The Materialistic Maiden

Where I sip coffee and tirelessly transcribe.

Category: edward l. carey

On That Time When Edward Carey of Carey & Hart Beat a Man With His Umbrella

In keeping up with published scandals of the 19th century, I am happy to provide the following account, copied from The Publishers’ Circular of August 08, 1891 (no. 1310, pg. 133). In this amusing article, we find two epistles recounting a time when Edward L. Carey of Carey & Hart, a 19th century American publishing company, involved himself in a scuffle while overseas in London. I find it amusing that this gentleman, whom I’d imagined to be genial and well-mannered, instigated the commotion! Check this obscure article out and feel free to comment. Who do you think was truly in the wrong here? I’m siding with Mr. Carey. -Ann

The Publishers’ Circular
The following correspondences regarding the series of articles on “Annuals of Sixty Years ago” explains itself, and is not, we think, without interest.
To the Editor of the PUBLISHERS’ CIRCULAR
AND BOOKSELLERS’ RECORD,
SIR,—Your interesting article, “The Annuals of Sixty Years Ago,” in your June 27 number, revives graphically in my recollection a tradition in the history of our house.
Away back in the thirties my immediate predecessors, E. L. Carey and A. Hart, bought from the publishers in London, with the exclusive American market, 1,000 copies of one of the “Annuals” named in your list. For these books they paid cash with the order. At the time these books arrived in New York, they received a letter from a New York merchant, not a bookseller, stating that he had received by a certain ship—the same which had brought Carey & Hart’s one thousand copies—from the publishers of this book a certain number of copies of the book which they offered to Carey & Hart.
Finding themselves thus treated, and knowing that those London publishers had dealings with a bookseller in Philadelphia who was a large importer of English books, and ascertaining that this bookseller was indebted to the London house in a considerable sum, they employed a lawyer who took out a writ of foreign attachment of a debt due to the London house, and commenced legal proceedings under that writ. These whole proceedings in the premises, when the case came to be tried in the court in Philadelphia, proving to be irregular, Carey & Hart were non-suited.
In the meantime, the debtor of London publishers became bankrupt, and accordingly those publishers lost their claim, when in turn they brought suit against Carey & Hart for the amount of this lost claim, but after years of litigation, way into the forties, it having been proven that the debtor of the London home was bankrupt when the claim was attached by Carey & Hart, the London house was in turn non-suited. Thus this litigation of perhaps ten years, came to an end, and both Carey & Hart and the publishers of the London “Annual” lost their money.
Subsequently to this transaction by the London publishers, Edward L. Carey was in London, and, calling on the firm, had some pretty high words with one of the partners, which resulted in blows, which would probably have further resulted in an arrest, if Mr.Carey had not left London on the following morning, and sailed immediately thereafter for the United States.
Yours truly,
HENRY CAREY BAIRD.
Philadelphia: July 15, 1891


Sir,—I can give you a very clear answer to your inquiry respecting the firm of London publishers referred to by Mr. Henry Carey Baird in his letter of July 15.
One morning, it must have been in 1838 or 1839, I was in the front room of Mr. Charles Tilt’s office at 86 Fleet Street, when Mr. Carey, the Philadelphia publisher, came in, as he had been in the habit of doing for several days, and walked through to speak to Mr.David Bogue[?] (Mr.Tilt’s partner),in the counting-house. Soon afterwards, Mr. Fisher, of the firm of Fisher, Son & Co., of Newgate Street, the publishers of ‘The Drawing Room Scrap Book,’ followed and asked to speak to Mr. Carey, evidently by appointment. The two gentlemen met in my presence (I do not think they had ever seen one another before), and commenced an earnest conversation in a low voice; presently, however, words became higher, and I heard Mr. Fisher say, in a loud and emphatic tone ‘That’s a lie.’ The words had hardly escaped his mouth before I saw and heard a tremendous blow given by the American gentleman fall on the Englishman’s broad breast. I must tell you that Mr. Fisher was a burly man, six feet in height, and Mr. Carey a slim man not half his weight. Of course Mr. Fisher retaliated, and for a few seconds there was a free fight, Mr. Carey using his umbrella when he had a chance. Fortunately they were in a very narrow space between a high desk and a table, and could not do each other much harm. I got in between them as soon as I could, protesting against their unseemly [?] (not without receiving a blow from the umbrella), and very quickly three or four clerks came from the inner rooms, the strife was ended, and Mr. Fisher left. I remember that we took the part of the American, but, out of all who were then present, I am the only survivor, and it is a curious coincidence that you should have applied to me for information.
Yours obediently,
JOSEPH CUNDALL
Wallington: Aug. 3, 1891

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The Art Collection of Edward L. Carey

In a previous post, I presented my research and discussed the relatively unknown life of Edward L. Carey, 19th-century Philadelphian publisher and co-partner of Carey & Hart. However, after writing up the post, I became enchanted with the artistic facet of Carey’s life—his patronage of the arts. Furthermore, I took to tracking down the artwork of Carey, as I wanted to see and experience the beauty that surrounded Carey daily—the art that brought him peace of mind and comforted his woes when ill and without company.

Although there is evidence of a book that was published in 1983 entitled The Art Collection of Edward L. Carey (1806-1845): Philadelphia Publisher and Patronby Carolyn Sue Himelick Nutty (perhaps this was her thesis?), I am unable to obtain a copy, nor is there a version online to peek at; however, I was able to find a few or so links to the artwork that Carey owned, intended to own, or simply commissioned. I will only provide links for these works of art as I’d rather not run into copyright infringements.

The Gypsy Girl by Thomas Sully (source)

Mrs. Alexander Bleecker by Edward Greene Malbone (source)

Lord Thomas Babington Macaulay by Henry Inman (source)

The Student (Rosalie Kemble Sully) by Thomas Sully (source)

The Landing of Thorfinn Karlsefni and His Companions in “Vinland” by Emanuel Leutze (source)

Mumble the Peg by Henry Inman (source)

The Return from the Tournament by Thomas Cole (source)

Alfred Langdon Elwyn, Jr. by Thomas Sully (source)

Isabella in Measure for Measure by Thomas Sully (source)

Landscape with Curving River by Thomas Doughty (source) [This is my personal favorite out of the collection of paintings I was able to track down.]

Mrs. Samuel Blodget (Rebecca Smith) by Gilbert Stuart (source)

Mercy’s Dream by Daniel Huntington (source)

It’s safe to say the man had great artistic taste, at least in my humble opinion!

On Edward L. Carey, publisher and partner of Carey & Hart

The other day, I was curiously perusing the internet for photographic/painted/engraved evidence of publishers from the nineteenth-century—consider Ticknor and Fields and Baker and Scribner, two publishing houses well known for publishing such authors as Nathaniel Hawthorne (the former) and Charles Fenno Hoffman (latter). However, one other publishing house has stuck out to me as of late, being Carey & Hart; thus, I took to finding out what I could about these two men. However, while delving into my research, I stumbled across a portrait of Edward L. Carey, of Carey & Hart, which immediately piqued my curiosity about the gentleman.

Sully-Edward Carey (switch color image for black and white).jpg

After feeling inspired by this portrait to find more information about this mysterious publisher, I took to the internet and books to find what I could about Mr. Carey. Unfortunately, I was unable to find a significant amount of information to flesh out a biography-the biography he deserves-but I will do my best to relay everything I was able to find, here.

Edward Carey was born April 7, 1805 to Bridget Flahaven Carey and Philadelphia publisher Mathew Carey of “Carey & Lea.” Although there is not a lot of information regarding Carey’s childhood or young adulthood, it is surmised that he was built in preparation for the publishing scene, as, “When, on the retirement of Mr. Carey [Mathew], in 1824, the firm of Carey & Lea was established, provision was made for the admission of Edward L. Carey, a younger son, when he should attain his majority” (The Publisher’s Weekly, No. 678, January 24, 1885, pg. 70). In 1829, Carey obtained his portion of the publishing house and combined it with Abraham Hart to form the publishing partnership known as Carey & Hart. Thereafter, the company thrived well, publishing works by authors and editors familiar to readers today, including William Cullen Bryant, Rufus Wilmot Griswold (Edgar Allan Poe’s literary executor), and Henry Wadsworth Longfellow.

Although Hart and Carey thrived well amongst the Philadelphia literary scene, the two were struck by immense tragedy with the decline in health and ultimate death of Carey in 1845. A Maine newspaper, the Maine Cultivator and Hallowell Gazette of June 28, 1845, circulated a Philadelphia report on the death of Carey. According to the original Philadelphian article, Carey passed on June 16 at 11:00AM. Carey was only forty years of age, but he left behind a legacy that Hart would continue carrying on for several years thereafter.

Few news articles give brief, yet intriguing insight into Carey’s life and mind, which will now be discussed. For example, before his death, we learn from the Maine Cultivator that Carey had been elected President of the Academy of Fine Arts, although this was turned down due to ill health. We also learn from the Washington Reporter of June 28, 1845, that Carey was not only a lover of the fine arts, as presumed from my prior statement, but that he also collected art pieces:

…his encouraging voice has been an inspiration to our countrymen by whose creative genius life has been given to the marble and the canvas in foreign schools, and through whom Alleghania has been made one of the chosen homes of Art. Powers sent a few weeks ago his masterpiece from Rome…How much he will be grieved to learn that the very hour in which “Proserpine” reached Philadelphia witnessed the departure of his friend and patron to another world!

Of Carey, this same article continues, “For three years confined to his house by a local disease, Mr. Carey had lived among his paintings and his sculptures, in correspondence with men of genius, and in the society of friends who loved him as a brother.” Of his mind, “…[it] was cast in the finest mould of beauty. The atmosphere of beauty was his element.” Of his character, he is spoken in high regard, as the author of the article states, “When I remember how very warmly all who knew him loved him, I cannot doubt that many hearts will beat more slowly, like our own, at this public calamity.”

Although these insights are brief, they speak volumes of Carey’s character. Such keywords as “genius,” “beauty,” and “love” seem to surround this vague gentleman, giving us enough information to declare the type of man Edward Carey was, being a friend, a “brother,” and one simply too beautiful and endearing for this world.

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