Thanks to Tom, Charlie, John and Richard for replying to my inquiry about the 1925 Guttag publication. I do vaguely remember seeing a Guttag at John's house, but just assumed it was the same issue as mine. I have three 1927 issues (actually two, because I gave one away last weekend). I'll keep an eye out for a 1925.

I have a tidbit to add to the article on Lost Libraries. On the way to the ANA convention in Boston in August, I stopped in Hartford, CT, to see the Mark Twain House. My wife and youngest son and I spent about five hours on two tours of the house.

My addition to that fine article is this: Mark Twain invested in a typesetting machine, put most of his fortune (made from his writing) into it, and it nearly sank him. It was a brilliant idea for a man who once had earned his living setting type by hand, but a competing invention called the Linotype Machine came into existence at almost the same moment as the machine Twain backed, and it was far superior. The only surviving example of Twain's monstrous machine can be seen at his house in Hartford (the other was scrapped during WW2 for metal).

Twain was forced to sell his house, the one we toured, and all his furniture, including his library. He did not willingly give it up or donate his books. He was broke! This occurred about 1910, after the Twains had lived in the mansion for about 35 years. He took his wife and daughter to another house in upstate New York, given to them by his wife's father. Her family was wealthy, but their daughter's husband, whom she had met on a ship coming back from Europe when Twain was researching his book "The Innocents Abroad," was one of the most famous celebrities in late 19th-century America.

I recommend visiting his house, now almost fully restored, in Hartford.

This book tells the story of Antis, an Alsatian dog who was awarded the Dickin Medal on January 28, 1949. The dog served with his Czech owner in the French Air Force and RAF from 1940 to 1945 in both North Africa and England.

Warhol must have used as his model one of the extremely rare patterns held by the Smithsonian, as his painting lacks the designer's initial, and the 3 has a round top. These features are common to the patterns.