Rydal Press First Editions — The Definitive Collector's Identification Guide

Rydal Press is the name that separates casual collectors of Southwest books from those who understand the fine-press tradition that flourished in Santa Fe during the 1930s and 1940s. You will not encounter Rydal Press titles in a typical Albuquerque estate clean-out. You will not find them stacked in boxes at garage sales. When a Rydal Press book surfaces, it surfaces one copy at a time — a slim volume in fine cloth binding with hand-set type on heavy deckle-edge paper, a colophon at the back stating the edition was limited to 250 copies or fewer, and the imprint of a press that drew its energy from the same Santa Fe literary colony that produced some of the most distinctive American writing of the twentieth century.

I handle thousands of books each month through NMLP intake, and I can count on one hand the number of genuine Rydal Press titles I have encountered. They are that scarce. The editions were small — often under 200 copies — and the press operated in a pre-ISBN era when these books circulated primarily within the Santa Fe writing community and the broader network of private-press collectors. Understanding what Rydal Press was, who operated it, what it published, and how to identify its products requires a different kind of knowledge than identifying commercial publishers. This is fine-press collecting, and the Rydal Press occupies a distinctive position within the broader landscape of New Mexico fine press and small press collecting. If you have Rydal Press books to sell or donate, I handle any quantity through my free pickup service.

Last verified June 2026 · Original research by Josh Eldred

The Press and Its Origins

Walter Goodwin was a production manager and book designer at the J.B. Lippincott Company in Philadelphia — one of the most established publishing houses in America. He operated a private press in Rydal, Pennsylvania, a small community on the Main Line outside Philadelphia, producing fine limited editions under the Rydal Press name as a personal undertaking separate from his commercial work. The press took its name directly from the town.

In the early 1930s, Goodwin's work attracted the attention of two writers in Santa Fe who were planning an ambitious cooperative publishing venture. Alice Corbin Henderson — co-founder of Poetry magazine and a central figure in Santa Fe's literary community since 1916 — and Haniel Long, a poet and essayist who had left his teaching position at Carnegie Institute of Technology to write full-time in Santa Fe, recognized that Goodwin's skills were exactly what their group needed. They invited him to relocate his press to New Mexico.

Goodwin accepted. In 1933, he moved the Rydal Press to New Mexico, initially setting up his equipment in a former tuberculosis sanatorium in Tesuque, a small community north of Santa Fe. The press later moved to Canyon Road in Santa Fe proper, placing it at the physical center of the art colony. The combination of Goodwin's technical mastery and the literary talent concentrated in 1930s Santa Fe produced something remarkable: a fine private press operating in the American Southwest at a level of craftsmanship that rivaled the better-known private presses of the East Coast and Europe.

The Writers' Editions Cooperative

The venture that brought Goodwin to Santa Fe was Writers' Editions, a cooperative publishing enterprise organized in 1932 by Haniel Long, Alice Corbin Henderson, Witter Bynner, Paul Horgan, Peggy Pond Church, Oliver LaFarge, and Mary Austin. The concept was straightforward: the writers would cooperatively finance and publish each other's books, with Goodwin and the Rydal Press providing the printing and design expertise. Each member contributed to the costs and shared in the results.

The cooperative drew from an extraordinary concentration of literary talent. Witter Bynner was among the most prominent American poets of his generation, a translator of Chinese poetry, and a patron of the arts whose home on Buena Vista Street became a gathering place for writers, artists, and intellectuals passing through Santa Fe. Paul Horgan would go on to win two Pulitzer Prizes for history. Oliver LaFarge had already won the Pulitzer Prize for Fiction in 1930 for Laughing Boy. Peggy Pond Church was a poet deeply rooted in the New Mexico landscape. Mary Austin, who died in 1934, was among the most influential American writers on the Southwest and the indigenous cultures of the region. This was not a vanity project. It was a working literary community that happened to have access to a master printer.

Goodwin printed the first three Writers' Editions books within his first year in New Mexico. The cooperative ultimately published seventeen titles before a wartime paper shortage in the early 1940s ended the venture. Throughout this period, the Rydal Press also continued its own independent publishing program, producing titles outside the Writers' Editions cooperative. The two imprints — Rydal Press and Writers' Editions — overlapped in time, shared the same printer, and drew from the same literary community, but they were distinct publishing programs with separate title pages and colophons.

The connection between Rydal Press and the Santa Fe literary colony links these books to the broader tradition documented in my guides to New Mexico poetry collecting and the Taos literary colony. The same writers who published through Writers' Editions were part of the wider cultural network that included Mabel Dodge Luhan's salon in Taos, the art colonies of both towns, and the remarkable concentration of creative talent drawn to northern New Mexico in the early twentieth century.

Notable Titles and Authors

The Rydal Press catalog spans the full range of the Santa Fe literary colony's output, from poetry collections to essays to memoirs. The following titles represent the core of what collectors seek.

Haniel Long

Long was one of the most prolific Rydal Press authors and the driving force behind the Writers' Editions cooperative. His major Rydal Press titles include:

• Interlinear to Cabeza de Vaca (1936). Long's meditation on the journey of Alvar Nunez Cabeza de Vaca across the sixteenth-century Southwest — a work that blends historical narrative, philosophical reflection, and prose poetry. This is Long's most enduring and widely recognized work, reprinted by later publishers but originating with the Rydal Press. Copies from the Rydal Press first edition are extremely scarce. For more on Long, see the Haniel Long selling guide.
• Books Found in New Mexico Estates — identifying a true first edition when you clear a New Mexico library.
• Pittsburgh Memoranda (1935). A signed limited edition of 1,000 copies. One of the larger Rydal Press editions, which makes it somewhat more accessible to collectors than the smaller-run titles.
• Atlantides. A signed limited edition of 250 copies, printed from hand-set Weiss type. The colophon specifies the typeface and edition size — a characteristic Rydal Press convention.
• The Grist Mill (1945). A later Long title from the Rydal Press, published after Goodwin's departure but while the press still maintained literary quality under Dale Bullock's ownership.

Alice Corbin Henderson

Henderson's role in bringing Goodwin to Santa Fe makes her Rydal Press titles central to the press's identity. Her poetry collections published through the Writers' Editions cooperative are among the most sought-after items in the Rydal Press orbit. Henderson was also an editor and anthologist whose influence on Southwestern poetry extended well beyond her own published work. See the Alice Corbin Henderson selling guide for additional context.

Frieda Lawrence

• Not I, But the Wind… (1934). Frieda Lawrence's memoir of her life with D.H. Lawrence, published in an edition of 1,000 signed copies — one of the largest Rydal Press editions. The title comes from a line of D.H. Lawrence's poetry. This is among the most commercially significant Rydal Press titles because of the global collector interest in D.H. Lawrence materials. The signed limitation makes every surviving copy a signed first edition.

Paul Horgan

• From the Royal City of the Holy Faith of St. Francis of Assisi (1936). Printed by the Rydal Press for the Villagra Bookshop in Santa Fe. An early Horgan work connected to the Santa Fe literary community.
• The Habit of Empire (1939). A signed Rydal Press edition. Horgan would later win Pulitzer Prizes for Great River: The Rio Grande in North American History (1955) and Lamy of Santa Fe (1975), making his early Rydal Press editions particularly interesting to collectors assembling comprehensive Horgan collections.

Peggy Pond Church

• Foretaste (1933). One of the earliest Writers' Editions titles, published in Church's first year of the cooperative. Church was a poet whose work drew deeply from the New Mexico landscape, particularly the Pajarito Plateau near Los Alamos where she grew up.
• Familiar Journey (1936). A Writers' Editions poetry collection that extended Church's exploration of the northern New Mexico landscape and its relationship to interior life.

Witter Bynner

Bynner's involvement with the Writers' Editions cooperative and his broader presence in the Santa Fe literary community make his Rydal Press-era publications important to collectors of Southwest literary history. Bynner was a prolific poet and translator whose Selected Poems and translations of Chinese poetry circulated widely, but his limited-edition publications through the Santa Fe cooperative represent a more intimate aspect of his literary output.

Physical Identification

Identifying Rydal Press books requires attention to physical characteristics rather than the ISBN-based methods used for later commercial publishers. The Rydal Press operated entirely in the pre-ISBN era — the International Standard Book Number system was not adopted in the United States until 1970, by which time the Rydal Press's literary publishing program was long over. Identification depends on the colophon, the title page, the typeface, the paper, and the binding.

The Three Phases of Rydal Press

The Rydal Press name spans three distinct periods, and understanding these phases is essential to evaluating any book that carries the imprint.

Phase One: The Goodwin Era (1933–1941)

This is the literary fine-press period — the era that defines Rydal Press collecting. Walter Goodwin operated the press, printed the Writers' Editions cooperative titles, and produced his own independent Rydal Press editions. The books from this period are the ones that matter to fine-press collectors. Approximately eighty titles were printed during Goodwin's tenure, including both the Writers' Editions imprint and the Rydal Press's own publications. Goodwin sold the press in 1941 and left New Mexico in 1946.

Phase Two: The Bullock Era (1941–1976)

Dale Bullock purchased the Rydal Press from Goodwin in 1941. Under Bullock's ownership, the press gradually shifted from literary fine printing to commercial job printing — business cards, stationery, brochures, and other commercial work. Some literary titles were still produced in the early years of Bullock's ownership, but the press's identity as a fine literary press faded. Bullock operated the press until it closed in 1976. Books from the Bullock era carry the Rydal Press name but generally lack the fine-press characteristics of the Goodwin period. Collectors distinguish sharply between the two eras.

Phase Three: The Kimball Revival (1985–1995)

In 1985, Clark Kimball — a Santa Fe antiquarian book dealer — purchased the Rydal Press name and revived the imprint with the explicit intention of restoring Goodwin's standards of quality. For a decade, Kimball designed and published Southwestern classics as handsome collectors' editions, relying on skilled artisans to produce work that honored the Rydal Press tradition. Kimball sold the business in 1995, and no titles have been published under the Rydal Press name since. The Kimball-era titles are collected as fine-press productions in their own right, though the Goodwin-era titles from the 1930s remain the most sought-after.

The Most Collected Rydal Press Titles

The collecting market for Rydal Press titles is shaped by extreme scarcity. These are not books that appear regularly on the market. When they do appear, condition, completeness, and provenance determine their significance within the following tiers.

Top Tier: The Essential Titles

• Frieda Lawrence's Not I, But the Wind… (1934). The global D.H. Lawrence collecting market drives demand for this title beyond the Southwest fine-press community. All 1,000 copies were signed by Frieda Lawrence. Condition and the presence of the original dust jacket are the primary differentiators.
• Haniel Long's Interlinear to Cabeza de Vaca (1936). Long's most enduring literary work in its original Rydal Press edition. Later reprints by other publishers are common; the Rydal Press first edition is the scarce one.
• Signed and numbered copies from editions of 250 or fewer. Any Rydal Press title from the Goodwin era in a limitation of 250 copies or smaller, in fine condition with the limitation page intact and the author's signature present, represents the highest tier of Rydal Press collecting.
• Paul Horgan's Rydal Press editions. Horgan's subsequent Pulitzer Prizes make his early Rydal Press titles retrospectively significant. The Habit of Empire (1939) is the most collected.

Strong Collector Interest

• Peggy Pond Church's Writers' Editions poetry. Foretaste (1933) and Familiar Journey (1936) are sought by collectors of New Mexico women's writing and Southwest poetry.
• Haniel Long's other Rydal Press titles. Pittsburgh Memoranda, Atlantides, and The Grist Mill are all collected, with the smaller-limitation editions commanding stronger interest.
• Clark Kimball revival editions (1985–1995). Fine-press productions in the Rydal Press tradition, with Southwestern subject matter and high production quality.
• Writers' Editions titles by any of the cooperative members. The complete set of seventeen Writers' Editions titles would be an extraordinary assemblage.

Broader Catalog

The third tier encompasses the miscellaneous Rydal Press productions, the commercial-era Bullock titles, and unsigned or unnumbered copies of otherwise significant titles. Association copies with provenance linking them to the Santa Fe literary colony can elevate any Rydal Press title from this tier to the top tier regardless of the title itself — a copy inscribed by one colony member to another is a literary artifact beyond its identity as a book.

Condition and Grading Considerations

Rydal Press books from the 1930s and 1940s are now approaching a century in age. Condition considerations for these books differ significantly from those for mid-to-late-twentieth-century commercial paperbacks.

Paper quality works in the collector's favor. The high-quality deckle-edge papers Goodwin selected for his literary editions have aged better than the acidic wood-pulp papers used in commercial publishing of the same era. Rydal Press books stored in stable, dry conditions — which describes much of New Mexico's climate — often retain supple, cream-colored pages without the brittleness and foxing that afflict lesser papers.

Cloth bindings from the Goodwin era are generally durable, but the spine labels — typically printed paper applied to the spine — are vulnerable to wear, fading, and loss. A Rydal Press book with its original paper spine label intact and legible is in meaningfully better condition than one where the label has been lost or abraded beyond readability. Sun fading along the spine is common for any book that spent decades on a New Mexico shelf, and Rydal Press books are no exception.

Dust jackets, when originally present, are the most condition-sensitive element. Fine-press dust jackets from the 1930s were typically printed on lightweight paper that tears, chips, and fades easily. A Rydal Press book in its original dust jacket is significantly scarcer than the same book without the jacket, and the jacket's condition becomes a primary grading factor.

Signatures and limitation pages should be present and intact. A signed and numbered copy that has had its limitation page removed or damaged loses a significant portion of its identity as a fine-press production. Verify that the numbering is in period-appropriate ink and hand and that the signature is consistent with known examples of the author's hand.

The Collecting Market for Rydal Press

The Rydal Press secondary market operates within two overlapping communities. The first is the fine-press collecting community — collectors who seek private-press books from the American fine-press tradition, including work from the Grabhorn Press, the Limited Editions Club, the Spiral Press, and comparable operations. For these collectors, Rydal Press represents a fine-press operation in an unusual geographic setting — the American Southwest rather than the traditional eastern or California fine-press centers. The second community is Southwest literary collectors — collectors who seek the literary output of the Santa Fe and Taos writing colonies and recognize Rydal Press titles as primary documents of that cultural moment.

The extreme scarcity of Rydal Press titles means the market is not liquid. Copies appear at auction, through ABAA dealers specializing in Western Americana or fine press, and occasionally in estate sales from families with roots in the Santa Fe literary community. Online platforms carry the occasional title, but the rarity of Rydal Press books means that most copies change hands through specialist channels rather than general used-book markets.

The archival record for the Rydal Press is preserved in two collections at the University of New Mexico's Center for Southwest Research: the Rydal Press Collection, 1930–1967, and a second collection covering the later period. These archival holdings are valuable for researchers and collectors seeking to verify bibliographic details about specific Rydal Press titles. For broader context on how the Rydal Press fits within the Southwest publishing world, see the publisher identification hub.

From the Sorting Desk: Hasteen Klah's Navajo Creation Myth — Signed by Mary C. Wheelwright

Some books arrive at the sorting desk and stop everything. This is one of them. A signed copy of Hasteen Klah's Navajo Creation Myth: The Story of the Emergence, printed by the Rydal Press in Santa Fe in 1942, with Mary C. Wheelwright's signature dated 1957 on the front free endpaper. One of 1,000 copies printed. This is not a book that turns up in a typical Albuquerque estate clean-out — this is museum-grade material that connects every thread of what makes Rydal Press collecting significant.

Photos: Josh Eldred, July 2026. Original desk photography at the New Mexico Literacy Project, Albuquerque, NM.

Why This Copy Matters

Start with the colophon, because that is where everything about this book converges. One thousand copies. Printed in 14-point Monotype Perpetua — one of the finest text faces ever designed, cut by Eric Gill for the Monotype Corporation — on Strathmore text paper. Printed by the Rydal Press under the direction of Walter Goodwin. Sandpaintings reproduced in color by the Dunewald Printing Company. Case bindings by Hazel Dreis.

That last name is the one that makes fine-press collectors pause. Hazel Dreis was among the most important bookbinders working in the American Southwest during the twentieth century, based in Santa Fe, known for craftsmanship that put her work in the same conversation as the best hand binders on either coast. Her case bindings on this volume — the green cloth you can see at the spine edge in the dust jacket photo — represent the kind of production value that has largely vanished from American bookmaking.

The book itself records something irreplaceable. Hasteen Klah (1867–1937) was a Navajo medicine man and master weaver from the Newcomb area of the Navajo Nation, on the New Mexico side. He was one of the most important figures in the preservation of Navajo ceremonial traditions — a man who made the deliberate decision to share ceremonial knowledge with outsiders so that it would survive in some recorded form even if the oral transmission was disrupted. He collaborated with Mary Cabot Wheelwright and the ethnographer Franc Newcomb over decades, and the material he shared became the foundation for Navajo ceremonial studies as a scholarly discipline.

Klah died in 1937, five years before this book was published. What you are looking at is the posthumous fruit of his collaboration with Wheelwright — the first volume in the Navajo Religion Series, published by the Museum of Navajo Ceremonial Art that Wheelwright founded on the Old Pecos Trail in Santa Fe (now the Wheelwright Museum of the American Indian). The museum itself exists because Wheelwright — a Boston Brahmin who had moved to New Mexico — recognized that what Klah was sharing with her demanded an institution to house and protect it.

The Wheelwright Signature

This is the detail that elevates this copy from scarce to institutional-grade. Mary C. Wheelwright signed the front free endpaper in pencil, dating it 1957. She died in 1958. That signature was written in the last year of her life, on the book that represented the culmination of her decades-long partnership with Hasteen Klah. Most surviving copies of Navajo Creation Myth are unsigned. Having Wheelwright's hand on the endpaper transforms this from a fine-press collectible into a primary document of one of the most significant cross-cultural collaborations in the American Southwest.

Collecting Context

This book operates in at least four overlapping collecting markets simultaneously, which is unusual for any single volume. The Navajo ethnographic market values it as one of the earliest substantial published records of ceremonial literature. The fine-press collecting community recognizes the Rydal Press/Goodwin/Hazel Dreis production as significant independent of the content. Southwestern institutional collectors — museums, university special collections, tribal libraries — seek copies for the Wheelwright Museum connection and the Navajo Religion Series provenance. And the signed-association market places a premium on Wheelwright's signature because of who she was, what this book represented in her life's work, and the closed nature of the signature pool.

Three-tier market summary for this title:

• Top tier: Signed copies (by Wheelwright or with other significant association), in dust jacket, with the sandpainting plates clean and complete. This copy. Institutional-level material that commands the full attention of ABAA dealers specializing in Western Americana.
• Mid tier: Unsigned copies in the dust jacket with plates intact. Still a significant Rydal Press title in an edition of 1,000 — scarce after eighty-four years, especially with the fragile dust jacket surviving.
• Entry tier: Copies without the dust jacket or with plate damage. The green cloth binding and colophon still mark this as a genuine Rydal Press/Hazel Dreis production, and the content retains its scholarly and cultural significance at any condition level.

The New Mexico connections here are total. Hasteen Klah was from the NM portion of the Navajo Nation near Newcomb. Wheelwright lived in Santa Fe for decades and founded her museum on the Old Pecos Trail. The Rydal Press operated from Canyon Road. Hazel Dreis worked in Santa Fe. The Strathmore paper came from outside, and the Dunewald color printing was done elsewhere, but every other element of this book — the author, the recorder, the printer, the binder, the publisher, and the museum that commissioned it — is rooted in New Mexico soil. As a fourth-generation New Mexican who handles books from this state every day, I can say that this is one of the most completely New Mexican books I have encountered at the sorting desk. If you have Navajo ceremonial books, Wheelwright Museum publications, or other Navajo and Diné collecting titles to sell or donate, I handle them through my free pickup service anywhere in the Albuquerque metro.