910. In 1915 her fame skyrocketed when the Society for the Prevention of Vice attempted to confiscate her works at the bohemian restaurant Polly’s. “Tice was apparently so highly regarded and so instantly recognizable as one of those ‘queer artists’ that her role in the first Greenwich Vil- lage Follies was simply to play herself. As ‘Clara,’ she stepped out onto the stage at the appointed time, outfitted in one of her typ- ically bizarre bohemian ensembles, and conducted a ‘quick chalk talk of nudes, bees and butterflies’” (Sawelson-Gorse, pp. 429–30). Throughout the 1920s she illustrated for a number of magazines, including Vanity Fair , and illustrated several books. The Pierre Louÿs Society published a number of Louÿs’s works with Tice’s illustrations in 1926 and 1927, as her softly erotic draw- ings were thought to match Louÿs’s work well, known for its “pagan
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