Young Madigan
EVERYBODY calls him young Madigan to distinguish him from his father, “old” Madigan, the dean of the autograph craft in the United States. Tom Madigan is young in years; about twenty-five; but he was bred among autographs. There is a lot of romance and excitement in finding autographs. It stirred the imagination of the boy. While his schoolmates indulged in Indian stories and enthused themselves with the mysteries of Sherlock Holmes, Tom Madigan went about searching for autographs. Old country houses, dilapidated and deserted mansions, garrets even were his hunting grounds. He had a wonderful scent. He found old trunks with letters and manuscripts, boxes with documents and deeds, and his father taught him to separate the chaff from the wheat.
Tom read a good deal. History and biography mostly. He became his father’s walking encyclopedia. There is a good deal of the born reporter in Tom, and at a tender age, he discovered his literary inclinations. His autographs furnished his material, dead letters became alive in his hands, magazines and journals were glad to print his rambles and discoveries. We thank him for a good many sidelights upon the private life of illustrious personages. One day Tom disappeared. The fact is he got married and started a shop of his own. Knowledge was his only capital, and today at the age of twenty-five he ranks among the first autograph dealers in America.
“Yes, we have to get high prices for autographs,” Madigan said, smilingly, while opening his enormous safe to show me some specimens. “I believe this is in some respects the finest tribute the present generation pays to genius and greatness. These prices are suggestive of reflection, however, in view of the now almost universal practice of typewriting letters and manuscripts.
“The written word, as it flows from the pen, has much of the inspiration, the mental process and the ideals of the writer; the typewritten word tells nothing.
“President McKinley, to give one instance, was an early user of the typewriter, and therefore, manuscript letters by his hand are exceedingly scarce, scarcer and more expensive than long letters by President Adams, Jefferson, Madison or Jackson. And I dare say that these will be far easier to procure in coming years than like specimens by Roosevelt, Taft or Wilson.
“Here, look at this letter written by John Adams. Isn’t it a delicious bit of intimate history that unrolls itself before our eyes? Adams, de jure leader of the Federalist party while Alexander Hamilton has the actual power, is peeved about ‘too much intrigue in this business both in General Washington and me.’ ‘If I shall ultimately be the dupe of it, I am much mistaken in myself.’ And now read this memorable line: ‘If I could resign him the office of President, I would do it immediately and with the highest pleasure; but I never said I would hold the office and be responsible for its exercise while he should execute it.’
“Look at this letter by Henry Clay, ‘Although I am not a member of any Christian Church, I have a profound sense of the inappreciable value of our religion, which has increased and strengthened as I have advanced in years.’
“Read this note of Robert Fulton’s, the celebrated inventor, to his lawyer referring to a Mr. Church, his partner, in an ‘enterprise of small canals.’ ‘By becoming a partner he took a chance of profit or loss, but was bound to pay me the purchase money. He failed in his second payment. I consequently stayed in Europe, not regarding a man who had no regard for his engagements.”
“Look at this distinguished handwriting of Dante Gabriel Rossetti. Can you read between the lines?
“‘I lent you by mistake a copy of my book, which contains corrections which I, therefore, need in preparing the next edition.’
“Can you imagine the poet hunting for his corrected book, the printer waiting until he discovers that some friend has carried it away? And here is a suave note of John S. Sargent, the American portrait painter, asking some society woman in words of utmost politeness to come to his studio for a sitting. One almost can see the $5,000 check paid for the painting.
“Here read the fuming indignation of an American poet. A letter by Bayard Taylor, whose London publishers had refused to publish his ‘Masque of the Gods.’ He writes about English prudery to James R. Osgood, his American publisher. ‘I return the two London letters. What prigs the publishers there must be. It is very evident they are afraid, though why I can’t see for the life of me. If there is reason for it, then you are the boldest of the bold.... If you see any unusually spicy or stupid attacks, I should be greatly obliged if you would send them.’
“Lucy Larcon is an American poetess, who is not very well known, but I think this little poem, evidently never published before, is not bad:
“I said it in the meadow-path;
I say it on the mountain stairs;
The best things any mortal hath
Are those that every mortal shares.”
1918
The Romance of a Chicago Book Dealer
WELLS Street, between the river and East Chicago Avenue, is the Bowery of Chicago. Once a residential section, now the old mansions and frame cottages, hastily erected after the fire, are dilapidated and are used as lodging houses and factories of the inferior sort. Here and there a modern structure, a storage house or an industrial plant. Dan Martin’s Mission is here, several rescue halls, a Salvation Army citadel, the famous coffee wagons on the corners of side streets, where unfortunates are given a cup of coffee, a loaf of bread and advice that should lead to salvation. The Moody church is the aristocrat of the quarter. Drunken men and women line the sidewalks day and night; gruesome phonographs are continually heard in rum shops. Policemen patrol in pairs, and this beat is considered the most dangerous in the whole city.
In the midst of one of the worst blocks is a large show window. A pawnbroker would be most appropriate in these surroundings. But it is not a pawnbroker’s display; there are paintings and, if you choose to step nearer to examine them, you will scarcely believe your own eyes: a couple of portraits by Benjamin West, signed; a magnificent etching by Whistler, with the familiar butterfly in the left hand corner; high up near the ceiling, between mischievous gargoyles, a large canvas which one recognizes as a magnificent work of an Italian master. A few Duerers are pinned to the wall, rows of old books, not dusted for a long while, are on shelves in the center.
“If these things are genuine,” I thought, “they are priceless treasures; of course they cannot be.” I entered the shop. There was just enough space to open the door, to squeeze in: piles of books from the floor to the very high ceiling, drawings, paintings, carvings, leaned against the dusty backgrounds of old tomes. It was the most extraordinary place I had ever entered. There seemed to be some order in this most astonishing disorder. A little bell sounded somewhere in the faraway background. It was a very long room. I heard approaching footsteps, very energetic footsteps. I was astonished that a person could worm his way through an almost invisible passage between the heaped-up stacks of volumes—an old gentleman with hair hanging to his shoulders, a long beard, wonderful eyes which seemed to sparkle in the dim light of the strange place. I liked him at once; his quiet melodious voice, his dreaming faraway look and the decision of his manner. I told him frankly that the strangeness of the place, in such strange surroundings, had attracted me. I came again and again. And I treasure the hours I spent in Mr. Doerner’s “book-shop” as among the most pleasant of my life. I never grew tired of standing up there. There was no space for a chair, and I doubt if there was a chair in the place.
I think it a sacrilege to call Julius Doerner a book seller or antique dealer. He is a collector and an antiquarian. He knows his books, and has more than half a million of them. He treasures his works of art, delights in showing them to you, but selling? that is another question. There is not a phase of American history he could not lecture on with more thoroughness than any American University professor. His collection of pamphlets, of the earliest newspapers and periodicals, his gift of finding important contemporary notices relating to American history, in foreign journals, books and chronicles, is remarkable. I thought him an eccentric gentleman of means, who after extensive travel round the world, had decided to lead the life of a hermit among his treasures. He had, in fact, traveled very little; collecting had been his passion from earliest youth; he had denied himself for almost three decades the comforts and good things of this world; and he had found a very efficient way of beating our high cost of living.
“It is not the high cost of living,” he used to say, “it is the cost of high living that troubles the world. For years I have expended seven cents a day for my living expenses, and you can see, yourself, that I am strong and healthy.”
He is an excellent musician. Beneath thousands of pounds of books an old-fashioned piano is buried in his shop. He called the pile of material, that had to be removed before he could open the instrument, his time clock. Every once in a while he would forget his work (which consisted mostly of reading and compiling) and would devote himself with all the fervor of an enthusiast to Beethoven, Bach or Mozart.
Very few customers come to his place of business. If some curiosity seeker, like myself, attempts to break into his sanctum, they find in him a courteous but not inviting or solicitous shop keeper. “What do you want?” is his curt question. If a book is asked for, he will fish it out from among his five hundred thousand books with an almost miraculous quickness, name the price, and then it is up to the customer to say “Yes” or “No,” and the interview is ended. His treasures are all “finds.” He discovered them in junk shops, in garrets of old mansions, in unpromising trunks of storage houses. There is, for instance, a most magnificent soft-shell cameo, a biblical scene, marvelous workmanship of some exquisite artist of the early Italian renaissance. He bought it from a pawnbroker for five dollars. He refused a staggering sum from Tiffany’s and resisted the very tempting price which Mrs. Potter-Palmer was willing to pay for it, not because he did not need the money or was holding out for a larger profit (the sum offered him was two thousand dollars, I believe), but because he preferred to have the cameo himself.