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Literary Miscellany An Autumn Selection of Recent Acquisitions from the 16th through 21st Centuries Poetry and Prose Manuscripts and Letters, Fine Printing, Illustrated Books and Bibliography Catalogue 280 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 firstname.lastname@example.org www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are considered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. 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Insti- tutional billing requirements may, as always, be accommodated upon request. _________________________________________________________________________ We invite you to visit our web site www.reeseco.com where over thirty-five thousand items from our inventory are searchable and may be ordered directly via a secure server. Images associated with many items from this catalogue are also posted on our web site, and significant new acquisitions are posted there long before they appear on any of the collective databases. Those wishing to receive e-mail notification of the posting of new catalogues and lists to our website may request same by forwarding expressions of interest to firstname.lastname@example.org _______________________________________________________________________ William Reese Company 409 Temple Street New Haven, CT. 06511 USA Phone: 203.789.8081 Fax: 203.865.7653 e-mail: email@example.com Members ABAA and ILAB 1. [Adams, Ansel]: Anderson, David: THE ENCHANTED GALLEON. [San Francisco]: Privately Printed, 1930. Large, thin quarto. Cloth, paper label. Frontispiece. Usual slight offset of letterpress from first page of text to frontis, some very faint, scattered dust marks to cloth, otherwise near fine in lightly hand-soiled slipcase with small label shadow at lower corner of one panel. First edition. One of sixty numbered copies, privately printed at the Windsor Press for Garfield Merner. dedicated to Flodden W. Heron “in appreciation of a Stevenson night given by Mr. Heron before the Roxburghe Club....” The distinguishing feature of this undertaking is an original photographic frontispiece of the Stevenson Memorial by Ansel Adams, signed by him in pencil in the margin. A relatively early example of Adams’s photography used for book illustration. $750. The American Pacifist Movement During WWI 2. Addams, Jane; Emily G. Balch; Louis P. Lochner, at al. [An Archive of Material Relating to THE EMERGENCY PEACE FEDERATION and the AMERICAN CONFERENCE FOR DEMOCRACY AND TERMS OF PEACE]. Chicago and elsewhere. 1914 - 1917. Ca. 225 items. Quarto and octavo. Autograph manuscript, original and carbon typescript, and printed material. Arranged at an early date in three somewhat worn clasp binders, each with a partial calendar of contents. Some smaller items mounted to rather friable paper, with marginal chipping to mounts; many retained carbons on cheap pulp paper, with tanning and occasional brittleness, but generally good to very good, consistent with materials. An informative and significant small archive of material preserved by future Pulitzer Prize winner Louis P. Lochner during his activities as a member and officer of several peace organizations in Chicago and elsewhere during the period 1914-1917, consisting of received correspondence to himself and others, carbons of his replies, telegrams, and incidental correspondence by other parties and printed matter, in large part related to the Federation and the Conference. Lochner (1887 - 1975) served as Secretary to the Chicago Peace Party, in which role he worked with Jane Addams, traveling with her to the Women’s Peace Congress at The Hague in 1915. Some of the material herein relates directly to her, including letters addressed to her that Lochner replied to on her behalf, and at least two typed letters, signed, from her to Lochner. Much of the correspondence concerns organizational matters, as well as efforts toward promoting the peace agenda, and the correspondents reflect a broad range of private and public entities, including other peace organizations, political figures, theologians, activists and educators, among them Roger Baldwin, Upton Sinclair, Emily G. Balch, Carl D. Thompson, Mrs. R. LaFollette, Ethelwyn Mills, and Scott Nearing. In the years following, Lochner joined the Associated Press, and in 1919 was named Director of the Berlin Bureau. When Germany invaded Poland, Lochner was the first foreign journalist to travel with the German army into battle, and for his reporting, he received the 1939 Pulitzer Prize for Journalism. With the entry of the U.S. into the 2nd World War, he took a position as analyst and commentator for NBC, serving in that capacity until 1944, after which he served on several government missions and on the Board of the American Council in Germany. As a whole, the archive provides an intimate view of the nuts and bolts of peace activism and organizing during the period of the Great War, and includes correspondence and other matter by or relating to some of the most prominent representatives of the movement in the mid-West. $2750. 3. [African American Folklore]: Dobie, J. Frank [ed]: FOLLER DE DRINKIN’ GOURD.... Austin: Texas Folklore Society, 1928. Pictorial blue cloth, stamped in darker blue. Endsheets offset slightly to facing text leaves, as usual, otherwise a very nice copy. With the bookplate of James S. Copley. First edition, clothbound issue. Published as TFLS Publication VII. A particularly interesting number, including a substantive series of essays on African American folklore and songs in Texas. $150. 4. [African American Studies]: Dabney, Wendell Phillips [compiler]: CINCINNATI’S COLORED CITIZENS HISTORICAL, SOCIOLOGICAL AND BIOGRAPHICAL. Cincinnati: Dabney Publishing Company, . 440pp. Large octavo. Gilt dark blue cloth. Photographs, portraits and illustrations. A few finger smudges to endsheets, small spot on lower board, one corner bumped, very good. First edition. Inscribed, as often, by the compiler on the front pastedown, in this case in 1936. Dabney attended Oberlin, established a music school in Boston, worked with Frederick Douglass and co-founded the Frederick Douglass Political League, and was the first President of the Cincinnati branch of the NAACP. His compilation is far more than the usual mugbook affair, and in totality records the situation of African Americans in Ohio from the earliest days to the time of publication. $450. 5. Aiken, Conrad: TYPED LETTER, SIGNED. London. 7 May 1922. One page, closely typed, on quarto lettersheet. Folded for mailing, occasional typewriter irregularities, but very good. Half morocco clamshell box. A good, relatively early letter, to an aspiring poet (“Mr. Brand”), reading in part: “...all I can honestly tell you is that the beginner must learn things for himself: no one can teach him. Learning to be a poet is not like learning a language: language is a form of common knowledge, and can be taught by anyone; but learning to be a poet is first of all learning to be and know one’s self ... you have taken your notion of what a poet should be from ... perhaps indiscriminate reading, instead of clarifying your idea of what you, as a poet, should be; defining yourself. That is the indispensable business: it entails enormous labour and patience with the technical side of poetry ... discovering precisely how it is that you as an individual feel and think ....” In excess of 400 words, signed in full, in pencil. $375. 6. Aiken, Conrad: TYPED LETTER, SIGNED. Savannah, GA. 27 December 1967. One-half page, on octavo sheet of letterhead. Folded for mailing, receipt docket in ink at top margin by recipient, else near fine. To Lewis Mumford: “How can I ever thank you for your letter. So generous and good ... and just when I very much needed that sort of kind word from, shall I say, a co-evil? For I ain’t been well, and was low in my mind ... Now I am doubly in your debt: for you did the same trick for me with Ushant, and bless you for that too. How damned kind of you.” Signed in full, in ink. sold “Rock Me ....” 7. Akers Allen, Elizabeth: AUTOGRAPH QUOTATION, SIGNED, WITH AUTOGRAPH LETTER. Portland, ME. 27 November 1880. Two pages, on two octavo leaves. Formerly mounted, with small loss at two tips of one leaf, otherwise very good. An attractive autograph transcription by Akers of the first stanza (8 lines) from her best- known poem, “Rock Me To Sleep,” beginning “Backward, turn backward oh time in your flight ...,” signed in full at the conclusion “Elizabeth Akers Allen.” Accompanied by a one page a.l.s., Daily Advertiser Office, Portland, ME, 27 November 1880, to a Mrs. James Elder, apologizing for the year that has passed since she had written asking for a sample of her manuscript: “I was in England at the time whence I have just returned ... This, I hope, is sufficient apology for my apparent heedlessness of your request ... my handwriting is so far from pretty that I think you will be satisfied with the accompanying stanza ...” Again, signed in full. Akers (1832 - 1911) published her first collection of verse in 1855, under the pseudonym “Florence Percy.” Her career as a popular poet ran parallel with her accomplishments as a journalist and editor. She served a two year appointment in the War Department and included among her circle of acquaintances prominent feminists such as Paulina Kellogg Wright Davis. Shortly after this poem was first published under her pseudonym in 1860, her claim to authorship was challenged by a New Jersey poetaster and leather dealer, Alexander Ball, and although her claim was vindicated, the controversy was the subject of much public interest. $650. 8. [Aldine Imprint]: Lucanus, [Marcus Annaeus]: M. ANNEI LVCANI CIVILIS BELLI. [Venice: Aldus Manutius, April 1502]. a-r 8,s 4;  leaves. Small octavo (155 x 90 mm). Recent full black morocco, raised bands, ruled and lettered in gilt. Earlier binder’s endsheet preserved with a 19th century tutor’s prize inscription, a bit tanned at edges, with occasional smudges, light soiling and scattered foxing, small erasure at lower edge of a 1r, just a good copy. First Aldine edition, printed in Italic type, with a prefatory note by Marco Antonio Mauroceno. Best know as Lucanus’ Pharsalia, this is his epic poem about the struggle between Pompey and Caesar after the latter’s crossing of the Rubicon. Aldus based this edition on the Venice edition of 1493, and a brief life of Lucanus concludes the text. RENOUARD 33:3. GOLDSMID 40. STC OF ITALIAN BOOKS, p.395. BRUNET III:1198. ADAMS L1557. ISAAC 12775. $3000. Association Set 9. Allen, Hervey, et al: THE YALE SERIES OF YOUNGER POETS [series title]. New Haven: Yale University Press, 1919 - 1930. Twenty-six volumes (of 29 published in sequence through the period). Uniform small octavo. Printed wrappers over boards, and later, printed boards. Spines darkened, two spines have small chips, else very good. First editions. Twenty-six of the first twenty-nine titles in this important series, with uniform provenance: from the library of Carl P. Rollins, who joined the Yale University Press in 1918 and was appointed Printer to Yale University in 1920 with rank of Professor. The run is neatly enclosed in a wooden filing box bearing his ownership stamp inside the upper lid, and two of the volumes bear his ownership signature. Tipped into the first volume is a small typed slip bearing a congratulatory notice upon the inauguration of the series. The three volumes lacking are numbers VII (Banks), X (Williams) and XXI (Slater), but those present include first or early books by Hervey Allen, John C. Farrar, Harold Vinal, Amos Wilder, Lindsey Hubbell, Ted Olson, Frances Frost, Henri Faust, et al. The series includes several volumes printing significant war verse. A decent association set of a series that is gradually becoming a bit more difficult to assemble as years pass. It should be noted that the missing volumes would not have fit in the wooden box. WALKER (ROLLINS) 661, etc. $750. 10. [Allen Press]: [Clemens, Samuel L.]: MARK TWAIN: SAN FRANCISCO VIRGINIA CITY TERRITORIAL ENTERPRISE CORRESPONDENT SELECTIONS FROM HIS LETTERS TO THE TERRITORIAL ENTERPRISE: 1865 - 1866. San Francisco: Book Club of California, 1957. Quarto. Cloth and decorated boards. Bookplate, small smudge on upper spine panel, otherwise a nice copy. First edition. Edited by Henry Nash Smith and Frederick Anderson. One of 400 copies printed at the Allen Press. ALLEN PRESS 20. $200. 11. Allingham, William: SIXTEEN POEMS ... SELECTED BY WILLIAM BUTLER YEATS. Dundrum: The Dun Emer Press, 1905. Linen-backed boards, paper spine label. Label a bit frayed at edges, else a very nice copy. First edition. Although not stated, the edition consisted of two hundred copies. Published 27 November 1905. Siegfried Sassoon’s copy, signed by him in 1906 on a preliminary blank, and inscribed “(Bought at the Arts & Crafts Festival).” The posthumous Sassoon library dispersal label appears on the front pastedown. WADE 234. MILLER 7. $650. 12. [Anonymous]: THE MONARCH PHILANTHROPIST [wrapper title]. San Francisco: Cubery & Co., Steam Book & Job Printers 1892. 22pp. Printed wrappers. Very slight tanning at edges, otherwise fine. Half morocco folding case. First edition of this veiled fictional attack on Leland Stanford, pitting a farm owner against railroad interests. A note on the title indicates “The manuscript of this California Romance was found near the docks of San Francisco and was deemed worthy of publication. The author will confer a favor by making his name known. If found it will appear in future editions.” Appended to the text is a somewhat early reprinting in book form of Charlotte Perkins [Gilman] Stetson’s poem, “The Old-Time Wail.” WRIGHT III:3791. $50. 13. [Aram, Eugene]: THE GENUINE ACCOUNT OF THE TRIAL OF EUGENE ARAM, FOR THE MURDER OF DANIEL CLARK, LATE OF KNARESBOROUGH, IN THE COUNTY OF YORK , WHO WAS CONVICTED AT YORK ASSIZES, AUGUST 3, 1759 ... TO WHICH, AFTER A SHORT NARRATIVE OF THE FACT, IS PREFIXED, AN ACCOUNT OF THE REMARKABLE DISCOVERY OF THE HUMAN SKELETON AT ST. ROBERT’S COVE ... [&c]. York: Printed by A. Ward, for C. Etherington ... Newcastle upon Tyne: reprinted by Order of the Proprietor, 1759. ,42pp. Octavo. 19th century three quarter morocco and marbled boards, partially untrimmed. Bookplate, extremities rubbed, scattered foxing and old vertical crease (prior to binding); a good copy. Denoted the “Third Edition,” but an interesting variant, with the addition of the Newcastle subsidiary imprint. ESTC locates two variants of the “third edition,” and this shares the Arabic imprint date and line break of line 11 with ESTC N10016, but this variant with the subsidiary imprint is not reported in ESTC. So sensational was the case, and the popular interest so high, that there were at least nine editions in 1759 from London, York, Leeds and Dublin, and reprints and expanded editions appeared well into the 19th century. Aram stood for his own defense, arguing against the reliability of the circumstantial evidence (the skeleton identified as Clark’s), but was convicted. While he was awaiting execution, he confessed, attributing his actions to his discovery that Clark was having an affair with his wife, and attempted suicide. The case was popularized by Bulwer-Lytton in his novel, by Thomas Hood in a ballad, and served as a point of reference in works by Wodehouse and George Orwell. The various 1759 editions/printings range from scarce to quite rare. ESTC N10016 (ref). $850. Surreptitious 16th Century London Printing of Pietro Aretino 14. Aretino, Pietro: QUATTRO COMEDIE DEL DIUINO PIETRO ARETINO. CIOÈ IL MARESCALCO LA CORTEGIANA LA TALANTA L’HIPOCRITO .... [London: Printed by John Wolfe], 1588. ,285, leaves. Small octavo. 18th century red-brown morocco, spine elaborately gilt extra, a.e.g. 18th century armorial bookstamp (“Ex bibliotheca J. Richard D.M.”), thin but significant worm tracks affect perhaps a third of the leaves (occasionally slightly affecting sense), several worm pinholes to spine, small chip from spine crown, early ink notes on verso of free endsheet; a sound and inexpensive copy. A representative example of the publishing ventures of the prolific John Wolfe (d.1601), a second generation London printer who, in addition to his general trade, actively produced Latin and Italian texts with false or no imprints, many of them for sale on the continent. Aretino’s comedies were first published in Venice in 1553, but were added to the Index Librorum Prohibitorum in 1558. Undoubtedly to capitalize on the resulting market Wolfe rose to meet the demand, as he had earlier when he published an edition of Aretino’s somewhat more disreputable Ragionamenti, in late 1584. The title bears an oval portrait of Aretino, surrounded by the legend: “D. Petrvs Aretinvs Flagellvm Principum,” and it reappears on the three sectional titles. PFORZHEIMER 800. STC 19911. ESTC S120618. WOODFIELD 43. BRUNET I:408. BM STC OF ITALIAN BOOKS, p.517. $850. 15. Avedon, Richard: PORTRAITS. New York: Farrar / Noonday, . Quarto. Stiff wrappers. Prefatory essay by Harold Rosenberg. Illustrated throughout with photographs, including gatefold and double gatefold panels. Bookplate, otherwise a very good copy. First edition, wrapperbound issue. Signed and dated by Avedon, in pencil, in 1977. $250. 16. Bacon, Peggy: FUNERALITIES. [Kelmscott, NY]: The Aldergate Press, 1925. Quarto. Cloth and boards, paper label. Frontis and illustrations by the author. Slight flecking to cloth sizing around spine, otherwise near fine, without slipcase. First edition of the first book publication by this joint enterprise of Egmont Arens and Paul Johnston. One of 250 numbered copies, printed for subscribers and signed by the author/ artist. The frontis is an original etching by Bacon, and is also signed by her in the lower margin. $175. 17. [Baker, William Mumford]: INSIDE: A CHRONICLE OF SECESSION. By “George F. Harrington” [pseud]. New York: Harper & Brothers, 1866. vi,-223pp., printed in double column format. Large octavo. Original cloth. Title vignette and illustrations by Thomas Nast. Bookplate and small piece of tape residue on pastedown, occasional light foxing, crown of spine frayed; a good, sound copy, in chemise and half morocco slipcase. First edition in book form, following serialization in Harper’s Weekly. Though the present novel is set in the Carolinas, Baker (1825 - 1883) wrote it during the war while resident in Austin, Texas, where he served, in spite of his Unionist views, as the Presbyterian minister from 1850-1865. In the post-war years, he left Texas and assumed posts at successive congregations in the north, and continued writing both fiction (much of it related to his Texas experiences) and theological works. WRIGHT II:195. HAMILTON, p.193. $125. 18. [Barth, John]: Southern, Terry, et al [screenwriters]: Original Studio Publicity Campaign Presskit for END OF THE ROAD. [New York]: Allied Artists, . pp total of text, with 12 stills. Quarto. Loose and stapled leaves of duplicated typescript and off-printed text, accompanied by 12 8x10" black & white stills. Some creases and occasional marginal dust soiling to text leaves; stills very fine. Enclosed in somewhat dust-soiled printed studio folder. An informative presskit promoting Terry Southern, Dennis McGuire and director Alan Avakian’s collaborative 1970 film adaptation of John Barth’s novel, starring Stacy Keach, James Earl Jones, Harris Yulin, Dorothy Tristan, et al. It is notable as the first feature-length work by cinematographer Gordon Willis, and beyond the fine set of production stills, the kit includes production notes, biographical sketches, advance critical notice, etc. The film elicits much the same response today, on the rare occasions it can be seen, as it did at the 1970 pre- release showing at the USA film festival: either rabid enthusiasm or abject horror. Its controversial ‘X’ rating at the time of release contributed both to its early obscurity and the future paucity of original publicity material. This presskit is very scarce. $225. 19. [Baskin, Leonard]: [Sadik, Marvin (curator)]: LEONARD BASKIN. [Brunswick, ME]: Bowdoin College Museum of Art, 1962. Large octavo. Stiff pictorial wrappers. Plates. Very good or better. First edition. Introduction by Rico Lebrun. Essays by Julius Heald, Ray Nash, et al. Catalogue designed by Leonard Baskin, and with an original woodcut, printed on tissue, bound in front. $40. 20. Baumann, Gustave: CHIPS AN’ SHAVINGS AMONG WHICH A HOOSIER CARPENTER AND HIS FRIEND THE BARBER, DISCOURSE ON HAIR-REGISTER AND OTHER INTRICA- CIES OF THE COLOR WOOD-CUT. Santa Fe, NM: Velarde Press, 1929. pp. Small octavo. Decorated boards, printed paper label. Woodcut frontis and two woodcut plates. Minute nick at toe of razor-thin backstrip, bookplate, otherwise an unusually fine copy of this fragile book. Folding cloth case. First edition. One of one hundred copies, printed by hand by Baumann, with the woodcuts printed from the blocks. This copy is not numbered, but is inscribed by the author/artist, dated 1960. A treatise on woodcut technique by one of the masters of the medium. Baumann settled in New Mexico in the summer of 1918, and as a painter, printmaker and, later, maker of marionettes, he was a central figure in the New Mexico artists’ community. He also served as area coordinator of the WPA Public Arts Project . “Although he became widely recognized for the multicolored woodblock prints he did on his press in Santa Fe, he never lost interest in the book as a forum for his work and produced two notable titles in the period between the two world wars. Less well known than his masterful prints, Baumann’s book work makes use of his woodblock illustrations ... One of the century’s truly great artists and craftsmen, Baumann pursued various artistic interests in Santa Fe until his death in 1971 at the age of ninety” - Lasting Impressions, The Private Presses of New Mexico (online exhibition). While not as ambitious as Frijoles Canyon Pictographs (Rydal Press, 1939), and featuring monochrome woodcuts rather than color, this is nonetheless one of the rarities of Southwestern fine printing. $1850. 21. Baumann, Gustave: FRIJOLES CANYON PICTOGRAPHS RECORDED IN WOODCUTS BY.... Los Angeles: William & Victoria Dailey 1980. Small quarto. Decorated boards, printed paper label. Woodcut decorated endsheets. Illustrated throughout with woodcuts, including several full-page and one four-panel folding plate. Bookplate on front pastedown, otherwise fine in dust jacket. Second edition. One of 250 numbered copies, printed by Patrick Reagh, with the pictographs printed from Baumann’s original woodblocks, and with a prefatory note about Baumann and the book by Victoria Dailey The original edition was one of the major achievements of the Rydal Press, featuring Baumann’s woodcuts printed in a variety of earth-tones. Alfred V. Kidder’s original Foreword is reprinted in this edition, and the dust jacket features two woodblocks appearing here for the first time. $300. 22. [Beardsley, Aubrey]: Jerrold, Walter [ed]: BON=MOTS OF CHARLES LAMB AND DOUGLAS JERROLD ... WITH GROTESQUES BY AUBREY BEARDSLEY. London: J.M. Dent and Co., 1893. 12mo. Cream cloth, stamped in gilt and plum, with pictorial vignette in corner of upper board, t.e.g. Portrait. Decorated title and illustrations. Binding soiled and a bit edgeworn and bubbled, endsheets tanned, bookplate on front pastedown (see below), and that of Baron Leverhulme on rear free endsheet, front inner hinge cracked, small chip from corner of free endsheet, with horizontal strip of glassine from previous affixing of letter (see below) on free endsheet; just a good, sound copy. First edition, ordinary issue, of the second title in the celebrated “Bon-Mots” series, marking some of Beardsley’s earliest work as a book illustrator. This is a good association copy, inscribed on the verso of the free endsheet: “Mary Jerrold with love from her affectionate nephew the Editor.” Formerly affixed to the front endsheet, and now laid in, is a 3 1/4 page a.l.s., on four panels of a folded octavo lettersheet, Hampton-on-Thames, 3 April 1913, from Walter Jerrold to author/collector A.M. Broadley, detailing recent travels, thanking him for some books, and forwarding books to him: “I am sending with this the three Bon Mot volumes - I am sorry that I have not unwritten-in copies but these have the bibliophilic interest of being of the first issue (they ran into several editions). I think I am right in saying the Smith-Sheridan volume was the first book published with A.B.’s illustrations ....” Broadley’s bookplate appears on the front pastedown. The letter bears some glassine residue from its earlier attachment to the free endsheet, and one panel is tanned due to proximity to the highly acidic endsheets of the book, but otherwise is in good order. LASNER 19. $400. 23. Beasley, Gertrude: MY FIRST THIRTY YEARS:- [Paris: Contact Editions / Three Mountains Press, 1925]. Printed wrappers. Spine defective and backed with binder’s tape, wrappers spotted and soiled, a few marginal smudges, but internally very good, and suitable for binding to one’s own taste. First edition of the author’s first and only book (barring the printed form of her graduate thesis), an autobiographical account of a young lady’s early years in West Texas, tinged with a viciousness and strength which makes it perhaps unique among such works. Apart from a pirated serial publication shortly after its original appearance, unpublished in America until 1989. This copy does not have the Contact Editions sticker on the verso of the title- leaf obscuring the imprint of the London distributor, William Jackson on Chancery Lane which appears in the majority of copies that were distributed at the time of publication. Assertions about the book’s rarity overlook the appearance of a modest remainder of pristine copies in the 1980s that enabled supply to exceed demand for several years. $500. 24. Bell, C.A.: GRAMMAR OF COLLOQUIAL TIBETAN. Calcutta: The Bengal Secretariat Book Depot, 1919. 224pp. plus folding table, and large colored folding map inserted in pocket in rear. Pictorial slate green cloth. Minor rubbing at tips and very slight hand soiling to cloth, but a very good copy. Second edition, revised and expanded, over the text first published in 1905. A third edition appeared in 1939. During his long career in the East as an administrator for the British government, Sir Charles Bell (1870-1945) did much to “make Tibet intelligible to the world and to vindicate the right of Tibet to independence ... [This work and his Dictionary have] continued to hold the field as the best practical guide to the spoken language” - DNB. $250. 25. Benchley, Nathaniel: THREE TYPED LETTERS, SIGNED. New York. 24 Feb., 1965, and 4 & 16 April 1966. Each a quarter page, on quarto sheet of personal letterhead. Folds from mailing, otherwise about fine. To “Mr. Seward,” thanking him for his comments about his books (“It is letters like yours that bring cheer into dark corners”), and following up on Seward’s positive review of his latest: “... it is something we should have graven in marble.” Each signed in full. $225. 26. [Benedict, the Moor, Saint]: Carletti, Joseph: LE NÈGRE, FILS DE L’ESCLAVE, CANONISÉ PAR PIE VII LE 24 MAI 1807, OU VIE DE SAINT BENOIT, DIT LE MAURE .... Lyon: Imp. Rusand, Halles de la Grenette, 1835. vi,209 12mo. Contemporary calf, spine gilt extra. Frontis portrait. Bookplate, spine a bit rubbed, otherwise a very good copy, in oversized half morocco clamshell case with insert. First Lyon printing, published in the same year as a printing from Paris. The translation from Carletti’s Italian is credited to Jacques Allibert, Primate of Lyon. Saint Benedict (“The Moor” 1526-1589) was the son of Ethiopian slaves taken to a small town near Messina, Sicily. He was granted freedom shortly after birth out of respect to his parents’ loyal service. He continued to work beside his parents, and contributed from his meager wages to the needy and sick. At the age of 21, he was publicly insulted on account of his skin color, and his patience and dignity under the circumstances brought him to the attention of a group of Franciscan hermits near Monte Pellegrino, and he joined the community, eventually become its leader. Since his canonization, devotion to Saint Benedict has grown throughout Latin America, and in North America, he is sometimes regarded as the Patron Saint of African Americans. OCLC/Worldcat locates two copies of this Lyon printing (both in Lyon). An edition in English was published in Philadelphia in 1875. OCLC:421807630 & 494223306. $650. 27. Benham, Charles: THE FOURTH NAPOLEON A ROMANCE. Chicago & New York: Herbert S. Stone & Co., 1897. Grey-green cloth, stamped in blue with tricolor decoration, t.e.g., others untrimmed. Bookplate leavings on front pastedown, otherwise a very good or better copy. First edition of this tale of the near future, tracing the rise of a British barrister to the position of Napoleon IV. KRAMER 136. BLEILER, p.20. WRIGHT III:480. $75. 28. Benson, Arthur C.: BABYLONICA. Eton: George New, 1895. Small quarto. Printed green wrappers. Frontis. Upper wrapper shows shallow chipping at edges and spine, with closed tear along spine fold, otherwise a good copy, internally quite fine, in worn half morocco slipcase. First edition. One of seventy-five copies printed. One of several pamphlets Benson published while on faculty at Eton. $175. 29. [Bentley, Richard]: PATRIOTISM, A MOCK-HEROIC IN FIVE CANTOS. London: Printed for M. Hinxman, 1763. 66pp. Quarto. Extracted. Outer fore-corners a bit curled, scattered foxing, but a good copy. First edition of this extended poem by Walpole’s one-time protégé, who is more widely remembered for his eccentric designs made to accompany Gray’s Poems. The second edition, published the following year, added a sixth canto. ESTC T9718. NCBEL II:824. $175. 30. [Berman, Wallace]: Hirschman, Jack [trans]: IGITUR BY STÉPHANE MALLARMÉ RENDERED INTO ENGLISH .... Los Angeles: Press of the Pegacycle Lady, 1974. Large octavo. Printed boards, pictorial onlay by Wallace Berman. As common with this boardbound issue, the sewing is a bit slack, bookplate on front pastedown, otherwise about fine. First edition of this translation, deluxe issue. One of one hundred numbered copies specially bound, and signed by Hirschman, from a total edition of 500. $175. 31. [Bieler Press]: Gallo, Philip: A PRINTER’S DOZEN. Los Angeles: The Bieler Press, 1992. Narrow quarto. Printed wrappers. Five-color engraved title vignette by Gaylord Schanilec. A fine copy. First edition of this suite of twelve poems on various aspects of the art of printing by hand, dedicated to Harry Duncan. One of 200 numbered copies, designed by Gerald Lange and printed by Lange and Robin Price in handset Garamond Bold and Trump Medieval Bold types in two colors on mouldmade Invicta paper, signed by the author and illustrator. At the publisher’s current price: $275. 32. [Bieler Press]: Atherton, Jeffrey: BLACK-LETTER AN INTERPRETATION OF EVENTS RELATING TO THE TIME AND PRESENCE OF JOHANN GUTENBERG. Marina del Rey, CA: The Bieler Press, 2000. Small folio. Three piece cloth and Japanese silk over boards, with collotype inset in window on upper board. Fine in folding cloth clamshell box (with small sticker shadow at one corner), with internal inset. First edition, deluxe issue. One of twenty-six lettered copies, specially cased with an original glass plate utilized to print the collotype of Atherton’s photograph, “mirror and mould,” mounted within. The entire edition consists of 146 copies designed by Gerald Lange, printed on handmade Fabriano Umbria Bianco, bound by Daniel E. Kelm at the Wide Awake Garage. Signed in pencil by Atherton and Lange on the colophon. The text is a “synchronized gathering of historical and technical notes, and fictional journal entries, scene descriptions, letters, dialogues, dreams, and songs ... fashioned as a bibliographic ghost representing a compilation of the flotsam surrounding the ‘Gutenberg Controversy’ that raged in the late 19th century and into the early years of the 20th” - Publisher’s Note. The publisher’s slip about careful treatment of the glass plate is laid in, as issued. $1750. 33. Bierce, Ambrose: THE SHADOW ON THE DIAL AND OTHER ESSAYS. San Francisco: A.M. Robertson, 1909. Gilt pictorial cloth. Large octavo. First edition. Usual slight darkening at endsheet gutters and pastedowns, but a very good copy in the now somewhat uncommon printed dust jacket, the latter exhibiting some sunning and minor chips, and having been backed with plain white paper at some point in the recent past. BAL 1127. $250. 34. Bierce, Ambrose: THE LETTERS OF AMBROSE BIERCE ... WITH A MEMOIR BY GEORGE STERLING. San Francisco: Book Club of California, 1922. Large octavo. Cloth and marbled boards, gilt spine label. Portrait. Bookplate on front pastedown, otherwise a very good or better copy. First edition. Edited by Bertha C. Pope. One of 415 numbered copies, printed by John Henry Nash. $125. 35. [Bierce, Ambrose]: Hall, Carroll: BIERCE AND THE POE HOAX. San Francisco: Book Club of California, 1934. Quarto. Cloth, paper label. Photographs and facsimiles. Spine label a bit curled at bottom edge, large bookplate of James S. Copley on front pastedown, else near fine. First edition. Introduction by Carey McWilliams. One of two hundred and fifty numbered copies, printed at the Windsor Press. Bierce and two friends contrived the publication of a poem falsely attributed to Poe in the Examiner, and sat back to await the explosion of interest and controversy. Alas, there was none. BAL I:227. $200. 36. Billany, Dan: THE TRAP. London: Faber and Faber, . Cloth. First edition, published unrevised in the wake of the author’s disappearance during the war. Ink ownership inscription on free endsheet, spine darkened through jacket, otherwise a very good copy in lightly edgeworn dust jacket with tanning to spine panel. $45. 37. [Blake, William]: Keynes, Geoffrey: A BIBLIOGRAPHY OF WILLIAM BLAKE. New York: The Grolier Club, 1921. xvi,516pp. plus inserted plates. Large, thick quarto. Publisher’s quarter pebbled morocco and cloth, t.e.g., others untrimmed. Some rubbing to spine, joints and extremities, bookplate, a few thin scratches and flecks to boards, otherwise a very good copy. First edition. One of 250 copies, printed at the Chiswick Press. For its times, a monument to both bibliography and to book production. Heavily illustrated, including four plates in color, and with significant primary material published here for the first time. $1500. 38. Blake, William: AMERICA A PROPHECY. [Paris: The Trianon Press for the William Blake Trust, London, 1963]. Small folio. Half morocco and marbled boards. Eighteen leaves of color facsimiles, plus commentary by Geoffrey Keynes. Errata slip. Bookplate, four small, faint tape shadows on pastedowns, otherwise fine in very good slipcase with some imperfections to the marbled paper on the shelf panels. One of 480 numbered ordinary copies, from a total edition of 526 copies on Arches. The Mellon copy was utilized for this faithful facsimile. $800. 39. [Bookplates]: Westen, Walter von Zur: EXLIBRIS (BUCHEIGNERZEICHEN). Bielefeld & Leipzig: Verlag von Velhagen & Klasing, 1901. 103,pp. plus plates. Small quarto. Elaborately gilt decorated flexible cloth boards, t.e.g. Heavily illustrated, including color plates. Near fine. First edition. An historical survey of the use and design of bookplates, published as a volume in the “Sammlung Illustrierter Monographien” series, edited by Hans von Zobeltitz. $150. 40. Borges, Jorge Luis: FICCIONES. [New York: Limited Editions Club, 1984]. Thick oblong octavo. Full black aniline calf, stamped in blind. Spine a bit sunned, large bookplate of James S. Copley on front pastedown, otherwise near fine in faintly shelf-rubbed slipcase. First edition in this format, illustrated with twenty-two original hors texte silkscreens printed by Jo Watanabe after designs by Sol Lewitt, who also undertook the design. Prefatory essay by Alexander Coleman. One of fifteen hundred copies, signed by Lewitt. $550. Inscribed to Bryher 41. Bowen, Elizabeth: SEVEN WINTERS. Dublin: The Cuala Press, 1942. Linen-backed boards, paper label. Title pressmark (A.E.’s “Sword of Light”) in red. Fine in heavily chipped glassine. First edition. Copy #5 of 450 numbered copies. Winifred “Bryher” Ellermann’s copy, with her bookplate. Inscribed: “Bryher from Elizabeth 1942.” Bowen was an occasional contributor to Life and Letters To-Day during the period of Bryher’s ownership, and in her biography of H.D., Herself Defined, Barbara Guest discusses the attraction Bowen held for Bryher, and as well for H.D., the latter couched in terms of “crush” and “smitten.” MILLER 71. $650. 42. Bradbury, Ray: THAT SON OF RICHARD III A BIRTH ANNOUNCEMENT. [Glendale]: Roy A. Squires, 1974. Large octavo. Sewn printed stiff wrappers. Bookplate, else fine, without the printed envelope, but in custom-made gilt cloth folder. First edition, ordinary issue. One of four hundred numbered copies, from a total edition of 485 copies printed in Joanna types on Nideggen paper. This copy bears Bradbury’s pleasant and characteristic signed inscription. $100. 43. Bradbury, Ray: FAHRENHEIT 451. New York: Limited Editions Club, 1982. Narrow quarto. Printed aluminum over boards. Bookplate of James S. Copley (Library), a few faint crimps in aluminum, likely incurred in binding, otherwise about fine in very good slipcase with thumb- tip size surface snag in paper on one panel and a few other much more minor rubs. Newsletter laid in. One of 2000 numbered copies, signed by the author, who contributes a new introduction to this edition, and by the illustrator, Joseph Mugnaini, whose contribution includes an original color lithograph. $500. 44. Bradbury, Ray, and Hans Burkhardt [illustrator]: THE LAST GOOD KISS A POEM .... Northridge: Santa Susana Press, 1984. Small folio (33.5 x 25.5 cm). Loose sheets, laid into plain wrapper. Three plates. Fine in cloth portfolio with printed label (bookplate inside front panel of portfolio). First edition. Illustrated with three original color linoleum block prints by Hans Burkhardt. One of sixty numbered copies, designed by Howard Williams and printed in Century Type on Arches by Patrick Reagh, signed by the author and the artist. Additionally, each of the three blockprints is numbered and signed in the margin by Burkhardt. $850. 45. Breton, André: MEXIQUE PREFACE D’ANDRÉ BRETON [wrapper title]. Paris: Renou & Colle, 1939. pp. Small quarto. Stiff printed wrappers, with pictorial onlay (after a photo by Manuel Alvarez Bravo). Four tipped-in illustrations from photographs. Faint adhesion mark from bookplate on verso of front wrapper, otherwise near fine. Full morocco clamshell box. First edition. From a total edition of 620 copies, this is one of 570 copies on Vélin du Marais. The catalogue for a substantial (144+ items) and representative exhibition of Mexican art, including a significant component of Pre-Columbian works, many of them from the collection of Charles Ratton, and from Breton’s own collection. Diego Rivera loaned some 19th century works, and representation of contemporary artists includes work by Frieda Kahlo and photographs by Manuel Alvarez Bravo, both of whom are the subject of special sections in the text, the latter credited to Breton. A relatively early recognition of Bravo and his work. $1000. 46. [Bronte, Charlotte]: “Bell, Currer” [pseud]: THE PROFESSOR, A TALE. London: Smith, Elder and Co., 1857. Two volumes bound in one. viii,294,;,258,,8,16pp. Thick octavo. Publisher’s blue-green cloth, stamped in blind, lettered in gilt. Rebacked, with the original backstrip laid down, early ink name on free endsheet, later ink name in corner of rear endsheet (Bronte critic Henry H. Bonnell), and long ink quotation, from Gaskell’s Life, on the first half-title, otherwise a very good copy, the original cloth bright and fresh. First edition, remainder issue, bound up in this fashion as a consequence of slow sales of the original two volume issue, with an inserted catalogue dated December 1858. Although substantially completed by 1846, and thus Charlotte Bronte’s first novel in order of composition, The Professor was not published until two years after her death. SMITH 7. PARRISH p.96. $950. 47. Brown, Abbie Farwell: THE BOOK OF SAINTS AND FRIENDLY BEASTS. Boston & New York: Houghton Mifflin, 1900. Pictorial tan cloth, highlighted in gilt, decorated in brown. Frontis and illustrations by Fanny Y. Cory. A quite fine copy in a very good example of the very scarce pictorial dust jacket (small chips and tears at corners, chip from middle of spine panel, otherwise bright and fresh). First edition. A collection of tales for younger readers about the interrelations between Saints and the animal kingdom, notable for the presence of the pictorial dust jacket. $125. 48. Brown, Anna Robeson: TRUTH AND A WOMAN. Chicago: Herbert S. Stone & Co., 1903. Highly pictorial pale green cloth, decorated in gilt, black and dark green, t.e.g., others untrimmed. A fine, bright copy. First edition of the author’s first book, “...as Mrs Charles A. Burr, known as the biographer of Weir Mitchell and Alice James” - Kramer. KRAMER 300. SMITH B-1269. $85. 49. [Browning, Robert, and Elizabeth Barrett]: Alciphron: [Title in Greek, then:] ALCIPHRONIS RHETORIS EPISTOLAE GRAECE ET LATINE .... Trajecti ad Rhenum [i.e. Utrecht]: Apud B. Wild et J. Altheer, 1791. ,180pp. Octavo. Old calf and marbled boards. Extremities worn and upper hinge cracked (still secured by cords), internally very good. Cloth clamshell box. An attractive, large-margined printing of Bergleri’s edition of Alciphron, from the library of Robert and Elizabeth Barrett Browning, inscribed by Robert in ink in the upper fore-corner of the title leaf: “Roberti & Elisabethae Barratt Browning.” While most of the scattered annotations are in the form of pencil underscores or marginal highlights, three pages bear annotations of one or more words in RB’s hand, and several bear what are described by an earlier bookseller’s description as emphatic endorsements by EB, of the form ‘(E.B.B.)’ in a larger hand, a conclusion we’re not inclined to affirm. sold 50. Bruce, Lenny: HOW TO TALK DIRTY AND INFLUENCE PEOPLE AN AUTOBIOGRAPHY. [Chicago]: Playboy Press, . Large octavo. Cloth. Photographs. Foreword by Kenneth Tynan. First edition. A trace dusty at edges, otherwise near fine in very good dust jacket with light rubbing at tips. $125. Presentation Copy 51. Bryant, Louise: SIX MONTHS IN RED RUSSIA AN OBSERVER’S ACCOUNT OF RUSSIA BEFORE AND DURING THE PROLETARIAN DICTATORSHIP. New York: George H. Doran Company, [ca. 1918]. Light red cloth, lettered in black. Frontis and photographs. Pictorial endsheets. Very minor hand soiling to cloth, otherwise a near fine copy. Later impression of the first edition, without the Doran slug on the verso of the title. Inscribed by the author: “To Scofield Thayer - who has the grace to give America its only literary magazine. Louise Bryant July 1920.” Laid in is an autograph postcard from Bryant to Thayer (a Russian postcard, of course, but mailed from the U.S.), reading: “July 8 - I’ll be at 72 W.S. until the latter part of next week. Hope to see you - LB.” An attractive association copy of Bryant’s account of her experiences as witness, with John Reed, of the October Revolution. In late 1919, as co-owner, Thayer assumed the editorship of The Dial, and it is possible their meeting was arranged to discuss possible contributions. The date is poignant, as it is shortly prior to Bryant’s reunion with Reed in Moscow in mid-September, and his death in October. Books inscribed by Bryant are uncommon. One of Thayer’s bookplates is laid in. $850. 52. Burbank, Luther: MANUSCRIPT QUOTATION, SIGNED, OF “REPETITION”. Santa Rosa, CA. 15 September 1912. One page, in ink, on recto of large quarto sheet of parchment. Slight wrinkle at one corner, otherwise about fine. Folding cloth slipcase. A fine display manuscript by one of the foremost American horticulturists of his time, written from the location where, in 1875, he established his nursery and undertook the experiments in cross-breeding that solidified his public fame. The quotation (sixteen lines plus title and closing, ca. 100 words) opens: “Repetition is the best means of impressing any one point on human understanding; it is also the means employed to train animals to do as we wish and by just the same process we impress plant life ....” $750. 53. Burgess, Anthony: TYPED NOTE, SIGNED, WITH SONNET. Piazza Padella, Bracciano (Roma), Italy. 24 July 1974. One page, on oblong quarto sheet of response letterhead. Fine. Utilizing a format characteristic of his responses at the time, on a “Message / Reply” sheet imprinted with his name, Burgess responds to a letter from a fan, concluding “Here is a sonnet. [/] Advice to would-be writers? Simple. Don’t. [/] Any profession’s preferable to this ....” Signed, in ink, “Regards - Anthony Burgess.” $500. 54. Burgess, Gillette, et al: THE LARK [Whole Numbers 1 through 24]. San Francisco: C.A. Murdock & Co. [1st number only]; then William Doxey, May 1895 - April 1897. Twenty- four issues (of 25 published, lacking the Epilark). Wire-stitched and sewn pictorial self wrappers, numbers 9 and beyond printed on one side of leaf only. Heavily illustrated. Usual occasional tanning, some chipping along fore and bottom edges of first number, a few other snags and creases at large overlap edges, but generally a very good set. Half morocco slipcase and cloth chemise. Edited by Gillette Burgess and Bruce Porter. A complete run, less the Epilark, including the separate plates in the first two numbers and the separate leaflet supplement, “Vals de Monterey Viejo,” to #22. The first number is in the scarce first printing, without Doxey’s imprint. The chief literary organ of the Bayside Bohemians of the last decade of the 19th century. Gelette Burgess was responsible for much of the text, along with illustrations and cover designs by Florence Lundborg, Gelett Burgess, Ernest Peixotto, Hervert Van Vlack, Newton Tharp, Reginald Rix, Willis Polk and Bruce Porter, and other contributions by Maynard Dixon, Yone Noguchi, Porter Garnett, et al. A number of Stevenson relics appear in the early issues, and the first number includes the first appearance of Burgess’ whimsical ditty, “I Never Saw a Purple Cow...,” published later as a separate. While the clothbound issue in two volumes (which includes the second printing of the first number) is readily available, substantial runs of the original separate issues, with the first printing of the first number, are now elusive. $2500. 55. Burroughs, John: TWO AUTOGRAPH LETTERS, SIGNED. West Park, NY. 28 March, [ny], and 3 July 1914. Four pages, in ink, on panels of two folded quarto lettersheets. Old creases from mailing, small chip from one blank corner, otherwise very good. With accompaniments (see below), in folding cloth case. Two warm and friendly letters, one to “Mr. Foreman,” the other to “Mr. & Mrs. Foreman.” In the March letter, Burroughs reports “...we are just back from Georgia whither we went early in Feb. I had a pleasant time there & did some work - corrected the proof of my new volume - ‘The Breath of Life’ & wrote one new bird paper called ‘Old Friends in New Places.’ The printed slips you enclose are delightful. Peter does preach convincingly. It makes my old longing for a dog come back. I have been dogless 15 years ... Your century old Wilson does not look it. He is on the ‘Summit of the Years’ indeed. I am approaching my 78 birthday on April 3rd without flinching ... & feel no chastisement of my joy in life ....” In the letter of July, Burroughs notes “....The time I spent at your house was the flower of my visit to Rochester. That outlook is something not to be forgotten & the inlook had it own charm & your ... hospitality & sympathy warmed my heart ....” He further gives an account of the delays he experienced while returning home by train. Both letters signed in full. Accompanied by a casual snapshot of Burroughs and two men, as well as a formal cabinet portrait (neither signed), and an extracted page from a visitors book, signed by Burroughs in June of 1914, no doubt associated with the visit recorded in the letter. $750. 56. Burroughs, John: AUTOGRAPH LETTER, SIGNED. Washington, DC. [nd]. Three pages, in ink, on three panels of folded quarto lettersheet. Old creases from mailing, otherwise about fine. Folding cloth case. A warm and accommodating letter to a “Mr. Gilbert,” evidently at one time Burroughs’s teacher: “Your letter of the 16th inst. found me here in W. with my wife & little boy on a little holiday tour to old & familiar scenes. I thought of you many times since we met or parted so long ago, probably many more times than you have me. The pupil remembers his teacher, as a rule, much longer than the teacher remembers the pupil ...It is a pleasure to me to know that I have not entirely faded from your memory & that you have been a reader of my poor books ....” After discussions of potential visits, and exchanges of photographs, Burroughs signs in full, followed by a substantive postscript: “I came near forgetting your request about the extracts from books &c. Certainly, you may use any parts of my writings that suit your purpose. Some part of the ‘Is it going to Rain’ piece may suit you, or ‘With the Birds,’ but when I get back home I will look over my books to see if I can name the page or pages that seem best for your purpose. J.B.” $400. 57. Burroughs, John: MANUSCRIPT FAIR COPY, SIGNED, OF “WAITING.” [Np]. [nd]. One page, on octavo sheet, in ink. 24 lines, plus title and signature. Fine, and enclosed in a half morocco slipcase and chemise with two other items (see below). An excellent example of Burroughs’s best known poem, accompanied by a two page t.l.s., from Burroughs’s aide and companion, Dr. Clara Barrus, West Park, NY, 10 January 1919, a long, chatty letter to a friend about personal events, poetry, and Burroughs’s activities, and a copy of the first edition of Burroughs’s The Light of Day, Boston, 1900, wherein the poem is printed as the envoi preceding the Preface. From the collections, with the bookplates, of Estelle Doheny and later, James S. Copley. BAL 2166. $500. 58. Butler, Samuel: A FIRST YEAR IN CANTERBURY SETTLEMENT. London: Longman, Green [et al], 1863. x,162,,32pp. plus folding map. Octavo. Original plum cloth, decorated in blind, spine lettered in gilt. Collector’s bookplate on pastedown, crown and toe of spine frayed, with shallow patch of surface loss at crown, signs of early tightening between a couple of gatherings, otherwise, for this book, a near very good copy. First edition of the author’s first book, compiled into a narrative and published by his father from Butler’s letters home from New Zealand and his early press publications. The narrative covers the earliest years of his New Zealand venture, beginning with his voyage from Gravesend in 1859. HOPPÉ 2. $500. 59. Butler, Samuel: UNCONSCIOUS MEMORY: A COMPARISON BETWEEN THE THEORY OF DR. EWALD HERING ... AND THE “PHILOSOPHY OF THE UNCONSCIOUS” OF DR. EDWARD VON HARTMANN .... London: David Bogue, 1880. viii,288,32pp. Errata slip. Brown cloth, ruled in black, lettered in gilt. Thumb-tip size spot on lower board, inner hinges cracking but sound, two bookplates, but a good copy. First edition. With the bookplate of Sir William Crookes, as well as that of a later collector. The immediate successor to Evolution, Old and New, in which Butler elaborates further on his disagreements with Darwin. While the total number of copies seems not to have been recorded, Butler noted in his 1899 “Analysis of the Sales of My Books” that only 272 copies had been sold, and a substantial number of sets of sheets were destroyed in a fire at Ballantyne’s. HOPPÉ 12. $275. 60. Butler, Samuel: SELECTIONS FROM PREVIOUS WORKS WITH REMARKS ON MR. G. J. ROMANES’ “MENTAL EVOLUTION IN ANIMALS” AND A PSALM OF MONTREAL. London: Trübner & Co., 1884. viii,325,pp. Original brown cloth, decorated in black, and lettered in gilt and black. Two collectors’ bookplates, inner hinges cracking (but sound), tiny finger nail tip size bump and snag to middle of spine panel, cloth lightly handsoiled, but a good copy. First edition, first issue, of this selection (with revisions) by Butler from several of his earlier works. A second issue, comprised of sheets from this printing and cancel prelims, was distributed by Longmans in 1890. Hoppé notes that up to 1890 only 120 copies had been sold and denotes this first issue as “rare.” HOPPÉ 15. $225. 61. Butler, Samuel: EX VOTO: AN ACCOUNT OF THE SACRO MONTE OR NEW JERUSALEM AT VARALLO-SESIA. WITH SOME NOTICE OF TABACHETTI’S REMAINING WORK AT THE SANCTUARY OF CREA. London & New York: Trübner &Co., 1888. xiv,iv,277,pp. Brown cloth, stamped in gilt and black. Frontis and plates. Inner hinges cracking slightly (but quite sound), bookplate, modest darkening to cloth, otherwise a very good copy. First edition, first issue, variant state, with coated cream-colored endsheets rather than slate, and with the important insertion of 4pp. of “additions and corrections” which Butler had separately printed. Hoppé gives the 4pp. leaflet a separate entry. It was distributed on request to buyers of the book, but then was inserted in later copies, as evidenced by its presence in the 1890 Longmans second issue of the first edition sheets. In his 1899 “Analysis of the Sales of My Books,” Butler noted the sale of only 217 copies of this title, presumably including those from the Longman’s second issue of 1890. Yet a third issue, in 1909 by Fifield, again consisting of first edition sheets, with cancels, accounted for 191 copies. By implication the copies of the proper first issue, which now must be seen as including two states, must have been rather few. HOPPÉ 21 & 23. $275. 62. Butler, Samuel: [Contributions to UNIVERSAL REVIEW]. [London: Swan Sonnenschein & Co., 1888 - 1890]. Quarto. Relevant sequences of leaves extracted and bound together in early 20th century gilt lettered cloth. Plates and illustrations. Light rubbing at spine ends, very good. The relevant pages printing contributions by Butler to H. Quilter’s periodical, similar in some ways, it would appear, to the copy in the Wilson collection at Chapin Library, which was ex Streatfeild - Bartholomew. HOPPÉ II:33-40. $65. 63. Butler, Samuel: THE AUTHORESS OF THE ODYSSEY, WHERE AND WHEN SHE WROTE, WHO SHE WAS, THE USE SHE MADE OF THE ILIAD, AND HOW THE POEM GREW UNDER HER HANDS. London: Longmans, Green and Co., 1897. xv,,275,,32pp. Large octavo. Plum cloth, stamped in gilt. Portrait, maps and plates. Crown of spine frayed, extremities sunned, endsheets tanned (as usual), collector’s bookplate on pastedown, a bit of foxing offset from portrait to title-page, but a sound copy of a book seldom met with in truly fine state. First edition, first issue, second state of p. , with the leaf a cancel correctly identifying Murray as the publisher of The Life and Letters of Dr, Samuel Butler. Inscribed by the author on the title-page: “E.T. Lloyd with the author’s very kind regards June 24, 1898.” A second issue of the sheets from the first printing appear in 1908, with a cancel Fifield title leaf and binding. HOPPÉ 36. $400. 64. Carson, Rachel (Biologist and Environmentalist 1907 - 1964): AUTOGRAPH LETTER, SIGNED. Silver Spring, MD. 27 September 1963. Four pages, in ink, on rectos and versos of two octavo sheets of personal letterhead. Folds for mailing, otherwise very good. Cloth folding case. Carson writes to a close friend about arrangements relating to her receipt of a prestigious award, its attendant responsibilities and more personal matters: “I am aware that the Cullum Geographical Medal is indeed an honor, and I am surprised, happy and quite overwhelmed by the news that it has come to me. I want to explain to you the situation about my talk. When you said ‘We hope you will say something’ I thought you meant a relatively brief response to the presentation ... However, when someone from the Society called a few days ago, I learned that I was down for the principal talk of the evening ....” She explains her reasons for declining to do more than speak briefly, outlining other commitments, and in confidence, reporting that her health “... now is not at all good ... so to add a major talk within these few days would be most unwise, and also contrary to doctor’s orders!” She reports further that “If you have seen this week’s Sat. Eve Post you will know that I am not a ‘vindicated prophet’ in the eyes of everyone. I think you may remember Mr. Diamond, for I think he approached you for some information on the Long Island case. In the very early days of my planning for Silent Spring he was engaged by Houghton Mifflin to do some of the ‘leg work’ to speed things along. He performed most unsatisfactorily and in a few weeks was fired. He is now having his small revenge in the Post’s ‘Speaking Out’ department.” Among her future obligations is a symposium in San Francisco, where “the topic is Man Against Himself. My subject is the pollution of the environment, and since I am the first speaker I can get in some good general thoughts, as well as specific points ....” She concludes: “My warm good wishes to you both, As ever, Rachel.” At the time, Carson was waging a battle with breast cancer, and in January of the following year, her situation began a precipitous decline. She died of a heart attack in April of 1964. The Cullum Geographical Medal is one of the oldest and most prestigious awards made by the American Geographical Society. The criticism she refers to was an editorial statement by Edwin Diamond, “The Myth of the ‘Pesticide Menace’,” which bore the subtitle: “Thanks to an emotional, alarmist book called ‘Silent Spring,’ Americans mistakenly believe their world is being poisoned” (Saturday Evening Post, Sept. 28, 1963). $1750. 65. Carter, John, Percy H. Muir, et al: PRINTING AND THE MIND OF MAN. A DESCRIPTIVE CATALOGUE ILLUSTRATING THE IMPACT OF PRINT ON THE EVOLUTION OF WESTERN CIVILIZATION DURING FIVE CENTURIES. Münich: Karl Pressler, 1983. Quarto. Cloth. Facsimiles. Fine in very good dust jacket (a trifle frayed at the spine crown), without slipcase. Publisher’s review plate affixed to front free endsheet. Second edition, somewhat revised and enlarged, with a new introduction by Muir, a revised index, and additional bibliographies. The revised form of the exhibition catalogue, and one of the most justifiable of the lists pursued by collectors. $175. 66. Cassady, Neal: THE FIRST THIRD & OTHER WRITINGS. [San Francisco]: City Lights Books, . Pictorial wrappers. First edition, first printing. One of 5000 copies. Very minor tanning to spine and margins of lower wrapper, otherwise about fine. COOK 93a. $125. 67. Cather, Willa: THE SONG OF THE LARK. Boston & New York: Houghton Mifflin, 1915. Medium blue cloth, lettered in gilt. Bookplate on front pastedown, traces of rubbing at tips and edges, otherwise a bright, tight, very good copy. Half morocco slipcase. First edition, first printing, with the boxed advert for three titles by Cather on the verso of the title-page, and ‘moment’ for ‘moments’ on page 8, third line from the bottom. CRANE A8.a.i. $600. 68. Cather, Willa: A LOST LADY. New York: Knopf, 1923. Pale green gilt cloth. Bookplate on pastedown, otherwise a very good or better copy in pictorial dust jacket — a bit too short for the book, as usual — with old paper internal reinforcement along the top and bottom edges. Half morocco slipcase and chemise (spine sunned). First edition, first binding, trade issue, preferred state with the original settings in the final gathering. $400. 69. Cather, Willa: SHADOWS ON THE ROCK. New York: Knopf, 1931. Large octavo. Marbled boards, gilt spine label. Noted collector’s bookplate, else fine, in very good dust jacket (a few closed tears mended with archival tape), and later cloth slipcase with gilt labels. First edition, limited issue. One of 619 numbered copies printed on handmade paper and specially bound, in addition to 199 copies on Japan vellum differently bound, all signed by the author. $600. Copy #1 Specially Bound 70. Charbonneau, Louis: MAMBOU ET SON AMOUR. Paris: René Kieffer, . iv,221,pp. including map. Octavo. Full black Niger morocco, raised bands, elaborately decorated in blind with an African shield motif, t.e.g., original decorated wrappers bound in, by Kieffer. A fine copy. First illustrated edition, with color “Décors négres” by Jean Vergély. Prefatory note by Raymond Escholier. This is copy #1 of fifty copies specially printed on Japon Imperial, in addition to one thousand copies on vélin. The first edition of this fictional depiction of life in the Congo and environs appeared in 1924, and was picked up in the then current vogue for explorations of African exoticism. MONOD 2634. WORK, p. 238 $950. With An Original Drawing and Color Proofs 71. Charlot, Jean: PICTURE BOOK II 32 ORIGINAL LITHOGRAPHS AND CAPTIONS. Los Angeles: Zeitlin & Ver Brugge, 1973. Quarto. Stiff pictorial wrappers. Bookplate, otherwise about fine in edgeworn pictorial slipcase with small sticker mark in corner of one panel. First edition, deluxe issue. Prefatory note by Peter Morse. Illustrated with 32 color lithographs drawn directly on the plates by Charlot. From an edition of one thousand copies, this is one of only thirty-two copies including an original color drawing made in preparation for the lithograph (in this case, #5 “Bedtime”), as well as the key, twelve progressive proofs of the lithograph and an additional final impression. Also inserted in back is another example of the lithograph “Hawaiian Swimmer,” signed in pencil by the artist in the margin. Charlot has also signed the colophon, as has Lynton R. Kistler, who printed the lithographs. Published to mark the 40th anniversary of the publication of Charlot’s first Picture Book. $2750. Includes Coleridge’s “Monody ....” 72. [Chatterton, Thomas]: POEMS, SUPPOSED TO HAVE BEEN WRITTEN AT BRISTOL, BY THOMAS ROWLEY, AND OTHERS, IN THE FIFTEENTH CENTURY. Cambridge: Printed by B. Flower, for the Editor ... , 1794. xxix,,329pp. Large octavo. Contemporary mottled calf, neatly rebacked and recornered to style, with gilt label. Engraved extra title. Some foxing and minor discolorations to endsheets, engraved title shows modest tanning, but a very good, relatively tall copy. First this edition, the text edited by Lancelot Sharpe, including a new Preface by him, and significantly, the text of Coleridge’s “Monody on the Death of Chatterton” - his second appearance in print, published by “the permission of an ingenious Friend.” TINKER 671. WISE (COLERIDGE), pp.197-8. HANEY, p.35. ESTC T75380. $750. 73. [Clemens, Samuel L.]: SACRAMENTO DAILY UNION. Sacramento: James Anthony & Co., Thursday, 6 June 1867. pp. Vol. XXXIII. Whole Number 5052. Folio newspaper, text in seven columns. Old folds to eighths (preserved in quarters). Modest use and one tiny break at fold, otherwise very good. Folding cloth slipcase. The front page features a 1 1/4 column review, under “New Publications,” of The Celebrated Jumping Frog ..., in the context of which is reprinted the text of “Lucretia Smith’s Soldier.” The review is generally laudatory (suggesting the author’s reputation may exceed those of Artemus Ward and Orpheus C. Kerr), and somewhat proprietary — the same paper had published Clemens’s “Letters from the Sandwich Isles” the previous year. The review credits Roman & Bancroft as the California co-publishers with Webb in New York. $125. 74. [Clemens, Samuel L.]: Twain, Mark: MARK TWAIN’S (BURLESQUE) AUTOBIOGRAPHY AND FIRST ROMANCE. New York: Sheldon & Co., . Plum cloth, stamped in gilt and blind. Very early ownership inscription on pastedown, and two early pencil inscriptions, bookplate of the James S. Copley collection, some very minor rubbing at tips and a tiny spot on upper board, otherwise a very good or better copy. Half morocco slipcase (small label shadow on one side panel) and chemise. First edition, clothbound issue, BAL’s state 1, without the advert on the copyright page. The inscription is dated Saratoga Springs, March 10th, 1871. The book was announced as “now ready” on the 1st. BAL 3326. $500. 75. [Clemens, Samuel L., et al]: Price, J., and C.S. Haley [ed]: THE BUYERS’ MANUAL AND BUSINESS GUIDE; BEING A DESCRIPTION OF THE LEADING BUSINESS HOUSES MANUFACTORIES, INVENTIONS, ETC. OF THE PACIFIC COAST, TOGETHER WITH COPIOUS AND READABLE SELECTIONS, CHIEFLY FROM CALIFORNIA WRITERS. San Francisco: Francis & Valentine, Steam Book and Job Printing Establishment, 1872. v,,192,16pp. Octavo. Original plum-gray cloth, lettered in gilt. Illustrations and adverts, including 4pp. insert printed in red and green. Light foxing to endsheets, a few faint spots to cloth, otherwise an uncommonly nice copy of a book usually found rather ragged. Half morocco slipcase and chemise. First edition. In addition to its substantial business and technology-related components, this collection includes prose and poetry by Bret Harte, Clemens, Joaquin Miller, Ambrose Bierce (his first publication in book form), Prentice Mulford, O.W. Holmes and J.R. Lowell, a few of the items, including Clemens’ “The Public to Mark Twain - A Reply” and a speech, appearing here for the first time in book form. Harte’s “The Luck of Roaring Camp” and Clemens’ “Jumping Frog of Calaveras,” though obviously reprints, are given lead billing. “Town Crierisms,” pp.19-21, constitutes Bierce’s earliest publication in book form. BAL 3348 & 1094. $600. 76. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. “Mid-Atlantic.” 30 October [c. 1873]. Four pages, on four panels of a folded quarto sheet of letterhead (“Cunard Steam Ship Batavia”), in ink. Slight wear at folds, ink ghosting from verso, otherwise very good. Addressed to “Our dear friend the doctor,” identified as Dr. John Brown of Edinburgh, the author of the highly popular dog story, “Rab and his Friends,” who Clemens had met the previous summer. He opens: “We have plowed a long way over the sea, & there’s twenty- two hundred miles of restless water between us now ...and yet you are so present with us, so close to us that a span & a whisper would bridge the distance.” He reports that the earliest days of their voyage were stormy (“...my wife, child, maid & Mrs & Miss Spaulding were sea-sick 25 hours out of the 24 & I was sorry I ever started...”) but now the seas are calm, “... & at night there is a broad luminous highway stretching over the sea to the moon, over which the spirits of the sea are traveling up & down all through the secret night & having a genuine good time ....” He reports that a stowed away dog was found: “...Now his owner has to pay £10 or heave him overboard. Fortunately the doggie is a performing doggie & the money will be paid. So after all it was just as well you didn’t entrust your collie to us.” He concludes: “A poor little child died at midnight & was buried at dawn this morning - sheeted & shotted & sunk in the middle of the lonely ocean in water three thousand fathoms deep. Pity the poor mother. With all our love S.L. Clemens.” $4250. Rhapsodic Description of York 77. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED (“SAMUEL”), TO HIS MOTHER- IN-LAW. York [UK]. 20 July . Six pages, in ink, on rectos and versos of three octavo lettersheets. Folded for mailing, tiny marginal break at one fold, otherwise very good. A fine, descriptive letter, addressed “Mother Dear -” (i.e. Olivia Lewis Langdon), written during the course of his second extensive tour of the UK (May - October 1873). He writes, in part: “... we have been 24 hours out of London, & they have been 24 hours of rest & quiet. Nobody knows us here - we took good care of that. In Edinburgh we are to be introduced to nobody, & shall stay in a retired, private hotel, & go on resting.” He comments about York: “For the present we shall remain in this queer and walled town, with its crooked, narrow lanes that tell us of their old day that knew no wheeled vehicles; its plaster-&-timber dwellings with upper stories far overhanging the street ... the stately city walls, the castellated gates, the ivy-grown, foliage-sheltered, most noble & picturesque ruin of St. Mary’s Abbey, suggesting their date, say 500 years ago, in the heart of crusading times & the glory of English chivalry & romance; the vast cathedral of York, with its worn carving & quaintly pictured windows preaching of still remoter days; the outlandish names of streets & courts & byways that stand as a record & a memorial, all these centuries, of Danish dominion here in still earlier times; the hint here & there of King Arthur & his Knights & their bloody fights with Saxon oppressors round about this old city more than 1300 years gone by; & last of all, the melancholy old stone coffins & sculptured inscriptions, a venerable arch & a hoary tower of stone that still remain & are kissed by the sun & caressed by the shadows every day just as the sun & the shadows have kissed & caressed them every lagging day since the Roman Emperor’s soldiers placed them here in the times when Jesus the Son of Mary walked the streets of Nazareth ....” He closes: “We are enjoying it, & shall go on enjoying it for several days yet ...,” and signs “Yr loving son Samuel [flourish].” $5500. 78. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED (“MARK”), TO JAMES R. OSGOOD. Hartford. 20 February . One page, in ink, on octavo ruled lettersheet. Folded for mailing, else very good or better. To James R. Osgood, then principal of James R. Osgood & Company, and later publisher of The Prince and the Pauper, and other titles by Clemens and his contemporaries: “My Dear Osgood: Confound it, my Boston trip is knocked in the head. It would take so long to explain why, that I will not attempt it, but only send regrets, do some private cussing, & wish the dinner party a happy time & Aldrich & family godsend & a glorious tour. Ys Ever Mark [flourish].” Clemens had earlier declined another invitation to dine with Osgood on 12 February. T.B. Aldrich and his wife embarked in late March for an eight month tour of Europe. $2850. 79. [Clemens, Samuel L., et al]: HORSE-CAR POETRY REPUBLISHED FROM THE NEW MONTHLY MAGAZINE “RECORD OF THE YEAR” [wrapper title]. New York: G.W. Carleton & Co., 1876. 14pp. Stiff sewn printed wrappers. Illustrated adverts. Old vertical crease, small chips at wrapper corners, clean split to portion of spine below the lower stabhole, otherwise a very good copy of a fragile book. Folding cloth slipcase. First edition, BAL’s likely earliest printing. Includes among the earliest, if not the earliest, printings in book form of Clemens’ “A Literary Nightmare,” albeit in a form somewhat truncated from its appearance in Atlantic Monthly in February of the same year. The text was widely reprinted, and is better known as “Punch, Brothers, Punch!” OCLC/Worldcat locates 14 copies, without distinguishing between the two or more printings. BAL 3366a. JOHNSON, p. 125. $225. 80. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO JAMES R. OSGOOD. Hartford. 6 April 1883. 1 2/3 pages, in pencil, on two octavo lettersheets. Folded for mailing, filing pinhole through upper left corner, else very good or better. To James R. Osgood, then principal of Osgood & Company, and publisher of The Prince and the Pauper, and other titles by Clemens and his contemporaries, on the occasion of George W. Cable’s appearances in Hartford: “Cable read Parson Jones before the Young Girls’ Club & scored a rattling victory. They have made it the talk of Hartford. The Warners are gathering a crowd for tonight & when Cable is through with them his stock will be away up, & the memory of his defeat will be sponged out & forgotten. He knows how to read - there ain’t no question about it ....” Cable arrived in Hartford on 2 April, and stayed with C. Dudley Warner; during the course of his six days in Hartford, he spoke or read at several public or private venues, including a reading at Unity Hall on the 4th, where Clemens introduced him, but the reading went poorly. As indicated in Clemens’ letter, he vindicated himself with a reading on the 5th. Clemens concludes his letter with a troubling paragraph about Livy Clemens’ deteriorating health, closing: “I am uneasy & bothered. Yrs truly SL Clemens.” $3500. 81. [Clemens, Samuel L.]: Twain, Mark [intro to]: THE NEW GUIDE OF THE CONVERSATION IN PORTUGUESE AND ENGLISH IN TWO PARTS. By Pedro Carolino. Boston: James R. Osgood and Company, 1883. xiv,182pp. Original tan printed wrappers. Small chips at two corners of upper wrapper, mild spot of discoloration at upper fore-corner of rear wrapper and last leaf, otherwise a very good copy. Half morocco slipcase and chemise. First American edition, and the first to include the Introduction by Clemens. Copies were issued in both cloth and wrappers, and those in wrappers seem the less common these days. BAL 3412. $350. 82. [Clemens, Samuel L.]: Gerhardt, Karl: ORIGINAL BUST OF GEN’L U.S. GRANT BY KARL GERHARDT, SCULPTOR [cover title]. [Hartford & Elmwood, CT: Wm. N. Woodruff, ca. 1885]. -14pp. plus 15 leaves of ruled ledger paper. Large octavo. Original gilt green cloth. Preliminary leaf (title?) excised, corners a bit rubbed, relevant clipping affixed to front pastedown, otherwise a good, sound copy. A promotional / salesperson’s subscription book for the public sale of bronze and terra cotta renderings of Gerhardt’s famous 1885 clay portrait bust of General Grant. Clemens had arranged for the sitting, was enthusiastic about the final bust his protégé produced, and got involved in a scheme to sell versions to the public via a subscription plan, not unlike the model perfected for some of his own books. By most accounts, the venture was not particularly successful, and this subscription book remains an interesting artifact of the undertaking. However, it may have been utilized for purposes entirely apart from selling busts to the admiring public. It bears Gerhardt’s 1887 presentation inscription to California tycoon Adolph Sutro, and affixed to three of the ledger leaves intended to record subscriptions — all are blank — are 1) the promotional facsimile of Fred D. Grant’s letter of praise; 2) an original cabinet photograph of the Putnam Monument; and c) an original cabinet photograph of the Nathan Hale statue, both Gerhardt’s work, both in Hartford, and the latter captioned in manuscript by Gerhardt. Several testimonials to Gerhardt’s talents are printed in the text pages, including Charles Dudley Warner’s 1884 article in praise of Gerhardt’s bust of Clemens (not recorded in BAL in this form), and letters of praise from S. Gaudens, J.Q.A. Ward, and others. It would seem possible that Gerhardt sent this item to Sutro as a means of promoting himself for a commission, rather than in an attempt to sell him a copy of the bust, and he might very well have excised the title leaf in an attempt to minimize the commercial appearance of the item and emphasize it’s function as a promotional for his work. OCLC/ Worldcat locates only two copies of this promotional, at CT Historical and CT State Library. $2750. “... it is my purpose to go out & kill all persons of the name of Osgood, regardless of age or sex ...” 83. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. Hartford. 15 December 1886. Two pages, in ink, on two panels of a folded large quarto lettersheet. Small rust mark on second panel, four spots of discoloration in corners of first panel from having been mounted early on, else very good. Addressed “Dear Sir” (but inferentially a “Mr. Smith”), about the recipient’s non-receipt of a set of books: “Now we shall see! I am very glad you told me that that book had not arrived. I dropped a note to the publisher at once. By his note, enclosed, it appears that he was in Hartford yesterday, but had better judgment than to venture unprotected out to my house; he divined correctly that I would kill him with a billiard cue in the midst of his first lesson. The brother whom he mentions is the London representative of the New York publishers, Harper & Brothers. If the book should fail again, I beg that you will let me know, because in that case it is my purpose to go out & kill all persons of the name of Osgood, regardless of age or sex ....” Signed: “Truly Yours S.L. Clemens.” Accompanied by a 1 1/2 page a.l.s., in ink, from E.L. Osgood to Clemens, Hartford, 14 December 1886. In 1886, Osgood published John H. Trumbull’s Memorial History of Hartford, Connecticut, 1633 - 1884, which is likely the set referred to when he writes: “I was much surprised when I received your letter on Saturday and was still more annoyed, when on investigation I found that my binders had overlooked my order to send the set of Hartford History to Mr. Smith - I have today forwarded a set in 1/2 morocco to Messrs Harper & Bros to be included in the next shipment to my brother and have written him to forward it at once to Mr. Smith. I shall very soon avail myself of your kind suggestion to come and teach you how to play billiards. Yours very truly, E.L. Osgood.” $3250. 84. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO RICHARD WATSON GILDER. Hartford. 31 “Janiwary [sic]” 1887 Two pages, in ink, on two panels of folded quarto lettersheet. Folded for mailing, a few smudges, otherwise very good. To “My Dear Gilder,” in the recipient’s role as editor of Century Magazine: “Do you want a powerful readable short article (about 5,000 words at a rough guess?) And will you pay a higher rate than of yore (for reasons explainable when I see you) if you accept it? And will you crowd it into the March No.? If there’s any hurry ... use the telegraph - because I want to take a day, or maybe two, to knock out adjectives & polish up ....” Signed: “Yr sincerely SL Clemens [flourish].” A four line postscript follows: “Praps [sic] I don’t want it in next number - I can’t quite tell, yet. But am tolerably sure I do.” The article in question was, most likely, “English as She is Taught,” which appeared in the April issue of Century Magazine. $2750. “I would have paid him that any time these ten years just to see him break his neck ... “ 85. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO DEAN SAGE, RE: EDWARD HOUSE AND THE PRINCE AND THE PAUPER CONTROVERSY. Hartford. 5 February 1890. Four closely written pages, ca. 500 words, on rectos only of four 23 x 14 cm lettersheets, in ink, with deletions and insertions. Neatly hinged at left margins, very good. On Christmas Eve of 1889, the authorized theatrical version of The Prince and the Pauper, adapted by Abby Sage Richardson, premiered in Philadelphia, and opened in January at the Broadway Theatre in New York. A journalist, Edward House, filed a lawsuit against Clemens, claiming that in 1886 he had granted House the rights to undertake the adaptation. The lawsuit was the subject of some considerable public attention, and the judge’s ruling in favor of House led, until House was paid a settlement, to the suspension of performances. In this lengthy, somewhat embittered letter, Clemens writes to his good friend, giving a full and colorful account of his previous relations with Edward House, beginning with their first meeting in the first quarter of 1867, subsequent meetings over the years (characterized generally in Clemens’ account by generosity on his part and bad faith on House’s) and leading up to House’s return to America from Japan: “... When he wrote, in 1885, that he should sail for America in the spring, to remain for good, I wished the ship would go to the bottom. You see, I was the only ostensible friend the man had in the world, & I had to keep up appearances, or be a brute. He arrived in N.Y. May 10, ’86, (or ’87?) & my sorrows began ....” Clemens outlines a sequence of visits by House to his home and to that of friends, accompanied by insults, apologies and concealments, “... & when he finally moved to New York he had quarreled with everybody he could get a chance to talk with ... Old friendship? Oh dear! In one of his lying affidavits House swears I offered him $5,000 to ‘compromise’ a claim which never existed save in his own laudanum-soaked imagination. Great Scott, I would have paid him that any time these ten years just to see him break his neck. I tried my level best to get that man to agree to dramatize the P&P, but I failed, & then after his brief attempt here in the house [during a visit detailed earlier in the letter] I totally dropped the matter — & so did he. He told George Warner months afterward that I had tried to get him to dramatize the book but that he ‘saw nothing in it.’ It turns out, now, that he didn’t write Arrah-na-Pogue (as he always claimed). I thought he was a dramatist ....” Signed: “Sincerely Yours, S.L. Clemens.” Clemens met Sage through Joseph Twitchell, the Hartford Congregationalist minister, and they corresponded and visited occasionally. Clemens described Sage as “the best citizen I have known in America.” $6500. “... it’s a noble & elegant tale ....” 86. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED (“MARK”), TO RICHARD WATSON GILDER. Villa Viviani Settignano, Florence. 19 October . Two pages, in ink, on two panels of folded quarto lettersheet. Folded for mailing, short marginal break at one fold, a few small smudges, otherwise very good or better. To “My Dear Gilder,” in the recipient’s role as editor of Century Manazine: “... What little I have written lately was kind of forced into the Syndicate because they seduce a person by the large wage they pay, which is double & treble what the magazines grant to the laborer in the literary field. Naturally I prefer to be in the magazines but you see how it is ... I’ve only one Mag. article on hand at present, but I’ll enclose that one to you - ‘The £1,000,000 Bank Note’ ... it’s a noble & elegant tale ....” He comments further on his hope and expectation that Cleveland will win the election, noting “I have been trying to get some Republican to pair with me, but find them all too sagacious to pair with a person in Europe. I thought maybe our old colored servant George might do me the favor, but found that he & his immediate colored political following had gone over to the Cleveland side themselves ....” Signed: “Yr sincerely Mark [flourish].” $3250. 87. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO HENRY MILLS ALDEN. V.V. - S., Florence. 24 November . Two full pages, in ink, on recto and verso of octavo lettersheet. Old folds from mailing, date and name docketed at top edge by recipient or recipient’s secretary, otherwise very good or better. A fine, humorously biting letter from Clemens to the editor of Harper’s Magazine: “I know I never never shall get over the astonishment of it! I sent you the most delicious thing that has been offered to any magazine in 30 years in the way of innocent, unconscious & absolutely killing humor ... & you declined it because I didn’t write it. Why, dang it, the reason for declining it is really worse than the crime itself; for gold is gold, & varying the mint-mark can’t alter its value - & if that wasn’t gold, standard gold, sterling gold, golden humor, then I don’t know that metal when I see it ... Look here, Alden, you didn’t read it. You saw it was mainly reprint and jumped to an over-hasty conclusion. But if you had read it - & read it aloud to people, as I have done - then you’d have seen effects such as you have never seen in your life up to now ....” Signed: “Yours with sincere affection SL Clemens.” According to Fears, the piece Alden had rejected was “The Enemy Conquered; or, Love Triumphant,” by Samuel W. Royston. Fears, MARK TWAIN DAY BY DAY, II, p.750. $3750. 88. Clemens, Samuel L. AUTOGRAPH LETTER, SIGNED “MARK TWAIN,” INCORPORATING A WHIMSICAL POEM. “At Sea.” 28 August 1895. Two and one-half pages, on three panels of a folded octavo lettersheet, in ink. Old folds to thirds, with clean partial split to one horizontal fold, very good. Writing while returning from British Columbia and en route to Hawaii and Australia, Clemens here addresses an onboard friend: “Dear Jack:- We are going to celebrate your birth-day to-night and out of affection for you & for your father we shall do the occasion all the credit we can, & make all the noise the captain will allow. You are a naturalist, & I am gradually grinding out a poem for such of the tribe as are interested in the fauna of Australia ... so I privately & confidentially promised you a copy of this great work as far as I’ve gone with it. I haven’t yet worked the moa in, nor the emu nor the dodo, but I am after them ....” There follows a twenty line draft poem, entitled “Invocation,” which concludes, in part: “Come, Kangaroo, the good & true, [/] Foreshortened as to legs, [/] And body tapered like a churn ... And tell us why you linger here, [/] Thou relic of a vanished time, [/] When all your friends as fossils sleep [/] Immortalized in lime.” Signed: “From your well-wishing friend Mark Twain.” $7500. Mark Twain’s Pledge about Immortality 89. Clemens, Samuel L.: AUTOGRAPH MANUSCRIPT, SIGNED (“M.T.), INCORPORATING AN AUTOGRAPH NOTE, SIGNED. Quarry Farm, Elmira, NY. 2 July 1895. One page, in ink, on quarto front panel of a large linen-lined envelope. Marginal pencil note crossed through, several ink squiggles in blank areas symptomatic of a struggle with an unreliable pen, otherwise very good. A manuscript memento of a famous artifact, being Clemens’ fourteen line rough draft verse (signed “M.T.”), written in preparation for his inscribing the verse on three stones for presentation to Mrs. Thomas K. Beecher, wife of Reverend Beecher who officiated at the wedding of Clemens and Livy Langdon in 1870. An account of the undertaking appears in the October 1895 number of Munsey’s, and in brief, a sort of wager grew out of a friendly debate between Clemens and Mrs. Beecher about the immortality of the soul. Mrs. Beecher concluded by asking Clemens: “If you meet me in heaven a million years from now, will you confess yourself wrong?” And when Clemens assented, she insisted a record of his agreement be rendered in stone for future generations. The manuscript in hand is Clemens’ draft of what was placed on three sections cut from a stone Mrs. Beecher picked up from the Susquehanna river bed near Charles Beecher’s summer home near Wyalusing, PA. The actual stones, known as the “wager stones,” are now preserved in the Twain Archive at Elmira College. Clemens’ poem (incorporating his alterations) reads: “If you prove right & I prove wrong [/] A million years from now, [/] In language plain & frank & strong [/] My error I’ll avow [/] To your dear mocking face. [/] If I prove right, by God his grace [/] Full sorry I shall be, [/] For in that solitude no trace [/] There’ll be of you & me [/] Nor of our vanished race. [/] A million years, O patient stone, [/] You’ve waited for this message: [/] Deliver it a million hence [Survivor pay expressage.] M.T.” Appended to the manuscript is an autograph note from Clemens, 2 July 1895, to Livy Clemens’ friend, Clara Spaulding: “Dear Clara: Livy says it is this rough old original draft that you preferred. I didn’t understand & I beg pardon. This looks too disreputable. My purpose was to have a nice trim comely copy made for you. Yours ever, SL Clemens.” $9500. 90. Clemens, Samuel L. AUTOGRAPH LETTER, SIGNED “MARK,” TO RICHARD WATSON GILDER. “Kaltenleutgeben, near Vienna.” 7 May 1898. 3 1/3 pages, in ink, on rectos and versos of two octavo lettersheets. Modest tanning, old folds from mailing, slightly weak at one fold, one word slightly smudged below baseline, otherwise very good. To “Dear Gilder,” in the recipient’s role as editor of Century Magazine: “If I want more, ‘say so.’ A young person would walk into that trap, imagining it a promise, whereas it has only the gilded outside aspect of one ... But I am not a young person: I have had it & cannot catch it again. So I, who am the descendant of the horse-beck’s daughter, say not a single word, but am amply content with the addition of that great compliment wherein you tell me it is the highest price you have ever paid to anybody for anything. I have had that compliment paid to me three or four times in my life, & in every case there was something upliftingly splendid about the feel of it. I think it must be the way a pirate or tiger feels when he has made a ‘record’ ... I still remember the first two instances ... One was 31 years ago, when a now forgotten London magazine went down into its treasury & paid me $12.50 per mag. page for a 4-page article; the other was 22 years ago when the Atlantic paid me $18 per mag page for a series of articles. To be conscientiously accurate, that wasn’t the highest the Atlantic had ever paid for prose - it had paid the same rate to Holmes for the ‘Autocrat.’ Still, as you will easily understand, the ‘feel’ was there: because to be rated with Oliver Wendell was itself a ‘record.’ In those days the author hadn’t his today’s chance to scrape the fat off’n an editor, but in those days there wasn’t any fat on him - he hadn’t either circulation or advertisements ....” Signed “Yours sincerely Mark.” $4750. Mark Twain on Saint Joan 91. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, ABOUT JOAN OF ARC. 30 Wellington Ct., Albert Gate, London. 17 April 1900. 3 1/4 pages on four panels of a folded octavo sheet of letterhead. A few minor finger smudges, folded for mailing (with careful repair to break at one fold) otherwise very good or better. To Canon [Basil] Wilberforce. In an October 1899 letter to W.D. Howells, Clemens noted that he had just received an invitation from Wilberforce to “talk Joan of Arc in his drawing- room to the Dukes and Earls and M. P.’s ...,” and indicated that he would endeavor to postpone the occasion. He appears to have succeeded in doing so, for here, six months later, he discusses the nature of the proposed talk: “The short paper which I wrote for Mr. Murray’s book [T. Douglas Murray, Jeanne d’Arc, Maid of Orleans: Deliverer of France (1903)] contains what I should wish to say — a grouping, under two or three heads, of the chief marvels of Joan’s character as revealed by the prominent incidents of her career. It is not an effort to account for Joan, but rather an argument or confession that she cannot be accounted for. A large part of the interest which she has for me, grows out of just that perplexing & fascinating mystery: that our capablest rules of measurement are baffled & defeated in her case — we can’t get at her astronomical dimensions with our yard-stick. If I might read from that paper & intersperse the reading with talk enough to relieve the formality & stiffness of the deliberately-prepared sentences, I think I might get through without ship-wreck ....” Signed: “Very sincerely yours S.L. Clemens.” Wilberforce & Clemens are enshrined in the body of literary anecdote via the incident in July of 1899 when Wilberforce confused Clemens’ hat for his own and made off with it. $4750. 92. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO SAMUEL G. BLYTHE. London. 12 February 1900. Two pages, in ink, on two panels of folded quarto sheet of letterhead (30, Wellington Court, Albert Gate). Folded for mailing, else near fine. To Samuel G. Blythe (1868-1947), then editor of the Buffalo Enquirer: “Objections? Indeed no. On the contrary I shall be glad. I shall now lay for the young man who called the other day, & who seemed to know a great many things — & to lack delicacy in some little degree: for, while smoking my bad cigars & warming himself at my good fire he suddenly up & said, without any humane & softening preparations for the remark, that my Christian Science article had cost the Cosmopolitan 10,000 subscribers. He made me feel pretty bad, but I will transfer that sensation to him, now, when I catch him. And I will be sarcastic, & tell him Mr. Walker wants to lose another 10,000 & knows by harsh experience how to go about it. With my kindest regards to Mr. Walker, & best wishes to you & him & the magazine ....” Signed: “Sincerely Yours S.L. Clemens.” Clemens refers to his article in the October 1899 issue of Cosmopolitan, “Christian Science and the Book of Mrs. Eddy,” and to either J.B. Walker (owner) or E.D. Walker (editor) of the periodical at the time, and may have been writing Blythe in response to a request for reprint permissions for Clemens’ then controversial article. $3500. 93. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO VIRGINIA FRAZER BOYLE. Ampersand, NY. 16 September 1901. Two pages, in ink, on two small quarto lettersheets. Old folds from mailing, with clean breaks at margins at folds, otherwise very good. With the original envelope, addressed in his hand. Clemens writes appreciatively of a gift, or after receiving some of Boyle’s writings, either in manuscript or book form: “They arrived last night, & I have drunk to them & from them ‘with my heart,’ & to the holy & pathetic things which they stand for & symbolize, the golden days of a vanished youth. I give you my best thoughts for them & for the darling poem, which is lovely & beautiful, & eloquent with the spirit of those same lost & lamented days.” Boyle, as both poet and fiction writer, was closely associated with literary evocations of the Old South (at the age of 10, she was christened by Jefferson Davis as the “Poet Laureate of the Confederacy”). Her 1900 collection of local color stories, Devil Tales, achieved some success, and just perhaps that is the collective “they” to which Clemens here refers. He continues on, at length, proposing a meeting with her, in company with her husband, Thomas R. Boyle (to whim he directs a paragraph of jousting banter) when they come to New York, and extending warm felicitations on behalf of his wife and daughters, “for they are good creatures, considering.” Ca. 300+ words. Signed “Sincerely yours SL. Clemens.” Boyle printed a portion of this letter, in company with a poem in tribute to Clemens, in her late collection, Songs from the South. $2750. 94. [Clemens, Samuel L.]: Twain, Mark [pseud]: TO THE PERSON SITTING IN DARKNESS [wrapper title]. New York: Reprinted [by the Anti-Imperialist League] from the North American Review, February 1901. 16pp. Printed self-wrappers. Some soft creases to upper left corner, upper wrapper has several old, faint smudges and a faint splash-mark, First separate edition. Johnson records the League’s assertion that 125,000 copies of this polemic were distributed in this format as campaign literature, and infers that there consequently must have been more than one printing. However, he notes that “It is now  so scarce that I can give no hint of any distinction ...” between printings. 75 years later, it remains uncommon. BAL 3470. JOHNSON, p.73. $1500. 95. Clemens, Samuel L. AUTOGRAPH LETTER, SIGNED, RE: “WAS IT HEAVEN? OR HELL?” New York City. 14 January . Two pages, in ink, on two panels of a folded sheet of Riverdale on the Hudson letterhead. Corner creases and two small pin-holes in upper margin, otherwise very good. Accompanied by tear sheets and wrappers of the December 1902 issue of Harper’s Magazine. Half morocco slipcase (rubbed and scraped) and chemise. A heart-breaking letter, in which Clemens responds to the recipient’s comments about the implication in his story, “Was It Heaven? Was It Hell,” that lying is possibly excusable under special circumstances — though the story leaves the judgment unresolved. The issue was raised to special attention when the accidental death of Clemens’ daughter on 24 December led to a multitude of intellectually disadvantaged minds suggesting the event was some form of retribution for the notions expressed in the story. Addressing “Dear Sir,” Clemens singles those out: “...Thousands? - indeed there are several millions of them. And they would be prompt to say, too, that in excusing the lying done in that tale I brought a judgment upon myself. The story was published as of Xmas Day. On that day my wife had been lying feeble and helpless in bed nearly 5 months & it had been 3 months since I or any one except a daughter, the doctor, & a trained nurse had seen her face; on that Xmas Day my other daughter was lying near to death in a remote part of the house, (pneumonia), & the diligent lying of the tale was going on! The mother does not suspect that for three weeks there has been another trained nurse in the house. She thinks Jean (the sick daughter) is having fine times outside with the neighboring young people, skating, skeeing [sic] & tobogganing - the other daughter gives her a full account of it every day. For the last ten days I have been allowed to see my wife ten minutes every day. Yesterday she spoke of a play & said ‘Send Miss Lyon with Jean to the matinee to-morrow.’ I came very near saying ‘Why Jean can hardly sit up in bed, yet’ - but I caught myself in time & gave the promise.” Signed: “Sincerely Yours, S.L. Clemens.” The tear sheets from the December issue are those for the original appearance of the story. $7500. 96. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED. Villa de Quarto, Florence. 12 April 1904. 1 2/3 pages, on two panels of a folded octavo sheet of hotel stationary. Old folds for mailing, paper faintly tanned, very good. A poignant letter, written by Clemens from Florence, where he was situated in an attempt to find a climate more favorable for his wife, Olivia, then critically ill. He responds to a “Mrs. Graham,” in gratitude for her charming letter, which arrived “just in time to do a kind of miracle: that is, add a grace to this April morning, a thing difficult to the verge of impossibility; for the foliage & the flowers are looking their ... richest ... in the flooding sunshine, & far- away Florence, glistening vaguely through her enchanted veil, is a dream!” On the second panel of the lettersheet, the mood emphatically changes: “The Obverse - minutes later. The physicians have come to hold a consultation; for our house is a hospital these 5 months, & the sunshine is all outside of it, there is none within.” Signed: “Sincerely Yours, S.L. Clemens.” In June, Olivia Clemens died in Florence of heart failure. $3000. 97. [Clemens, Samuel L.]: Twain, Mark [pseud]: “A DOG’S TALE.” [London]: Printed for the National Anti-Vivisection Society, 1903 [i.e. 1904]. Printed wrappers. Illustrations. A fine copy. Half morocco slipcase and chemise, bearing the bookplate of the James S. Copley collection. First separate edition, printed from the plates of the 1903 Christmas Number of Harper’s, and preceding the U.S. book edition. BAL 3479. $350. 98. Clemens, Samuel L. AUTOGRAPH LETTER, SIGNED (“FATHER”), TO HIS DAUGHTER, CLARA. [Dublin, NH]. “Sunday Oct. 1 / 05” & “[Oct 3/’5]” 1905. Four pages, in ink, on outer panels of two folded quarto sheets of mourning stationary. Folded for mailing, otherwise very good, accompanied by mourning envelope addressed “For Clara” c/o Miss Katy Leary, in NYC (ragged tear at edge from being opened, postmarked in Dublin 3 October and received in NY 4 October). An evocative letter from Clemens to his daughter, Clara, then in care of their long time servant, Katy Leary: “Oh, you poor dear child! How these fiendish maladies do hunt you down & persecute you ... I finished ‘A Horse’s Tale’ yesterday evening & am satisfied with it, though it was not manufactured calmly but with an eight day drive & rush - a dangerous process; it is noon, now, warm, brilliant, profoundly still & reposeful, the valley & the retreating hills are a bewildering intoxication of color - why, it is a joy to be alive! There is no place like Dublin ... Love & progress to you, dear! Don’t write, Rest! Father.” The preceding part of the letter is supplemented by a postscript, dated the 3rd, and of equal length, describing additional events and the environs: “Clara dear, you think you have seen autumn foliage, but it is not so; you have seen only attempts, partial successes, & failures. And you have not had these attempts properly grouped, properly neared & distanced, properly leveled for vivid display in the foreground, properly retreating & softening away through a spacious gate in the gorgeous hills & dimming to smouldering embers under the hazy mountains on the verge of the world. I have to shut my eyes to shave, this painted dream distracts my hand & threatens my throat. And I have to stop & write this postscript to quiet my mind & lower my temperature, so that I can go to stand between the windows again & without peril resume. Father [flourish]. There is to be a reading of the horse-story in this house, Thursday, with 4 invited guests ... In the last chapter there are bugle-calls & war-music, & Miss Lyons will break in at the precise places & play this, as I read. We practiced it last night & got the cues right, & it was dramatic & stirring.” While documents accompanying the letter suggest that the postscript of 3 October was at one point separated from its companion and sold separately, the implication is clear from content and likely circumstance that the portion written on the 3rd was originally meant to accompany the portion written on Sunday the 1st. $4500. 99. Clemens, Samuel L.: AUTOGRAPH LETTER, SIGNED, TO VIRGINIA FRAZER BOYLE. Dublin, NH. 18 July 1905. Two and one-half pages, in ink, on three panels of a folded small quarto sheet of mourning lettersheet. Old folds from mailing, otherwise very good. With the original envelope, addressed in his hand. Clemens catches up with Boyle, noting “we are here for six months, & shall go home when the cold drives us. I shall find your book there if it doesn’t come here - & there is the right place, for I do not read anything that is interesting when I am at work, because it breaks my thread, & summer is my work time. I have lost only one day of the 60-odd that I have had here. The resulting stack of manuscripts is pretty high ... I am very close to 70, now, & I don’t suppose I shall ever make another journey [to visit her in Memphis]. I beg you to give my cordial regards to your husband, & thank him for thinking so well of my work. Sometimes I don’t admire it myself after it gets into print, but I like others to admire it ....” Signed “Sincerely your friend SL. Clemens.” As both poet and fiction writer, Boyle was closely associated with literary evocations of the Old South (at the age of 10, she was christened by Jefferson Davis as the “Poet Laureate of the Confederacy”). $2500. 100. [Clemens, Samuel L.]: Twain, Mark [pseud]: IS SHAKESPEARE DEAD? FROM MY AUTOBIOGRAPHY. New York & London: Harper & Bros., 1909. Gilt green cloth, t.e.g., others rough-trimmed. Portrait frontispieces of Shakespeare and Bacon. Bookplate, otherwise a fine, bright copy, without dust jacket. First edition, the state intended to be distributed in the U.K., with the inserted British advert leaf for John Lane at the end, and with the “Printed in the U.S. of America” stamp below the copyright notice. BAL 3509. $225. Andrew Carnegie’s Tribute to His Friend 101. [Clemens, Samuel L.]: Carnegie, Andrew: CORRECTED TYPESCRIPT OF HIS ‘NORTH AMERICAN REVIEW’ TRIBUTE TO MARK TWAIN, SIGNED. [New York]. [nd. but post 22 April 1910]. 3 1/4 pages, typescript, with pencil and ink corrections, on four leaves of foolscap. Folded and a bit used, with pin-holes in upper left corner and some occasional minor soiling, otherwise very good. Half morocco folding clamshell case. The corrected typescript of this exceptional, personal and anecdotal memoir by Carnegie of his longtime friend, with scattered corrections and revisions throughout (in at least two hands, including Carnegie’s), and signed by him in pencil at the conclusion. The typescript is docketed in ink on the verso of the last leaf in ink in an unknown hand: “N.A.R. Mark Twain Andrew Carnegie,” and caption titled in pencil at the top of the first page in the same hand. While readily accessible public records include Carnegie among the attendees at the 23 April Memorial Service for Clemens in New York, it does not appear that he delivered a eulogy there, or in the days immediately following. Rather, he chose to publish a tribute to Clemens in the June issue of The North American Review, and the working typescript in hand is the basis for that tribute. After opening on a grand note (“‘Mark Twain gone! - such the refrain that comes to my lips at intervals. The gaiety of nations eclipsed, the most original genius of our age and one of the sweetest, noblest men that ever lived”), Carnegie turns to the personal and particular, writing of their first meeting (“... we met may years ago upon the ocean ... He told me, much to my surprise that the idea of ‘A Yankee at the Court of King Arthur’ came from reading my first literary outburst ... I was young then and naturally greatly flattered that the business man should be hailed as fellow-author. The intimacy continued to grow until I could safely consider myself one of his circle”), and of how, in time, “My admiration for him increased as I knew him better, until great as the author was, the man, the friend took first place.” He recounts his meeting with Clemens after the death of his wife, tells a lengthy anecdote about his providing whiskey as a tonic during Clemens’s illness, commends Clemens’s treatment of his creditors during his financial crisis, and remarks on Clemens’s wrath in the face of injustice. He nears his conclusion: “And so he passed away with the smile upon his face. Nor would we have it otherwise. Mark Twain has nothing to dread hereafter and he now rests close by the side of his wife and children all having preceded him save one. The earth had lost its charm, and philosopher to the last, he was ready to go ...,” and after a selection of verse, finishes poignantly and personally: “And yet - and yet - I find the tears drop as I write” [Carnegie’s spelling errors are corrected and the revisions included in these quotations]. Less than a year before his death, Clemens had stood in tribute to Carnegie at a dinner in his friend’s honor held by the Lotos Club. $7500. 102. [Clemens, Samuel L.]: Twain, Mark [pseud]: QUEEN VICTORIA’S JUBILEE THE GREAT PROCESSION OF JUNE 22, 1897, IN THE QUEEN’S HONOR, REPORTED IN BOTH THE LIGHT OF HISTORY, AND AS A SPECTACLE .... [New York?]: Privately Printed for Private Distribution Only, [nd. but likely ca. 1910]. ,22pp. Large octavo. Cloth-backed pictorial boards. Frontis and plate. Bookplate, old bookseller’s description affixed to rear pastedown, cream boards a trace darkened at edges, slight bumps to tips, else very good or better. Half morocco folding case. From the James S. Copley collection. First edition in book form, privately printed in an edition ostensibly limited to 195 numbered copies, of which this is copy #168. Though the paper is watermarked 1887, BAL, and the production, point to a more likely 1910. Twain’s article first appeared in the New York Journal in June 1897, and was reprinted in 1910 in the New York American. It was not collected in book form until 1923. BAL 3514. $1500. 103. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE CURIOUS REPUBLIC OF GONDOUR AND OTHER WHIMSICAL SKETCHES. New York: Boni & Liveright, 1919. Cloth and decorated printed boards. Bookplate on front pastedown, otherwise a near fine copy, in largely complete, about good, but nicked and torn printed dust jacket with several old paper and cellotape mends on the verso. Half morocco slipcase and chemise. First edition in book form of these sketches originally published in The Galaxy and The Buffalo Express. BAL 3527. $450. 104. Clemens, Samuel L.: S.L.C. TO C.T. [New York: Privately Printed, 1925]. 24pp. Decorated wrappers. Small ink number in lower forecorner of upper wrapper, otherwise a very good copy. Folding cloth case. First edition. Asserted to be one of only one hundred copies printed. A substantial sequence of letters from Clemens to Charlotte Teller, chiefly ca. 1906, with a Foreword by the recipient. BAL 3538. $600. 105. [Clemens, Samuel L.]: Twain, Mark [pseud]: A BOY’S ADVENTURE [THE WHIPPING BOY’S STORY] [caption title]. [New York: Privately Printed for Merle Johnson, 1928]. pp. folded small quarto leaflet. Very shallow, small discoloration at top edge, otherwise about fine. Oversize folding cloth case. First separate edition of this chapter originally intended to appear in The Prince and the Pauper, but omitted at W.D. Howell’s recommendation. It is here reprinted from its periodical appearance in the Bazaar Budget, Hartford, 4 June 1880. BAL 3545. $250. 106. [Clemens, Samuel L.]: Twain, Mark [pseud]: 1601 OR A FIRESIDE CONVERSATION IN YE TIME OF QUEENE ELIZABETH. [San Francisco]: Privately Printed, 1929. Small octavo. Quarter red morocco and gilt decorated green cloth over boards. Colored frontis and three colored illustrations. Colored initials. Slight darkening to endsheet gutters, otherwise about fine in marbled paper wrapper. Half morocco slipcase and chemise. One of an edition of forty copies. Although the parties responsible for this attractive edition are not explicit in the book itself, references attribute to the late Albert Sperisen, printer and California printing historian, the information that the edition was printed by Lawton Kennedy and Harold Seeger, and the illustrations executed by W.R. Cameron. $150. 107. [Clemens, Samuel L.]: Mintz, Sam [screenwriter]: MARK TWAIN’S “TOM SAWYER” ADAPTATION - DIALOGUE AND CONTINUITY BY ... [Hollywood: Paramount Studio], 3 July 1930. ,A1 - H22, leaves, foliated in sequence format. Legal format. Mimeographed typescript, printed on rectos only of rose paper, and stapled at left margin. Studio filing stamps on title leaf, portion of terminal blank torn away, light use, else very good. In spite of the denotation of “continuity,” this is actually a preproduction script for the third U.S. film adaptation (but the first sound version) of Clemens’ novel, directed by John Cromwell, and starring Jackie Coogan and Junior Durkin in the leads. The film was released on 19 December 1930, and this unspecified draft of the script concludes with the screenwriter’s note: “Will write last scene whereby Sid gets his dues from Aunt Polly later. Sam Mintz.” $1250. 108. [Clemens, Samuel L.]: Twain, Mark: BE GOOD, BE GOOD A POEM [wrapper title]. New York: Privately Printed [for Merle Johnson], 1931. French fold leaflet, printed in green. Horizontal fold across middle, otherwise very good or better. Morocco backed folding case. First edition in this format, ordinary issue, reprinted from the Houston Chronicle (July 1931) as a Christmas token. Some additional copies (10 or 12) were printed on vellum, in blue ink. BAL 3553. $300. 109. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE PRIVATE LIFE OF ADAM AND EVE BEING EXTRACTS FROM THEIR DIARIES TRANSLATED FROM THE ORIGINAL MSS. New York & London: Harper & Bros., . Cloth and pictorial boards, paper label. Frontis and illustrations by F. Strothmann and Lester Ralph. First combined edition. Bookplate on front pastedown, portion of printed wraparound band “preserved” in plastic sleeve formerly affixed to verso of frontis, but a very good copy in lightly used dust jacket with tanning and a splashmark to the spine panel. A snippet from a Clemens letter authorizing the omnibus edition is printed here for the first time. BAL 3700. $300. 110. [Clemens, Samuel L.]: O’Connor, Laurel: [editor]: DRINKING WITH TWAIN RECOL- LECTIONS OF MARK TWAIN AND HIS CRONIES .... [Kalamazoo, MI?]: Privately Printed [by Howard Printing Company?], 1936. 18 leaves, printed on rectos only. Octavo. Sewn printed wrappers. About fine in morocco backed folding cloth case. First edition. One of five hundred numbered copies. An “as told to” narrative by one of Clemens’ Elmira friends. Whatever the virtue of the text, a ridiculous effort at bookmaking, printed on heavily pebbled parchment paper and approximating a rather painfully twee greeting card. The place of publication and printer are identified in OCLC/Worldcat, where an alternate entry from LC also suggests Battle Creek as the place of perpetration. $75. 111. [Clemens, Samuel L.]: Twain, Mark [pseud]: LETTERS FROM THE SANDWICH ISLANDS WRITTEN FOR THE SACRAMENTO UNION. San Francisco: The Grabhorn Press, 1937. Large octavo. Cloth and decorated boards. Illustrations (in color) by Dorothy Grover. Bookplate of the James S. Copley collection, one fore-tip bumped, otherwise near fine, in half morocco slipcase and chemise. First edition in book form, with introductory and concluding text by G. Ezra Dane. One of 550 copies printed by the Grabhorns as the 4th volume in the 3rd series of “Rare Americana.” BAL 3558. GRABHORN 266. $250. 112. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE WASHOE GIANT IN SAN FRANCISCO BEING HERETOFORE UNCOLLECTED SKETCHES .... San Francisco: George Fields, 1938. Large octavo. Cloth and boards. Illustrations. Two bookplates on front endsheets, otherwise about fine in very good dust jacket with some small chips and closed tears along top edge. First edition. Printed at the Ward Ritchie Press. Edited by Franklin Walker, and illustrated with drawings by Lloyd Hoff. Laid into this copy are two of the originals of Hoff’s ink drawings, for the illustrations on pages 66 and 115. BAL 3559. $350. 113. [Clemens, Samuel L.]: Frear, Walter Francis: MARK TWAIN AND HAWAII. Chicago: Privately Printed at the Lakeside Press, 1947. xiv,519pp. Large, thick octavo. Gilt cloth. Portrait, maps, photographs. Bookplate on front pastedown, a few minor rubs to cloth, otherwise about fine in half morocco slipcase and chemise. First edition. One of 1000 numbered copies, signed by the author. “Contains much material here first collected including the first complete printing within the covers of a single book of the Sandwich Island letters written for the Sacramento Union in 1866” - BAL. BAL 3576. $150. 114. [Clemens, Samuel L.]: Twain, Mark [pseud]: THE LOVE LETTERS OF MARK TWAIN. New York: Harper & Bros. 1949. Large octavo. Black cloth, paper spine label. Portrait. Bookplate on front pastedown, faint offset to front endsheets from formerly laid in clipping, otherwise fine in dust jacket and lightly rubbed slipcase with residue of tiny sticker in lower corner of bottom panel. First edition, limited issue. One of 155 numbered copies, specially printed and bound, with the extra frontispiece and a limitation leaf signed by Clemens both with his given name and as Mark Twain. This posthumous signed edition was prepared utilizing signed sheets that Harper & Bros. had retained in their files for fifty years. The text was edited for publication by Dixon Wecter. BAL 3579. $4000. 115. [Clemens, Samuel L.]: Twain, Mark [pseud]: AN OPEN LETTER TO COMMODORE VANDERBILT [wrapper title]. [Boston. 1956]. Octavo. Printed white wrappers, sewn. Wrappers somewhat dust-soiled, with a few finger smudges, but a good copy. First separate printing of this squib, first published in Packard’s Monthly Magazine, March 1869. According to the colophon on the rear wrapper, the edition consisted of 123 copies. BAL 3584. $225. 116. Clemens, Samuel L.: “I DO SET A CLEAN PROOF.” Berkeley: The Bancroft Library Press, 1984. pp. Small octavo. Sewn pictorial wrapper. Small crease at lower fore- tip of upper wrapper, otherwise fine. Oversize cloth slipcase. First edition in book form. One of only twenty-five copies printed by Wesley Tanner, Phyllis Blegen, C.D. Elliot and M.C. Dern on an Albion handpress. With an afterword by Richard Hirst. One of the two earliest surviving letters from Clemens to his mother, describing his new job at a printing firm, reprinted from its first appearance in the Hannibal Daily Journal of 10 September 1853. By virtue of the limitation, uncommon. Laid in is a label suggesting this copy was exhibited at the Rounce & Coffin Club 1985 Western Books exhibit. $225. 117. [Cocteau, Jean]: Emboden, William A.: JEAN COCTEAU AND THE ILLUSTRATED BOOK. Northridge: Santa Susana Press, 1990. Folio. Quarter morocco and linen by Craig Jensen. Color frontis, lithographed facsimiles and tipped-in plates. Decorated endsheets. Tipped-in bookplate, otherwise fine in slipcase. First edition. From a total edition of 226 copies designed and printed by Patrick Reagh, this is one of 125 containing an original illustrated leaf from the 1923 first edition of Dessins. Signed by the author, and by editor Norman Tanis. A beautifully produced consideration of Cocteau’s illustrative contributions to his own texts, as well as those of others. $400. Fine Script Archive 118. Cole, Lester: Archive of Typescripts for JACKHAMMER [released as TOO TOUGH TO KILL]. [Los Angeles: The Author], 17 July through August 1935. Six volumes. Quarto. Chiefly carbon typescript, but also original typescript, the latter with extensive manuscript revisions and notations. Each unit bradbound or stapled into typescript wrappers. Some use, wrappers a bit frayed at edges and chipped at spines, last wrapper separated at spine, but typescripts in generally very good order consistent with use. A fine, contiguous sequence of scripts tracing the development of this film from its earliest stages through the final working draft of Cole’s screenplay, and the intercession of another writer. The 1935 film, directed by D. Ross Lederman, was released under the title Too Tough to Kill, and starred Victor Jory, Sally O’Neill, Ward Bond, et al. The film, as conceived by Cole, is a depiction of an investigation into labor strife at a tunnel and aqueduct construction site near Morongo, California. The film as finally released was co-credited to Cole and Jay Griffin, based on a story by Robert Speers. However, with the exception of the last item, the material in this archive is credited throughout solely to Lester Cole, and includes the following: a) Treatment (,22 leaves carbon typescript); b) First Draft Screenplay, 22 July, (,91 leaves carbon typescript, with scattered revisions and annotations in pencil); c) Second Draft Screenplay, 30 July, (110 leaves carbon typescript, with scattered pencil queries, comments and alterations); d) Third Draft Screenplay, 2 August (,104 leaves carbon typescript); e) Fourth Draft Screenplay, 5 August (,104 leaves carbon typescript); and f) Fourth Draft Screenplay (altered in manuscript to read “Final Working Copy”), 5 August, (ca. 104 leaves, plus lettered inserts and other variations, largely original typescript, but some carbon, very heavily revised throughout in pencil in at least two hands). The first four items are designated in manuscript with the name of Ben Pivar, the production supervisor of record for the film. The last bears the ownership signature of J. Griffin Jay, and would obviously appear to be the copy of Cole’s draft Jay utilized for the start, if not the bulk, of the revisions and rewrites that earned him co-credit. Cole was one of the cofounders of the Screen Writers Guild, and in 1934 joined the CPA. Like his other colleagues known as the “Hollywood Ten,” Cole refused to cooperate with the HUAC in 1947, was sentenced to a year in prison and a fine, and was placed on the Blacklist. He continued to work sporadically under pennames, and his last major film, Born Free, was so credited. Jay had his own substantial list of screenwriting credits, chiefly in the genres of adventure, science fiction and horror films. A fine, coherent and contiguous archive, the sort seldom preserved intact over the passage of 75 years. $3750. 119. [Collier, John, and Maynard Dixon (illus)]: EVEN AS YE DO UNTO THE LEAST OF THESE, SO YE DO UNTO ME [wrapper title]. [San Francisco: Indian Defense Association of Central and Northern California, ca. 1924]. pp. Decorated wrappers. Full-page illustrations. Pencil erasure from upper wrapper, otherwise near fine. First separate printing of this series of articles by Collier critical of the Indian Bureau and arguing for greater emancipation for the Native Americans, accompanied by a sequence of editorial drawings by Maynard Dixon. The articles first appeared in the Scripps-Howard papers in June, 1924. $150. 120. Connolly, Charles Cashel: SONGS OF THE CELT. Baltimore: John Murphy & Co., 1888. 416pp. Octavo. Dark green cloth, decorated in gilt and black. Some modest rubbing at edges, with a few flecks to cloth, ink name on preliminary blank, otherwise very good. First edition of the author’s second collection, preceded by Tones of the Harp, which Connolly self-published in Washington in 1861. OCLC/Worldcat locates 4 copies of this substantial collection of original verse (Princeton, NYPL, Notre Dame and Potomac State). O’Donoghue reports that Connolly was born in Bundoran, Co. Donegal. Some of his later work was the subject of musical adaptation for the stage and publication as sheet music, including, regrettably, “We’ll Have No More Coon Rag-time Songs To-night” (1900). O’DONOGHUE, p.42. $125. 121. Connolly, Cyril: AUTOGRAPH MANUSCRIPT, SIGNED. [London. nd. but ca. 1968]. 8 pages, closely written and lightly revised, in ink, on rectos of eight octavo sheets. Very good, or better, with transcription, in oversize half morocco clamshell case. From the James S. Copley collection. An early draft of a substantial review by Connolly of Royston Lambert’s The Hothouse Society, published in 1968 by Weidenfeld & Nicolson. Inscribed in the top margin: “from Cyril Connolly.” Connolly finds Lambert’s book, a sociological study of life in public schools, “of the greatest importance and [it] constitutes a minor Kinsey Report on the mores of British adolescents and the virtues and faults of our educational system ... The great merit of this book is also its chief defect - the vast amount of quotation, all of it anonymous. This produces an atmosphere of total verisimilitude but also an appalling density per page ... The children however must have enjoyed it, a welcome opportunity to blow off steam.” He faults the book for lack of candor, noting it finds the catalogue of thirty words in current usage among students relating to sex unpublishable, and: “Surely such a book is there to publish the unpublishable, else why devote two chapters to sex?” He further regrets “the absence of a chapter on hobbies and special interests in this book or even on attitudes to work. We are told what everyone thinks about games or getting up early or fagging, but not who loves literature or why or discovers the recorder or the virtues of Latin prose. Surely within [sic], education has to offer ... is equal to the excitement of discovering some special aptitude, a vocation hitherto unsuspected and perhaps brought out by a ... teacher ... Where, in his welter of statistics, are the prodigies?” Ca. 1000 words. $750. The Cheats (and So Much Else) of London 122. Cooke, J. [publisher]: BY THE KING’S ROYAL LICENCE AND AUTHORITY. THE CHEATS OF LONDON EXPOSED; OR, THE TRICKS OF THE TOWN LAID OPEN TO BOTH SEXES ... BY THE AUTHOR OF THE MIDNIGHT SPY. London: Printed by J. Cooke, at the Shakespeare’s Head ..., [nd. but ca. 1770]. 96pp. plus engraved frontis and four plates. 12mo. Untrimmed, partially sewn signatures. Frontis mounted and detached, with marginal restoration to terminal leaf (verso quite darkened, but still legible) and blank fore-tips of title-leaf, some occasional marginal smudging and short tears, section of blank fore-margin clipped from B 6 , with no loss of text, still a reasonably good copy of a rare pamphlet. One of four undated variants or editions of this title recorded in ESTC, all of them quite rare - ESTC locates only the Bodleian copy of this printing, and a total of eight copies of all four variants/printings. The intent of the work is made plain in the extended subtitle: to provide a guide for visitors to London, and the young, so that they might avoid the snares set out by “Highwaymen, Scamps, Sharpers, Gamblers, Kidnappers, Wagon-hunters, Money- droppers, Duffers, Setters, Pretended Friends, Mock-Auctions, Register Offices, Quacks, Bullies, Bawds, Whores, Pimps, Jilts. Gossips and Fortune-Tellers.” The cautions are often couched in the form of narratives of incident and experience with the particular category of denizen. Pages 87 - 96 print adverts for Cooke’s other publications, some of them quite colorful: The Lover’s Instructor; The Life and Adventures of Roxana; an edition of Moll Flanders; The Cries of Blood; The Book of Fate, etc. Two of the other printings do not include the “King’s Royal Licence” statement as part of the title, and one of the others attributes authorship to the writer of The New London Spy. A charming, and rare, example of London street-literature. ESTC N32584. $1500. 123. Cooke, John Esten: HENRY ST. JOHN, GENTLEMAN, OR “FLOWER OF HUNDREDS,” IN THE COUNTY OF PRINCE GEORGE, VIRGINIA. A TALE OF 1774-’75. London: Sampson Low, Son & Co., 1859. xiv,,503,,16pp. Large octavo. Original brown cloth, decorated in blind, lettered in gilt. Bookplate on front pastedown, one leaf creased (but not torn), cloth a bit handsoiled, short cracks at top of joints, scattered light foxing, but a good copy. First edition, British issue, of this informal sequel to The Virginia Comedians..., bound up from imported sheets of the Harper & Bros. issue advertised as ‘ready’ two months earlier than this issue. The inserted Sampson Low catalogue is dated July 1859, and is dwarfed by the much larger text block. This British issue is rather uncommon, and it seems unlikely that the number of copies imported would have been large. BAL 3716n. SABIN 16315. WRIGHT II:616 (NY edition). $450. First Book - Large Paper Issue 124. Coolbrith, Inna D.: A PERFECT DAY AND OTHER POEMS ... AUTHOR’S SPECIAL SUBSCRIPTION EDITION. San Francisco: [John H. Carmany & Co., Printers], 1881. 173,pp. Small folio. Gilt decorated cloth. a.e.g. Cloth somewhat rubbed, with a few scratches, extremities worn, a bit musty, offset to two prelims from now absent clipping, but a good, sound copy. With the bookplates of Robert E. Cowan and Henry B. Collamore. First edition, the rare special folio large-paper issue, of the first book (of three) by the future poet laureate of the state of California, co-editor of The Overland Monthly, niece of Joseph Smith, and the only female member of the Bohemian Club at the time. The number of copies issued in this format is unstated, but OCLC records report 51 copies of the ordinary issue, versus twelve of this large-paper issue. $350. 125. [Cooper, James F.]: THE PRAIRIE; A TALE. Philadelphia: Carey, Lea & Carey, 1827. Two volumes. xi,,-252;276pp. 12pp. April 1827 catalogue inserted in front of first volume. Original boards, neatly rebacked to style, with original printed labels laid down (the first a bit chipped). Untrimmed. Some foxing, with some occasional spotting; bookplates of James S. Copley in each volume. A good set, in dual compartment half morocco slipcase and chemises. First American edition, preceded by the London and Paris printings. With the corrected copyright pasteovers in each volume. BAL 3836. WRIGHT I:688. $750. 126. Covarrubias, Miguel [illustrator]: THE DISCOVERY AND CONQUEST OF MEXICO 1517 - 1521. By Bernal Diaz Del Castillo. Mexico: Printed by Rafael Loera y Chávez for ... The Limited Editions Club, 1942. Large quarto. Full Mexican calf, raised bands, gilt labels. Illustrated throughout with color full-page drawings and vignettes by Miguel Covarrubias. Bookplate on front pastedown, otherwise fine in good, somewhat edgeworn slipcase with small sticker scar in corner of one panel. Edited from the original manuscript by Genaro García, translated, with introduction and notes, by A.P. Maudslay, and with a new introduction by Harry Block. One of 1500 numbered copies, signed by Covarrubias, the printer and Block. One of the Limited Edition Club’s double hands-full of truly inspired conjoinings of illustrator with text from its years under George Macy. $250. 127. Craig, Edward Gordon: A PRODUCTION BEING THIRTY-TWO COLLOTYPE PLATES PROJECTED OR REALISED FOR THE PRETENDERS OF HENRIK IBSEN AND PRODUCED AT THE ROYAL THEATRE COPENHAGEN 1926. Oxford & London: Oxford University Press / Humphrey Milford, 1930. ,21,pp. plus thirty-two plates with interleaves bearing caption texts. Large folio. Quarter gilt parchment and red cloth, gilt extra, t.e.g. Small bump to lower edge of rear board, a few very faint spots of dulling to upper board, otherwise a very near fine copy, in rather worn and stained slipcase. First edition, limited issue. One of 105 numbered copies, specially printed on handmade paper, and signed by the artist, in addition to five hundred ordinary unsigned copies on mould-made paper. Twelve of the collotypes incorporate color. FLETCHER & ROOD A32. $1500. 128. Cutter, Bloodgood H.: THE LONG ISLAND FARMER’S POEMS. LINES WRITTEN ON THE “QUAKER CITY” EXCURSION TO PALESTINE, AND OTHER POEMS, BY ... MARK TWAIN’S “LARIAT” IN “INNOCENTS ABROAD.” New York: N. Tibbals & Sons ... Published for the Author, . iv, - 499,,pp. Octavo. Medium brown cloth, decorated in black, spine stamped in gilt. Engraved portrait frontispiece. Portrait of S.L. Clemens and other plates. Edges rubbed, text stock characteristically tanned, frontis a bit foxed, edges rubbed, just a near very good copy of a poorly produced book. First edition. Characteristically inscribed by the author on the front pastedown: “To my very much esteemed Friends Mr. & Mrs, Charles Walters With the Compliments of the Author Bloodgood H. Cutter 1889 / Prove all things hold fast that which is good ....” Cutter married well and, through capable property acquisitions and management, amassed a fortune sufficient to allow his eccentricities to flourish in a relatively unrestrained fashion. He fancied himself a poet, and had a penchant for self-publication, largely in leaflet or broadside form. By virtue of circumstance, he found himself traveling in company with S.L. Clemens, who granted him some form of fame as the “Poet Lariat” in Innocents Abroad. Cutter seldom, if ever, failed to try to capitalize on that association, as here in his most substantive collection of his fugitive “verse.” One needs only to scan a single quatrain to appreciate how deficient Mr. Cutter was in the area of self-criticism. $275. Dana on the Blockade 129. Dana, Richard Henry, Jr. (novelist and attorney, 1815 - 1882): ORIGINAL AUTOGRAPH MANUSCRIPT, SIGNED. [Np]. 30 September 1864. Two pages, quarto. In ink, on rectos of two plain lettersheets, onlaid and inset at an early date to two sheets of album mat paper. A few minor foxmarks to lower blank margin of one sheet, mounts tanned, otherwise very good. An important statement by Dana on the relative humaneness of war at sea, as opposed to war on land, and the justification of maritime booty, signed and dated at the end: “Rich. H. Dana Jr. Sep. 30. 1864.” This manuscript was most likely written out by Dana, perhaps as a souvenir, in the year following his defense before the U.S. Supreme Court of the federal position on the seizure of the vessels of enemy combatants and the blockade of the Confederates. In his statement, Dana asserts that: “War upon the sea is more humane, and accompanied with less danger to all that is most dear and sacred to humanity than war upon the land. The ship of war traverses the common, uninhabited highway of the world. It does not, like an army, pass over cultivated fields, billet itself in towns, destroy crops ... cause alarm if not outrage to non-combattants [sic], and leave women and children poorer if not wretched for its passage. War at sea deals only with men, and with men who go to sea as combattants [sic]. The ship ... violates no homesteads, no altars, no monuments & touches nothing that is sacred or necessary to life. When maritime war makes prizes of merchant vessels, it is only of merchandise voluntarily sent to sea for gain, entrusted to men engaged for that purpose. It transfers commercial values ... on the common highway of commerce ... from the total of the commercial resources of one belligerent to the total of the commercial resources of the other belligerent.” In addition to the great popularity and critical success of his novel, Two Years Before the Mast, perhaps the second greatest pinnacle of Dana’s career was his arguing the case for the blockade as U.S. Attorney before the U.S. Supreme Court, and this is a cogent and attractive summary of that argument. Accompanied by a 9.3 x 5.8 portrait photograph of Dana, similarly mounted. $1500. 130. [Dangling Participle Press]: Eberle, Matt: RUDY & MIDGE. [Madison, WI]: Dangling Participle Press, . Oblong small octavo. Quarter linen and pictorial boards. Illustrations and inserts. Fine. First edition. One of thirty-five numbered copies printed in a combination of letterpress, lithography, and serigraphy, with images derived from found travel ephemera and other material from whence the narrative evolves. Signed by the author/printer/artist. $250. Crossroads Edition, With Manuscript Leaf 131. Davis, Richard Harding: NOVELS AND STORIES OF RICHARD HARDING DAVIS. New York: Charles Scribner’s Sons, 1916. Twelve volumes. Large octavo. Elegantly bound in full red crushed morocco, elaborately gilt extra, t.e.g., others untrimmed, silk endsheets, by Stikeman for Scribner. Portraits and frontispieces. Bookplate in each volume on preliminary blank, spines very slightly darkened, with slight rubbing at tips, otherwise a handsome set, near fine. The best collected edition of Davis, denoted the “Crossroads Edition,” published the year after his death and collecting material for the first time in book form in volumes ten, eleven and twelve. This is set #13 of 256 numbered sets, is in the most lavish of the sequence of bindings available, and includes in the first volume a leaf of autograph manuscript by Davis. The colophon is “signed” by the publisher. Five of the frontispieces are signed in the margins by the respective artists, including Charles Dana Gibson and Howard Chandler Christy. Apart from his fiction and drama, Davis left an indelible mark on the evolution of the role of the war correspondent in American journalism. His sometimes controversial, and not always disinterested dispatches from the Spanish American War, the Boer War, the Russo-Japanese War and the opening years of the Great War were influential in swaying both public opinion and government policy, and in embellishing the reputations of both principals and units in the conflicts. BAL 4574. $2000. 132. Day, Dorothy: HOUSE OF HOSPITALITY. New York & London: Sheed & Ward, . Cloth. Slightly musty, endsheets a bit tanned and foxed, otherwise a very good copy in lightly nicked and worn pictorial dust jacket with some dust spotting to blank areas of rear panel. First edition of Day’s account of the House of Hospitality Movement and its reflection of Catholic social activism as articulated in Day’s activities with the Catholic Worker. $300. Association Copy of a Rare Tribute to a Welsh Terrier 133. [De la Tour, Maud des Champs]: THE HISTORY OF PINCHER, BY HIS MISTRESS. Lymington: Printed by Henry Doman, [nd. but ca. 1876]. 83pp. 12mo. Forest green cloth, lettered in gilt, a.e.g. Light rubbing at edges, but a good copy of a cheaply made book. First and only edition of this affectionate and extended tribute by the author to her Welsh Terrier, Pincher, including a poetic eulogy, as well as a poetic rendering of “Last Words of a Favorite Dog to His Mistress.” Inscribed by the author to “William Allingham Esq with kind regards from ‘Pincher’s’ former mistress - Maude D.C. de la Tour Jan. 1st 1877.” There are a few scattered corrections in the text in the same hand. Whether Allingham was acquainted with the author, or simply the recipient of an unsolicited token from an admirer, is unclear. The book is uncommon: not reported in OCLC/Worldcat, and COPAC and NSTC locate only the British Library copy. Any additional literary accomplishments credited to the author seem equally elusive, if not non-existent. $200. 134. [De Quincey, Thomas]: CONFESSIONS OF AN ENGLISH OPIUM-EATER. London: Printed for Taylor and Hessey, 1822. vi,206,pp. Modern full medium brown crushed levant, gilt inner dentelles, a.e.g., by Zaehnsdorf. Hairline crack in upper joint, otherwise about fine, with the half-title and advert leaf. Cloth slipcase. First edition of De Quincey’s masterpiece. “This book ... sets out the picture of a soul, a psycho-graph; and as such it outranks all that our marvelous literature possesses....” - William Bolithio. $3000. 135. Debs, Eugene Victor: WALLS AND BARS. Chicago: Socialist Party, . Large octavo. Flexible grey cloth, lettered in gilt, t.e.g. Portrait. Overlap edges and spine extremities rubbed, as usual, small ink name on pastedown, otherwise very good. First edition of Debs’s memoir of his term in prison, along with observations on prison reform, criminal justice and the relations between incarceration and poverty and class. Signed in ink by Theodore Debs at the conclusion of his brief prefatory note. $100. 136. DeMille, Cecil B.: TYPED LETTER, SIGNED. Hollywood. 23 January 1958. One page, on quarto sheet of Paramount Pictures letterhead. A bit rumpled, with some wear at folds, large pencil docket by recipient, small chip from blank corner. Good, in folding half morocco clamshell box. To Arthur S. Wenzel, in response to his expressions of sympathy after the death on 16 January of Jesse L. Lasky, associate with DeMille and Sam Goldwyn in the founding of the Lasky Feature Play Company in 1913. DeMille, then engaged in the production of The Ten Commandments, waxes philosophical: “...I believe that a man’s mind is imperishable, that it is immortal and close to the Divine Mind. I believe that the laying aside of a body is like the laying aside of a suit of clothes that we have been fond of and appeared in and utilized until it is worn out and the mind is freed to go on in a new garment which we have never seen, but which we believe is a much finer one than the one cast aside. I agree with you when you say Jesse and I will be together always for the mind can go where it wills and be with whom it wills ....” Dictated, then signed with a flourish: “C.B. de M.” $400. 137. DeVere, William: TRAMP POEMS OF THE WEST. Tacoma, WA: Cromwell Printing Company, 1891. 102pp. Large octavo. Gilt pictorial cloth. Portrait. Illustrated throughout. Cloth a bit dull and smudged, bookplate, early ink name and gift inscription on title and verso of portrait, publisher’s address slip pasted to verso of contents leaf, front inner hinge cracking, a few small tape fragments on pastedowns. A sound copy of a poorly made book, in half morocco folding case. First edition. The illustrations are the author’s own, and like the poetry, their naive charm runs thin pretty quickly. A book about which even the most ardent collectors of tramp literature have second thoughts. $75. A Substantial Archive of His Poetry 138. Dixon, Maynard: POEMS (AND NEARLY) [and Untitled]. Two Presentation Portfolios of Manuscript and Typescript Poems. [San Francisco, January 1915, and ca. 1936]. Two volumes.  leaves, and  leaves. Quarto, laid into two folding portfolios (approx. 29 x 22 cm), the earliest being watercolor decorated paper over cardboard, with old calf fore-tips to the upper board, the later cloth-backed boards, the upper board decorated in ink with a small rendition by Dixon of a thunderbird and a small monogram on the lower board. Some modest edgewear to portfolios, but generally very good or better. Two significant collections of Dixon’s poetry in typescript, carbon typescript, and autograph manuscript, with occasional corrections, revisions and annotations, prepared personally by him for presentation. The earliest, which includes twenty-six poems, includes a manuscript title-leaf in his hand: “Poems, (and Nearly),” with a small ink rendering of a thunderbird, and is inscribed: “Franc from Maynard Jan - 1915.” The title leaf is accompanied by a manuscript index of the included poems, also embellished with an ink drawing. All of the poems in this album are present in either carbon or original typescript, most bearing the approximate or exact dates and places of composition, the latter information occasionally revised or amplified in ink or pencil by Dixon. The earliest poem in this album dates from 1896, the latest from 1914. The second, later album includes no formal title, but opens with a leaf inscribed in pencil: “Betty - I don’t believe you will like these - But here they are - it’s you asking. M.D.” It consists of thirty-five poems in typescript or carbon typescript (two - including the important poem “Jeffers” - with significant manuscript revisions, a couple more with minor manuscript tinkerings, and two signed at the end with initials in coarse pencil, with date and/or place), and three wholly in manuscript, in ink, in Dixon’s bold hand. Two of the typescript poems in this album, “San Francisco” (1913) and “Nebula” (1914), appear in the earlier album, the first from a definitively different typing of the text. The latest poem in this album bears a 1936 date of composition. “Jeffers,” which bears meaningful manuscript revisions, is undated in this draft, but is dated “ca. 1925” in its published form. All but one of the poems in these albums are printed in some form in the authoritative edition of Dixon’s poetry, edited by his widow, Edith Hamlin (Rim-Rock and Sage The Collected Poems of Maynard Dixon, California Historical Society, 1977), although occasionally under variant titles or with minor variations in their texts. One poem in the later album, entitled “Japs,” is uncollected and may have been omitted by Hamlin due to its rather strident and painfully negative ethnic caricatures. Maynard Dixon (1875 - 1946) has long been regarded one of the most significant artists and illustrators of the American West and Southwest, but his parallel career as a poet is less widely known. Although a number of his poems appeared in the western periodical press, his sole lifetime book publication is the now elusive Poems and Seven Drawings, privately printed by the Grabhorns in 1923. While his painting and drawing commissions claimed much of his attention during the remaining 23 years of his life, he continued to write poetry until at least as late as 1937, touching on many of the same themes as drove his drawings and paintings, both public and personal: the terrain, people (most particularly the native peoples) and history of the West, with a critical but not wholly unsympathetic eye toward certain tendencies of modernism, all coupled with a strain of physical consciousness occasionally bordering on the erotic. In his Preface to Rim-Rock and Sage, J.S. Holiday denotes the 164 poems collected therein as “every known poem by the artist.” The sixty-one poems preserved by Dixon in these two albums span virtually his entire career as a poet, representing over one third of that known output, and the collection adds one hitherto unpublished poem to that number. $9500. 139. Dixon, Maynard: POEMS AND SEVEN DRAWINGS. [San Francisco: Privately printed at the Grabhorn Press], 1923. Small quarto. Printed boards (to all appearances, slightly later than publication). Some light spotting to endleaves, bookplate of James S. Copley on front pastedown, a few minor marks to boards, otherwise a very good or better copy. First edition. One of 250 copies printed by Edwin and Robert Grabhorn and James McDonald. Though initially printed for private distribution, some copies were also sold to the public. There were at least two variant bindings at the time of initial distribution - this is not one of them. Now rather uncommon in commerce. GRABHORN 52. $650. 140. Donleavy, J.P.: THE GINGER MAN. Franklin center, PA: The Franklin Library, 1978. Large octavo. Gilt green publisher’s leather, a.e.g. Ribbon marker. Fine, as usual. First printing in this format, as a “limited edition” with illustrations by Skip Liepke and a two-page note by the author new to this edition. Signed by Donleavy. Selected by the board of the Modern Library as one of the 100 Best 20th Century Novels in English. $75. 141. Douglas, Norman: SOUTH WIND. London: Secker, 1917. Cloth. First edition (997 copies printed). For the record, this copy has 335:1&2 in their proper order, as they appeared in the proofs. Very slightly rubbed at spine tips, some slight tanning to endsheets and prelims (perhaps from a long absent clipping) otherwise an unusually nice copy, very good or better, and certainly a considerable cut above the norm. Cloth slipcase and chemise. WOOLF A19a. MODERN MOVEMENT 28. $375. 142. Douglas, Norman: SIREN LAND ... NEW AND REVISED EDITION. London: Martin Secker, . Medium brown cloth, stamped in gilt. Portrait. Boards very slightly bowed, otherwise very good and bright. A publisher’s dummy for the first edition under Secker’s imprint, the text revised from that of the 1911 edition and reset. This dummy includes the prelims and portrait (the latter bearing a pencil format annotation), and the first 32pp. of text. The spine stamping is in this case vertically centered on the upper board. Rare in this form. $225. 143. Dunbar, Paul Laurence: CANDLE-LIGHTIN’ TIME ... ILLUSTRATED WITH PHOTO- GRAPHS BY THE HAMPTON INSTITUTE CAMERA CLUB. New York: Dodd, Mead & Co., 1901. Elaborately gilt decorated cloth (by M. Armstrong), t.e.g.. Photographs. Decorations (also by Armstrong). One signature barely starting (visible only at the top edge), otherwise an unusually bright, near fine copy. First edition thus, with one poem here first printed in book form. The title-page is in BAL’s state B, printed in black and green. BAL 4937. $350. 144. Dyck, Paul: BRULÉ THE SIOUX PEOPLE OF THE ROSEBUD. Flagstaff, AZ: Northland Press, . Quarto. Publisher’s half gilt calf and cloth. Illustrations, plates and photographs. Bookplate, cloth faintly dust smudged, otherwise a very good or better copy in lightly sunned and dust-smudged slipcase. First edition, limited issue. One of one hundred numbered copies, specially bound, with an original pen and watercolor drawing on the colophon, signed by the author/artist. Dyck’s text is commentary on the accompanying collection of photographs by John Anderson taken at the Rosebud Agency beginning in 1889. $1000. 145. Eager, James Henry Lovell: COURTSHIP UNDER CONTRACT THE SCIENCE OF SELECTION A TALE OF WOMAN’S EMANCIPATION. New York, Passaic & London: The Health-Culture Company / L.N. Fowler & Co., . 440pp. Deep blue cloth, lettered in white. Portrait. Edges a bit dusty, small dent in upper board, offset to endsheets from dust jacket (fragile, partial panels laid in), otherwise a very good copy. First edition of this novel promoting eugenics and social, political and economic reform. The novel proposes a form of contractual platonic cohabitation prior to marriage as a solution for the rising divorce rate. HANNA 1057. SMITH E-1. $85. 146. Earle, Alice Morse: CURIOUS PUNISHMENTS OF BYGONE DAYS. Chicago: Printed for Herbert Stone & Co., 1896. Straw cloth, stamped in red and brown, t.e.g., others untrimmed. Frontis and plates by Frank Hazenplug. Very slight darkening to spine, otherwise a very good or better copy of this popular title. First edition. The first catalogue of Herbert Stone & Co is inserted as [8pp] of terminal adverts in this title. KRAMER 118. $85. 147. Emerson, Adaline Talcott: LOVE-BOUND AND OTHER POEMS. Cambridge: Printed at the University Press, 1894. Small octavo. Gilt green cloth, t.e.g., others untrimmed. Portrait. Light rubbing to spine tips, otherwise near fine. First edition. One of five hundred copies privately printed under the direction of Stone & Kimball. KRAMER, p.361. $85. 148. Emerson, Ralph W.: ENGLISH TRAITS. Boston: Phillips, Sampson and Co., 1856. Dark brown cloth, stamped in blind, lettered in gilt. Early ink name on first blank, ink initials in corner of free endsheet, bookplate of the James S. Copley collection, minor occasional spotting to the text, hence internally very good; externally an unusually fine, bright copy. Half morocco slipcase and chemise. First edition, published in early August. The London edition announced by Bentley in early July did not appear, and the Routledge edition appeared in late August. An early laid in bookseller’s description proclaims this copy “miraculous,” and perhaps “unique” in its perceived exemplary condition (in all caps, no less!). MYERSON A24.1.a. BAL 5226. $475. 149. [Encino Press]: Dobie, J. Frank: BOB MORE MAN AND BIRD MAN. Dallas: The Encino Press, 1965. vii,27,pp. Small quarto. Cloth, paper label. Illustrations. Bookplate, otherwise about fine in card slipcase with paper label (a bit sunned, with stray mark on upper panel and small label residue in lower corner). First edition in book form, and the first clothbound publication of the Encino Press. One of 550 numbered copies designed, and with an introduction, by the principal of the press, William Wittliff, later an accomplished photographer and screenwriter. An uncommon book a couple of decades ago. $95. 150. Ernst, Morris L., and Pare Lorentz: CENSORED THE PRIVATE LIFE OF THE MOVIE. New York: Cape and Smith, . Cloth and decorated boards. Frontis and plates. Foretips and lower edges shelfworn, crown of spine a bit soft, otherwise a very good copy, without dust jacket. First edition. Warmly inscribed and signed by Ernest in the year of publication. An interesting survey of censorship actions taken against films on both national and local levels. $100. 151. [Esher Collection]: CATALOGUE OF THE VERY EXTENSIVE AND WELL-KNOWN LIBRARY OF ENGLISH LITERATURE FROM THE XVIII CENTURY TO THE PRESENT DAY FORMED BY THE RT. HONOURABLE VISCOUNT ESHER .... London: Sotheby & Co., 1946. Three volumes. Printed wrappers. Wrappers faintly used, short tears at top and bottom edges of third rear wrapper, but a very good set. The sale catalogue (in three portions) of Reginald Brett’s important collection, notable for its particular emphasis on then contemporary poets. 2134 lots, of which any one of several group lots would constitute a notable author collection offering these days. $55. 152. [Essex House Press]: THE BOOK OF COMMON PRAYER, AND ADMINISTRATION OF THE SACRAMENTS , & OTHER RITES & CEREMONIES OF THE CHURCH .... [London & Campden: Press of the Guild of Handicraft, Essex House / Eyre & Spottiswoode, 1903]. ,387pp. Folio. Half pigskin and beveled oak boards, with braided leather ties and metal hasps. Frontispiece. Printed in black and red, with elaborate pictorial borders for prelims and pictorial initials throughout. A bit of wear to extremities, ties a bit frayed and missing one loop; neat gift inscription on preliminary blank, small collector’s bookplate, but a very good copy, internally about fine. One of four hundred numbered copies printed under the direction of C.R. Ashbee on Batchelor handmade paper in ‘Endeavour’ type and a special type cast specifically for use in this book. The 150 cuts and borders were drawn by Ashbee and engraved by W. Hooper and Miss Clemence Housman. Known also as The Prayer Book of King Edward VII (and so titled on the spine), this was one of the most substantial productions of the press, and the model for an edition of the Bible that, due to lack of subscriptions, did not progress beyond a prospectus. There were also ten copies on vellum. TOMKINSON (ESSEX) 37. RANSOM (ESSEX) 37. $2500. 153. Etherege, George: THE MAN OF MODE, OR, Sr FOPLING FLUTTER. A COMEDY ACTED AT THE DUKE’S THEATRE. London: Printed by J. Macock, for Henry Herringman ..., 1676. ,95,pp. Small quarto. Extracted from binding. Small early pamphlet volume index number in corner of title, light scattered foxing, a few tiny pen splashes in upper margins of last three leaves, small rust hole in N 3 affecting one word, otherwise a very good copy. First edition of Etherege’s final and most successful play, which has become “‘as it were, one of the very symbols of the comedy of manners’ ... [it] is still the most popular of Etherege’s comedies” - Pforzheimer. Etherege and Rochester were occasional companions in social pastimes - they both sired children with the actress Elizabeth Barry - and Etherege wrote this comedy partially in response to comments Rochester made in his “Session of Poets,” which circulated the previous year. The character Dorinant is said to be explicitly modeled on the Earl, and Etherege has himself been identified with Sir Fopling. Dryden contributed the Epilogue. ESTC R38861. WING E3374. WOODWARD & McMANAWAY, 551. $950. 154. Everson, William: A PRIVACY OF SPEECH TEN POEMS IN SEQUENCE, WITH BLOCK PRINT DECORATIONS BY MARY FABILLI. Berkeley: Equinox Press, 1949. Quarto. Stiff quarter vellum and decorated paper over boards. Toe of spine a bit darkened, vellum flared along edge where it meets the decorated paper, light rubbing to gilt stamping, otherwise about fine. First edition of Everson’s first major exercise in fine printing, limited to one hundred copies set in Centaur and Arrighi types, and printed by hand on Tovil handmade paper. With the original invoice to the first owner, in Everson’s hand, on Equinox Press letterhead, 15 November 1949, accompanied by the envelope, also addressed by the poet/printer. $3000. One of Fourteen Accompanied by Original Drawings 155. Everson, William: RIVER-ROOT A SYZYGY FOR THE BICENTENNIAL OF THESE STATES. [Berkeley]: Oyez, 1976. Quarto. Half calf and decorated boards. Fine. First edition. From an edition of 250 copies designed and printed by Thomas Whitridge and illustrated by Patrick Kennedy, this is one of 14 lettered copies in which the poet wrote out a stanza of verse. This copy is accompanied by five of the original drawings and studies for the illustrations for the book, on four large sheets of drawing paper (folded across middle and with corner nicks and creases). $850. 156. Everson, William: RIVER-ROOT. A SYZYGY FOR THE BICENTENNIAL OF THESE STATES. [Berkeley]: Oyez, . Quarto. Pictorial wrappers. Fine. First edition, trade issue. Inscribed by Everson: “To Allan Tate for the hospitality of his home and for his prodigious service to American Letters William Everson.” An interesting, if somewhat unexpected, association copy. Designed by Thomas Whitridge, with illustrations by Patrick Kennedy. $125. 157. Everson, William [intro to:] TRUE BEAR STORIES. By Joaquin Miller. [Covelo, CA]: Yolla Bolly Press, . Large octavo. Full “California Latigo leather,” stamped in blind. Illustrated with woodblocks by Vincent Perez. Fine in slipcase with small label shadow at corner of one panel. First printing in this format, edited by James Robertson, with an Introduction by William Everson. One of 230 numbered copies (of 250), printed on Curtis Rag paper, with the illustrations printed from the blocks, signed by Everson and by Perez. Issued as #4 in the press’ “California Writers of the Land” series. $225. 158. [Everson, William, et al (printers)]: A LITTLE REBELLION NOW & THEN. Santa Cruz: William James Association, 1976. Title/index leaf, fourteen broadsides, and errata sheet. Folio (52 x 39.5 cm). Loose typographically decorated broadsides, laid into gilt lettered folding cloth portfolio. Bookplate residue on portfolio pastedown, light rubbing to portfolio, otherwise near fine, broadsides fine. First and only edition. One of ca. 200 sets printed on Tovil handmade paper. A singular undertaking in observance of the Bicentennial Year, wherein distinguished printers were invited to select appropriate texts and present them in broadside form, with the only requirement being size and paper. Those who contributed are: Clifford Burke (Cranium Press); Sebastian Carter (Rampant Lions Press); Bert Clarke (A. Colish); William Everson (Lime Kiln Press); Katherine & Sherwood Grover (Grace Hoper Press); Andrew Hoyem (Arion Press); Mark Landsburgh (Sign of the Albion Press); Cheryl Miller, Kathy Walkup and Jaime Robles (Five Tree Press); Henry Morris (Bird & Bull Press); Ward Ritchie; Jack Stauffacher (Greenwood Press); Stinehour Press; Tom Whitridge (Didymus Press) and Adrian Wilson (Press in Tuscany Alley). The accompanying errata indicates that David Godine and Alvin Eisenman would be sending their broadsides directly to the subscribers, but neither broadside was published. In spite of the large limitation, sets infrequently turn up for resale, many of the original subscribers having been institutions. $500. 159. Fast, Howard: TYPED LETTER, SIGNED. New York. 25 November 1945. Two-thirds of a page, on quarto sheet of personal letterhead. Folded for mailing, pencil squiggle across imprint at top, very good. To William Targ, at World Publishing Co. A dictated letter, but personalized by Fast by amendment of the salutation in manuscript from ‘Mr Targ’ to ‘Bill’: “I am pretty sure that you feel very much as I do about the atom bomb. I felt there was a desperate need to take some kind of action and fortunately, through the Independent Citizen’s Committee, we have been able to arrange a Madison Square Garden meeting. But, unless the Garden is filled, the meeting will have very little effect - and there’s no one but you and I, and a few hundred more interested citizens, who can assure it being filled.” Fast had enclosed tickets for the event, and requests Targ’s help in their distribution/sale, closing “And if you send a letter similar to this to a dozen friends of yours, we’ll have the Garden packed to the rafters ....” Signed in ink, “Howard.” $125. 160. Faulk, John Henry: FEAR ON TRIAL. New York: Simon & Schuster, 1964. Cloth. Binding a bit sunned at edges, edges a trace dusty, otherwise a very good copy, in occasionally creased, nicked and edge-tanned dust jacket. First edition. Inscribed by the author: “For Ken Roberts, who stood firm long before I even got involved, and who never backed away - With great admiration, much gratitude, and much affection, John H. Faulk 4 Nov. 1964.” The recipient was, in all likelihood, the radio and television announcer and co-founding member of the American Guild of Radio Announcers and Producers, later AFTRA. Faulk’s account of his long legal battle against, and victory over, the blacklisting right-wing fringe group AWARE, served as the basis for an Emmy-winning 1975 television adaptation starring William Devane, George C. Scott, et al. While Faulk, always a gentleman, was unsparingly courteous in response to requests from admirers for inscriptions in his books in later years, early presentation/association copies of this book are not common. $125. 161. Faulkner, William: MARIONETTES A PLAY IN ONE ACT. [Oxford: Yoknapatawpha Press, 1975]. Tape backed boards. Illustrated. Fine in folding case, with accompanying explanatory booklet. First edition thus, reproduced in exact facsimile of Faulkner’s illustrated manuscript booklet. One of 500 numbered copies (of 510). With the explanatory text by Ben Wasson, “A Memory of Marionettes.” $350. 162. Ferber, Edna: TYPED LETTER, SIGNED. New York. 4 October 1931. Two and one- half pages, on three panels of a folded quarto sheet of letterhead from the Lombardy. Very good. To writer/educator Hamilton Holt, then President of Rollins College: “... I wish I might accept your invitation to visit Rollins College, but I am sorry to say that it seems impossible. That Fatal Interview was, as you say, copied all over the country. I haven’t talked for publication in something like ten years. I can’t imagine why I exploded at just that point. But I meant it ... an interview such as that one usually is full of misquotations, and is bound to give a false impression. But I only regret that I was not more emphatic. I wish that the boys and girls of the United States could be convinced that Politics is something in which they are vitally concerned. As things now stand it is merely something comic or vulgar that goes on in Washington or in the state legislature; something which doesn’t concern them at all, but which is made up of the antics of tobacco chewers in black string ties or wise- cracking boys like Jimmy Walker. In any case, it doesn’t interest them, though, oddly enough, their lives seem to depend pretty much on what happens just now in this mysterious world-mess known as politics ....” Signed in full. $450. 163. Field, Eugene: AUTOGRAPH LETTER, SIGNED. Chicago. 25 May 1893. One page, in ink, on single panel of quarto folded lettersheet. Folded for mailing, otherwise fine, with envelope addressed in his hand (stamp cut away). To “Mrs. Coonley,” most likely Lydia Avery Coonley Ward, the prominent suffragette / philanthropist / poet / patroness (1845-1924) of Wyoming and Chicago, and widow of J.C. Coonley. Field writes apologetically: “Your courteous invitation for last evening reached me too late for acceptance. We have moved our place of residence ... Pray acquit us of any apparent rudeness; the loss is wholly ours. Very cordially yours, Eugene Field.” Accompanied by a small photogravure portrait of the author, signed in pencil in the margin — most likely a frontispiece extracted from a book. $350. 164. Fine, Ruth E., and William Matheson: PRINTERS’ CHOICE. A SELECTION OF AMERICAN PRESS BOOKS, 1968 - 1978. CATALOGUE OF AN EXHIBITION HELD AT THE GROLIER CLUB, NEW YORK, DECEMBER 19, 1978 - FEBRUARY 3, 1979. Austin: W. Thomas Taylor, 1983. Folio. Cloth, paper label. Photographs. Tipped-in specimen leaves. Bookplate on front pastedown, otherwise about fine. First edition. Bibliographical descriptions by W. Thomas Taylor. One of 325 numbered copies, printed on Rives heavyweight paper by David Holman at the Windriver Press. A lovely and important book, based on the Grolier exhibit, and printing capsule histories of forty-one important American fine presses, with bibliographic descriptions of the books selected to exhibit the work of each press. Enhancing this volume are specimen leaves printed by each of the following presses: Allen Press, Arion Press, Bird & Bull Press, Cummington Press, Laguna Verde Imprenta, Perishable Press, Plantin Press, and the Warwick Press. Among the other presses treated: Abattoir Editions, Anvil, Cranium, Gehenna, Greenwood, Heron, Janus, Labyrinth Editions, Lime Kiln, Press in Tuscany Alley, Stone Wall, and the Windhover Press. $450. Presentation Copy 165. Flaubert, Gustave: LE CANDIDAT COMÉDIE EN QUATRE ACTS ... REPRÉSENTÉE SUR LE THÉATRE DE VAUDEVILLE LES 11, 12, 13 ET 14 MARS 1874. Paris: Charpentier et Cie., 1874. ,165,pp. Small octavo. Unsigned 20th century three-quarter forest green morocco and marbled boards, raised bands, t.e.g., original wrappers bound in. Wrappers and first blank remargined at gutter, the former with some repairs and restored loss at blank margins and corners, first blank mounted with some foxing and soiling along gutter, otherwise internally bright and clean, and handsomely bound. First edition of Flaubert’s first published dramatic work, inscribed by him on the preliminary blank “a mon ami Cordier [/] G Flaubert.” The first letter ‘a’ is partially affected by the remargining. The recipient may have been Alphonse Cordier (1820-1897), the senator from Normandy, with whom Flaubert was acquainted and corresponded, and who proved instrumental in the prosecution against De Maupassant’s Des Vers being withdrawn. Le Candidat was a commercial failure, and its reception led to Flaubert joining with Zola, Edmond de Goncourt, and Turgenev for a Dîner des Auteurs sifflés, a Dinner of Jeered Authors, in April (Brown, Flaubert, p.493) TALVART & PLACE (FLAUBERT) 6a. CARTERET I: 270. $2750. 166. Foerster, Leland: STONE LEGACY PHOTOGRAPHS OF MISSION CHURCHES IN BAJA CALIFORNIA. [San Diego]: Leland Foerster Portfolio One, . Twelve matted color photographs (image size 11 x 15 inches, plus margins; mat size 16 x 20 inches). Accompanied by explanatory text, enclosed in archival cloth case. Fine. A superb portfolio of Foerster’s original Ilfochrome prints of twelve of his photographs of missions on the Baja peninsula: San Luis Gonzaga. San Borja, Santa Gertrudes, San Ignacio, and San Javier. The portfolio is limited to fifty numbered sets, numbered and signed on the explanatory text insert by the photographer, and with each print numbered and signed on the mat. This is portfolio #4. For the past 16 years Foerster has been an instructor in the Arts and Humanities Department of the University of California San Diego Extension where he teaches courses in artistic photography. He has completed two books: There is Work, Hay Trabajo, about agriculture, people and water in California’s Imperial Valley, and The Californios, about the descendants of the mission era in Baja California. Sold 167. [Ford, John]: Nugent, Frank S.: [SCRAP BOOK OF PRESS-CLIPPINGS, CITATIONS, ETC]. [Los Angeles]. 1948 - 1966. Ca. 90 filled pages, plus many loosely inserted items. Large, gilt lettered padded leather scrapbook, 36.5 x 28cm. Occasional discoloration due to glue used to tip in items, some clippings lightly used, detached and/or tanned, but in generally very good or better state. The retained scrapbook compiled by screenwriter Frank S. Nugent (1908-1965) of reviews, press coverage, awards, and other such matter during this portion of his career, and concluded by his widow after his death. Beginning in 1948 with his first major screen credit, Fort Apache, Nugent was closely associated with John Ford and eleven of his twenty-one scripts were for Ford, including some of the latter’s most important films (She Wore a Yellow Ribbon, The Quiet Man, Mister Roberts, The Searchers, The Last Hurrah, etc). Among the laid in items are a 1948 t.l.s. to Nugent from Walter Wanger; a 1956 congratulation telegram from Jack Warner after Nugent won the Screen Writers Award for Mister Roberts, along with his original signed nomination for the award; the original signed Screen Writer’s Guild nomination for The Quiet Man; Box Office Blue Ribbon Awards for The Last Hurrah and Mister Roberts; a publicity portrait photograph of Nugent; two copies of the program for the 25th Annual Academy Awards, for which Nugent’s screenplay for The Quiet Man was nominated; and the copy of the Feb. 1966 issue of the Writers Guild Newsletter containing the memorial tribute to him sent to Nugent’s widow, with transmittal letter. In total, an interesting assemblage tracking an important career in the film industry. $750. 168. Forrest, Bernard: HER FOOT IN MY HAND. Los Angeles: Press of the Pegacycle Lady, 1972. Cloth and boards, paper spine label. Frontis. Bookplate on front pastedown, otherwise fine. First edition. One of fifty numbered copies (the entire edition) printed on handmade paper, signed by the poet, and with an original wash and watercolor painting by him tipped in as the frontispiece. $200. Letter of Introduction to Albert Camus 169. Frank, Waldo: TYPED LETTER, SIGNED, TO ALBERT CAMUS. Truro, MA. 9 April 1953. One half-page, on half-sheet of quarto letterhead. Folded for insertion into envelope (present), else fine. A charming, if brief, letter of introduction from Frank: “Dear Albert, Here is my very dear friend, Lewis Mumford, about whose visit I wrote you. No one in our country has his width and depth of knowledge of America and the modern world. I wish I could be with you, when you talk. Warmest good wishes to you and your wife.” Signed in ink, “Waldo Frank”, and in type at bottom: “for Albert Camus.” The envelope is addressed, in type, to Camus care of the NRF. Camus met Frank during the course of his visit to New York in 1946, and counted him among those who made the strongest impression upon him. $300. 170. Frank, Waldo: FINE TYPED LETTER, SIGNED, TO LEWIS MUMFORD. Cali, Colombia. 4 February 1949. One page, closely typed, on recto only of quarto sheet of Hotel Alferez Real stationary. Old folds from mailing, otherwise very good. A dense and informative letter by Frank, then in the midst of one of his several trips through South America, to Lewis Mumford, as “Lewis, dear dear Brother,” reading only in part: “... These four weeks in Columbia, I have travelled, studied, met innumerable people, and tried to capture the essence of this strange, schizoid country, so advanced politically and so backward economically and indeed intellectually - where books of poems are best-sellers and there is no demand for (no supply of) novels — a revelatory trait of a country whose ‘elite’ are utterly out of contact, except in theory, with the workers ... My book is rapidly forming; it will be good, I think, and it will be timely. I am eager now to return, and to begin to write it.” He will depart the next day for Ecuador, “... where I shall be the guest of the government, since it is a liberal one (for how long?) One by one, they fall, not through the work of the old fashioned caudillo, who after all had a relationship with the common people, but through the act of Armies schooled in Hitlerian Germany and fascist Italy, and munitioned by the USA — in preparation for a war against Russia. It is a ghastly situation. For here, even more than with us, there is no 3rd Force: it is the Church-and-Army, against a handful of communists - the liberals are scattered and impotent.” In addition, he tells of a 4 day pilgrimage to San Augustin and the continuing discoveries there of statuary “not seemingly related with either Maya or Peruvian - probably it is earlier, and there is a mising [sic] link between it and these later cultures ....” He turns to other matters, including renewal of a Fellowship, and closes “ever your brother....” Signed in ink, “Waldo,” and with a handful of minor corrections. Ca. 600+ words. Beginning in the 1930s, Frank turned further away from his fiction writing toward concentration on the economic, political and social history of Latin America. The book he refers to may have been Birth of a World: Bolivar in Terms of His Peoples, published in 1951. sold Manuscript Poem 171. Frost, Robert: AUTOGRAPH FAIR COPY MANUSCRIPT OF “A PECK OF GOLD.” [Np]. [nd. but possibly ca. 1920s]. One page, on recto only of 22 x 14 cm sheet. Trace of symmetrical offset around perimeter from having once been framed, otherwise very good or better. Half morocco folding clamshell box. An autograph transcript of this twelve-line poem, titled, and signed in full by Frost at the conclusion. Further, he has inscribed it at the bottom “For Hilda.” A laid in slip indicates the recipient was Hilda Conkling (1910-1986), a child prodigy whose own poems (composed orally when she was but a child and transcribed by her mother, poet Grace Hazard Conkling) were collected in three volumes published between 1920 and 1924. Frost visited the Conklings during that period, and this poem, first published in book form in West-Running Brook (1928), seems a likely candidate for Frost to have written out and given her during one of those visits. $10,000. 172. Gallup, Donald: PIGEONS ON THE GRANITE MEMOIRS OF A YALE LIBRARIAN. New Haven: The Beinecke Library, 1988. Cloth. Photographs. About fine in dust jacket. First edition of these informative, anecdotal and highly readable reminiscences of the former Curator of American Literature at the Beinecke Library, Yale University, published to coincide with his 75th birthday. Inscribed by the author “For Joan & Chester Kerr, my first readers! with grateful affection Don Gallup, New Haven, 12 May 1988.” Accompanied by a 3/4 page, closely typed, t.l.s. from Gallup to the recipients, commenting on the book, the publication event at the Beinecke, editing, etc. In his book, Dr. Gallup includes accounts of the acquisition and growth of the Stein, Pound, Williams, O’Neill and Stieglitz archives, as well as personal accounts of his own acquaintance with many of the most prominent literary and artistic figures of the 20th century. In the course of the text, material by Eliot, Wilder and Stein appears here for the first time in book form, along with records of conversations and interviews with Georgia O’Keeffe and Carlotta O’Neill. Dr. Gallup’s own experiences as a collector are by no means slighted. $95. 173. Garland, Hamlin: CRUMBLING IDOLS TWELVE ESSAYS ON ART DEALING CHIEFLY WITH LITERATURE, PAINTING AND THE DRAMA. Chicago & Cambridge: Stone & Kimball, 1894. Gilt decorated cloth, t.e.g., others untrimmed. First edition. Slight darkening to endsheets, with residue of small bookseller’s label on front pastedown, offset from now absent clipping to colophon and facing page, a few pencil notes to terminal blank, otherwise fine and bright. KRAMER 19. $100. 174. [Gehenna Press]: Bresdin, Rodolphe: BRESDIN TO REDON SIX LETTERS 1870 TO 1881. [Northampton]: The Gehenna Press, 1969. Large octavo. Quarter morocco and marbled boards by Arno Werner. Etched portrait by Leonard Baskin. Bookplate of James S. Copley, pencil erasure from endsheet, otherwise fine. First edition. Edited by Roseline Baker, translated by Seymour S. Weiner. Copy #125 of three hundred regular copies, from a total edition of four hundred numbered copies printed in Centaur and Arrighi types on Japanese paper by Harold P. McGrath, and signed by Baskin. One hundred deluxe copies were specially cased, with an extra impression of the portrait. BASKIN 61. $350. 175. [Gehenna Press]: Brown, Charles Brockden: ALCUIN: A DIALOGUE. [Northampton]: The Gehenna Press, 1970. Octavo. Marbled paper over boards, gilt morocco label, by Gray Parrot. Bookplate on front pastedown, otherwise about fine, in board slipcase with patch of rubbing at one corner. First printing in this format of Brown’s first book, featuring the text of 1798, along with the posthumously published third and fourth parts, edited, with an afterword, by Lee R. Edwards. The third of the Gehenna Tracts. One of 300 numbered copies printed in Centaur and Arrighi types by Harold McGrath, with a portrait and colophon device by Leonard Baskin, signed by him on the colophon. According to the colophon, copies #1-100 were issued with an additional impression of the portrait on Japanese paper, signed by Baskin. Although this copy is #265, it is accompanied by a mounted “touched [i.e. colored] proof” of a variant etched portrait of Brown, captioned and signed by Baskin on the mount. $350. 176. Gilot, Francoise: MONOGRAPH 1940 - 2000. [Lausanne]: Actos, . 444,pp. Large, thick quarto. Printed boards. Extensively illustrated in color and b&w. Bookplate on front pastedown, otherwise fine in dust jacket and slipcase (small sticker residue in corner of one panel of latter). First edition. A substantial collection of Gilot’s writings and art work, accompanied by a biography (with rich associated photo-documentation) and analysis by Mel Yoakum, and a foreword by Dina Vierny. Inscribed and signed by Gilot, and signed by Yoakum. $375. 177. Gilpin, Laura: THE RIO GRANDE RIVER OF DESTINY AN INTERPRETATION OF THE RIVER, THE LAND, AND THE PEOPLE. New York: Duell, Sloane and Pearce, . xii,243,pp. Quarto. Cloth. Photographs. Map. Bookplate on front pastedown, otherwise a very good copy, in shelfworn and somewhat chipped, price-clipped dust jacket, with old internal masking tape reinforcement along edges. First edition. The product of Gilpin’s 1800 mile trip along the Rio Grande, extensively illustrated with her splendid photographs. One of the key modern books on the region. $125. “... the best minds of my generation ...” 178. Ginsberg, Allen: HOWL AND OTHER POEMS. San Francisco: City Lights / Pocket Poets Number 4, . Black wrappers, printed white label. White label a bit tanned at edges and a trace foxed, else a very good copy. First public edition, first printing, preceded by the scarce 1955 mimeographed printing prepared for Rexroth’s San Francisco State College class, of which few copies remain extant. Introduction by William Carlos Williams. One of 1000 (or 1500) copies printed according to Cook, or 2000 according to Wallace. “The publication of Howl marks a watershed in American poetry as definitely as Leaves of Grass did in 1855” - Wilson. COOK (CITY LIGHTS) 4. COOK (POCKET POETS) 4. WALLACE B71. WILSON 50. $2750. 179. Ginsberg, Allen: HOLY SOUL JELLY ROLL POEMS AND SONGS 1949 - 1993. [Los Angeles: Rhino Records / Word Beat, 1994]. Four CDs, in cases, accompanied by 62pp. booklet, pictorial stiff wrappers, illustrated. The whole enclosed in publisher’s pictorial board clamshell box. Box a bit shelfworn at corners, otherwise very good or better. Inscribed presentation copy from Ginsberg, inscribed inside the upper lid of the box: “For Lucien Carr 9/28/94 Allen Ginsberg Washington D.C.,” accompanied by a large ink drawing covering the blank areas of the lid. Within the booklet of text, he has inscribed and signed it again to Carr “...hopefully the poem’s last longer than the metallic C-D’s ....” A very good association copy: Ginsberg met Carr at Columbia University in 1943, and through Carr met Jack Kerouac, Neal Cassady and William Burroughs. In the NYT Obituary for Carr (30 January 2005), Ginsberg’s earlier comment about Carr’s role in the circle of friendships that gave birth to the literary arm of the Beat Generation was quoted: “Lou was the glue.” Carr went to work for United Press International in 1946 and was promoted to night news editor in 1956, coincident with the preparations for press of the first public edition of Howl. Carr was included, with Kerouac, Burroughs and Cassady, in the printed dedication, and when he received his copy, wrote Ginsberg expressing “one small gripe” about his inclusion there, and requesting, out of deference to his privacy, that Ginsberg avoid such mention in future books. At Ginsberg’s expense, Carr’s name was deleted from the dedication page of the second impression (then already printed), and from subsequent printings. Nonetheless, in 1982, Ginsberg dedicated Plutonian Ode to Carr, “... for friendship all these years....”$850. 180. [Gleig, George R.]: THE CHELSEA PENSIONERS. BY THE AUTHOR OF “THE SUBALTERN.” London: Henry Colburn, 1829. Three volumes. ,318,;,-307,; ,-328,2,pp. Octavo. Modern boards, printed spine labels, untrimmed. Half-titles and ads bound in. Bookplate in each volume, very occasional light foxing, tiny ink smudge on title of third volume, else a very good set. First edition of this historical narrative, thinly concealed as fiction, by the prolific novelist and writer on military matters. Gleig served in the War of 1812 and the Peninsular Wars, going on half-pay after the Battle of Waterloo to return to studies in Oxford. In 1820 he took orders, and turned to writing to supplement the meager income allotted to his curacies. He was a frequent contributor to Fraser’s Magazine, where The Subaltern had first appeared. WOLFF 2571. $450. 181. Godwin, William: MEMOIRS OF THE AUTHOR OF A VINDICATION OF THE RIGHTS OF WOMEN. London: Printed for J. Johnson..., 1798. ,,199,pp. Small octavo. Contemporary (and perhaps original) boards, rebacked at a later date in simulated black calf, fore and bottom edges wholly untrimmed. With the uncommon frontis portrait engraved by Heath after the portrait by Opie. 1880 bookplate of Colonel Francis Grant on pastedown. Boards a bit edgeworn and marked, free endsheets wanting, advert leaf and errata bound after the full title, old tape shadows at gutters of boards and facing leaves, neat correction of numbering error of F 4r, otherwise a very good copy. Cloth clamshell case. First edition of the only contemporary biographical notice of Mary Wollstonecraft. A week after her death due to complications attending the birth of Mary Godwin Shelley, Godwin set about editing her posthumous works and composing this memoir, regarded by some as his most readable book. “While the publication of her four volume posthumous works, won her adherents and converts, the more frank Memoirs created more shock than adulation. Boldly reversing the conventions of contemporary biography which normally sought to demonstrate how admirable qualities lead to admirable achievements, the book is a vindication of Mary Wollstonecraft, a vindication of the principles of the Vindication, and an open celebration of the characteristics which writers on women usually mentioned only to deplore. The Memoirs marks an important step in the development of the art of biography...it has more in common with the poets and novelists of the future than with the moral philosophers and classifiers of the past...The Memoirs shocked Godwin’s contemporaries more than any of his other writings...” - St Clair, The Godwins and the Shelleys, pp. 181-185. A second edition was soon called for, and incorporated revisions intended to deflect some of the more violent criticisms. The portrait is often lacking from copies, and untrimmed, unpressed copies are uncommon. NCBEL II:1250. $3750. 182. Goldman, William: THE SEA KINGS A PIRATE MOVIE .... New York: Joseph E. Levine Presents, Inc., August 1978. ,132 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in gilt stamped flexible Studio Duplicating Service wrappers. Title inked on lower edge, minor use to wrappers, otherwise near fine. An unspecified draft of this unproduced original screenplay by Goldman. At the time, production was anticipated under Levine’s auspices, potentially starring Sean Connery and Roger Moore as the swashbuckling duo of Blackbeard and Bonnet, but the financing for the film was not available, and the project was scrapped. $225. 183. Goldschmidt, Lucien, and Weston J. Naef: THE TRUTHFUL LENS. A SURVEY OF THE PHOTOGRAPHICALLY ILLUSTRATED BOOK 1844 - 1914. New York: The Grolier Club, 1980. xii,241,pp. Quarto. Cloth. Gilt leather label. Photographs. As new in publisher’s slipcase and shrinkwrap. First edition. One of one thousand copies. A major survey of photographically illustrated book, issued to accompany an exhibition at the Grolier Club, with catalogue entries for 192 books and two excellent essays on the subject. Printed by the Stinehour Press, with plates by the Meriden Gravure Company. A ground-breaking work. $475. 184. Gooden, Stephen: Copperplate Title-Page Proof for THE NEW TESTAMENT. London: The Nonesuch Press, 1926. Original proof engraving (plate size 23 x 15.5 cm, on 29.8 x 22.2 cm sheet). Fine. One of a reported twelve proofs, printed before the copperplates were steel-faced, for Gooden’s superb title-page design for the Nonesuch Press’s edition of the Holy Bible, a work considered to be among the artist’s greatest achievements. CAMPBELL DODGSON 41. $250. 185. [Gordon, Caroline]: Watkins, Floyd C., and Charles Hubert Watkins: YESTERDAY IN THE HILLS. Chicago: Quadrangle Books, 1963. Cloth. A very good copy, in rather worn, tanned and chipped dust jacket. First edition of this evocation of Ball Ground in the Georgia hills. An attractive association copy, inscribed by Floyd Watkins to Caroline Gordon. $75. 186. Gorky, Maxim: IVAN EL GUERRERO Y OTRO TEXTO. La Plata, Argentina: M.F., 1943. 16mo. Original printed wrappers. Trace of staple rust and minor bump to one corner, otherwise about fine. First printing in this format, and perhaps first printing of this translation. One of 180 numbered copies, from a total edition of two hundred copies, published by Marcos Fingerit and Alejandro Denis-Krause. Laid in front is a gift card from Fingerit, best known as editor of the periodical Fabula and for his long distance association with the Italian Futurists. $125. 187. [Grabhorn-Hoyem Press]: THE COMPLEAT JANE GRABHORN A HODGE-PODGE OF TYPOGRAPHIC EPHEMERA THREE COMPLETE BOOKS BROADSIDES INVITATIONS .... San Francisco: Grabhorn-Hoyem, 1968. Quarto. Cloth and decorated boards. Illustrations. Tipped-in specimens/facsimiles. Fine. First edition. One of four hundred copies. Introduction by Robert Grabhorn. A charming assembly of Jane Grabhorn’s own writings, often rescued from minuscule private editions, productions of the Jumbo Press, and elusive ephemera. $175. 188. [Grabhorn Press]: Macarthur, Mildred Yorba [ed & trans]: CALIFORNIA - SPANISH PROVERBS. San Francisco: Colt Press, 1954. Gilt vellum and decorated boards. Printed in red and black. Bookplate, minor mottling to the vellum, otherwise about fine, with the prospectus laid in. Wanting the unprinted shipping wrapper. First edition. One of 450 copies printed in Goudy Thirty on handmade paper at the Grabhorn Press. 332 proverbs printed in parallel Spanish/English. GRABHORN 556. $100. 189. Grahame, Kenneth: DREAM DAYS. New York and London: John Lane: The Bodley Head, 1899. Gilt blue cloth, t.e.g., others untrimmed. Fine and bright. First edition. Although dated ‘1899’ and with an 1898 copyright notice, according to Brussel this edition was actually published in October or November of 1898, and the British issue was comprised of sheets from this printing. BRUSSEL (EAST TO WEST), p.94. $125. 190. Grapes, Marcus J[ack].: A SAVAGE PEACE AND OTHER POEMS. [New Orleans: Published by the Author, 1965]. Pictorial wrappers. Illustrations by Susan Weinberg. Colored tissue sectional interleaves. Trace of sunning at spine and edges, small ink name inside upper wrapper, but a very good or better copy. First edition. One of one hundred numbered copies. An early collection of Grapes’ poems, some reprinted from The Outsider, Wormwood, Ole, etc. $85. 191. Graves, Robert: AUTOGRAPH LETTER, SIGNED. Palma de Mallorca. 1 August 1955. Three-quarters of a page, in ink, on large quarto sheet of letterhead air letter flimsy. A few creases, else very good or better, with envelope, addressed in ink. Half morocco folding case. To “John G. Moore,” in Pasadena, CA. Thanks the recipient for his letter, noting: “Yes, it is a pity when poetry gets into the hands of the sods, dopes & wacks. ‘Down, Wanton, Down’ was a nice obscene joke of William Shakespeare Gent in his King Lear; about a prudish cockney wife who hit some erect eels on the head with a spoon. I enlarged on it in the 17th century fashion. Frost was a good poet in his day - around 1922 ...” Signed in full. $450. 192. Graves, Robert: AUTOGRAPH LETTER, SIGNED. Deya, Mallorca, Spain. 25 June 1965. Four pages, in ink, on four leaves of airmail flimsy letterhead. Folded for mailing, otherwise about fine. Marked “Confidential,” to “Dear Mr. [Edwin] Sy,” then special collections curator at Lockwood Memorial Library: “Enclosed a number of photographs. The ‘Robert Graves Day’ rather embarrasses me because I have always tried to remain a private character, but, having a large family to support, I have been forced to make public appearances in U.S. & England. And the recent deaths of the four best known poets writing in English - Frost, Cummings, Eliot [,] Edith Sitwell — has as it were sucked me upwards by the vacuum they created.” He continues further in detail about his need to raise funds by way of another sale of his manuscripts, and his feelings of obligation to Lockwood. He has assembled “a collection of prose manuscripts to be sold by my friend Lawrence Wallrich ... Various buyers, from the coasts mainly, would have paid the money if the collection had included verse. But all the verse (which is the most important of course) has always gone to you ... Now since April 23 1964 I have written the nearest to poetry that I can claim to have come; and nothing else but an occasional article or lecture. The wad of poem drafts is about three inches thick. Wallrich suggests that I ‘sweeten’ the prose collection by including these; but I tell him that I should satisfy my moral debt by asking your permission ... What I should most like of course would be for you to buy the whole lot ....” He continues further about the possibilities of making such a sale come about (“There would be no hurry about payment so long as I have a contract to show my bank, to borrow on”), forthcoming publications, other possible sources of revenue (“...my Solomon and Sheba musical which Alex Cohen has signed a contract for and wishes to produce on Broadway”), etc. He concludes: “At 70 I feel in a way that I am just beginning. Whatever your reaction to this letter, I shall send you a contribution to the display — the Army pack with my name and rank still on it, which I wore in World War I.” Signed in full, “with best wishes to you all.” Accompanied by an 8 x 10 press photograph of Graves, captioned on the verso by Sy, and a newspaper clipping about the exhibition marking Graves’s “79th [sic] Birthday,” corrected in ms. to ‘70’. Provenance: library of James S. Copley $600. 193. [Greenaway, Kate]: Spielmann, M.H., and G.S. Layard: KATE GREENAWAY. London: A. & C. Black, 1905. Small, thick quarto. Cream cloth, ruled in blind, lettered in gilt, t.e.g. Frontis, plates and numerous illustrations, some in color, pictorial endsheets. Cloth darkened at spine and with some overall modest handsoiling, bookplate, a trifle shaken, with inner hinges cracked but sewing sound, some mild tanning at edges of text block, but a good copy. First edition, limited issue. One of five hundred numbered copies, signed by the subject’s brother, John Greenaway, and with an original pencil drawing by Kate Greenaway mounted in the prelims and signed by John Greenaway on the mount. In this case, the sketch is a charming vignette of a young mother with babe in arms, with a slightly older bonneted young girl in the foreground and table, chair, basket and toys in the background. $1500. One of Fifty Copies 194. Gregory, Lady Augusta: KINCORA A DRAMA IN THREE ACTS. New York: Published by John Quinn, 1905. Grey wrappers, printed in black. Near fine. First American edition. Copy #20 of fifty numbered copies. Signed by the author on the title page. The counterpart of the Dublin printing as #2 in the Abbey Theatre Series, published for copyright protection in the U.S. QUINN SALE 3596. $1250. 195. Gregory, Lady [Augusta]: THE IMAGE. A PLAY IN THREE ACTS. Dublin: Maunsel & Co., 1910. Printed boards. Endsheets tanned, else fine in glassine wrapper. First edition, issue in boards. Signed by the author on the title page. Copies were also issued in wrappers. COLBECK I:317. $600. The Author’s Own Copy 196. Gregory, Lady Augusta: THREE WONDER PLAYS THE DRAGON - ARISTOTLE’S BELLOWS [-] THE JESTER. New York and London: G.P. Putnam’s Sons, 1922. Light blue green cloth, paper spine label. Portion of preliminary blank torn away, else very good, with panels of dust jacket laid in. First edition. The author’s own copy, inscribed by her on the front free endsheet: “A Gregory Coole - own copy.” With Lady Gregory’s bookplate on the front pastedown. $1250. 197. [Hales, Stephen]: A FRIENDLY ADMONITION TO THE DRINKERS OF BRANDY AND OTHER DISTILLED SPIRITUOUS LIQUORS. London: Printed for M. Downing, 1735. 23,pp. Octavo. Printed self-wrappers, formerly sewn. Some foxing, early ink authorship attribution on title, a few mild marginal discolorations, but a good copy. Third edition. The first edition appeared in 1733, and the second in 1734. All are scarce: of the first edition, ESTC Online locates four copies, of the second six copies, and of this edition four copies. Hales (1677-1761) was a skilled botanist, physiologist and inventor, including among the latter efforts the development of artificial ventilators. His publications in those fields were of lasting importance. Pope thought very highly of him as a friend, though Walpole derided him as a “poor, good, primitive creature.” His campaign against alcohol was based largely on scientific evidence, including experiments testing the effects of alcohol on animal tissues, with a dash of theology tossed in, and his publications on the topic were reprinted into the 19th century. ESTC N31762. GABLER G22840 (2nd edition). $450. Association Copy 198. Hammer, Victor: A DIALOGUE ON THE UNCIAL BETWEEN A PALEOGRAPHER AND A PRINTER FAITHFULLY RECORDED AS IT WAS HEARD BY VICTOR HAMMER ON A DECEMBER EVENING IN 1943 [wrapper title]. [Aurora, NY: Hammer Press, 1946]. 10 leaves. Quarto. Sewn printed wrappers. Printed in red and black, with pictorial opening initial in red and blue. Wrappers a bit nicked, frayed and creased at overlap edges, but internally very good. Half morocco folding case, with small shelf label on side panel. First edition. Although not stated, the edition consisted of 350 copies printed in Hammer’s American Uncial on Van Gelder paper as a keepsake for the Society of Typographic Arts of Chicago, who had helped subsidize the casting of the font. This was Hammer’s first use of the font in a formal publication, and was formerly John Carter’s copy, with his long pencil inscription in the blank portion of the first leaf: “This invidious and pretentious offence against typography was given me by Stanley Morison, who has a perverse weakness for Hammer, at the Traveller’s Club, after Derby Round and a Piesporter 1959, on 31 Aug.61 John Carter.” Above his inscription, Carter has additionally identified the paleographer (E.A. Lowe) and the printer (“Mr Hammer himself”) with arrows drawn to the text on that page. An interesting, if somewhat churlish, association copy of the uncommon debut of an important American type font. HOLBROOK (HAMMER) 9. $250. 199. Handy, William C.: TYPED LETTER, SIGNED. New York. 30 July 1954. One and one- half pages, on two quarto sheets, the first bearing Handy’s letterhead. Folded for mailing, otherwise very good. To the Kalamazoo Gazette. The first page of the letter is one of Handy’s duplicated letters for multiple mailing, addressed simply “Dear friends.” The second page is original and specific to the recipients, and refers to the enclosed “8th edition of ‘The Handy News’ that says more than this letter...,” and is signed in ink “W.C. Handy.” Both portions refer to his participation in a This is Your Life tribute to Gilda Ray, performances in New Hampshire, New York, and Michigan, as well as appearance as a participant in a forthcoming program in Windsor, ON, sponsored by the British American Association of Colored Brothers. He comments in the second portion that “You can see by the foregoing what inspired J. Maloy Roach to write a song, ‘Handy Really is a Travelin’ Man’ which as yet has not been presented to the public on records ....” A characteristic example of the African American musician’s efforts at self-promotion, and a snapshot record of his busy life during his later years before his 1954 stroke. $375. 200. [Harmsworth Trust Sale]: THE HARMSWORTH TRUST LIBRARY CATALOGUE OF THE COLLECTION OF RARE & VALUABLE BOOKS ... FORMING PART OF THE RE- NOWNED LIBRARY ORIGINALLY FORMED BY THE LATE SIR R. LEICESTER HARMS- WORTH [etc]. London: Sotheby & Co., 1939-54. Thirty-two (of 36) volumes. Printed wrappers. Plates. A few wrappers a trifle chipped or marked, one wrapper neatly detached, but generally very good. A substantial assemblage of the catalogues of the dispersal of this major library, including sessions (or many sessions) devoted to English literature, a large and significant Americana component, Lewis Carroll, bibliography, tracts, John Bunyan, continental books, etc. Many of the catalogues are illustrated, and a few have prices realized laid in. The numbers here present are: 2,4-14,16,18-35, and the session of returns and buy-ins. $250. 201. Harrison, Jim: KOBUN [caption title]. New York: Dim Gray Bar Press, . Oblong quarto broadside (25.2 x 33 cm), decorated calligraphically and with pictograph chops. First edition. One of one hundred numbered copies, signed by the author. A handsome broadside. $175. 202. Hart, William S.: TYPED LETTER, SIGNED, TO ANDY ADAMS. Hollywood, CA. 29 June 1921. One page. Quarto. Closely typed on recto only of William S. Hart Company letterhead. Signed in full, with manuscript insertion of one word. Old folds from having been mailed, otherwise fine. Accompanied by the original envelope. A fine letter to cowboy novelist Andy Adams, and an uncommon exception among Hart letters in actually having significant content. Writing in response to a letter from Adams, Hart writes, in part: “I consider your book ‘The Log of a Cowboy’ the best and most truly drawn picture of the old western life, in narrative form, ever written and I have personally recommended it to hundreds of people ... It is necessary for a fast moving motion picture story to have a certain amount of plot action and heroic realism but I have always tried to keep as near truth as possible and to make the characters fit as human beings. From what I have seen and heard as a boy and read since I have grown to manhood, there never lived more natural human characters than Wm. B. (Bat) Masterson, Wyatt Earp, Luke Short, Doc Holliday, Ben Thompson, Bill Hichock [sic] and scores of others of like calibre — so why with such examples to guide, portray the men who made the west — as ruffians with faces so tough they seem unfinished and who are so depraved that they’d put ground glass in a baby’s milk. It is libelous, unconvincing and untrue, to say nothing of the horrible injustice it does to that great race of men who moulded the country in which we live ....” Ca. 250 words. Hart with his films, and Adams with his novels, were two of the most influential forces in the creation of the popular image of the American cowboy during the first quarter of the 20th century. $750. 203. Hayward, John [comp]: ENGLISH POETRY A CATALOGUE OF FIRST & EARLY EDITIONS OF WORKS OF THE ENGLISH POETS FROM CHAUCER TO THE PRESENT DAY EXHIBITED BY THE NATIONAL BOOK LEAGUE.... Cambridge: Published for the National Book League by the Cambridge University Press, 1947. Quarto. Printed wrappers. About fine. First edition, ordinary issue. A remarkable exhibition of important and first editions of key works of English poetry, and the guide for some of the most considerable collections in the field since the occasion. $45. 204. Heaney, Seamus: POEMS AND A MEMOIR. [New York]: Limited Editions Club, . Small folio. Full calf, decoratively stamped in blind, t.e.g. Bookplate on front pastedown, else about fine, with prospectus laid in, in lightly rubbed slipcase with tiny sticker shadow on one panel. First edition thus, with a new foreword by Heaney. Illustrations by Henry Pearson. Introduction by Thomas Flanagan. One of two thousand numbered copies, signed by Heaney, Flanagan and Pearson. $750. 205. Hemingway, Ernest, et al: THE LITTLE REVIEW. New York. Spring/Summer 1926. XII:1. Quarto. Typographically decorated wrappers. Plates. Wrappers a trace darkened and soiled along edges, a couple of leaves a bit roughly opened along top edges, but a very good copy, partially unopened. One of the best of the late issues, including “A Collection of Work by Some Young Americans” (i.e. Hemingway, Josephson, Cowley, Crane, Williams, et al), and “The Work of Some Young Europeans: Mostly French-Surrealiste” (i.e. Arp, Crevel, Tzara, Delteil, Ribemont Dessaignes, et al). HANNEMAN C170. WALLACE C104. $350. Rare and Inscribed 206. Henley, W.H.: HAWTHORN AND LAVENDER: SONGS AND MADRIGALS. London: [Privately] Published by William Heinemann, 1901. Single octavo signature, folded to make 16pp., untrimmed and not sewn. Outer pages dust-soiled around perimeter, a few spots of foxing, otherwise very good. First edition of the second part of the 1899-1901 version, privately printed for the author as a proof and for distribution to friends. This copy is a presentation copy from Henley to his wife, Anna Henley, the dedicatee of two of his earlier collections: “1st [?] W.E.H. to A.J.H. 2/5/1901.” The beginning of the inscription is - as often with Henley’s handwriting - a bit difficult to decipher. This proof prints sections XXV-XLIV of the poem. Between October 1899 and September 1901, there were three different proof printings of sections of the poem, as well as an undated different reprinting of the first. This is the second in that sequence, and bibliographical information on them is sparse. Edmund Gosse’s copy of the first is described in the Ashley Catalogue, and is alluded to by Sadleir in his Henley checklist. Colbeck provides a brief note in reference to the BL set of the three parts, and as one might presume, institutional holdings are relatively scanty, and often limited to holdings of single pamphlets rather than complete sets of all three. COLBECK I:368. NCBEL III:630 (ref). SADLEIR, “Some Uncollected Authors X: W.E. Henley,” in The Book Collector (1956), P.167. $450. 207. [Hertzog, Carl]: Carroll, H. Bailey: CARL HERTZOG AND THE GHOST OF BANDELIER. [Dallas]: The Quoin Press, 1975. Small octavo. Printed wrappers. Portrait. Fine. First edition in book form. One of 195 numbered copies, printed and bound by hand by Steve Schuster, and signed by Carl Hertzog. $100. 208. [Heyeck Press]: Tokutaro Yagi: SUMINAGASHI-ZOME. Woodside, CA: The Heyeck Press, 1991. Small quarto. Marbled broadcloth over boards. Illustrations. Twelve tipped- in paper samples. Bookplate, otherwise fine in slipcase with small sticker shadow at lower edge of one panel and a couple of small spots on one fore-edge. First edition of this translation by Kyoko Mueke. Wood engravings by Rik Olson. One of two hundred numbered copies, designed and printed by Robin Heyeck in Centaur and Arrighi types on handmade Twinrocker paper. A text first set down in 1914 by the then sole remaining master of this form of dying/marbling cloth and paper. $500. 209. [Hill Imprint]: Hammond, John Craig: FOUNDER OF THE BANDAR LOG CLUB AND HIS METEORIC CAREER. Ysleta [TX]: Edwin B. Hill, 1936. Folded sheets, laid into printed wrappers. Light creasing at overlap wrapper edges, otherwise near fine. First edition in this format, printed in an unspecified but small edition by Hill. A tribute to Frank Holme, reprinted from the Denver Post. $50. 210. [Hill Imprint]: THE STYLUS A QUARTERLY MAGAZINE DEVOTED TO CRITICISM AND BELLES-LETTRES. Ysleta, TX: Edwin B. Hill, July 1942. Two copies. 12,pp. Large octavo. Printed wrappers. Near fine. Two variant states of the sole appearance of this incarnation of The Stylus, printed by Hill at his private press in commemoration of the original Amateur Press periodical published in Detroit, 1888-1898. Hill’s appended essay, “In Retrospect,” indicates this number (VI:1) was published in an edition of fifty copies. The two copies here present two different settings of the wrapper title: the second state (differentiated by a cancel stub from the first state) adds the denotation of “Summer Number,” a three line quotation from Launcelot Canning, and the inclusion of the year in the imprint, with other modifications to the format. Uncommon in either state. $65. 211. Hirschman, Jack: THE R OF THE ARI’S RAZEL. Los Angeles: Press of the Pegacycle Lady, 1972. Sewn printed wrappers. First edition. One of one hundred numbered copies, signed by the poet/scholar/translator/activist. Bookplate, otherwise fine. Folding cloth case. $85. Presentation Copy 212. Holmes, Oliver W.: JOHN LOTHROP MOTLEY A MEMOIR. Boston: Houghton, Osgood and Co., 1879. Large octavo. Brown cloth, stamped in gilt, t.e.g. Small gilt morocco bookplate on pastedown, minor wear at tips, but a very good copy. First edition, the so-called “large-paper” issue of 516 copies, issued simultaneously with the regular issue, but printed prior to it. Inscribed by the author: “Charles W. Eliot With the kind regards of Oliver Wendell Holmes Dec. 25th 1878.” The earliest presentation copy noted in the standard references is the copy inscribed to Thomas Motley on the 13th. After that, Christmas Day is most often seen as the date attached to inscriptions (perhaps executed in advance in anticipation of their receipt as gifts). The recipient, Charles W. Eliot (1834- 1926), assumed the presidency of Harvard in 1869, and enjoyed a long career as educational reformer. BAL 8933. CURRIER & TILTON, pp.172-3. $750. 213. Honce, Charles: MARK TWAIN’S ASSOCIATED PRESS SPEECH AND OTHER NEWS STORIES ON MURDER, MODES, MYSTERIES, MUSIC AND MAKERS OF BOOKS. New York: Privately Printed at Christmas, 1940. Large octavo. Cloth, t.e.g. Portraits. Bookplate, some darkening at edges, but a good copy. First edition. Prefatory essay by Vincent Starrett. One of one hundred copies only. Genial essays (many first published via the AP in newspapers) on bookish and related matters, several of particular concern to Sherlock Holmes studies, a subject close to Honce’s heart. Somewhat less common than many of his other similar productions. $350. 214. [Horgan Paul]: PETER HURD THE PERMANENT COLLECTION. Roswell, NM: Roswell Museum, [February 1949]. pp. Octavo. Printed wrappers. Lightly creased, two small nicks and an internally mended tear at wrapper edges, tiny split at toe of spine, but a near very good copy of a fragile pamphlet. Folding cloth case (with bookplate). First edition. One of one thousand copies printed. A very scarce catalogue, printing Horgan’s two page tribute to his friend, a biographical summary, and a list of 33 paintings and lithographs. OCLC/Worldcat locates only five copies. A more substantial, updated and illustrated catalogue was published a number of years later. KRAFT E17. $125. 215. Horgan, Paul: THE RETURN OF THE WEED. Flagstaff: Northland Press, 1980. Cloth. Serigraphed frontispiece by Mark Sanders. Bookplate of the James S. Copley collection, otherwise fine in slipcase with small sticker shadow at corner of one panel. First printing in this format (as “Southwestern Classics No. One”), deluxe issue. Foreword by W. David Laird. One of fifty numbered copies, specially bound, and signed by the author. $65. 216. Horgan, Paul: UNDER THE SANGRE DE CRISTO. Santa Fe: The Rydal Press, 1985. Cloth and marbled boards. Illustrations by the author. Bookplate of the James S. Copley collection, small bookseller’s label on rear pastedown, otherwise fine in slipcase (small sticker shadow in lower corner of one panel). First edition. One of 180 numbered copies, from a total edition of two hundred copies “Printed & bound at Meriden-Stinehour Press, Lunenburg, Vermont, in Monotype Baskerville on Mohawk Superfine Text & with Van Heek Textile Scholco cloth & handmade Marblesmith Papers,” all signed by Horgan. The first publication of the revived (in name only) imprint. $125. 217. Howard, Robert E.: BLACK DAWN. [Glendale: Roy Squires], 1972. Large octavo. Printed wrappers. First printing in this format. One of 234 numbered copies printed by Roy Squires. Bookplate, faint offset marks to lower wrapper, otherwise near fine. Folding cloth case. $75. 218. Howard, Robert E.: A SONG OF THE NAKED LANDS. [Glendale]: Roy Squires, 1973. Large octavo. Printed wrappers. First printing in this format. One of 230 numbered copies printed by Roy Squires. Bookplate, else fine. Folding cloth case. $75. 219. Howard, Robert E.: THE GOLD AND THE GREY. [Glendale]: Roy Squires, 1974. Large octavo. Printed wrappers. First printing in this format. One of 218 numbered copies printed by Roy Squires in Centaur, Arrighi, and Delphian types on Strathmore paper. Bookplate, else fine. Folding cloth case. $75. 220. Hubbard, L. Ron: DIANETICS THE MODERN SCIENCE OF MENTAL HEALTH A HANDBOOK OF DIANETIC THERAPY. New York: Hermitage House, . Gilt cloth. Introduction by J.A. Winter. Large pencil name on verso of free endsheet, very slight cracking at gutter between title and dedication leaf, otherwise a very good copy in lightly worn dust jacket with a few small nicks and edge-tears, a 1 cm. deep chip at the crown of the spine, and faint discoloration on verso at toe of spine. First edition of the highly controversial primary text for what would three years later become the Church of Scientology. $600. First Book 221. Hudson, W. H.: THE PURPLE LAND THAT ENGLAND LOST. TRAVELS AND ADVENTURES IN THE BANDA ORIENTAL, SOUTH AMERICA. London: Sampson Low [et al], 1885. Two volumes. Gray-blue cloth, stamped in red and gilt. Some rubbing and modest soiling and marking to the cloth, some shallow fraying to tips and spine ends, inner hinges cracking slightly, spines a bit darkened, some old red smudges to endsheets, but generally a good to near very good set of a book difficult in truly fine condition. Half morocco slipcase. First edition of the author’s first book, in the primary binding (“both varieties are extremely scarce” - Carter). The 32pp. catalogue in the second volume is dated October 1885. Although the exact number of copies printed is not recorded, the edition was relatively small, and sales slow, resulting in a likely slightly later, more economical publisher’s binding variant, and a single volume remainder “Cheap edition” comprised of the original sheets issued in 1887. Hudson himself noted in 1902 that “A small edition was published, which did not sell — except as waste paper, or as a remainder. Now it cannot be had.” PAYNE A1a. CARTER, MORE BINDING VARIANTS, pp.10-11. $2500. “One of the Most Horrible Ideal Cultures Ever Imagined” 222. [Hudson, W. H.]: A CRYSTAL AGE. London: T. Fisher Unwin, 1887. Black cloth, ruled and lettered in red, spine lettered in gilt. Minor foxing to prelims and terminal leaves, minute nicks at crown and toe of lower joint, lower fore-tips worn, yet still, an unusually nice copy, very good or better. Half morocco clamshell box. First edition of Hudson’s second book and first novel, published anonymously. This copy is in Payne’s primary binding, and has the 32pp. catalogue. “One of the arts-and-crafts, anti-mechanistic utopias of the late Victorian age; the primary analogy is to a beehive, with egalitarianism that amounts to oppression, except for a tiny elite who are, in turn, constrained in other ways...I find it beautifully written, but one of the most horrible ideal cultures ever imagined” - Bleiler. PAYNE A2a. BLEILER, SCIENCE FICTION THE EARLY YEARS, pp.376-7. $1500. Rare Triple Decker 223. [Hudson, W. H.]: FAN. THE STORY OF A YOUNG GIRL’S LIFE. By “Henry Harford” [pseud]. London: Chapman & Hall, 1892. Three volumes. Original olive green cloth, covers blocked in black, spines stamped in gilt. Some foxing offset from free endsheets to half- titles and versos of terminal blanks, light rubbing at edges, faint early ink denotation “Office Copy” stupidly but carefully eradicated from title leaves, otherwise an exceptional set in half-morocco slipcase (the latter with faint dust-marking to the outer panels of the chemises and top panel). First edition of Hudson’s most elusive major work, and one of the best known, but rarely seen, “black tulips” of 19th century fiction. For many years, Hudson’s connection with this novel was unknown; in 1923, when G.F. Wilson, Hudson’s early bibliographer, publicized his discovery of Hudson’s authorship in a letter to Bookman’s Journal, he quoted a now unverifiable source asserting that the edition consisted of only 350 copies, of which 250 were bound and 100 sold off to an exporter in 1895. There is a variant binding which might identify the remainder copies, or a second binding lot of the primary copies. Hudson did not allow the text to be reprinted in this form; it was extensively revised for inclusion in the 1923 collected edition. The Slater copy, and apart from the exceptional Bradley Martin set, which we purchased and is now in a private collection, perhaps the finest set to appear for sale in the last quarter century. Not in Wolff. PAYNE A6a. SADLEIR 1232. $15,000. 224. Hudson, W. H.: BIRDS IN A VILLAGE. London: Chapman & Hall, 1893. Medium brown polished buckram, upper board decorated in gilt, lower board stamped in blind. Cloth somewhat worn and marked, usual modest tanning to text block, but a good copy. First edition, Payne’s binding variant 1, with the publisher’s blindstamped logo on lower board. A prepublication presentation copy, inscribed “To G. E. Fritche from W.H. Hudson July 25. 1893.” Formal publication took place in August. Fritche and his wife turn up for mention in the publications of the Royal Society for the Protection of Birds and various publications of British horticultural societies. PAYNE A8a. $750. 225. Hudson, W. H.: BIRDS IN A VILLAGE. London: Chapman & Hall, 1893. Terra cotta cloth, upper board decorated in brown, lower board stamped in brown. Spine a bit darkened, modest tanning at edges, otherwise very good. First edition, Payne’s binding variant 4. An attractive association copy, with the bookplate of Hudson’s contemporary, W. Scawen Blunt. PAYNE A8a. $200. Excellent Association Copy 226. Hudson, W. H.: IDLE DAYS IN PATAGONIA. London: Chapman & Hall, Ltd., 1893. Large octavo. Gilt polished buckram. Illustrations by Alfred Hartley and J. Smit. Spine and edges sunned, slight fraying at toe of spine, endsheets show usual tan offsetting, modest foxing early and late, but a good copy. First edition, in the second issue binding, with the imprint of J.M. Dent & Co at toe of spine. Inscribed by the author on the front free endpaper to his good friend and patron of the Royal Society for the Protection of Birds, Lady Margaret Brooke: “To the Ranee of Sarawak from W.H. Hudson and [followed by two lines in what may be a Malaysian or similar script] February 1922.” Hudson and Brooke, wife of Sir Charles A.J. Brooke, Second Raja of Sarawak, were extensive correspondents, and 184 letters from Hudson to her (1912-1921) are at the HRC. Payne reports that the second binding appeared on 1550 copies distributed beginning October 1893. PAYNE A7b. $1000. 227. Hudson, W. H.: LOST BRITISH BIRDS. [London]: Society for the Protection of Birds #14, . Pictorial wrappers. Illustrated with drawings by A.D. McCormick. Wrappers a bit soiled and faintly spotted, spine chipped, lower portion of upper joint neatly split, but a good copy of a fragile book. First edition, the proper first printing, without the date and Chapman & Hall’s imprint. Inscribed on the upper wrapper in the author’s hand: “With W.H. Hudson’s Compliments.” Laid in is a page of notes in collector Paul Lemperley’s hand, signed and dated by him. PAYNE A11a. $350. 228. Hudson, W. H.: THE NATURALIST IN LA PLATA. London: Chapman & Hall, 1895. Large octavo. Blue-green cloth, with pictorial stamping in black and off-white, edges untrimmed. Frontis, plates and illustrations by J. Smit. Extremities rubbed, slightly cocked, inner hinges strained (but sound), scattered foxing, but a good copy. Second “edition” (i.e. printing) of the first of Hudson’s books to achieve some popular success, spurred on by an enthusiastic review by A. R. Wallace. One of 750 copies. Inscribed by Hudson on the verso of the front free endsheet: “To G.E. Fritche from W.H. Hudson July 26, 1892.” The first printing appeared in February, the second in June. Fritche and his wife turn up for mention in the publications of the Royal Society for the Protection of Birds and various publications of British horticultural societies. PAYNE A5a(n). $750. 229. Hudson, W. H.: BIRDS IN LONDON. London, New York & Bombay: Longmans, Green and Co., 1898. Large octavo. Bright green cloth, gilt extra, t.e.g. Frontis and plates by Bryan Hook and A.D. McCormick, and photographs by R.B. Lodge. Tips faintly bumped, a few minor rubs to cloth, otherwise an unusually nice copy, near fine. First edition, Payne’s variant 3 without a terminal catalogue, and with the raised ‘o’ in the imprint. Inscribed by the author on the verso of the free endsheet: “W. H. Jeffries [Jefferies?] from W. H. Hudson June 9. 1904.” PAYNE A16a. $600. Fine, Early Presentation Copy 230. Hudson, W. H.: GREEN MANSIONS: A ROMANCE OF THE TROPICAL FOREST. London: Duckworth, 1904. Gilt green cloth. Very minor handsoiling to the cloth, otherwise an unusually fine copy. Full morocco solander case (tips worn). First edition, the binding variant (traditionally presumed primary) without the blindstamped publisher’s logo on the rear cover. A fine association copy, inscribed by the author: “Paul Fountain With best regards from W.H. Hudson. Feb. 3. 1904.” The recipient was the author of The Great Deserts and Forests of North America (1901), to which Hudson contributed an introduction. It has been claimed that the earliest presentation copy of this work is dated February 2nd, and other presentation copies to intimates bear inscriptions on the 4th, 5th, or are undated. The 1959 film adaptation, which hardly begins to do justice to the novel, was directed by Mel Ferrer, and starred Audrey Hepburn, Anthony Hopkins, Sessue Hayakawa, et al. PAYNE A23a. SADLEIR 1233. $7500. Significant Association Copy 231. Hudson, W. H.: GREEN MANSIONS: A ROMANCE OF THE TROPICAL FOREST. London: Duckworth, 1904. Gilt green cloth. Lower board lightly sunned, minor hand-soiling to cloth, small bookplate, otherwise a very good copy. First edition, the binding variant (presumed secondary) with the blindstamped publisher’s logo on the rear cover, as was their usual practice. A significant association copy, signed in full on the front free endsheet by Hudson’s contemporary and friend, R.B. Cunninghame Graham, and with his manuscript note: “This is a wonderful book to have been written by a man who was never in the country he describes so well.” Tipped to the corner of the free endsheet is a clipped signature by Hudson, dated March 1904 (the month following publication, and just perhaps clipped by Cunninghame Graham from a letter of transmittal that accompanied the book). The 1959 film adaptation, which hardly does justice to the novel, was directed by Mel Ferrer, and starred Audrey Hepburn, Anthony Hopkins, Sessue Hayakawa, et al. PAYNE A23a. SADLEIR 1233. $750. 232. Hudson, W. H.: A LITTLE BOY LOST. London: Duckworth, 1905. Beige pictorial cloth, t.e.g. Frontis, plates and illustrations by A.D. M’Cormick. Cloth a bit smudged and darkened, endsheets tanned, spine extremities slightly frayed, otherwise about very god. First edition of this children’s book little favored by its author. He did not agree to its republication until the New York edition of 1918. This copy bears Hudson’s presentation inscription (without recipient): “from W.H. Hudson.” PAYNE A25a. $650. Association Set 233. [Hudson, W. H.]: Thomas, Edward [ed]: BRITISH COUNTRY LIFE IN SPRING AND SUMMER THE BOOK OF THE OPEN AIR [with:] ...IN AUTUMN AND WINTER.... London: Hodder and Stoughton, 1907 & . Two volumes. Large, thick quarto. Contemporary polished buckram, with gilt labels. Illustrated with numerous tipped-in color plates from paintings and photographs. Cloth and labels a bit rubbed, one gathering loose, but otherwise a good or better set. First edition in book form, preceded by the monthly issue in 24 parts under the title, The Book of the Open Air. W. H. Hudson contributed to the first volume, but has here inscribed the second volume: “Ethelind Gardiner From W.H. Hudson.” The recipient, a.k.a. Linda Gardiner, served as Secretary of the Royal Society for the Protection of Birds, of which Hudson was a founding member and officer. Their friendship was extended and close, and she edited Hudson’s Rare, Vanishing & Lost British Birds for publication in 1923. Other contributors include Thomas, Gordon Bottomley, et al. ECKERT, p.266. PAYNE B2a. $650. 234. Hudson, W. H.: THE LAND’S END A NATURALIST’S IMPRESSIONS IN WEST CORNWALL. London: Hutchinson, 1908. Large, thick octavo. Gilt decorated navy blue cloth, t.e.g. Frontis, plates and illustrations by A.L. Collins. Light foxing early and late, and at edges, otherwise a very good, or better, bright copy. First edition, likely primary binding, with upper cover stamped in gilt rather than blind. A decent association copy, inscribed by the author on the half-title to editor/critic “Roger Ingpen from W.H. Hudson.” PAYNE A26a. $850. 235. Hudson, W. H.: A SHEPHERD’S LIFE IMPRESSIONS OF THE SOUTH WILTSHIRE DOWNS. London: Methuen, . Large, thick octavo. Green cloth, stamped in gilt and blind. Frontis and illustrations by Bernard C. Gotch. Some slight tanning to endsheets and light rubbing at edges, fore-corners a trifle bumped, but a very good, bright copy. First edition. Inscribed by the author “To Harry Brooke & Dorothy [indecipherable] Wishing them every happiness from W.H. Hudson. Nov. 28, 1910.” Formal publication took place in September. The first recipient was likely Henry Keppel Brooke (1879 - 1926), son of Hudson’s good friend and patron of the Royal Society for the Protection of Birds, Lady Margaret Brooke, Ranee of Sarawak, and her husband, Sir Charles Anthony Brooke. This copy is in Payne’s primary binding, with the 32pp. inserted catalogue dated April 1910. The first printing consisted of 1500 copies for the British issue, and 1500 for distribution in the U.S. PAYNE A29a. $750. 236. Hudson, W. H.: ON LIBERATING CAGED BIRDS. [London]: Royal Society for the Protection of Birds #73, . Pictorial wrappers. First separate edition, not published in book form until Dead Man’s Plack (1923). Faint foxing, else about fine. The Esher copy, in folding cloth case, with bookplate. PAYNE A32a. $125. Association Copy 237. Hudson, W. H.: BIRDS AND MAN. London: Duckworth & Co., 1915. Large octavo. Gilt cloth. Color frontis. Slight foxing to edges, usual slight offset to endsheets, otherwise a very good, bright copy. Second, extensively revised edition, considerably rewritten and with two added chapters. This is also the first edition to appear under the Duckworth imprint. A fine association copy, inscribed in the month of publication by the author on the front free endpaper to his good friend and patron of the Royal Society for the Protection of Birds, Lady Margaret Brooke: “To the Ranee of Sarawak from the Author 28/9/15.” Hudson and Brooke, wife of Sir Charles A.J. Brooke, Second Raja of Sarawak, were extensive correspondents, and 184 letters from Hudson to her (1912-1921) are at the HRC. PAYNE A20b. $850. 238. Hudson, W. H.: TALES OF THE PAMPAS. New York: Knopf, 1916. Green cloth, lettered in pale red. Lightly worn at tips, small faint spot on upper board, otherwise a very good copy. First edition thus, being the text of El Ombú amplified by two additional pieces published for the first time in book form. Inscribed presentation copy from the author: “Ethelind Gardiner from W.H. Hudson Nov. 4. 1916.” The recipient, a.k.a. Linda Gardiner, served as Secretary of the Royal Society for the Protection of Birds, of which Hudson was a founding member and officer. Their friendship was extended and close, and she edited Hudson’s Rare, Vanishing & Lost British Birds for publication in 1923. Formal publication took place on 13 October, and because of geography, not a book commonly found inscribed by Hudson. PAYNE A33a. $850. Inscribed to Blanche Knopf 239. Hudson, W. H.: TALES OF THE PAMPAS. New York: Knopf, 1916. Green cloth, lettered in pale red. Bookplate shadow on pastedown, some rubbing to corners, light soiling to lower board and front free endsheets, otherwise very good. First edition thus, being the text of El Ombú amplified by two additional pieces published for the first time in book form. An association copy of the first order, inscribed by Hudson: “To Mrs. Knopf with greetings from W.H. Hudson Nov. 9, 1916.” Blanche Knopf served as Vice-President of the then newly established publishing firm, and was particularly influential in bringing to its list the large field of British, Continental and Latin American writers that so distinguished the firm’s history. Formal publication took place on 13 October, and because of geography, not a book commonly found inscribed by Hudson. PAYNE A33a. $1250. 240. Hudson, W. H.: BIRDS OF LA PLATA. London, Toronto & New York: Dent/Dutton, 1920. Two volumes. Quarto. Handsome unsigned three quarter dark brown crushed levant, raised bands, spines gilt extra, t.e.g. Illustrated with twenty-two colored plates by H. Gronvold. Minor, faint surface scratch to one corner piece, otherwise a fine set. First edition, limited issue. One of two hundred sets, specially printed on large, handmade paper, and signed by the author, in addition to three thousand sets for the U.K. and North America of the trade issue. As often, this set lacks the separate suite of offset reprintings of the plates that accompanied it upon publication. PAYNE A38c. $750. 241. Hudson, W. H.: A TRAVELLER IN LITTLE THINGS. London & Toronto: Dent, 1921. Gilt forest green cloth. Light foxing, with minor rubbing at tips, otherwise very good or better. First edition. Inscribed presentation copy from the author: “Ethelind Gardiner from W.H. Hudson Sept. 24, 1921.” The recipient, a.k.a. Linda Gardiner, served as Secretary of the Royal Society for the Protection of Birds, of which Hudson was a founding member and officer. Their friendship was extended and close, and she edited Hudson’s Rare, Vanishing & Lost British Birds for publication in 1923. The inscription predates formal publication by two days. PAYNE A40a. $750. 242. Hudson, W. H.: W.H. HUDSON’S LETTERS TO R.B. CUNNINGHAME GRAHAM WITH A FEW TO CUNNINGHAME GRAHAM’S MOTHER MRS BONTINE.... [London]: Golden Cockerel Press, 1941. Quarter morocco, t.e.g., by Sangorski & Sutcliffe. Frontis and portrait by Rothenstein. Minor rubbing to tips, slight bubbling of cloth along seam with morocco, otherwise very good or better. First edition. Edited by Richard Curle. One of 250 numbered copies printed on Arnould’s mould made paper. PAYNE A57a. $200. Association Copy 243. Hudson, W. H., and Keith Henderson [illustrator]: GREEN MANSIONS A ROMANCE OF THE TROPICAL FOREST. London: Duckworth, 1926. Large octavo. Medium green cloth, lettered in gilt, fore and bottom edges untrimmed. Fine in dust jacket (too short for the book, as usual). First illustrated edition, limited issue. Copy #157 of 165 numbered copies (150 for sale), specially printed on large, handmade paper, and signed by the artist, Keith Henderson, who contributed 58 original woodcuts, some in-text, others double-spread hors-texte. This is one of the fifteen reserved for presentation, and bears the artist’s gift inscription to his wife: “To Her with love from Him 8-11-26” on the front pastedown, below which has been affixed another example of the front dust jacket panel illustration. Formal publication took place on 4 November. PAYNE A23h. $400. To Witter Bynner 244. Hughes, Langston: TYPED LETTER, SIGNED. New York. 3 March 1959. One page, on octavo sheet of personal letterhead. Folded for mailing, otherwise very good or better. Enclosed in an oversize half-morocco clamshell case. To fellow-poet and friend, Witter Bynner, in Santa Fe: “Dear Hal, Thank you so much for sending me a carbon of the nominating note. We have both been laboring a long time in the vineyards of poetry ... I trust Knopf sent you a copy of the Selected Poems ... You’ll notice our “House in Taos” therein ... next time I come West by train, I’ll stop off to sign the volume for you and to say Hello.” He mentions running into Carl Van Vechten at the Russian Tea Room and at the opening of Requiem for a Nun: “...he still gets about, still photographing. Fania’s on a North African cruise.” Signed “Langston.” Ca 125 words. $750. 245. Hughes, Langston, and Milton Meltzer: A PICTORIAL HISTORY OF THE NEGRO IN AMERICA. New York: Crown Publishers, . Quarto. Cloth and boards. Heavily illustrated. Bookplate on front pastedown, endsheets and edges a bit dust marked, otherwise a very good copy in shelfworn dust jacket with a few small chips and tears at edges. First edition. Inscribed and signed by Hughes on the front endsheet: “Especially for Miriam Glazer - Sincerely, Langston Hughes Nov. 20, 1956.” $350. 246. Hurd, Peter: TYPED LETTER, SIGNED. Sentinel Ranch, San Patricio, NM. 12 February 1966. One half page, on quarto letterhead. Dictated, but signed in full by the artist. Fine, with envelope. Folding cloth slipcase. From the James S. Copley Collection. Hurd in part responds to a query about his controversial portrait of Lyndon Johnson: “... I’m sorry I can’t give you any information as to the exhibition of my portrait of President Johnson. It was commissioned by the Historical Society of Washington and it would be up to them to make whatever use of it they saw fit.” Hurd’s portrait was to be LBJ’s official White House portrait, but after Johnson somewhat colorfully and publicly expressed his dissatisfaction, it was set aside from that use. It is now in the National Portrait Gallery. $250. 247. [Ireland - Political Cartoons]: Fitzpatrick, Thomas, et al: WEEKLY FREEMAN CARTOONS 1892 [cover title]. Dublin: The Weekly Freeman / Irish Printing Works, 1891 - 1892. Twenty-four folding color lithographed plates (both portrait and landscape format (most approx. 58 x 48 cm), and twenty-one single sheet color lithographed plates (most approx. 48 x 33cm). Folio. Full black period morocco presentation binding, heavily decorated in gilt. Professionally rebacked and recornered in matching black morocco. A few stray rubs and minor scratches to binding, a few short marginal tears and mild edge wear to some of the plates, upper fore-corners bumped, otherwise an excellent assemblage, the images bright and fresh. An exceptional presentation volume of a substantial run of the color political cartoons and other images issued as extras to the weekly edition of the Freeman’s Journal. Founded in 1763 by Charles Lucas, the paper was by the time of these images Ireland’s longest running nationalist newspaper. It continued until 1924, when it merged with the Irish Independent. The cartoons collected here begin with that for 17 October 1891, depicting Parnell’s grave, and conclude with that for 24 September 1892. The gilt presentation stamp on the upper cover reads: “With the Compliments of the Manager, Irish Printing Works, Dublin. C.F. Allen,” and the likely recipient’s name is stamped opposite: “E. Gilley.” The plates are largely printed in multicolors, though one is a tinted portrait. The earliest images in this sequences are unsigned, but a number late in the run are signed “Fitzpatrick,” identifying them as the work of Thomas Fitzpatrick (1860-1912), one of Ireland’s most widely known cartoonists, who later founded the satirical journal The Leprechaun. The subject matter runs the gamut of nationalist concerns: home rule politics, the succession of John Redmond after Parnell’s death, Tory anti-Catholic sentiment, Stephens’s return from exile in France, political prisoners, the Irish exhibition at the Chicago World’s Fair, etc. While single examples of these pictorial extras are encountered on occasion, a substantial gathering such as this, particularly in light of its presentation packaging and provenance, is highly unusual. $7200. 248. Jackson, Helen Hunt: AUTOGRAPH LETTER, SIGNED. [Np]. “Sunday Noon” [n.y. but prior to her remarriage in 1875]. One page, in pencil, on small octavo sheet of mourning stationary. Near fine. To “Dear Mr. Smith” [possibly Roswell Smith, editor and publisher]. Declining an invitation, she writes: “You are very kind — but I sat up yesterday for the first time, and do not hope to be able to drive for two or three days yet. And I am saving every particle of strength for the purpose of getting off on Saturday, as the Doctor thinks now I shall be able to do. Yours very truly Helen Hunt.” $175. 249. Jackson, Helen Hunt: AUTOGRAPH LETTER, SIGNED. Cambridge. 12 January 1881. Three pages, in ink, on three panels of a folded quarto lettersheet. A bit creased for mailing, receipt docketed by recipient in ink on back panel, else very good. Half morocco clamshell case. To “Dear Mr. Laughlin” [likely then Harvard political economist James Laurence Laughlin]: “It was no trouble, only a pleasure to write this little verse for you, but I am going to ‘play’ that it was a little, so as to have a shadow of excuse for asking you to do something for me. I am very anxious to get the signatures of as many of the Harvard Professors as I can to this petition. Would you kindly ask those of whom you meet today and tomorrow, and send the paper to me on Sat. at Mr. Houghton’s? The movement has been under way for a good many months, originated by good Quaker women ... [they] hope to send in a petition so large that it will really make Congress see that the American people demand justice for the Indians ... Yours truly Helen Jackson.” In a postscript, she comments, perhaps in regard to the verse — which is not present — that “I am ashamed when I think about what Miss Agatha Laughlin will say of my handwriting — but it is the fault of these stylographic pens. They have annihilated individual chirography ....” J. L. Laughlin’s daughter, Agatha, was perhaps a year old at the time, and he may have solicited a manuscript verse as a future memento for her. Jackson’s A Century of Dishonor appeared in 1881, and this letter is characteristic of her activities trying to secure support for the relief of Native Americans. $375. 250. [Japanese Prints]: Ledoux, Louis V.: A DESCRIPTIVE CATALOGUE OF AN EXHIBITION OF JAPANESE FIGURE PRINTS FROM MORONOBU TO TOYOKUNI. New York: The Grolier Club, 1924. xiv,89pp. plus frontis and 28 plates. Large octavo. Boards, paper spine label. Extremities shelfworn, with some chipping to spine extremities, internally near fine. First edition, board bound issue. One of three hundred copies printed at the Gilliss Press. 125 items were exhibited, with extensive annotations, including biographical information on the artists. $250. 251. [Johnson, Samuel]: THE IDLER. London: Printed for J. Newbery, 1761. Two volumes. ,294;,285,pp. 12mo. Contemporary calf, neatly rebacked to style, raised bands, gilt labels. Early ink ownership signature of one “Louisa Porter” on front pastedowns, usual tan offsetting from calf turn-ins, otherwise a very good set. First collected edition, reprinting all but one (#22 in the original sequence) of the 104 weekly issues. Bound with the advert leaf in the first volume, and the catalogue in the second. With the exception of twelve essays, the contents were composed by Johnson, and the exceptions included work by Reynolds, Warton, Langton, Thornton, and W. Emerson. COURTNEY & SMITH, p.83. CHAPMAN & HAZEN, p.142. ROTHSCHILD 1248. $1250. An Icon of the Taos Art Community 252. Johnson, W. Willard (“Spud”) [editor & printer]: THE HORSE FLY SMALLEST AND MOST INADEQUATE NEWSPAPER EVER PUBLISHED. Taos, NM. 8 October 1938 through 10 June 1939. Volume one, numbers 14 through 48 (of 52 published in the primary series). Thirty-five numbers (plus one duplicate). Folded leaflets (20.5 x 15.5 cm), on variously colored pulp stock. Illustrations. Very slight tanning to the stock, a few pencil notes, a few occasional small nicks, otherwise unusually nice copies, in folding half morocco case. A very substantial representation of the first and primary year of this handprinted newsletter of the Taos art community, undertaken by Willard “Spud” Johnson as a diversion after the completion and publication of #20 of Laughing Horse. After regular publication on a weekly basis for a year, The Horse Fly was largely suspended, with only a handful of irregular appearances over 1940-41, eventually being absorbed into El Crepusculo, with Johnson continuing to contribute news and columns. In this original, self-published and self-printed sequence, the social and artistic goings on of the community are the prominent, and often humorous, focus, with occasional poems, stories, illustrations and correspondence by locals (both known and unknown outside the Taos circles, as well as unsigned items) thrown into the mixture, alongside sensationalized (or fabricated) news accounts: “Mystery Canyon Suggests Weird & Horrid Rites to Lone Rider,” “Nude Prowler Returns but Refuses to Prowl,” “Violence in Two Bars Thursday Night Wrecks Property & Faces ...,” etc. Highly uncommon in significant contiguous runs. One number is signed on the front panel (“Spud”). $850. 253. Joyce, James: DUBLINERS. London: Grant Richards, . Octavo. Red cloth, lettered in gilt. Very slight darkening to the spine, trace of usual slight tanning to the textblock, a couple of very minor rubs along the lower joint, otherwise an unusually nice copy, very good or better. Half morocco slipcase. First published edition, British issue. One of 746 copies bound up for Richards, from a total printing of 1250 sets of sheets. The remaining copies were exported to the U.S. for distribution by B.W. Huebsch in 1916. Dubliners had famously been “almost published” by Richards in 1906, and a small fragment of the page proof survives, but Richards eventually backed out due to the printer’s objections to aspects of the text. Joyce them submitted the book to Elkin Mathews and then to John Long, but got nowhere. Maunsel, in Dublin, proceeded as far as printing one thousand copies in July of 1910, but again a skittish printer objected to some passages and burned the edition, apart from some surviving proofs. After further submissions and rejections, Dubliners was again accepted by Grant Richards and this edition was published, to little success, on 15 January. Within its pages, one may find certainly one, if not several, of the finest short stories in the English language. Copies in agreeable condition and without efforts at restoration, such as the present copy, have become scarce. SLOCUM & CAHOON A8. $20,000. 254. Joyce, James: A PORTRAIT OF THE ARTIST AS A YOUNG MAN. New York: B. W. Huebsch, 1916. Medium blue cloth, lettered in gilt and blind. Trace of foxing to endsheets, along with a light pencil 1917 ownership inscription, light rubbing to crown and toe of spine, but a very good, bright copy, with no fading to the spine, but without the dust jacket. Half morocco slipcase and chemise. First edition. Although serialized in 25 installments in The Egoist from Feb. 1914 to Sept. 1915, British printers and publishers, then still reeling from the suppression of Lawrence’s The Rainbow, were unreceptive in their responses to Joyce’s efforts toward publication in book form. Based in part on Harriet Weaver’s guarantee of 750 sets of sheets for the slightly later Egoist Press issue, Huebsch took on the novel for December publication. The size of the first printing may have been reasonably conservative, and a second printing was called for in April 1917. The original owner purchased this copy in March 1917 at the famed Sunwise Turn Book Shop in New York. “... the Portrait can be read as either an autobiography or a novel. A landmark in sensibility, the prose moves forward in complexity from the child’s sensations at the beginning to the adolescent subtleties at the end” - Connolly. SLOCUM & CAHOON A11. CONNOLLY MODERN MOVEMENT. $8500. 255. Joyce, James: CHAMBER MUSIC. Boston: The Cornhill Company, . Gilt green cloth. A lovely copy in glassine wrapper, fine or better. First U.S. edition, unauthorized. This is one of the copies with laid endpapers, with the gilt stamping sharp and distinct. Slocum & Cahoon suggest that one thousand copies may have been printed. SLOCUM & CAHOON A5. $450. 256. Joyce, James: ULYSSES. Paris: Shakespeare & Company, 1922. Thick quarto. Original blue and white wrappers. Although the horizontal sewing bands across the spine show a bit of the inevitable rubbing, as do the other spine extremities, and there is some narrow surface splitting along portions of the outer wrapper fold along the lower joint, this is a very good copy, if not somewhat better than that, internally fresh and largely unopened, the wrappers not significantly soiled or faded, and wholly unrestored. In a handsome folding cloth slipcase. First edition. One of 750 numbered copies on handmade paper from a total edition of 1000 copies. This is copy #992, and has laid in the front panel of the original prospectus with the tipped-on reproduction of the 1918 photo of Joyce by C. Ruf. The front panel of the prospectus has been amended, as often, to indicate the book “is now ready,” and the original buyer must have jumped at the opportunity, as the order panel of the prospectus has been neatly cut away. Sisley Huddleston’s 5 March 1922 review from The Observer is also laid in (though both items are in prophylactic sleeves that have prevented any offsetting). Also laid into the slipcase is some correspondence relating to the sale of this copy in 1972 by Duschnes in NYC. A quite agreeable copy of the cornerstone of 20th century prose literature in English. SLOCUM & CAHOON A17. MODERN MOVEMENT 42. $55,000. 257. Joyce, James: ANNA LIVIA PLURABELLE ... WITH A PREFACE BY PADRAIC COLUM. New York: Crosby Gaige, 1928. Gilt cloth, t.e.g. Trace of faint rubbing at toe of spine, light, neat pencil acquisition note on free endsheet (dated 1929), otherwise a fine copy in custom cloth-covered slipcase. First edition in book form. One of 800 numbered copies, signed by the author, from a total edition of 850. The first owner notes this copy was acquired when “tempted by this at Random House - succumbed!” Random House distributed a portion of the edition. SLOCUM & CAHOON A32. $4500. 258. Joyce, James: ULYSSES. New York: Random House, 1934. White cloth, stamped in red and black. Some light foxing to the cloth, small bookseller’s original price ticket on rear pastedown, hence just about fine in an unusually fine example of the dust jacket. Cloth slipcase and chemise. First published printing of the authorized American edition, including the text of Judge Woolsey’s decision, a foreword by Morris Ernest, and Joyce’s letter of authorization to Bennett Cerf. Slocum & Cahoon record an initial printing of one hundred copies for copyright purposes, and a second printing for publication consisting of 10,300 copies. For the record, designer Reichl’s name appears in the lower corner of the front panel of the dust jacket. SLOCUM & CAHOON A21. $3750. Signed by Joyce 259. Joyce, James: ULYSSES ... WITH AN INTRODUCTION BY STUART GILBERT AND ILLUSTRATIONS BY HENRI MATISSE. New York: The Limited Editions Club, 1935. Quarto. Cloth, decorated in gilt and blind. Illustrated with six original etchings, accompanied by reproductions of the preliminary sketches. Trace of slight darkening along endsheet gutters, otherwise a fine, bright copy, without foxing to the etchings, in somewhat darkened slipcase with bruises at tips and cracks at joints of top panel. Modern half morocco and cloth folding clamshell case. First American printing of the corrected Odyssey Press text. From an edition of 1500 numbered copies, signed by Matisse, this is one of only 250 copies signed as well by Joyce. A textually significant edition, whatever the shortcomings of its design (by George Macy) and the inappropriateness of the illustrations (Matisse illustrated Homer rather than Joyce, a factor allegedly contributing to Joyce’s reluctance to sign the entire edition). “One of the very few American livres de peintres issued before World War II. According to George Macy, who undertook this only American publication of Matisse’s illustrations, he asked the artist how many etchings the latter could provide for five thousand dollars. The artist chose to take six subjects from Homer’s Odyssey. The preparatory drawings reproduced with the soft-ground etchings (Matisse’s only use of this medium) record the evolution of the figures from vigorous sketches to closely knit, if less spontaneous, compositions” - Artist & The Book. SLOCUM & CAHOON A22. ARTIST & THE BOOK 197. $28,500. 260. Joyce, James: ULYSSES. London: John Lane The Bodley Head, . Large, thick quarto. Polished green buckram, decorated in gilt with a Homeric bow designed by Eric Gill, t.e.g. Very faint sunning at lower edges of boards, otherwise about fine, in an uncommonly lovely example of the printed dust jacket with Gill’s bow replicated in red. Half morocco slipcase and chemise. First edition printed in the U.K., presenting the text based on the second impression of the Odyssey Press edition. From a total edition of one thousand copies, this is copy #104 of nine hundred copies printed on Japon Vellum. In addition to the main text, three appendices are included, reprinting documents relating to the Roth piracy and injunction, as well as material pertinent to the Random House edition: Joyce’s letter to Cerf, Woolsey’s decision, and Morris Ernst’s foreword. A third appendix consists of a preliminary bibliography of Joyce’s work by Peter Pertzoff. SLOCUM & CAHOON A23. MODERN MOVEMENT 42. $6500. 261. Joyce, James: ULYSSES. London: John Lane The Bodley Head, . Large, thick quarto. Full cream colored calf vellum decorated in gilt with a Homeric bow designed by Eric Gill, t.e.g., others untrimmed. A fine copy, without the publisher’s card case, but enclosed in a morocco-faced parchment over boards slipcase, with gilt lettered morocco backed chemise. First edition printed in the U.K., presenting the text based on the second impression of the Odyssey Press edition. From a total edition of one thousand copies, this is copy #27 of one hundred deluxe copies printed on mould-made paper, signed by the author. In addition to the main text, three appendices are included, reprinting documents relating to the Roth piracy and injunction, as well as material pertinent to the Random House edition: Joyce’s letter to Cerf, Woolsey’s decision, and Morris Ernst’s foreword. A third appendix consists of a preliminary bibliography of Joyce’s work by Peter Pertzoff. Regarded by many as the most beautiful of the early editions of Ulysses. SLOCUM & CAHOON A23. MODERN MOVEMENT 42. $55,000. 262. Joyce, James: FINNEGANS WAKE. London: Faber and Faber, . Large octavo. Gilt cloth. Usual tan offset from free endsheets to facing pages, otherwise a fine, bright copy in dust jacket, and uncommon thus. Half morocco slipcase and chemise. First British edition, trade issue, published on the same day as the U.S. trade edition from Viking, and the limited edition bearing Faber and Viking’s joint imprint. One of a total first printing of 3400 copies, of which 950 copies in sheets were destroyed. This copy was quite possibly utilized for review, as the formal publication date (‘4 May 1939’) is stamped on the front dust jacket flap. “If Finnegans Wake is a key book, it is a key which needs a key. The Wake reminds me of the unfinished obelisk which lies on its side at Assuan, yet it has passages of unearthly beauty (particularly the last page) and huge comic scenes” - Connolly. MODERN MOVEMENT 87. SLOCUM & CAHOON A47. $6500. 263. Joyce, James: FINNEGANS WAKE. London & New York: Faber and Faber / The Viking Press, 1939. Large octavo. Gilt polished buckram, t.e.g., fore and bottom edges untrimmed. Minute bump to one lower fore-tip, otherwise fine and bright, in modestly soiled publisher’s cloth over boards slipcase with bump to one corner. Later half morocco slipcase and chemise. First British edition, limited issue, published on the same day as the British and U.S. trade editions. Copy #87 of 425 numbered copies, specially printed and bound, and signed by the author, of which 125 were for the U.K. and 300 for the U.S. Accompanied by the 1945 New York pamphlet printing of Corrections of Misprints in Finnegans Wake. “If Finnegans Wake is a key book, it is a key which needs a key. The Wake reminds me of the unfinished obelisk which lies on its side at Assuan, yet it has passages of unearthly beauty (particularly the last page) and huge comic scenes” - Connolly. MODERN MOVEMENT 87. SLOCUM & CAHOON A49 & A53. $20,000. 264. Joyce, James: FINNEGANS WAKE. New York: Viking, 1939. Large octavo. Gilt cloth. Distinctive, and somewhat large, pictorial bookplate on pastedown, light dust-soiling to top edge, otherwise near fine, in very good, lightly smudged but unfaded dust jacket with short closed creased tear at the top of the lower spine fold. Enclosed in a cloth slipcase and chemise. First U.S. printing, trade issue. One of 6000 copies printed offset from advance proofs of the UK edition, and formally published on the same day as that edition, 4 May 1939. “If Finnegans Wake is a key book, it is a key which needs a key. The Wake reminds me of the unfinished obelisk which lies on its side at Assuan, yet it has passages of unearthly beauty (particularly the last page) and huge comic scenes” - Connolly. SLOCUM & CAHOON A48. MODERN MOVEMENT 87. $1750. 265. [Joyce, James]: Barber, Samuel: THREE SONGS FOR VOICE AND PIANO SET TO POEMS FROM “CHAMBER MUSIC” BY JAMES JOYCE [wrapper title]. New York: G. Schirmer, Inc., . Two volumes. Printed self wrappers. Fine. Present are the settings for “Sleep Now” and “I Hear an Army,” each issued separately. “Rain has Fallen” was the third piece. Possibly, if not probably, later printings, with three dots in the upper left corners of the upper wrappers. Slocum & Cahoon make no distinctions about printings of sheet music. SLOCUM & CAHOON F21 & F22. $45. 266. [Joyce, James]: Flanagan, Fionnula [adaptation]: Original Studio Publicity Presskit for JAMES JOYCE’S WOMEN. Universal City: Universal Studios, 16 August 1985. 14;3;2 leaves plus five stills. Quarto. Duplicated typescript, on studio letterhead. About fine, in very good, lightly rubbed and edge-darkened studio folder. A promotional presskit for the 1985 release of the adaptation to film of the Rejoycing Company stage production, directed by Michel Pearce, and starring Flanagan in a reprise of her six character role. The text includes production notes, credits and a bio of Flanagan. The five 8x10 stills capture three scenes of her as Nora, one as Molly Bloom and one as Gerty McDowell. A useful documentation of a film which has not been readily accessible for public viewing for a number of years. $125. 267. Kantor, MacKinlay: THE BOY IN THE DARK. Webster Grove, MO: International Mark Twain Society, 1937. Printed wrappers. Slight darkening to wrappers toward edges, otherwise a very good or better copy. Oversize folding cloth case. First edition in book form. Foreword by Cyril Clemens. Signed on the title-page by Kantor and by Clemens. Published as “Number One of the Society’s Fiction Series, Whole Number Twelve.” Somewhat uncommon when signed by the author and not just Clemens. $100. Donated for the Cause of the Spanish Loyalists 268. Kantor, MacKinlay: HEAVILY REVISED FIRST DRAFT TYPESCRIPT OF “THE VOICE OF BUGLE ANN,” WITH ACCOMPANIMENTS. Westfield, NJ; Sarasota, FL; New York, and elsewhere. 1934 - 1938. Sixty-one leaves, plus cover-leaf, quarto, heavily worked over in ink, colored pencil and pencil. On various paper stocks, some leaves with other typescript fragments on versos, also corrected, from other work by Kantor. Some leaves on cheap paper tanned and with modest chipping at edges; generally good to very good or better. Enclosed in a custom binder and slipcase; with associated material outlined below. The original working first draft typescript of one of Kantor’s most popular early works, donated by him after its publication to an auction held by the League of American Writers in 1938 to raise funds for the Spanish Loyalist cause. To further that end, present here is a 4 page typescript, signed at the end, of an essay Kantor wrote for the occasion, detailing the history of the manuscript and identifying it as the first draft. He additionally signed the concluding page of the main typescript and the cover leaf. Also present is a t.l.s. from booksellers Retz & Storm to the collector for whom they acted as agents in the acquisition of the typescript at the sale, their original invoice, and the retained carbons of several of the collector’s letters to them about the sale and other matters. Finally, the lot also includes a t.l.s. from Kantor, Sarasota, 23 April 1938, to the collector, Benjamin D. Hitz, responding to his letter about his acquisition, reading in part: “I am glad that you have the manuscript ... and that you got it without mortgaging your future, although the Spanish Loyalists do need all the support they can get, and more too. You know, I feel rather as if I had had to give away a well-loved dog - to strangers, sight unseen - and had suddenly become possessed of the knowledge that the dog had a good home and green fields to run in....” Kantor’s novella was published, both in periodical and in book form, in 1935, and in 1936 a film adaptation by Samuel Hoffenstein and Harvey Gates, starring Lionel Barrymore, Maureen O’Sullivan and Dudley Digges, enjoyed some popularity. Accompanied by a copy of the trade edition of the published book. $1850. 269. Kavanagh, Patrick: THE GREAT HUNGER. Dublin: The Cuala Press, 1942. Linen-backed deep blue boards, paper spine label. Title pressmark (A.E.’s “Sword of Light”). Bookplate on pastedown, boards a bit sunned toward edges, a couple minor corner bumps, else about fine. First edition. One of an unknown (but presumably small) number of copies denoted “out of series,” in addition to two hundred and fifty numbered copies. On page 28, seven lines are neatly crossed through in pencil in an unknown hand. MILLER 70. $1850. 270. Kent, Rockwell: FAREWELL [Original stone lithograph, signed]. [New York: The Artist, 1931]. Folio. Image 14.5 x 9.8 cm, on 40.5 x 29.5 cm sheet (watermarked ‘France’). Trace of mounting tab removal at top edge of verso, otherwise fine. One of one hundred copies of this lithograph printed for the artist, and signed by him in pencil below the image, from a total edition of four hundred. Three hundred additional examples were pulled, then substantially trimmed and bound up as the frontispiece for Selma Robinson’s City Child, in which form they were unsigned. Burne Jones notes that the examples he examined of this separate form were printed on paper watermarked either “Japan” or “Rives.” BURNE JONES 61. $850. 271. Kent, Rockwell: SERIES OF TEN TYPED LETTERS, SIGNED, CONCERNING A BOOKPLATE COMMISSION. Ausable Forks, NY. 20 April 1941 through 2 May 1942. Ten pages, plus a fraction, on eleven quarto sheets of Kent’s letterhead. Accompanied by several envelopes, and two associated items. Very good to fine, enclosed in a folding cloth case. To Leonard L. Levinson, in Burbank, California - likely Hollywood writer, director and producer, Leonard Lewis Levinson. An informative sequence of letters, documenting the process of a bookplate commission by Levinson, starting from the initial discussion of terms, through a significant mishap, to the final successful completion of the project. Kent informs Levinson that “... I get $150 to $200 for a design - and that doesn’t include the printing - and that while I have to earn my living by jobs of this sort, I am hampered in earning it by having a fairly soft heart ....” Nine days later, Kent writes: “Your letter has set you back a bit in this game of give-and-take that we are playing. You not only say you are a writer, but prove it by the tears you wring from us. For just as I am about to wire you pre-paid, ‘Am shipping two book-plates, free,’ I pull myself together and say, ‘Look here! A fellow who can move me like this can move anybody else like I don’t know what. Bundles for Britain, Food for Finns, Pop-corn for Greeks, or Lucre for Levinsons, he’s worth a dollar a word to any cause. Let his daughter go without orange juice. She probably doesn’t like it anyhow. Let his wife go without stockings. Bare legs are even more beautiful. Let his uniformed chauffeur risk spilling gasoline on himself. It doesn’t stain. I’m not going to be soft-hearted ....’” Kent proposes sending him two or three “practically finished book-plate drawings. I can do this because I happen to be making designs that are to be published and put on sale ... on which I will get a royalty and become very rich. Needless to say, the design that you pick will be yours and nobody else’s. I think I’ll be sending the designs within a week. I would send them sooner but I have to go to New York to-morrow to parade on May Day.” And the charge will only be $40. Matters proceed and the bookplate is printed, but Kent has made an error, having Levinson’s middle initial printed as ‘R’ rather than ‘L’. Kent suggests Levinson “beget a son and name him Leonard Rockwell Levinson ...” so that the bookplates won’t be a complete waste, and sets about rectifying the problem and ordering a new printing, at no charge to Levinson except for the preparation by Colish of a new photoengraved plate ($2.89). The correspondence turns to other matters in the last two letters in the sequence, Kent acknowledging a gift, and discussing matters of government propaganda for the war effort, including criticism of it being largely left to private initiative, and in part inept: “I suppose we’ll annihilate German tanks and planes by quoting the Declaration of Independence to them.” The final letter to Levinson is addressed to him as “Chief of Special Assignments, Radio Bureau” in Washington, D.C., in which Kent congratulates Levinson, “I envy you having a real war job.” Kent advises Levinson that in the field of international relations he is doing his bit by passing his “Christmas holiday entertaining twelve of the fifteen Soviet students now at Columbia University.” Accompanied by a letter from Kent’s secretary about the recovery of the original drawing and arrangements for it being sent to Levinson, and by an example of the bookplate with the erroneous middle initial. A coherent and personable sequence of letters, detailing the nuts-and-bolts of the commission, as well as touching on shared interests and reflecting Kent’s humor and political concerns. $3500. 272. [Kent, Rockwell]: Mazer, Ben: ROCKWELL KENT’S BOOKPLATE FOR JOHN WHITING FRIEL. Boston: Boss Fine Books ..., 2002. Quarto. Sewn wrappers, pictorial onlay. Four tipped-in facsimiles. Fine copy. First edition. One of 200 copies in wrappers, from a total edition of 250 copies designed by Jerry Kelly. An essay on Kent’s commission for the largest of his bookplate designs. $125. Written from the “blood-soaked soil” of France 273. Kilmer, Alfred Joyce: AUTOGRAPH LETTER, SIGNED. Headquarters Co., 165th Infantry, AEF, France. 28 June 1918. Four pages, in ink, on folded quarto lettersheet. Light wear at folds, a few pencil annotations, censor’s frank at lower corner of last page, otherwise very good. Accompanied by the original envelope, addressed by Kilmer (roughly opened at one end). Enclosed in an oversize half-morocco clamshell box. An uncommonly substantial letter from Kilmer, written from the Front, to Howard William Cook, of Moffat, Yard & Co., the publishers. Writing just slightly over a month prior to his death, Kilmer responds to questions posed by Cook, although he realizes his answers “will reach you too late to be of use.” In response to Cook’s request for biographical information, he refers him to his entry in Who’s Who, but supplements that with a list of the names of his four children. He continues: “Second, you ask for comments on myself and something about my earlier efforts in poetry. That’s harder to answer. How can I make comments about myself ... but I’m willing to write about my earlier efforts in poetry. They were utterly worthless, that is all of them which preceded a poem called ‘Pennies’ which you will find in my book ‘Trees and Other Poems.’ I want all of my poems written before that to be forgotten - they were only the exercises of an amateur, imitations, useful only as technical training. If what I nowadays write is considered poetry, then I became a poet in November, 1913.” In response to a request for comments on the purpose of poetry and its present state in the U.S., Kilmer writes: “All that poetry can be expected to do is to give pleasure of a noble sort to its readers, leading them to the contemplation of that beauty which neither words nor sculpture nor pigments can do more than ... reflect, and to express the mental and spiritual tendencies of the people of the lands and times in which it is written. I ... have very little chance to read contemporary poetry out here, but I hope it is ... reflecting the virtues which are blossoming on the blood-soaked soil of this land - courage and self- abnegation, and love, and faith - ... France has turned to her ancient Faith with more passionate devotion than she has shown for centuries. I believe that America is learning the same lesson ... from the War, and is cleansing herself of cynicism and pessimism and materialism, and the lust for novelty which has hampered our national development. I hope that our poets already see this tendency and rejoice in it - if they do not they are unworthy of their craft.” He continues with a condemnation of “the extravagances and decadence of the so-called ‘renascence of poetry’ during the last five years - a renascence distinguished by the celebration of the queer and the nasty instead of the beautiful ...,” likening it to the English “aesthetic movement ... at its foolish height.” And in a concluding comment on American poetry’s future, he writes: “...when we soldiers get back to our homes and have the leisure to read poetry, we won’t read the works of Amy Lowell and Edgar Lee Masters. We’ll read poetry, if there is any for us to read. And I hope there will be. I believe there will be. Yours sincerely, Joyce Kilmer.” Approximately 600 words. Kilmer enlisted within days of the US Declaration of War against Germany, and in April 1918 transferred to the Regimental Intelligence Division of the 165th (formerly the “Fighting” 69th). On 30 July, during the Second Battle of the Marne, he volunteered to accompany “Wild Bill” Donovan’s First Battalion during an attack. He was fatally shot while leading a scouting party, and was posthumously awarded the Croix de Guerre. At the time, and for years after, he was the most popularly recognized of the American Soldier Poets. While Kilmer’s letters written from the Front are uncommon, those written from the Front with significant literary content such as the present letter, are very, very scarce. $2750. “But simple service simply given....” 274. Kipling, Rudyard: AUTOGRAPH QUOTATION, SIGNED, WITH TYPED LETTER, SIGNED. Burwash, Sussex. 4 March 1924. One page quarto, plus one quarter sheet (7.4 x 20.5 cm). Slight tanning and foxing to letter, with pencil erasures in lower margin, otherwise very good. Enclosed in folding half morocco clamshell slipcase. In response to a request for an autograph, in the letter Kipling writes to Commander Clarke William, Pompton Lakes, New Jersey: “...In reply to your letter of the 19th February, I have much pleasure in complying with your request, and trust that the enclosed will be satisfactory. Yours very sincerely, Rudyard Kipling.” The accompanying quotation is four lines, in ink, signed in full, corresponding to the final two lines of the penultimate stanza of Kipling’s 1907 poem, “The Sons of Martha,” reading: “Not as a ladder from Earth to Heaven — / Not as a witness to any creed: / But simple service simply given / To his own kind in their common need.” He has further inscribed the quotation: “For Service Post No. 10. American Legion.” $1250. 275. Kuzma, Greg: Typescript of OF CHINA AND OF GREECE. [Np: The Author, ca. 1982].  leaves. Quarto. Largely photocopied typescript (with a few leaves reproduced from periodical appearances). Punched and bound in acetate binder. Very good or better. A typescript for the collection finally published in 1984 (though an explanatory prefatory note by Kuzma indicates the publisher had the manuscript as early as 1979). Accompanied by an autograph letter, signed, n.p., 13 October 1983, from Kuzma to fellow poet William Meredith: “Here are two things I sent in with the Guggenheim application, and which you have not had any way to see....” $100. 276. La Farge, Oliver: TYPED LETTER, SIGNED. Santa Fe. 7 September 1948. One page, on quarto sheet of letterhead. Old folds for mailing, but very good. Half morocco clamshell box. The Pulitzer Prize-winning novelist writes Mrs. Harvey Weeks: “...One can seldom obtain any commercial market for Indian legends, except when they are simplified and distorted for juvenile circulation. Your friend’s best hope of capitalizing on his lore is to make contact with anthropological authorities ... if his tribe is one from which the recorded material is incomplete, they might well want to take him on as an informant ....” Signed in full. $150. 277. [Lamb, Lady Caroline]: GLENARVON. London: Printed for Henry Colburn, 1816. Three volumes. ,295,;,390;,322pp. Recent handsome three quarter red morocco, raised bands, gilt labels. Bound without the half-titles and adverts, a few minor occasional smudges, otherwise a quite handsome set, in cloth slipcase. First edition of Caroline Lamb’s anonymously published first novel, deeply affected by her recently derailed romantic relationship with Lord Byron, who is caricatured in its pages. There are two plates of music in volume II, at pages 170 and 192. WOLFF 3938. $1000. 278. [Landacre, Paul]: Ritchie, Ward: SOME BOOKS WITH ILLUSTRATIONS BY PAUL LANDACRE. [Northridge, CA]: Santa Susana Press, 1978. Gilt cloth. Illustrated throughout. Addendum slip laid in. Fine, without dust jacket, as issued. First edition. One of 199 numbered copies, printed by Grant Dahlstrom and signed by Ritchie. An anecdotal annotated checklist of 35 titles, supplemented by the addendum. $150. 279. [Landacre, Paul]: Lehman, Anthony L.: PAUL LANDACRE: A LIFE AND LEGACY. Los Angeles: Dawson’s Book Shop, 1983. Octavo. Cloth and decorated boards. Portrait, photographs, woodcuts. Bookplate on pastedown, pencil erasure from corner of half-title, otherwise fine. First edition. The authoritative reference on the life and work of the eminent woodcut artist, including as appendices a list of his separate prints, selective listings of his bookplate work and greeting cards, and a bibliography. As often, the photograph of Landacre on page 102 is signed in pencil by the photographer, Sueo Serisawa. $300. 280. Lardner, Ring, Jr. [screenwriter]: “MASH” FIRST DRAFT SCREENPLAY BY ... FROM THE NOVEL BY RICHARD HOOKER. [Beverly Hills]: Twentieth Century-Fox, 1 November 1968. ,156 leaves. Quarto. Mimeographed typescript, bradbound in printed studio wrappers. Title neatly lettered on spine, production number stamped on upper wrapper, a few faint marks to wrappers, otherwise near fine. A “first draft” of the screenplay for Lardner’s adaptation of Hooker’s novel, one of the seminal films of its era, and though set in Korea, one of the handful of on-target critiques of the Vietnam war released by a Hollywood studio. A cursory comparison with a “final” draft from 26 February 1969 (which itself differs substantially from the released film) reveals both subtle and significant revisions took place between the two drafts. The January 1970 release was directed by Robert Altman, and starred Donald Sutherland, Eliott Gould, Robert Duvall, Sally Kellerman, Tom Skerritt, Gary Brughoff, et al. It was also one of Lardner’s post Blacklist triumphs, for which he won an Academy Award. $750. 281. LAUGHING HORSE. Santa Fe. December 1923. Whole number 9. Small quarto. Pictorial wrappers. Wrappers neatly split along spine, with vestiges of old tape backing, ownership signature of poet/editor/novelist Norman Macleod on the upper wrapper, otherwise very good. Half morocco folding case. Laughing Horse was inaugurated in Berkeley in 1922 as “A Magazine of Satire from the Pacific Slope” by T. Van Rennselaer, Jr., Roy E. Chanslor, and Willard “Spud” Johnson. The editors ran into legal difficulty in Berkeley for publishing “obscene matter,” precipitating the move to New Mexico with issue eight, where Johnson gradually assumed full responsibility and it flourished in tandem with the growing artists’ colonies in that state as “A Magazine of the Southwest,” concluding with the 21st issue. Contributors to this “Southwest Number” include Bynner, Luhan, Austin, Baumann, Dixon, Kabotie, Purnell, Riggs, et al. A good association copy - Macleod graduated from the University of New Mexico in 1930, at a point when he was editing or coediting his superb periodicals, Morada and Front, and he contributed extensively to #19 of Laughing Horse. HOFFMAN, et al, p.266 $250. 282. LAUGHING HORSE. Santa Fe. September 1924. Whole number 11. Small quarto. Pictorial wrappers. Wrappers neatly split along spine, with vestiges of old tape backing, ownership signature of poet/editor/novelist Norman Macleod on the upper wrapper, otherwise very good. Half morocco folding case. Contributors to this “Fiesta Number” include Bynner, Luhan, Lawrence (“Just Back from the Snake Dance”), Haniel Long, Riggs, et al. HOFFMAN, et al, p.266. $250. 283. LAUGHING HORSE. Santa Fe. May 1924. Whole number 10. Small quarto. Pictorial wrappers. With vestiges of old tape backing along spine, ownership signature of poet/editor/ novelist Norman Macleod on the upper wrapper, otherwise very good. Half morocco folding case. Contributors to this number include D.H. Lawrence (including the wrapper illustration), Baumann, Riggs, Luhan, et al. HOFFMAN, et al, p.266. $250. 284. LAUGHING HORSE. Santa Fe. April 1926. Whole number 13. Small quarto. Pictorial wrappers. With vestiges of old tape backing along spine and old glue stains extending from gutters of wrapper and prelims, ownership signature of poet/editor/novelist Norman Macleod on the upper wrapper, otherwise very good. Half morocco folding case. Contributors to this Special D.H. Lawrence Number include D.H. Lawrence (extensively), Bynner, Rauh, Purnell et al. HOFFMAN, et al, p.266. $200. 285. LAUGHING HORSE. Taos. September 1930. Whole number 18. Small quarto. Pictorial wrappers. Slight darkening at wrapper edges, light tidemark to upper fore-corner of most leaves, else very good or better. This is a special number, turned over to a pictorial “Short History of New Mexico,” including original blockprints by Dorothy Brett and others, drawings, reproductions of older images, etc., as well as a woodblock cover by Gustave Baumann. An uncommon issue. HOFFMAN, et al, p.266. $300. 286. LAUGHING HORSE. Taos. August 1931. Whole number 19. Small quarto. Pictorial wrappers. Laughing Horse return address clipped from envelope and affixed to first leaf, slight tanning to wrapper edges, else a very good or better copy. Contributors to this number include de Angulo, Norman Macleod (several contributions), Luhan, et al. HOFFMAN, et al, p.266. $250. 287. LAUGHING HOSS. Santa Fe: “Done by Writers’ Editions,” August 15th 1935. “The Sign on the Dotted Line Number.” Small quarto. Pictorial wrappers. 8pp. plus wrapper text and order slip. Fine. A very uncommon out-of-sequence number of Laughing Horse, published coincident with, and in an effort to promote, the publication of Spud Johnson’s new book, Horizontal Yellow, by the Writers’ Editions and the Rydal Press. Many, though not all, of the contributions to this number are likely by Johnson, and the puckish retitling of the periodical for this number is characteristic Spud Johnson antics. HOFFMAN, et al, p.266. $175. 288. LAUGHING HORSE. Taos. December 1939. Whole number 21. Small quarto. Pictorial wrappers. Tipped-in bookplate, otherwise an unusually nice copy, near fine. Half morocco folding case. Contributors to this, the final number, include Frank Waters, Frieda Lawrence, Ramon Naya, et al. HOFFMAN, et al. p.266. $250. 289. Lawrence, D.H.: FIRE AND OTHER POEMS. [San Francisco]: Printed at the Grabhorn Press for the Book Club of California, 1930. Full linen, gilt spine label. Usual tanning to endsheets, barely perceptible evidence of careful bookplate removal, otherwise about fine. First edition thus, with a Foreword by Robinson Jeffers and a note on the poems by Frieda Lawrence. One of 300 copies printed on handmade paper at the Grabhorn Press. This copy is signed by Robert and Edwin Grabhorn on the first blank. ROBERTS A80. GRABHORN 336. $300. First Book - One of Fifty on Large Paper 290. Le Gallienne, Richard: MY LADIES’ SONNETS AND OTHER “VAIN AND AMATORIOUS” VERSES, WITH SOME OF GRAVER MOOD. [Liverpool]: Privately Printed [by W. & J. Arnold], 1887. Small quarto. Paper boards, paper spine label, untrimmed. Small loss at crown of spine, light soiling to white portion of boards, lower fore-tips bumped, hair-line crack in upper joint; still, for this fragile book, a very good copy, with the bookplate of Francis Kettanah. First edition, large paper issue, of the author’s first book, handsomely printed on handmade paper, with red initials. Copy #8 of fifty copies on large paper, with a limitation written out and signed by the author. An important and uncommon precursor to the books of the ’90s. Surprisingly, neither this issue, nor the ordinary issue, are present in Colbeck’s substantial holdings of the author’s works. LINGEL 4. $1000. First Bodley Head Imprint - One of Fifty on Large Paper 291. Le Gallienne, Richard: VOLUMES IN FOLIO. London: C. Elkin Mathews at the Sign of the Bodley Head, 1889. Small quarto. Paper boards, printed spine label. Some handsoiling to white paper spine, lower foretips bumped, shallow chips at crown and toe of spine, front free endsheet neatly excised (evidently long ago), otherwise a good or better copy of a fragile book. First edition of the author’s first trade publication, preceded by the privately issued My Lady’s Sonnets (1887), and the first book to bear the Bodley Head imprint. Copy #10 of fifty large paper copies on handmade paper, and signed by the author - there were an additional 250 copies on small paper and three on Japan paper. This copy is additionally facetiously inscribed by Le Gallienne on the half-title: “Unfortunately by Richard Le Gallienne.” Scarce in this format. Whatever the reason for the front free endsheet’s excision, it took place sufficiently long ago that the tan offsetting normally occurring to the free endsheets of this book in this case is to the half-title. NELSON 1. NCBEL III:1063. COLBECK I:479. LINGEL 5. $650. 292. Le Gallienne, Richard: LIMITED EDITIONS A PROSE FANCY: TOGETHER WITH CONFESSIO AMANTIS A SONNET. London: Privately printed for Richard Le Gallienne, Elkin Mathews, John Lane and Their Friends, Christmas 1893. 12mo. Cloth backed stiff printed wrappers, untrimmed. First edition. A fine copy. LINGEL 13. NELSON 75. $85. 293. Lee, James W. [general editor]: SOUTHWEST WRITERS SERIES [Numbers 1 - 15]. Austin, TX: Steck-Vaughan Company, [1967 - 1968]. Fifteen volumes. Printed wrappers. Small sticker (or shadow thereof) in lower corner of each upper wrapper, otherwise fine in custom-made half morocco slipcase and chemise. First editions of these significant bio/critical treatments, often the first of any substance devoted to their subjects: Dobie, Duval, Siringo, Andy Adams, K.A. Porter, Humphrey, Paul Horgan, La Farge, Gipson, E.M. Rhodes, J. Mason Brewer, George S. Perry, Conrad Richter, and A.B. Guthrie, Jr. $250. 294. Lenin, Nicholas [i.e. Vladimir Ilyich]: A LETTER TO AMERICAN WORKINGMEN FROM THE SOCIALIST SOVIET REPUBLIC OF RUSSIA. New York & Brooklyn: The Socialist Publication Society, December 1918. 15,pp. Printed self-wrappers. Wrappers lightly frayed, with creased edge tear at top of lower wrapper and closed tear toward lower edge, otherwise a very good copy of a fragile pamphlet. First (American) edition of this appeal (written in August, sent to America, and printed in the Dec. 1918 issue of The Class Struggle, then separately in this form). This text is dated 20 August 1918 and encourages American workers to rise up and join the course of world revolution. The first of two pamphlets written by Lenin specifically for distribution among American workers. “The original manuscript is said to have been smuggled into this country by a sailor who jumped overboard as his ship came up New York harbor, and swam ashore” - Adams. ADAMS, RADICAL LITERATURE IN AMERICA, p.61. $275. 295. Lewis, Wyndham: THE RED PRIEST. London: Methuen, . Cloth. First edition. Fine in faintly smudged white dust jacket. MORROW & LAFOURCADE A41. $65. 296. Lindbergh, Charles A.: “WE”... THE FAMOUS FLIER’S OWN STORY OF HIS LIFE AND HIS TRANSATLANTIC FLIGHT, TOGETHER WITH HIS VIEWS ON THE FUTURE OF AVIATION. New York: Putnam, 1927. Large octavo. Gilt parchment and boards, fore and bottom edges untrimmed. Frontispiece etching by Robert James Malone. Illustrated with photographs. An unusually fine, virtually untouched copy in glassine wrapper. Enclosed in the original publisher’s numbered box (faint dust-soiling to bottom panel). Promotional booklet laid in, along with publisher’s note leaf. First edition, limited printing. Copy #596 of one thousand numbered copies for sale, from a total of 1100 copies specially printed and bound, and signed by the author and franked by the publishers. $3500. 297. [Lindbergh, Charles A.]: Miller, Francis Trevelyan: LINDBERGH HIS STORY IN PICTURES. New York & London: G.P. Putnam’s Sons, 1929. Gilt parchment and boards. Portrait and copiously illustrated with photographs. Bookplate of James S. Copley on verso of pictorial endsheet, otherwise very near fine. First edition, limited issue. The so-called “Collector’s Edition,” limited to 250 numbered copies, specially bound, and signed by the author/compiler and the publisher. Affixed to the front pastedown, as issued, is a commemorative cover, with stamps, carried by Lindbergh on his first International Air Mail Flight from Miami to the Canal Zone. $500. 298. Lindsay, Vachel: AUTOGRAPH LETTER, SIGNED. Springfield, IL 2 July 1930. One page, in ink, on quarto sheet of letterhead. Folded for mailing, but very good. To “My Dear Harriet Cordelia” - most likely Harriet Converse Moody, widow of William Vaughan Moody, whose home became a celebrated meeting place for Chicago writers and artists: “How about that book of ours? I have a lot of utterly irrelevant new pictures that might go into it of beautiful ladies in party dresses, full page decorations of a sort. Is it too late? I can forward them at once. Enclosed please find evidence I helped carry a local election! Most devotedly Vachel -.” The enclosure is not present. The book Lindsay refers to is quite possibly Mrs. William Vaughn Moody’s Cook-Book, originally planned to be illustrated, with contributions by literary figures from her circle, but published in 1931 unadorned due to the tighter economics of depression era publishing. $275. Locke on Christianity 299. [Locke, John]: THE REASONABLENESS OF CHRISTIANITY, AS DELIVERED IN THE SCRIPTURES ... TO WHICH IS ADDED, A VINDICATION OF THE SAME, FROM MR. EDWARDS’S EXCEPTIONS [with:] A SECOND VINDICATION OF THE REASONABLENESS OF CHRISTIANITY, &C. London: Printed by Awnsham and John Churchill [and:] Printed for A. and J. Churchill ... and Edward Case ..., 1696 & 1697. ,307,; ,40,; ,480pp. Three volumes bound in two, as often. Small octavo. First volume: modern paneled calf to contemporary style, raised bands, gilt label. Occasional scattered minor dust marking, first title faintly foxed, but a very good, crisp copy. Second volume: Contemporary paneled calf, rebacked to style, with raised bands, gilt label. Some browning to first and last gatherings, a few scattered small rust marks and one tiny rust/burn hole affecting a couple letters on a 3 recto and verso, otherwise a very good copy. Second edition of the first work, and first edition of the Vindication ..., which was separately printed and offered for independent sale as well as conjoined with the first work. In this copy of the Vindication, A 4 is in the corrected state, with B.P. Taylor identified as the author of The Naked Truth in the marginal note. The terminal ad leaves are present for both works in the first volume, as is the half-title for the second (the first title was issued without half-title). Locke began work on the Reasonableness... in the winter of 1694/5, and his authorship of it, as well as of the Vindication... and its successor, was confirmed in a codicil to his will. The main work is an attempt to analyze the aspects of Christianity apart from the “opinions and orthodoxies of sects and systems” in an attempt to overcome the doctrinal divisiveness in England at the time. The Vindication... was written in response to criticism by John Edwards. Accompanied by the first edition of Locke’s Second Vindication…. This copy is Yolton’s second issue, with Case added to the imprint and the errata on a 4 v. ESTC locates seven copies of the second issue in the U.S., and two copies of the first. YOLTON 230, 231 & 233b ESTC R25016, R18275, & R39074. WING L2752, L2769 & L2756. $2250. 300. Lomax, John, and Alan Lomax [compilers & annotators]: AMERICAN BALLADS AND FOLK SONGS. New York: Macmillan, 1934. 625pp. Thick quarto. Gilt cloth. Bookplate, spine darkened, with a few faint spots, front inner hinge cracking slightly, a couple finger smudges to colophon leaf, otherwise a near very good copy, without the original slipcase. First edition, limited issue. One of five hundred numbered copies, specially printed and bound, and signed by the compilers. Foreword by George L. Kittredge. Bibliography. One of the landmarks in the field of American ethnomusicology, printing the lyrics and often the music for some 270 songs chosen from the mass of material the Lomaxes collected during their travels, categorized variously as to type, subject, occupation, etc. Published “... at a time when Americans were turning more to their native culture ... these songs are mostly the expression of what average society considers its fringes, but which the Lomaxes show to be the heart of native culture” - Horn. HORN 457. $175. 301. Longfellow, Henry W.: AUTOGRAPH QUOTATION, SIGNED. [Np]. 1853. Half page, on folded quarto letter sheet, in ink. Folded for mailing, signs of previous mounting in corners of rear panel, otherwise very good. Half morocco clamshell box. A characteristic selection of four lines from “A Psalm of Life,” concluding “And, departing, leave behind us [/] Footprints on the sands of Time.” Signed “Henry W. Longfellow” and dated 1853. $1250. 302. Lowell, Maria: THE POEMS OF .... Cambridge: The Riverside Press, 1907. Boards, paper spine label. Portrait. Trace of foxing to fore-edge of portrait, otherwise fine in lightly corner worn slipcase. First printing in this format. One of 330 numbered copies printed on handmade paper after a design by Bruce Rogers. A reprint of the uncommon 1855 privately printed memorial collection edited by J.R. Lowell. WARDE 78. $75. 303. Lucas, Craig [screenwriter]: LONGTIME COMPANION SCREENPLAY BY .... [Np]: William Morris Agency, 14 March 1989. ,123 leaves. Quarto. Photoduplicated typescript, bradbound in plain stiff wrappers. Ink note on title, title handlettered on spine, lower fore- corners bumped, but very good. Denoted a “shooting script” of this original screenplay by the Tony Award and Pulitzer Prize nominated dramatist. The October 1989 release was directed by Norman René, and starred Bruce Davison, Mark Lamos, Campbell Scott, et al, in one of the earliest dramatic films to deal with the AIDS epidemic. $175. 304. Luhan, Mabel Dodge: WINTER IN TAOS New York: Harcourt, . Cloth. Ink name and large bookplate on front pastedown, usual tanning to pastedowns, otherwise a very good copy in chipped and shelfworn, price-clipped dust jacket which was backed with plain paper by the previous owner. First edition, first state with ‘Angel Adams’ in the list of illustrations and on the cutlines for his photographs. Frontis and plates by Ansel Adams, Ernest Knee, Carl Van Vechten and Edward Weston. $85. 305. Luhan, Mabel Dodge: MOVERS AND SHAKERS. VOLUME THREE OF INTIMATE MEMORIES. New York: Harcourt, . Thick octavo. Cloth. Plates. 1936 gift and ownership inscription on endsheet, bookplate on pastedown, usual tanning to endsheet gutters, otherwise a very good copy, in edgeworn, frayed and spine faded dust jacket (neatly backed with paper by a previous owner). First edition. The most interesting of Ms. Luhan’s cycle of autobiographical volumes, here concerned with her friends and associates who became ensnared in her New York Salon. Prints letters from Stein, Stieglitz, et al., and reprints what appears to be the entirety of the text of her unfortunate lover’s A Day in Bohemia, and her rather simpering account of her experiments with peyote. $100. Mabel Dodge Luhan on Psychoanalysis 306. Luhan, Mabel Dodge: Original Typescript of ON HUMAN RELATIONS A PERSONAL INTERPRETATION. [Taos: The Author, ca. June 1936]. ,110 leaves. Quarto. Original typescript, in term paper binder, with typed label. About fine. Folding cloth clamshell slipcase. A substantial essay by Luhan, dedicated to her long-time analyst and confidant, A. A. Brill, attempting to popularize the methods and terminology of psychoanalysis. The essay is signed in type at the end, and a preliminary leaf lists three potential titles for consideration, implying rather strongly that Luhan intended this work for publication in book form. The Luhan Collection at the Beinecke Library, Yale University, has a carbon typescript of this work, made from a different typed draft, which bears her presentation inscription dated June 1936. Luhan first made contact with Brill in 1916, and his role as her therapist and friend extended over a span of decades. While this essay is referenced in some of the biographical material on Luhan (for example, see Rudnick, Mabel Dodge Luhan New Woman, New Worlds, p. 138), it appears to be unpublished. $1250. 307. [Lupton, Donald]: THE GLORY OF THEIR TIMES, OR THE LIVES OF YE PRIMITIVE FATHERS. CONTAYNING THEIR CHIEFEST ACTIONS, WORKES, SENTENCES AND DEATHS. London: Printed for I. Okes, 1640. ,64,77-324,321-336,329-440,451-538pp. (erratic pagination as noted by ESTC). Small quarto. Recent full chocolate brown calf, raised bands, gilt label, side panels decorated in blind, a.e.g. Engraved title by G. Glover, and 45 engraved portraits in the text. 17th and 18th century ownership inscriptions on title, three ink annotations to the table in an early hand, occasional pencil marginalia, a bit of foxing toward the end, and some annotations to the binder’s endleaves, early restoration to lower blank corner of B 4 , otherwise a very good copy. First edition. Lupton (d. 1676) served during the early part of his life as chaplain to the English forces in the Low Countries and Germany. In 1632 he settled in London, where he subsisted as a hack author. Eventually, in March 1663, he was appointed vicar of Sunbury, Middlesex, a post he held until his death. In addition to the portraits, biographical sketches and glosses of their thought, Lupton includes a list of their works, with occasional bibliographical references. ESTC S108921. STC 16943. $600. 308. Mabe, Joni: THE UNTOLD STORY ... [Cornelia, GA: The Artist, 1982]. Quarto. Ringbound pictorial self-wrappers. Illustrated in color throughout. About fine. First edition. Copy #8 of twenty-five copies produced by the author/artist via color Xerox on all cotton paper, signed by her. Each pair of leaves is encapsulated in a plastic sleeve for preservation, as issued. A highly characteristic production by the artist and curator of the Panoramic Encyclopedia of Everything Elvis. $175. 309. Mabe, Joni: JONI MABE’S ONE AND ONLY BIG BOOK VOLUME 2 FROM HER TRAVELING MUSEUM OF OBSESSIONS, PERSONALITIES, & ODDITIES. [Cornelia, GA: The Artist], 1992. Quarto. Ringbound pictorial self-wrappers. Illustrated throughout. About fine. First edition. Copy #2 of two copies produced by the author/artist via collage and photocopy, signed by her. Each pair of leaves is encapsulated in a plastic sleeve for preservation, as issued. A highly characteristic production by the artist and curator of the Panoramic Encyclopedia of Everything Elvis. $175. 310. Machen, Arthur: Autograph Manuscript, Signed, of “THE WAY TO ATTAIN.” [Np, but likely London]. 27 September 1922. Two and one-half pages, on three small quarto sheets of lined notepaper, in pencil. With one deletion. Very good. The original autograph manuscript for the new Introduction to the 1923 third edition, but first American edition, of his translation of Fantastic Tales, or the Way to Attain, first published in complete form in 1890, after an aborted partial printing by the Dryden Press in 1889. The new edition was privately printed by Boni & Liveright, and according to Goldstone & Sweetser, the Introduction was not reprinted. GOLDSTONE & SWEETSER 57e (ref). $1450. 311. Malanga, Gerard: CRISTINAS WORLD IM(MEDIA)CY POEMWORKS. [New York: Poetry on Films, 1970]. Quarto. Stapled pictorial wrappers. Very lightly rumpled, a couple minor marginal marks, but a good copy. First edition, ordinary issue. One of 474 copies (of five hundred). Signed by the author, and with his fifteen line presentation inscription detailing the history of the book and derivation of the title, the identity and personality of Cristina, etc (ca. 150 words). $150. 312. Malraux, Andre: THE METAMORPHOSIS OF THE GODS. Garden City: Doubleday, 1960. Large, thick octavo. Profusely illustrated in black and white and color. Full plum morocco, raised bands, gilt labels, t.e.g., by Georges Gauché. Spine evenly sunned, minor rubbing to joints, but a very good or better copy in slipcase. First edition in English, deluxe U.S. issue, printed and bound in France. One of fifty numbered copies (of 58), specially bound and signed by the author. By virtue of the limitation, uncommon. $750. 313. Mamet, David [screenwriter]: GLENGARRY GLEN ROSS SCREENPLAY BY .... Los Angeles: Zupnik Enterprises, [ca. March 1987]. ,126 leaves. Quarto. Photoduplicated typescript, printed on rectos only. Bradbound in agency wrappers, with agency card affixed to corner of title-leaf. Title lettered on spine, minor use to wrapper edges, else near fine. Denoted a “First Draft” of Mamet’s own screen adaptation of his 1984 Pulitzer Prize-winning drama. We have handled another copy of this draft explicitly dating it to March of 1987, and substantially revised drafts as late as May 1991. The film was released in 1992, featuring an ensemble cast of considerable gravity under the direction of James Foley. Mamet was nominated for a WGA Award for his script. An early, brief reader’s report is laid in, noting that the property “would take top draw actors to overcome the lack of visual variety.” $650. 314. Matthiessen, Peter: PARTISANS. New York: The Viking Press, 1955. Cloth. First edition of the author’s second novel. A near fine copy in very good or better dust jacket with characteristic sunning to the orange spine strip and light use at crown of spine. $250. 315. Maugham, W. Somerset: THE EXPLORER. New York: Baker & Taylor Co., 1909. Olive green cloth, stamped in gilt, with gilt enameled lettering panel on upper board. Frontis and plates. Two small straight pin holes in front free endpaper, portion of lower corner of front pastedown torn away, otherwise a very good, bright copy, with the pencil ownership signature of Ingalls Kimball. First U.S. edition, and first illustrated edition, with plates by J. Graham Coates. A decent association copy, although none of Maugham’s books appeared in the U.S. under the Stone & Kimball imprint. STOTT A10c. ROTHSCHILD 43. $275. 316. Maurer, Sascha [illustrator]: WINTER SPORTS NEW ENGLAND THE NEW HAVEN R.R. [wrapper title]. [Long Island City: Latham Litho Co., Inc., nd. but ca. 1938]. pp. Small quarto. Color lithographed pictorial self-wrappers. Heavily illustrated. Near fine. A superb example of Maurer’s famous graphic work for New England railroads, including wrapper replications of two of his most popular posters. The rear wrapper features the “Let’s Go Skiing!” image. $150. 317. McClure, Lewis: THE McCLURE PRESS PLANS FOR RECONSTRUCTING THE 15TH CENTURY PRINTING PRESS OF JOHANN GUTENBERG. [Salisbury, CT: Lime Rock Press, 1984]. Folio. Decorated boards, paper label. Bookplate, otherwise about fine, with publisher’s letter laid in. First edition. Foreword by Harrison Salisbury. One of 250 numbered copies (of 275), printed by Kenneth Weir in Baskerville type on Frankfurt Laid paper, and signed by McClure, Salisbury and Weir. $300. 318. Melville, Herman: NARRATIVE OF A FOUR MONTHS’ RESIDENCE AMONG THE NATIVES OF A VALLEY OF THE MARQUESAS ISLANDS; OR, A PEEP AT POLYNESIAN LIFE. London: John Murray, 1846. xvi,,285,,16pp. plus map. Original red cloth, decorated in blind, spine lettered in gilt. Small English bookseller’s ticket in corner of front pastedown, very minor handsoiling to cloth, otherwise an unusually tight, bright copy, near fine. First edition of the author’s first book, preceding U.S. publication under the title Typee. This copy conforms to BAL’s second issue of p. 19 (now regarded as a prepublication correction having no relevance to priority of actual issue), cloth binder’s variant ‘B’, and contains the 16pp. catalogue dated March 1846. Published as No. XV of the clothbound issue of Murray’s Home and Colonial Library Series, as well as in wrappers, in two volumes. BAL 13652. $5000. In The Original Cloth 319. Melville, Herman: REDBURN: HIS FIRST VOYAGE. BEING THE SAILOR BOY CONFESSIONS AND REMINISCENCES OF THE SON OF A GENTLEMAN IN THE MER- CHANT SERVICE. London: Richard Bentley, 1849. Two volumes. Original publisher’s dark blue cloth, decorated in blind, spines lettered in gilt, printed endleaves (BAL’s A). 15mm. snag at crown of first spine toward lower joint, with some surface loss, foretips a bit bruised, old faded ink signature in top margin of each title, some occasional mild smudging and a few old spots to first title, otherwise a very good set. The rare first issue of the first edition, being one of 335 sets in the primary binding of Bentley’s first printing of 750 copies. The remaining sets of sheets were bound up two volumes in one with cancel title leaves for each volume, and with a new date, when Bentley remaindered this title in 1853, along with White-Jacket and The Whale, due to continuing poor sales. This London edition preceded the New York edition by over a month, and like all of Melville’s multi-volume London publications, is very scarce, particularly when in original cloth. The half-title is present in the second volume, but the first was published without a half-title. BAL 13659. SADLEIR EXCURSIONS, p.226. $40,000 320. Melville, Herman: ISRAEL POTTER: HIS FIFTY YEARS OF EXILE. New York: G.P. Putnam & Co., 1855. Original slate-green cloth, decorated in blind, lettered in gilt. Head and toe of spine a bit frayed, endsheets slightly tanned; a very good, sound copy. First edition, first printing, with the requisite readings on pp. 141 and 237-9, in the first binding, with ornamented pendants in the spine lettering. BAL 13667. WRIGHT II:1700. $2000. 321. [Merton, Thomas]: A MARTYR FOR PEACE AND UNITY FATHER MAX JOSEF METZGER (1887 - 1944). [Trappist, KY]. [ca 1962]. ,6pp. Quarto. Mimeographed typescript, text on rectos and versos, stapled at upper corner. Folded for mailing, slight tanning at edges, else about fine. First (private) printing of this essay, first publicly published, according to Burton, in the March 1962 issue of Jubilee under the title “Testament to Peace: Fr. Metzger’s Thoughts About the Duty of the Christian.” BURTON & ROMKEMA, p.136. $175. 322. Merton, Thomas: EIGHTEEN POEMS. [New York]: New Directions, . Large octavo. Cloth, paper label. Bookplate, otherwise fine in slipcase. First edition. One of 250 numbered copies, printed at the Yolla Bolly Press in Spectrum types on Arches paper. A suite of poems written by Merton for a close woman friend that he stipulated only be published after his death. Publication took place with virtually no publicity, with distribution undertaken quietly by this firm, among others, at the request of the publisher. Now somewhat uncommon. $350. 323. Mill, John Stuart: CONSIDERATIONS ON REPRESENTATIVE GOVERNMENT. London: Parker, Son, and Bourne, 1861. viii,340pp. Large octavo. Contemporary three quarter tan calf and marbled boards, gilt label, spine gilt extra, half-title bound in. Extremities a bit worn, with crack at top of upper joint, endsheets and half-title a bit foxed, bound without terminal catalogue, but a good copy. Three bookplates on front endsheets, including that of Henry Austin Bruce, first Lord Aberdare. First edition, wherein Mill considers the mechanics of practical government, calls for various reforms of Parliament and voting (especially proportional representation), for the Single Transferable Vote, and for the extension of suffrage. NCBEL III:1552. $350. 324. [Miller, Joaquin]: Russell, Edmund [compiler]: READINGS FROM CALIFORNIA POETS. San Francisco: William Doxey, September 1893. 124pp. Octavo. Original pictorial wrappers. A bit dusty and darkened, lower forecorner of upper wrapper chipped, with corner creases of first several leaves at that corner, but a good copy of a fragile book. Cloth chemise and rather funky half morocco slipcase. First edition, published as Doxey’s “Sunset Series” No. 2. Ten of Joaquin Miller’s poems are collected herein, and he has boldly inscribed this copy across the title: “My dear, dear Mrs. Hitchcock with all my best Joaquin S. Miller 9-6-93. S.F.” Other authors represented include Harte, Sill, Menken, Stoddard, O’Connell, et al. $275. 325. Milne, A.A.: SIGNED PHOTOGRAPH, WITH POOH AND CHRISTOPHER ROBIN. [Chelsea, SW3. August 1929]. 13.8 x 9 cm, on postcard mount. Fine. With secretarial letter. Folding cloth case. A charming photograph, with printed caption in the lower margin “Winnie the Pooh with A.A. Milne and Christopher Robin,” and signed in ink by Milne to the right of the caption. Accompanied by an a.l.s. from Celia Brice, Milne’s secretary, forwarding the photograph, extending Milne’s best wishes, and thanking the recipient for his letter and “nice things you say about his work.” With the original envelope. $1750. Milne on War and Pacifism 326. Milne, A.A.: SUPERB AUTOGRAPH LETTER, SIGNED. Cotchford Farm, Hartfield, Sussex. 10 May 1943. Two pages, very densely written, in ink, on recto and verso of octavo sheet of letterhead. Folded for mailing, a few light spots not affecting legibility, else very good. To an unnamed “Dear Madam,” in reasoned response to her letter about Milne’s stance on the war. He writes, in part: “1. I believe as I said in Peace with Honour that war is wrong, and I hope to see it abolished. 2. I also believe that torturing and murdering millions of people (without ‘justification’ of war) and prostituting the minds of children, is wrong; and that is what Germany has been doing, is doing, and will do in every country she conquers. 3. I also believe that to sit by comfortably and watch this wholesale murder and corruption is wrong. Being offered the choice of (1) and (2) I unhesitatingly choose (1). 4. In addition to this: I am a practical pacifist. It gives me no satisfaction whatever to say ‘I am not fighting’ in the middle of a war in which my country is engaged. I want to stop everybody fighting, not just in this war, but in all possible wars of the future. I know that if Germany won this war, or was allowed to make a compromise peace, war would not end. Therefore, as the only hope of lasting Peace, Germany must be fought and defeated. The whole of my book was valid for the sort of war I was then writing about: 19th century war, the war of convention, the only war we knew. This war is something utterly different ... This is barbaric invasion, when the losers are sold to slavery, shot, or (if young enough) sent to schools where they are taught Hitler is good ... I am more convinced than ever ... that no price is too high to pay for freedom, and for the preservation of children from the corruption of the Hitler cult ... It was my opinion, when I made it, that there was nothing more horrible than war. Now I know that there is another thing much more horrible: Peace under Hitler. My boy (an only child) is in the M.E.F. I hope yours are somewhere safer. Yours sincerely A.A. Milne.” Milne had served with the Royal Warwickshire Regiment in the Great War, and in 1934, published his eloquent statement against war, Peace with Honour. In the face of Hitler’s onslaught, he published War with Honour, and served as Captain in the Home Guard. $2250. 327. [Miniature]: CHARTER OF THE HEART MOUNTAIN RELOCATION CENTER, WYOMING. Northridge: Santa Susana Press, 1983. Miniature (5 x 7.5 cm, oblong). Printed boards. Decorations by Irving Block. Bookplate, otherwise fine in custom-made calf-backed cloth clamshell box with insert. First letterpress edition publication of these documents from the Heart Mountain Camp under the authority of the WRA. Introduction by David Perkins. One of 300 numbered copies (of 326) designed and printed by Patrick Reagh, and signed by the artist. $100. 328. Moore, George: A Sheaf of Corrected Proofs for AVOWALS. [London: Privately printed for Subscribers Only by Cumann Sean-Eolais na H-Eireann [i.e. T. Werner Laurie], 1919]. Loose sheets and signatures, as below, with manuscript corrections and revisions. Very good, in worn and cracked half morocco slipcase. A group of proof pages for the first, private edition of this work, with Moore’s occasionally extensive revisions and corrections. The proofs are not complete, but include the following pages: 145/6, 161-224, and another, revised setting of pp. 209-224. Moore’s ink revisions and corrections appear on some twenty pages, and a number of additional pages bear pencil corrections, some in his hand, others of a nature as to be not readily identifiable. GILCHER A38a. $600. 329. Moore, Henry: TYPED LETTER, SIGNED. Hoglands, Perry Green, Much Hadham, Herts. 15 May 1948. Two pages, closely typed on two octavo sheets of letterhead. Folded for mailing, otherwise very good or better, with the original typed envelope. Enclosed in a folding half morocco clamshell case. A fine letter from the artist, addressed “Dear Miss [Irene] Rosen,” in response to her enthusiastic letter written after a viewing of his sculptures at the Art Institute of Chicago (a carbon of her letter is present). In a substantially better than ordinary response by the sculptor to his public, and after apologizing for the delay in his response, Moore writes: “...As to your touching the pieces of sculpture at Chicago, you were right and the guards were wrong. If you can get a better idea of the volume of the mass, of the depth of the space and of the hardness of the material by touching a sculpture as well as looking at it, you must do so. I much enjoyed seeing a work of mine which had been in a museum in a mining town in England for many years and which had become dirtied in places where the miners, dropping into the museum on the way home for work, had run their hands over it.” In response to her query about the possibility of reproductions of his sculptures, he writes “As to reproductions, I don’t think they are worth making unless they’re good; it’s the same thing with pictures ... reproductions of sculptures ... can’t be any good unless each cast is worked on by the artist — and no artist has time to do that to a large edition of reproductions ....” He details how his editions of bronzes are produced, comments on their availability and price (“....which is, I imagine, more than you can afford to pay...”), and responds to her complaints about the inadequacy of the reproductions of photographs in J. J. Sweeney’s book: “In feeling the limitations of photographs you are certainly on the right lines ... a reproduction in a book can never have the same beauty or fidelity as an actual photographic print ....” He concludes in appreciation of her “genuine and intelligent interest” and notes that he his sending her separately a photograph (not present) of his latest carving. Signed in ink, “Henry Moore.” $850. 330. [Moore, Marianne]: Sargeant, Winthrop: HUMILITY CONCENTRATION & GUSTO A PROFILE OF MARIANNE MOORE.... Brooklyn: Pratt Adlib Press, 1960. Quarto. Sewn wrappers. Illustrated with original woodcuts by Richard Bennett. First edition. One of three hundred numbered copies. This copy has been signed by the artist. Very near fine $60. 331. More, Sir Thomas: UTOPIA: WRITTEN IN LATIN BY ... TRANSLATED INTO ENGLISH. London: Printed for Richard Chiswell, 1684. ,206pp. Octavo. Early diced calf, blocked in gilt, recently rebacked to style in brown calf, with gilt label. Early ink name on old binder’s blank, some marginal pencil highlights in text as well as an extensive pencil list of page references on terminal binder’s blanks, bound without original blanks A 1 and P 4 , some occasional foxing and light spotting, tiny snags in upper margins of three leaves, otherwise a very good copy. First edition of Gilbert Burnet’s translation, regarded by most as superior to that by Ralph Robinson first published in 1551. Thomas More’s Utopia ... marks the creation of a genre that was to have a far-reaching effect on the world of letters and of the imagination. The notion of an ideal society had been canvassed before, notably in Plato’s Republic, but it was More who fully developed the concept of an imagined ideal world, and who also gave the familiar name to the concept, with his famous pun on “good place” (eutopos) and “nowhere” (outopos). PFORZHEIMER 742. GIBSON 30. ESTC R7176. WING M2691. SABIN 50546. PRINTING & THE MIND OF MAN 47. $1850. 332. [Morris, William]: Colebrook, Frank: WILLIAM MORRIS: MASTER-PRINTER A LECTURE GIVEN ON THE EVENING OF NOVEMBER 27, 1896 TO STUDENTS OF THE PRINTING SCHOOL, ST. BRIDE FOUNDATION INSTITUTE IN LONDON. Council Bluffs, IA: Yellow Barn Press, . Quarto. Linen over boards, decorated labels. Two-color woodcut portrait and two black & white woodcut illustrations by John De Pol. Bookplate shadow on front pastedown, otherwise fine, with prospectus laid in. First printing in this format, with an introduction by William S. Peterson. One of 155 numbered copies printed in Poliphilus and Blado types on dampened Rives. A more modest printing was prepared from the proofs of this letterpress printing for distribution by Blackwell North America (1400 copies), with two hundred copies retained for distribution by the Yellow Barn Press. $250. 333. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS ... MDCCCXCV. Portland, ME: Thomas B. Mosher, 1895. pp. Small, narrow octavo. Printed wrappers. Slightly dusty along lower wrapper edges, sewing absent, otherwise near fine, unopened. Mosher’s trade list for the year, and his third such publication. BISHOP 200. $50. 334. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS ... MDCCCXCVI. Portland, ME: Thomas B. Mosher, 1896. pp. Small, narrow octavo. Printed wrappers. Wrappers neatly loose from sewing and a bit dust soiled, otherwise near fine, unopened. Mosher’s trade list for the year, and his fourth such publication. BISHOP 201. $50. 335. Mosher, Thomas Bird [publisher]: A LIST OF BOOKS ISSUED IN LIMITED EDITIONS ... MDCCCXCVII. Portland, ME: Thomas B. Mosher, 1897. pp. Small, narrow octavo. Printed wrappers. Shallow losses along overlap wrapper edges, else near fine, unopened. Mosher’s trade list for the year, and his fifth such publication. BISHOP 202. Sold 336. Muir, John: TYPED LETTER, SIGNED. Garrisons, NY. 14 July 1911. One and one half pages, on two panels of a folded oblong quarto lettersheet. Old folds for mailing, otherwise very good, with the original envelope. Enclosed in a half morocco clamshell box. To “Mrs. Harriet M. Ashley, Middleton, NY.” Muir, America’s most prominent conservationist of his era, expresses pleasure that the recipient has gotten his most recent book, noting “I will write my name in it some day for you,” but declines to visit her: “You have no idea how all my time is taken up. I am simply working from morning to night, trying to finish a book and it makes it utterly impossible for me to make a hundredth part of the visits that I should heartily like to make. I am trying very hard to finish my Yosemite Book before I sail for the Amazon. Besides this I have been reviewing the manuscript of the first volume of my autobiography, and all these things take time. Many thanks to you for the pair of Gingko leaves you sent. The tree is a favorite of mine ....” Signed in full, in ink, with one ink insertion. Muir letters are somewhat uncommon in commerce. $2500. 337. Murfin, Jane [screenwriter]: FREE, WHITE AND TWENTY-ONE ORIGINAL STORY AND CONTINUITY BY ADELA ROGERS ST. JOHNS SCREEN PLAY BY .... [Hollywood]: RKO Studios, Inc., 5 July 1932. 152 leaves. Quarto. Mimeographed typescript, printed on rectos only, bradbound in mimeographed studio wrappers. Upper wrapper pulled at one brad, light use, else very good. A “Second Draft Continuity” of this adaptation of St. Johns’s original story, via the intermediate screenplay by Murfin. A review of both writers’ many screen credits within a range of possible years suggests that this project may have never reached production, and possibly arose out of their involvement as cowriters for What Price Hollywood (1932). $250. 338. Murphy, Dennis [screenwriter]: “THE SERGEANT” SCREENPLAY BY ... FROM HIS NOVEL. [Np]: Robert Wise Productions, 8 May 1967. ,122 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed production company wrappers. Light sunning to medium blue wrappers, a few corner creases, a few tiny drops of mimeo artifacting in the upper margin of the title leaf, title lettered on spine, but a very good copy. An “estimating script” of Murphy’s adaptation to the screen of his own 1958 novel, a pioneering consideration of sexual identity in the context of the post WWII U.S. military presence in Europe. John Flynn directed the December 1968 release, which starred Rod Steiger in the lead. $250. 339. Murrow, Edward R.: TYPED DICTATED LETTER, SIGNED. Flat 71, 49 Hallam St., London, W.1. 25 November 1944. One-half page on oblong quarto lettersheet of CBS stationary. Signed in ink, with one correction. To American writer and commentator, Lewis Mumford: “Some day I shall hope to tell you in person just how much your letter of September 24th meant to me. It arrived at a time when encouragement was more than usually welcome. Already I was in your debt for your books. Thank you for writing. Sincerely yours, Ed Murrow.” Murrow was then, after a brief visit to the US earlier that month, back in wartime London as European Director for CBS. His comment about September being “a time when encouragement was more than usually welcome” may refer to the fact that in September his wife, Janet, had left London and returned to the US due to strains in their relationship. $275. 340. Neruda, Pablo: NUEVO CANTO DE AMOR A STALINGRADO. Mexico City: Comité de Ayuda a Rusia en Guerra, 1943. Small quarto. Original tan wrappers, printed in black and red, with small pictorial vignette. Wrappers faintly soiled and dust smudged, otherwise a very good copy. First edition, ordinary issue. One of 5000 copies, in addition to the deluxe issue of one hundred numbered and signed copies. $300. 341. Nugent, Frank [screenwriter]: “THE BOILERMAKERS.” [Los Angeles: The Author], 4 December 1964. Two volumes. 3,,80 leaves (plus lettered inserts); ,88 leaves. Quarto. Mechanically reproduced typescript, printed on rectos only. Bradbound in mimeographed wrappers (one is missing the top wrapper). Light soiling and use, but very good. Two consecutive drafts of this original teleplay, written by Nugent for Creator-Producer Merian C. Cooper. Though both are denoted “uncut revised” drafts, the first is shot through with revises on colored papers, dated from mid-November to early December. The second is a fresh draft incorporating the revisions and fixing pagination disruptions caused by lettered inserts in the first. The second bears the name, in an unknown hand, of Jean Nugent, Frank Nugent’s wife. Accompanied by another copy, in photocopy, of the second draft. Nugent and Cooper had worked together frequently, particularly in harness with John Ford, but this proposed project for television would appear not to have come to fruition. Set at Fort Teton on the western frontier, it highlights the service of those soldiers in the Cavalry Band in the context of a potential clash between ranchers and resident tribes during a drought. “The Boilermakers,” as the Cavalry Band was derisively labeled, are generally portrayed as a lot of misfits, and as a preliminary note on format indicates, the series would be “uniquely told through the eyes of the continuing characters of a rag-tag singing-fighting Cavalry band with their varied racial backgrounds, instruments and music ... stories to be in the vein of the Merian C. Cooper - John Ford features ‘She Wore a Yellow Ribbon’ - ‘Fort Apache’ - ‘Rio Grande’, etc.” Whether Ford was intended to sign on to direct this series is not indicated in the present material, but it would not be beyond the realm of possibility. $400. 342. [O’Casey, Sean]: Four Original Publicity Stills from THE PLOUGH AND THE STARS. [Los Angeles]: RKO Radio Pictures Inc., 1936. Four original 8x10 glossy publicity stills. Short closed tear in bottom margin of one still, a few smudges to versos, otherwise very near fine. Dudley Nichols adapted O’Casey’s controversial play about the 1916 Uprising for John Ford’s film, and it starred Barbara Stanwyck, Barry Fitzgerald, and Preston Foster. $125. 343. O’Casey, Sean: AUTOGRAPH LETTER, SIGNED. Tingrith, Totnes, Devon. 5 February 1953. One and one-half pages, on recto and verso of octavo lettersheet. Folded for mailing, otherwise about fine. Half morocco folding case. A cordial letter to H.A. Rappaport, Brooklyn, NY, reading in part: “In your wish for my writing, I hope all may come true, & that it may be as good as I hoped it would be - a wish the gods rarely grant. As for freedom from pain and uneasiness, well, that mightn’t be a too good thing, for it would separate me a lot from the life of humanity. I shall have my share of them with all others. The main thing is not to let them get us down.” While such a letter would suggest a response written merely to an admirer, he sends “My love to Mrs. Rappaport & to you,” suggesting more than a passing acquaintance. Signed in full. $650. 344. [O’Neill, Eugene]: Original Souvenir Book for STRANGE INTERLUDE. [New York: Al Greenstone / Metro-Goldwyn-Mayer, 1932]. pp. Quarto (28 x 22 cm). Highly pictorial wrappers. Heavily illustrated. Trivial use, with minor dust-smudging to lower wrapper, otherwise very good to near fine. A beautiful, deco-influenced souvenir book for the 1932 MGM film adaptation of O’Neill’s 1928 Pulitzer Prize-winning drama. Bess Meredyth and C. Gardner Sullivan are credited with the adaptation, and Robert Z. Leonard directed Clark Gable and Norma Shearer in the leads. Of course, the burgeoning star-attraction of the leads is capitalized upon in the text and illustrative matter; nonetheless, the source-play, its author and its adaptation are hardly neglected in the text. Unfortunately, the film was emasculated by censorship concerns and the need for condensation, and was only marginally successful, rendering paper associated with it rather uncommon. $250. 345. O’Neill, Eugene: DYNAMO. New York: Horace Liveright, 1929. Gilt cloth. First edition, first printing, preceding the limited edition. A very good copy in lightly nicked dust jacket with some dust-smudging to upper panel. ATKINSON A31-I-I.a. $85. 346. O’Sullivan, Seamus [pseud. of James Sullivan Starkey]: COMMON ADVENTURES: A BOOK OF PROSE AND VERSE, NICOLAS FLAMEL: A PLAY IN FOUR ACTS, FROM THE FRENCH OF GÉRARD NERVAL .... Dublin: The Orwell Press, 1926. Large octavo. First edition. One of two hundred numbered copies, signed by the author. Bound in recent gilt half vellum and marbled boards, without wrappers, bookplate, otherwise near fine, untrimmed. NCBEL IV:324. $125. 347. Oldenburg, Claes: N. Y. C. PRETZEL. [Np: The Artist], 1994. Screenprint in two colors on laser-cut three ply cardboard. Approximately 17.5 x 16 x 1.5 cm. Fine. A multiple produced by Oldenburg for sale at an exhibition at the Diechtorhallen in Hamburg, and inspired by street vendors selling pretzels outside Oldenburg’s NYC studio window. Signed by Oldenburg (with initials) on the verso, and with an edition rubber-stamp. $500. 348. [Orozco, José Clemente]: Reed, Alma [ed & intro]: JOSÉ CLEMENTE OROZCO. New York: Delphic Studios, 1932. Quarto. Black cloth, printed cover label. Portrait and over one hundred photographs. Spine and extremities sunned, bookplate, otherwise a very good copy. First edition. Signed in ink by the artist on the first blank. The most substantive English language overview to its date of Orozco’s frescoes, lithographs, paintings and drawings. In a special prefatory note, Reed acknowledges the special roles played by Tina Modotti, Edward Weston and Jose Maria Lupercio in photographing Orozco’s frescoes for this book. $300. 349. [Pear Tree Press]: Waller, Pickford: BOOK-PLATES BY PICKFORD WALLER. Flansham, Bognor [Sussex]: At the Pear Tree Press, [Spring 1916]. Small folio. Linen backed boards, paper label. Engraved plates in colors, silver and gold. Endsheet and first four leaves show an old tide-mark at lower gutter, typical scattered foxing and old browning, but otherwise a very good or better, unworn copy. Copy #7 of thirty copies only, printed from intaglio plates on Van Gelder Zonen, with colors varying from copy to copy. With the bookplate on the front endsheet of Sybil Waller, Pickford’s daughter, designed by Austin Spare. An unknown number of the thirty copies were issued in wrappers. TOMKINSON 9. $750. 350. Pearce, Brian: EARLY HISTORY OF THE COMMUNIST PARTY OF GREAT BRITAIN. [London: Socialist Labour League, August 1966]. Small octavo. Printed wrappers. Old crease to upper wrapper, otherwise very good. First (?) separate printing, first published in two numbers of the Labour Review. Inscribed by Pearce, the late pre-eminent historian of the British CP, to Julian Symons on the upper wrapper. A nice association. $55. 351. Peckinpah, Sam, et al: KLONDIKE 10B (WORKING TITLE: ‘SWOGER’S MULES’) [caption title]. [Los Angeles: ZIV Productions], 10/9/ 1960. ,34 leaves. Quarto. Mimeographed typescript, on blue stock, printed on rectos only. Stapled at upper corner. Light use at margins of outer leaves, but very good. A revised draft of this teleplay by Peckinpah, Jack Gariss and Elliott Lewis. Peckinpah served as director for many of the episodes of this short-lived series that ran for 17 episodes 1960-61. This particular script conforms to the sixth episode, which aired on 21 November 1960. $125. 352. [Peyote]: La Barre, Weston: THE PEYOTE CULT. New Haven & London: Yale University Press / Humphrey Milford, Oxford University Press, 1938. 188,pp. plus plate. Large octavo. Stiff printed wrappers. Bookplate inside upper wrapper, trace of foxing to plate, otherwise unusually fine. Folding cloth case. First edition. Published as #19 of the Yale University Publications in Anthropology. First edition of one of the seminal, relatively early works in the field, offering an in-depth analysis of the botanical, pharmaceutical, social, anthropological, theological and legal dimensions of peyote and its use, both historically and in modern times under the auspices of the Native American Church. Includes an extensive bibliography. $125. 353. Phillips, J.J.: NIGGA IN THE WOODPILE. Berkeley: Serendipity Books, 2008. pp. Small octavo. Sewn blindstamped wrappers with diecut holes. Woodcut frontis. Gatefold center sheet. Folded facsimile typescript letter laid in back, as issued. Fine. First edition in book form. One of ten numbered copies, signed by the author, from a total edition of 150 copies printed by Alastair Johnston at the Poltroon Press. A corrective presentation of the author’s poem, first published online, in Ishmael Reed’s magazine, Konch, in a format not her intention due to the vicissitudes of its conversion to html (“I had composed a rant that was, with premeditation, left-locked and loaded, and this rigid, left-defined form was integral to the poem”), accompanied by an explanatory essay and notes by the author providing context, as well as a supplementary facsimile of a letter, also contributing to context. $100. 354. [Pickering Press]: Anderson, John [printer]: A PICKERING POTPOURRI. [Maple Shade, NJ]: The Pickering Press, 1983. Small folio. Stiff wrapper folder, printed label, containing loose sheets, leaflets, broadsides and booklets. Faint smudge on upper wrapper, a few edge creases to individual constituent items, otherwise fine. A rich assemblage of largely ephemeral examples of Anderson’s work at the Pickering Press, as designer and printer, including items illustrated by John DePol, Claire Van Vliet, and others. Included in this copy are sixty items (plus one duplicate), including the explanatory coversheet. There seems to be some variation of contents between copies. $150. 355. [Plain Wrapper Press]: Smyth, Elaine: PLAIN WRAPPER PRESS 1966 - 1988 AN ILLUSTRATED BIBLIOGRAPHY OF THE WORK OF RICHARD-GABRIEL RUMMONDS. Austin: W. Thomas Taylor, 1993. 74,pp. Quarto. Quarter vellum and silk over boards. 8 pages of color plates. Fine. First edition, deluxe issue. Foreword by Decherd Turner. One of forty copies specially printed on Magnani mould made paper and specially bound, from a total edition of 340 copies, all designed and printed by Bradley Hutchinson. Annotated descriptions of 42 publications from this distinguished press. $400. 356. [Plantin Press]: Robinson, W.W.: MAPS OF LOS ANGELES FROM ORD’S SURVEY OF 1849 TO THE END OF THE BOOK OF THE EIGHTIES. Los Angeles: Dawson’s Bookshop, 1966. viii,,87,pp. Small folio. Cloth, gilt leather spine label. Plates and folding facsimiles. Large, folded facsimile inserted in pocket in rear. Bookplate. Trace of rubbing to spine label, otherwise near fine. First edition of the authoritative work on the subject to its time, elegantly printed in an edition of 380 numbered copies by Saul and Lillian Marks at the Plantin Press. Signed by the author. $350. 357. [Plantin Press]: Lingenfelter, Richard E.: PRESSES OF THE PACIFIC ISLANDS 1817 - 1867 A HISTORY OF THE FIRST HALF CENTURY OF PRINTING IN THE PACIFIC ISLANDS. Los Angeles: The Plantin Press, 1967. Gilt decorated cloth and spine label. Folding map, facsimiles and portrait. Illustrated with five original woodcuts on tissue by Edgar Dorsey Taylor. Bookplate on front pastedown, otherwise about fine. First edition. One of five hundred copies designed and printed by Saul and Lillian Marks at the Plantin Press. Considerations of the pioneer presses on Tahiti, Hawaii and twelve other locations. $150. 358. [Plantin Press]: Shakespeare, William: THE SONNETS OF WILLIAM SHAKESPEARE. [Los Angeles: Saul & Lillian Marks at the Plantin Press, 1974]. Octavo. Half medium brown morocco, raised bands, gilt label, and decorated boards, by Max J. Adjarian (with his small binder’s ticket). Large bookplate of James S. Copley on front pastedown, minute rub at crown of spine, otherwise fine. One of 120 numbered copies printed on handmade paper in Fairbanks Narrow Bembo types, with wood engravings by Mary Kuper. The entire edition was subscribed for by Jacob and Josephine Zeitlin, and it is uncommon in commerce. “William Shakespeare’s Sonnets are among the greatest and therefore most often-printed poems in the language. They have been done grandly and meanly, in large format and small, yet few if any editions have conveyed the eloquence of these poems as well as Saul Marks’. He dedicated the book to Alfred Fairbanks, whose Narrow Bembo italic types he uses here to such advantage” - Printers’ Choice. Fine, Matheson & Taylor, PRINTERS’ CHOICE 73. $1500. Signed by Yeats, with A.L.S. from Elizabeth Yeats 359. [Plunkett, Edward]: SELECTIONS FROM THE WRITINGS OF LORD DUNSANY. Churchtown, Dundrum: The Cuala Press, 1912. Linen-backed boards. Title-page woodcut pressmark “Lady Emer and tree” by Elinor Monsell. A few minor smudges to boards, else about fine. First edition. One of two hundred and fifty copies. Edited, with an introduction, by William B. Yeats. Signed by Yeats, and with a 2pp. a.l.s. (recto and verso of a half lettersheet) from Elizabeth Yeats, 22 Oct. 1912, about the book, to Mr. [Darrell ?] Figgis, on Cuala Industries stationary: “...we can’t spare many for review as the edition is small (250). I will be very glad indeed if you can get in a notice of it somewhere — we are sending it out today to the subscribers....” She further comments on impending travels, etc. WADE 247. MILLER 17. $3250. 360. Poe, Edgar A.: LES POÈMES D’EDGAR POE TRADUCTION EN PROSE DE STÉPHANE MALLARMÉ. Paris: Léon Vanier, 1889. xii,167pp. Large octavo. 19th century three-quarter red morocco and marbled boards, t.e.g., original printed parchment wrappers bound in. Portrait and eight plates. Wrappers a bit foxed, as usual, faint foxing to margins of portrait, extremities a bit rubbed, with small ink smudge on spine, otherwise a very good copy. Bookplate of James S. Copley, and with earlier gilt ownership initials “R.A.” at toe of spine. First French edition (in part) of these translations, preceded by a limited edition published in Belgium the previous year, and the 1875 separate appearance of Le Corbeau. Apart from the engraved plate of Poe’s tomb, the plates are printings of Édouard Manet’s black & white lithographs, including the four images from the celebrated folio edition of Le Corbeau. Mallarmé dedicated the collection: “A la mémoire de Baudelaire, que la Mort empécha d’achever, en traduisant l’ensemble de ces poèmes, le monument magnifique et fraternel dédié par son génie à Edgar Poé.” MONOD 9178. TALVART & PLACE XIII, p.130. $850. 361. Pope, Alexander: LETTERS OF THE LATE ... TO A LADY. NEVER BEFORE PUBLISHED. London: Printed for J. Dodsley, 1769. vi,7-87,pp. Small octavo. Bound by Philip Dusel to contemporary style in full black Niger morocco, heavily gilt, with the half-title bound in. About fine. First collected edition, published posthumously. Though a common enough book, here elegantly clothed in a binding by one of the foremost American binders of our day. ROTHSCHILD 1648. ESTC T5520. ASHLEY LIBRARY IV:62. $850. 362. Porter, Katharine Anne: DICTATED, TYPED LETTER, SIGNED, WITH MANUSCRIPT POSTSCRIPT AND INSCRIBED PHOTOGRAPH. College Park, MD. 15 January 1976. One and one-half pages, on recto and verso of quarto sheet. Folded for mailing, otherwise fine. Folding cloth slipcase. From the James S. Copley collection. A responsive, characteristic letter to an appreciative reader - who has taken the extra step and written to the Nobel prize Committee to nominate Porter - chiefly about Ship of Fools, “which has run a long gamut from being called a great book to a serious disaster to American literature ... whatever the book may be, I wrote it on purpose ... It is really a simple book written about immensely complicated human beings, and this appears to confuse certain people who seem to think that the complications of that book are in my misunderstandings of human nature. I still have to insist that I know how complicated and diverse human nature is and I have done my best to be faithful to this idea in my book.” She continues to write, gratefully, but realistically, about the recipient’s Nobel recommendation, noting that “It is a kind of lottery, you know, it has very little to do with merit ... but now and then someone gets it who has done serious work ... The only good thing about it now is that extremely useful money ... I rather hope it will be given to somebody who needs it and whose gift deserves that prize.” She continues, hoping that the autograph postscript (yet to come) and the enclosed photo will be a token of thanks, and signs the letter in full. Her seven- line postscript (signed with initials), refers to the enclosed photograph, one of the few of which she has more than one print. She confuses the vintage of the photo, writing that it was taken thirty-five years ago. In fact, she has inscribed the photo to the recipient in the upper portion of the image, dated 1976, and in the lower margin has signed it in full, and written the far more likely date “1950.” $375. Important Association Copy 363. Pound, Ezra [ed]: PASSAGES FROM THE LETTERS OF JOHN BUTLER YEATS: SELECTED BY.... Churchtown, Dundrum: The Cuala Press, 1917. Linen-backed boards, paper spine label. Title-page woodcut pressmark “Lady Emer and tree” by Elinor Monsell. Label chipped, with loss of several letters, but very good. First edition. Editor’s note by Ezra Pound. One of four hundred copies printed. Inscribed on the front free endsheet by John Butler Yeats: “To Oliver Elton With the author’s love. Sept 3. 1917.” The recipient contributed a Preface to the 1944 collection of the senior Yeats’s letters to his son, W.B. Yeats. With the small booklabel of Herbert Boyce Satcher. MILLER 25. GALLUP B15. $1850. 364. Pound, Ezra: BURGOS A DREAM CITY OF OLD CASTILE AN EARLY TRAVEL ESSAY.... New York & Krippelbrush: Nadja, 1994. Small octavo. Printed wrapper over stiff wrappers. Fine. First edition in book form. Prefatory note by Robert Wilson. One of 74 numbered copies for sale, from a total edition of 126. $150. 365. Pound, Ezra: CANTO CXVII. [Norwich, NY]: Wushan, 2010. Folio broadside (44.5 x 30.5 cm). Two illustrations. As new. First printing in this format, the text accompanied by two images by Path Soong. One of 79 numbered copies, printed on Rives, signed by the artist, and with the atelier chop. There were also an unspecified number of artist’s proofs. An authorized publication, new, at publication price: $450. 366. Powell, Lawrence Clark: MY NEW MEXICO LITERARY FRIENDS. Santa Fe: Press of the Palace of Governors, 1986, Decorated cloth, paper label. Illustrated with woodcuts by Willard F. Clark. Bookplate on pastedown, otherwise fine. First edition in this format, clothbound issue. Introduction by Marc Simmons. One of 175 numbered copies bound thus, from an edition of three hundred copies, designed and printed by Pamela Smith, and signed by the author, the artist, the printer, the binder and the author of the introduction. $125. With Translations by Henry Vaughan 367. [Powell, Thomas]: HUMANE INDUSTRY: OR, A HISTORY OF MOST MANUAL ARTS, DEDUCING THE ORIGINAL, PROGRESS, AND IMPROVEMENT OF THEM. FURNISHED WITH VARIETY OF INSTANCES AND EXAMPLES, SHEWING FORTH THE EXCELLENCY OF HUMANE WIT. London: Printed for Henry Herringman, 1661. ,188pp. (lacking the final two blanks). Small octavo. Modern three quarter calf and marbled boards, raised bands, gilt label. Rather browned at edges, with occasional spots, upper margins of first two leaves strengthened, touching a few letters, a bit tight at gutters, some page numbers cut into in top margin; still a reasonably good copy of a work commonly subject to such detractions. First edition, published the year following the author’s death. Wholly apart from the work’s significance as a collection of accounts of processes and trade crafts, it should be noted that Henry Vaughan, the poet, was among Powell’s neighbors and acquaintances, and scattered throughout the text are his translations of various classical source texts, identified by a sidenote or his initials. ESTC R8532. WING P3072. $1650. 368. Powys, Theodore: THE WHITE PATERNOSTER AND OTHER STORIES. London: Chatto & Windus, 1930. Gilt cloth. First edition, first binding. Signed by the author on the front free endsheet. Trace of tanning to endsheet gutters, else fine and bright, in near very good, spine-tanned white dust jacket with a few short tears and snags at edges. Includes several supernatural stories. BLEILER, p. 160. RILEY A21. $125. 369. [Press of the Good Mountain]: Bullen, Henry Lewis: NICOLAS JENSON PRINTER OF VENICE AN EXCERPT FROM AN ESSAY. Rochester: Press of the Good Mountain, . Quarto. Half calf and boards. Folding frontispiece facsimiles. First printing in this format. One of 75 numbered copies, printed by Robert Wheaton and signed by him. Bookplate of the James S. Copley collection, trace of sunning to boards, else near fine. $75. 370. Priestley, Joseph: MEMOIRS OF THE REV. DR. JOSEPH PRIESTLY TO THE YEAR 1795. WRITTEN BY HIMSELF. WITH A CONTINUATION TO THE TIME OF HIS DECEASE. BY HIS SON, JOSEPH PRIESTLEY. London: Reprinted from the American Edition, by the Several Unitarian Societies in England, and Sold by Joseph Johnson, 1809. iv,202,pp. 12mo. Original paper boards, untrimmed. 19th century ownership inscriptions on front endsheets, some pencil marginalia and page references on rear pastedown, spine extremities a bit nicked and worn, boards a bit smudged and soiled, but a good copy. Half morocco slipcase. Third (?) London edition, preceded by printings in 1805 and 1806, the former accompanied by the “Observations” by Cooper and Christie. Priestley’s own narrative concludes with his account of the events surrounding the Birmingham ugliness and his departure for America (through p. 114), where the first edition was published. His son’s contribution includes a substantial list of his father’s reading, and the appended checklist of Priestley’s writings lists over one hundred of the polymath’s publications, scientific, secular and theological. Though not an uncommon edition in ordinary condition, copies in boards are not the rule. $225. 371. [Printing Office at High Loft]: Stevenson, Robert L.: PROVIDENCE & THE GUITAR. High Loft [ME]: The Printing Office at High Loft, . Small quarto. Cloth, gilt labels. Illustrated. Bookplate on front pastedown, otherwise about fine in card slipcase with small stick shadow at one corner. First printing in this format. Illustrations in color by Nancy McCormick. One of 125 numbered copies (100 for sale), printed on Arches by Karen MacDonald, and signed by the artist.$150. 372. Rackham, Arthur: AUTOGRAPH LETTER, SIGNED. London. 18 January 1922. 1 and 2/3 pages, on folded octavo sheet of Arts Club letterhead. Folded for mailing, very good. Half morocco folding case. To “My dear Benjamin,” a letter of thanks: “They’ve just given me the delightful little Christmas present you make [sic] me. It is most charming & kind of you & the book will be treasured & will be most stimulating & inspiring to me. A little reminder of the power of design comes most helpfully in these days when one is so encompassed by ‘actuality’ in art ....” Signed in full. $500. 373. Rahmani, Aviva: FLOATING WORLDS. Del Mar, CA: InterNetwork Press, May 1982. Quarto. Pictorial wrappers. Profusely illustrated throughout. Bookplate, otherwise about fine in handmade paper wrapper. Half morocco folding clamshell case. First edition, deluxe issue. Copy #2 of one hundred numbered copies with the illustrations extensively handcolored, highlighted and embellished by the artist. “A book of essays, images and letters about how artists feel about having children,” associated with the performance art production by Rahmani. Contributors include Michael Bell, Alison Knowles, et al. Errata, prospectus and announcement laid in. $150. 374. [Rampant Lions Press]: Milton, John: AREOPAGITICA A SPEECH OF ... FOR THE LIBERTY OF UNLICENSED PRINTING TO THE PARLIAMENT OF ENGLAND. [Cambridge: Deighton, Bell & Company, 1973]. Large quarto. Cloth, gilt morocco spine label, t.e.g., others untrimmed. Bookplate, corner crease to front endsheets incurred in binding, otherwise near fine. One of four hundred numbered copies bound in cloth, from a total edition of five hundred copies designed by Sebastian Carter, and printed by him and Will Carter at the Rampant Lions Press. The text was edited, with introduction and notes, by Isabel Rivers. $150. 375. Rawlings, Marjorie Kinnan: THE YEARLING. New York: Charles Scribner’s Sons, 1938. Large octavo. Full doe-tan crushed levant, raised bands, t.e.g. Bookplate. Darkening at joints and some patches of darkening toward edges of boards, but a good copy. First edition. Illustrated by Edward Shenton. The binding was executed by Randeynes & Fils, and features an attractive inset (5.5 x 7.8cm) of the yearling leaping over a stack of rustic fence rails, composed of inlays of dark brown and black morocco. The endsheets feature a recurring pattern of faintly metallic leaping deer against a background of browns and mustard yellow. The Pulitzer Prize novel of its year, and the source for the screen adaptation by Paul Osborn. An attractive and appropriate binding. $600. 376. Rawlings, Marjorie Kinnan: TYPED LETTER, SIGNED. Hawthorn, FL. 1 June 1943. One full page, on quarto sheet of letterhead, signed in full. Old fold from having been mailed, with slight offset from signature to upper blank margin as a consequence, otherwise fine. Folding cloth slipcase. From the James S. Copley collection. To “Dear Mr. Wilson,” in response to a note and request for autograph. She apologizes for her delay due to illness and surgery, and notes “You are probably far from Fort Meade by now, but I see your envelop[sic] uses your home address. It is difficult to say which is my own favorite among my books. I suppose ‘The Yearling’ is the most unified artistically, and stands the best chance of survival ... I have a private affection for the least successful of my books, ‘Golden Apples’. It is not artistically successful, because I combined too- alien elements, yet I said things in it that I wanted very much to say ....” $750. 377. Rawlings, Marjorie Kinnan: TYPED LETTER, SIGNED. Hawthorn, FL. 9 August 1946. Half page, on quarto sheet of letterhead, signed in full. Old fold from having been mailed, otherwise about fine. To editor William Targ, about her contribution to an anthology in preparation: “Mr. Van Doren objected to my speaking of ‘the ten-cent weeklies’, as he said this identified three or four such weeklies too definitely, and many others were equally culpable. You will see that I have changed this in the proofs to read ‘popular’ weeklies, and if this is not satisfactory, let me know. Will you send me a copy of the collection when published? Sincerely, Marjorie Kinnan Rawlings.” $600. 378. Ray, Gordon: THE ART OF THE FRENCH ILLUSTRATED BOOK 1700 TO 1914. [New York & Ithaca]: Pierpont Morgan Library / Cornell University Press, . Two volumes. Quarto. Cloth. Extensively illustrated. Bookplate on each front pastedown, otherwise about fine in dust jackets. First edition, clothbound issue. An indispensable reference, published coincident with the exhibition at the Morgan, describing some four hundred examples of French illustrated books demonstrative of developments in style, technique, and taste over the span, including useful information about notable publishers, printers and artists, as well as bibliographic descriptions of the specific copies exhibited. $250. 379. Read, Sir Herbert: ORIGINALITY [wrapper title]. [Sewanee]: Reprinted from the October Number of The Sewanee Review, 1953. Large octavo. Printed wrappers. Wrapper unevenly darkened, otherwise a very good copy. First separate edition, inscribed and signed by the author in February 1954 to American poet and Melville heir, Eleanor Metcalf. $85. 380. Reade, A. Arthur [ed]: STUDY AND STIMULANTS; OR, THE USE OF INTOXICANTS AND NARCOTICS IN RELATION TO INTELLECTUAL LIFE, AS ILLUSTRATED BY PER- SONAL COMMUNICATIONS ON THE SUBJECT, FROM MEN OF LETTERS AND SCIENCE. Manchester & London: Abel Heywood / Simpkin, Marshall, 1883. vii,,10-206,,20pp. Octavo. Fairly recent half morocco and marbled boards, gilt label. Some scattered foxing, a bit more pronounced early and late, bookplate, but otherwise a very good copy. First edition. Includes letters and testimony by Charles Darwin, Thomas Hardy, Wilkie Collins, Samuel Clemens, W.D. Howells, John Ruskin, Charles Kingsley, and many others, some appearing for the first time in book form. BAL 3409, etc. $750. 381. Richardson, Dorothy: HONEY COMB. London: Duckworth, . Cloth. Text block browned, half-title cracked at gutter and chipped at fore-edge, spine dull; a poor copy, but see below. First edition. An appealing association copy, with the small emblematic bookplate of Perdita (Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” The 3rd book of the Pilgrimage Series. Bryher and Kenneth Macpherson adopted H.D.’s daughter Perdita shortly after their marriage in 1927. $85. 382. Richardson, Dorothy: INTERIM. London: Duckworth & Co., . Cloth. A very nice, near fine copy in lightly nicked and tanned dust jacket with a few small edge tears. Cloth slipcase and chemise. First edition, in the binding reputed by some to constitute the earliest state (with device on the rear board). An interesting copy, bearing a nine-line (ca 60 words) appraisal of the book, in ink, in W.H. Hudson’s hand, occupying a portion of the front jacket panel. $375. 383. Richardson, Dorothy: THE TRAP. London: Duckworth, . Cloth. Usual foxing, cloth a bit marked with shallow chipping at crown of spine. A good, sound copy, only. First edition. An appealing association copy, with the small emblematic bookplate of Perdita (Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” Bryher is also the dedicatee of this, the 8th book of the Pilgrimage Series. Bryher and Kenneth Macpherson adopted H.D.’s daughter Perdita shortly after their marriage in 1927. $175. 384. Richardson, Dorothy: DAWN’S LEFT HAND. London: Duckworth, . Cloth. Usual foxing, cloth a bit marked, with shallow chipping at crown of spine. A good, sound copy, only. First edition. An appealing association copy, with the small emblematic bookplate of Perdita (Aldington) Macpherson, with a note in ink: “From Bryher: 1935.” The 10th book of the Pilgrimage Series. Bryher and Kenneth Macpherson adopted H.D.’s daughter Perdita shortly after their marriage in 1927. $85. 385. [Ritchie, Ward]: Amanda Blanco [photographer]: TYPE-FACES: A PHOTOGRAPHIC STUDY OF WARD RITCHIE. Northridge, CA: Santa Susana Press, 1988. v,12, leaves, text on rectos only. Quarto (30.5 x 23 cm). Loose sheets, laid into folding cloth portfolio. Photographs. Fine in folding cloth portfolio with diecut aperture and inset panel. First edition of this tribute to printer/poet/publisher Ward Ritchie, comprised of a foreword by Lawrence Clark Powell, twelve original mounted photographs by Amanda Blanco (each numbered and signed on the mount by her), and a note about the photographer by Norman Tanis. One of sixty-five numbered copies, printed in Della Robbia type by D’Ambrosio, signed on the colophon by Powell and the printer, in addition to an unknown number of artist’s proofs. $750. One of Thirty-Six 386. Ritchie, Ward, and Amanda Blanco [photographer]: THE MANY FACES OF JAKE ZEITLIN A PHOTOGRAPHIC ESSAY .... Northridge, CA: Santa Susana Press, 1978. ,x,,12,, leaves, text on rectos only. Quarto (28 x 21.5 cm). Loose sheets, laid into folding cloth portfolio, lettered in gilt. Photographs. Original blockprint by Hans Burkhardt. One margin of blockprint curled (a bit too large for the portfolio), otherwise fine; the tips of the portfolio are rubbed. First edition of this tribute to antiquarian bookman and scholar, Jake Zeitlin, comprised of an introductory text by Ward Ritchie, a foreword by Norman Tanis, twelve original mounted photographs by Amanda Blanco (each numbered and signed on the mount by her), and the print by Burkhardt (numbered and signed). One of thirty-six numbered copies, signed again on the colophon by the photographer, in addition to an unknown number of artist’s proofs. $1250. 387. [Rivera, Diego]: PROTEST ROCKEFELLER VANDALISM SAVE RIVERA MURALS DEMONSTRATE AND PICKET ... [caption title]. [New York. prior to:] 17 May . Quarto broadside (30 x 19.7 cm). Upper and lower blank margins chipped (not approaching text), some bleed-through from old tape repair on verso affecting three letters; somewhat ragged, but intact. A handbill calling for a demonstration at Columbus Circle on Wednesday, 17 May, to protest the termination of Diego Rivera’s commission for the Rockefeller Center murals earlier that week and the draping of the murals in progress, and including a call to move on from the mass meeting to picket Rockefeller Center. The protest was sponsored by the John Reed Club, Rebel Arts Workers School, the IWW, the CPLA, and a number of other groups, and featured a roster of speakers that includes Robert Minor, A. J. Muste, Bertram Wolfe, et al. This handbill records one of many such organized and spontaneous protests immediately after the murals were draped, and prior to their destruction in February of 1934. A striking memento of this ignoble episode. $125. 388. [Rivers, Larry]: Singer, Isaac Bashevis: THE MAGICIAN OF LUBLIN. New York: Limited Editions Club, 1984. Large quarto. Quarter morocco and Irish linen by Gray Parrot. Illustrated with three original color lithographs by Larry Rivers. Bookplate of the James S. Copley collection on front pastedown, trace of faint sunning to spine, tiny bump to fore-edge, but a very good copy in slipcase with short snag at bottom fore-edge and tiny sticker shadow on side panel. First edition in this format, with a new Author’s Note by Singer, and three original lithographs by Rivers. One of 1500 numbered copies, signed by Singer and Rivers. $350. 389. [Roberts, George Edwin, and Henry M.D. Porter]: CUPS AND THEIR CUSTOMS. London: John van Vorst, 1869. vi,,62,pp. Octavo. Green cloth, stamped in black. Color lithographed frontis. Rear endsheets browned from now absent clippings (a bit of residue from where they were tipped in), a bit of wear at edges, otherwise a very good copy. Second edition, with additions. Formerly Arthur Upson’s copy, with his bookplate and a 1906 gift inscription from him to another party. “A collection of recipes for the brewing of compound drinks, technically termed ‘cups’” - Preface. The first edition appeared in 1863, and Porter served to edit Roberts’ notes for this edition after Roberts’ death. GABLER 36290. $150. 390. Roberts, Kenneth [ed]: JOURNAL BY THE ADVANCE SURVEYOR WITH COL. ARNOLD ON THE MARCH TO QUEBEC. By John Pierce. New York: Doubleday, Doran & Co., 1940. Stiff printed green wrappers. Wrappers detached at staples, with split toward toe of spine fold, half-dollar size smear on upper wrapper, else a good copy, in oversize folding cloth case. First separate printing, reprinted from the third edition of Roberts’s March to Quebec. Roberts owned the original of Pierce’s journal, and contributes notes and an introduction. Inscribed by Roberts on the front wrapper: “For Lucia and Steamer Nason Other Christmases have been tougher. Kenneth Roberts 1948.” U.S. Army Col. Leonard Hastings “Steamer” Nason (1895 - 1970) served in the Mexican Border Service and both World Wars, and published a long sequence of very popular, occasionally light-hearted fictional accounts of the A.E.F., including Chevrons. $225. 391. Robinson, W.W.: TARNISHED ANGELS PARADISIACAL TURPITUDE IN LOS ANGELES. [Los Angeles: Ward Ritchie Press, 1964]. 16mo. Cloth. Frontis, photograph, facsimiles. Bookplate on pastedown, otherwise near fine, in very good dust jacket (the latter with some old tape abrasions on flaps). Half morocco slipcase (spine a bit stained) and chemise with inset. First edition, clothbound issue. One of an unknown number of copies printed for presentation to the members of the Zamorano and Roxburghe Clubs. A facsimile of the southern California equivalent of a Blue Book from 1897, with an introductory history of prostitution in Los Angeles up to the 1909 suppression. $125. 392. Rogers, Bruce: SELECTED LETTERS 1915 - 1918. [Montclair, NJ]: Caliban Press, 1988. Large octavo. Calf-backed printed limp boards. Facsimile. Errata slip. Tiny bump at lower edge of rear board, otherwise fine in custom morocco backed cloth clamshell box. First edition. The texts of fifteen letters from Rogers to H.W. Kent, Emery Walker, Sydney Cockerell and others, and one from Walter Gilliss, edited by Patrick McGuire. One of 190 numbered copies printed by Mark McMurray in Goudy’s Garamont types on Frankfurt Cream paper. $185. One of Fifty on Japan Paper 393. Rostand, Edmond: CYRANO DE BERGERAC COMÉDIE HÉROÏQUE EN CINQ ACTES EN VERSE .... Paris: Librairie Charpentier et Fasquelle, 1898. 225,pp. Octavo. In a handsome exhibition binding of full olive brown crushed levant, raised bands, silk moiré endsheets, gilt inner doublures, a.e.g., with the original wrappers bound in, by Emile Carayon (1843 - 1909). The upper board features a pictorial inset (16 x 9 cm) on medium brown calf with a raised and colored vignette of a full figure of Cyrano rampant, with sword raised in his right hand and a text in his left. The vignette is signed “L.R.” A fine copy, with the bookplate of Jean Meyer, enclosed in a matching half-morocco chemise and morocco faced marbled board slipcase. First edition, deluxe issue. Copy #41 of fifty numbered copies printed on Japan paper, with special textured green wrappers printed in red. The author’s most widely known work, first presented at the Théâtre de la Porte Sainte-Martin on 28 December 1897, with Constant Coquelin in the lead. The extended verse comedy, featuring a protagonist with little resemblance to the historical Cyrano, was immensely popular on the continent and on tour in North America, and served as the source work or inspiration for dozens of later adaptations on the stage, on the screen, and on radio and television. The copies printed on Japan paper are scarce. $8500. 394. Rothenberg, Jerome, and Ian Tyson [illustrator]: SIX GEMATRIA. [London: Tetrad Press, November 1992]. Small folio. Printed wrapper. Bookplate inside front wrapper, otherwise fine in parchment wrapper and morocco-backed folding cloth slipcase. First edition. Illustrated with six original screenprints by Ian Tyson as accompaniments to the text. One of one hundred numbered copies, signed by the author and the artist, to coincide with the exhibition, “Three British Book Artists: Finlay, Phillips, Tyson” at the Mandeville Gallery. $300. A United Irishman in America 395. Sampson, William: MEMOIRS OF WILLIAM SAMPSON: INCLUDING PARTICULARS OF HIS ADVENTURES IN VARIOUS PARTS OF EUROPE; HIS CONFINEMENT IN THE DUNGEONS OF THE INQUISITION IN LISBON, &C ... A SHORT SKETCH OF THE HISTORY OF IRELAND, PARTICULARLY AS IT RESPECTS THE SPIRIT OF BRITISH DOMINATION IN THAT COUNTRY; AND A FEW OBSERVATIONS ON THE STATE OF MANNERS, &C. IN AMERICA. New York: Printed for the Author, by George Forman, 1807. xii,448pp. Large octavo. Contemporary mottled calf, spine ruled in gilt. Some scattered foxing and occasional light spotting, chip from crown of spine, otherwise a very good copy. First edition of this memoir by the United Irishman and associate of John Curran. Sampson’s associations, legal activities and publications led to his facing charges and periods of arrest, flight and exile following the events of 1798. After several eventful years on the continent, he was arrested again when he traveled to London, and deported to New York in May of 1806. He rose to great prominence in the U.S., primarily because of his active support and legal defense of the resident Irish. Wolfe Tone’s son worked in his law office and married his daughter. In spite of concerted effort in his later years to seek permission from the British government to revisit Ireland, he was never able to do so, and prior to his death in 1836, his Memoir was republished in London, bearing the subtitle, “An Irish Exile.” The substantial appendix prints many primary documents relating to matters he witnessed or was associated with in Ireland. While the 1817 Leesburg, VA reprint turns up with some regularity, this first edition is rather scarce, OCLC locating a total of seven copies. Not in Bradshaw. AMERICAN IMPRINTS 13544. $750. 396. Sandburg, Carl: TYPED LETTER, SIGNED. Connemara Farms, Flat Rock, NC. 4 January 1949. One page, on small octavo sheet of letterhead. Large ink dated receipt stamp in upper margin, otherwise very good. To “Dear Ben” (in Cleveland, according to the receipt stamp): “... It is good to have such friends in time of need. Probably no other book of this period has met such extremist divided opinion, lavish parise [sic] without limit as against complete dismissal and utter condemnation. Shall hope for another lighted evening at the homelike Levin shebang ....” Signed in full, in ink. The reference, may, just perhaps, be to the reception of Sandburg’s 1948 book, Remembrance Rock. $150. 397. Sandoz, Mari: CRAZY HORSE THE STRANGE MAN OF THE OGLALAS. New York: Knopf, 1942. Large, thick octavo. Decorated cloth. Folding map. Two bookplates on pastedown (one a gilt leather bookplate that has offset slightly to free endsheet), otherwise a very good or better copy in lightly worn and frayed dust jacket with inner tape mend at the crown of the spine and some smudges to the rear panel. Half morocco slipcase and chemise. First edition of the novelist/historian’s most acclaimed work of historical biography, praised for its unconventional and sympathetic approach to its subject. $450. 398. Sandoz, Mari: THE BEAVER MEN SPEARHEADS OF EMPIRE [with:] AREA OF THE RICHER BEAVER HARVEST OF NORTH AMERICA .... New York: Hastings House / James F. Carr, . xv,335pp. Two volumes. Half morocco and cloth; and cloth, leather spine label. Fine in slipcase. First edition, limited issue, of the prize winning novelist/historian’s account of the fur traders’ role in westward expansion. One of 185 numbered copies, specially bound, signed by Sandoz, and with two pages of the typescript, each signed by her, bound in. Accompanied by a signed copy of the map and a separate key. $1250. 399. Sandoz, Mari: OLD JULES COUNTRY ... A SELECTION FROM OLD JULES AND THIRTY YEARS OF WRITING SINCE THE BOOK WAS PUBLISHED .... New York: Hastings House & James F. Carr, 1965. Octavo. Half green morocco and cloth, raised bands, lettered in gilt. Portrait and illustrations by Bryan Forsyth. Folding map. Spine a shade sunned, otherwise fine. The limited issue of this expanded anniversary edition, being one of 250 numbered copies, specially bound, signed by the author, and including the extra illustrative matter not present in the trade edition. $375. 400. Sandoz, Mari: THE BATTLE OF THE LITTLE BIG HORN. New York: James F. Carr, 1966. Half navy-blue morocco and cloth, raised bands. Maps (one folding). Fine. First edition, limited issue. One of 249 numbered copies, specially printed and bound, signed by the author on the colophon, and with a leaf of the corrected typescript, signed by the author, bound in. The last of the novelist/historian’s lifetime works, published shortly after her death on 10 March 1966. $850. 401. Sassoon, Siegfried: AUTOGRAPH LETTER, SIGNED. Wilsford Manor. 12 October 1930. One page, in ink, on octavo sheet of letterhead. Near fine. Folding cloth slipcase. To “Dear Mr. [Gilbert?] Fabes,” noting he will be happy to inscribe a book “for anyone who is a friend of Lady Ottoline Morrell ... I am very much oppressed by my correspondence at present. In fact I am longing for the day when I am no longer a success & can get on with my writing in peace! At the age of 44 the wine of popularity does not cause the same intoxication as it might have done ten years earlier.” Signed “Siegfried Sassoon (a very much overworked signature. I shall buy a rubber stamp & a typewriter soon).” $350. 402. Schwartzott, Carol [compiler/designer]: A BRIEF HISTORY OF PAPER. [Freeville, NY: Lilliput Press, January 2001]. 47 panels, accordion fold. Small octavo. Decorated boards, paper spine label. Light offset from edges of boards to endsheets, otherwise about fine, in very good slipcase with small sticker abrasion in corner of one panel. Third edition in this format of this selection from Hunter’s Papermaking, History and Techniques. One of thirty numbered copies designed, illustrated and bound by Carol Schwartzott, and signed by her. Illustrated with fourteen original paper samples of various types. $150. 403. Selznick, David O.: TYPED LETTER, SIGNED. Culver City, CA. 26 November 1935. Half-page, on quarto sheet of Selznick International Pictures letterhead. Old folds from mailing, otherwise about fine. Folding cloth slipcase. To Leonard Levinson, about the 1935 film adaptation of Dickens’s A Tale of Two Cities. “...There is no doubt that you are right about the anesthetic that Carton administers to Darney. We faced the problem of this anachronism when we worked on the script, but we decided to go ahead with it relying on the source of Dickens as our alibi ... Dickens wrote about a mysterious mixture of herbs Carton secured and used in the scene. The only answer I can give you or anyone who picks up on this is: ‘blame Dickens’ ....” Dictated, but signed in ink. $375. 404. Seuss, Dr. [pseud. of Theodore S. Geisel]: THE LORAX. New York: Random House, . Quarto. Pictorial cloth boards. Bookplate, spine slightly tanned, tips a bit rubbed, small surface scrape to lower edge of front board, otherwise a very good copy. First edition, first printing, with 3 line copyright statement, reference to Lake Erie (removed from later printings), 32 titles listed on rear board, and quote by Rudolf Flesch imprinted in yellow box. Inscribed on the blank page opposite the title: “For Helen and Jim with Best wishes from Dr. Seuss.” YOUNGER & HIRSCH 49. $900. 405. Seuss, Dr. [pseud. of Theodore S. Geisel]: THE BUTTER BATTLE BOOK. New York: Random House, . Quarto. Light blue cloth. Illustrated throughout in color by the author. Cloth faded at edges, with some faint dust-spotting to upper board, otherwise a very good copy in similarly sunned and dust-smudged slipcase. Small bookseller’s ticket on rear endsheet. First edition, limited issue. One of five hundred numbered copies, specially bound, and signed by the author. The first Dr. Seuss signed limited edition. $750. 406. Seuss, Dr. [pseud. of Theodore S. Geisel]: YOU’RE ONLY OLD ONCE. New York: Random House, . Quarto. Light blue green cloth. Illustrated throughout in color by the author. Bookplate on front pastedown, otherwise about fine in cloth slipcase. First edition, limited issue. One of five hundred numbered copies, specially bound, and signed by the author. $600. 407. Shahn, Ben [illustrator]: THE ALPHABET OF CREATION AN ANCIENT LEGEND FROM THE ZOHAR .... New York: Printed at the Spiral Press and Published by Pantheon, . Small quarto. Rough-woven cloth, stamped in red, lettered in gilt. A fine copy in slipcase, the latter with a bit of wear to corners. First edition. Illustrations and lettering by Ben Shahn. One of five hundred numbered copies (of 550), printed on Rives at the Spiral Press and signed by Shahn. The text is the translation by Maurice Samuel. $550. 408. Shaw, George Bernard: LOVE AMONG THE ARTISTS. Chicago: Herbert S. Stone and Company, 1900. Light green cloth, lettered and decorated in dark green, t.e.g., others untrimmed. Early ink ownership initials on front free endsheet, otherwise a very good or better copy. First edition in book form, unauthorized in a legal sense, but published with Shaw’s knowledge and approval. The text was first published serially in Our Corner, November 1887 - December 1888. LAURENCE A45a. KRAMER 260. $250. “Our own squalid ventures in Persia have led us in the same direction ... Our diplomacy has reduced itself to absurdity in Armageddon ...” 409. Shaw, George Bernard: AUTOGRAPH MANUSCRIPT, RE: HIS REFLECTIONS ON ECONOMIC AND POLITICAL MATTERS. [London?]. [nd. but possibly ca 1914]. Two pages, closely written in pencil, with deletions and insertions, on two quarto sheets of pale blue T.H. Saunders letterstock (watermarked ‘1913’). Horizontal fold, with minor creases and smudges, but very good. An intriguing manuscript in which Shaw embarks on a characteristically discursive consideration of war, politics, economics and matters of civilization, with the tone of possibly having been written in response to a request for views on same: “Pardon the abruptness of the suggestion; but suppose we blow the German fleet out of the water, or under it, and the consequence is that Russia profits by our victory to the extent of carving a Baltic province out of Germany and condemning Sweden to live in the bear’s mouth, will that be a result for western civilization to rejoice over? The French seem to think that because Russia has drained away from France so much of the capital that is needed at home for making French towns and French children healthier and happier, Russia is her dearest friend. That is already not good sense. Of all tests of prosperity, financial balance sheets are the most delusive. Capital rushes downhill towards backward countries and cheap labor: civilization struggles uphill toward highly cultivated countries. It is by following the flow of capital that France has fallen into that alliance with Russia which is at the root of the whole present mischief. Our own squalid adventures in Persia have led us in the same direction ... Had England, instead of wavering between fear of Germany, patronage of France, and love of dividends, used her immense make-weight to consolidate France, Germany, England into a western nucleus ... we should not have been in our present mess; and we could have taken the criminal case of Servia [sic] out of the hands of the Austrian prosecutor into an international court ... even if the three great western powers must now fall on and hammer one another to exhaustion, they will still have to stop somewhere and mend their relations as best they can with a treaty. All the bloodshed and powder burning in the world will not alter the real problem one jot; and it seems a pity that we cannot tackle it at once, acknowledging frankly that our diplomacy has reduced itself to absurdity in Armageddon, and try to solve it as ‘good Europeans’.” $4000. 410. Shaw, George Bernard: TYPED LETTER, SIGNED WITH INITIALS, TO BLANCHE PATCH, WITH FOUR COSTUME DESIGNS FOR “ARMS & THE MAN.” Clivedon, Taplow. 26 August 1941. One page, on small octavo sheet of letterhead, with one paragraph postscript, in pencil. Accompanied by four 8 x 10 sheets of cyclostyled or hectographed costume drawings, incorporating manuscript captions, by Shaw. Letter fine, the drawings share a uniform patch of damp deterioration at one edge, with some associated brittleness and tears in that area. Shaw writes to his secretary: “My dear Blanche If you are anywhere in the direction of Whitehall Court look in and and [sic] search the Arms & The Man compartment for a bundle of sketches for the costumes, two of which are the original colored drawings and the rest copied outlines. Two sets of these outlines will be enough to bring to Ayot with the colored ones. We shall have to color them for Pascal. I am working at the new script now ....” The letter continues with details of arrangements for going to Ayot, and concludes: “No news. All serene here. GBS.” The accompanying costume drawings are printed in blue ink on cream stock, and three of them reproduce Shaw’s manuscript captions in the printing. Two are rather elaborate, incorporating multiple inset details in addition to the main drawing. The Sidney P. Albert Shaw collection at Brown includes four such cyclostyled costume drawings for Arms & The Man, with indications that Shaw produced a total of six ca. 1894 for a production of the play. The undertaking here most likely is indicative of their reuse associated with work on a prospective film adaptation of the play. Gabriel Pascal’s film of Major Barbara was released earlier that month, and his version of Pygmalion appeared in 1939. And although Pascal went on to produce Caesar and Cleopatra in 1945, and Androcles and the Lion in 1952, this film adaptation appears not to have come to fruition. $1850. “...the distribution of leisure is as important and as primary in the duty of the state as the distribution of income ...” 411. Shaw, George Bernard: SHORTHAND MANUSCRIPT DRAFT OF “ELECTION PROSPECTS.” [Np]. [nd. but ca. 1949]. 3 2/3 pages, in ink, on versos of printed quarto sheets (reuse of printed statements of terms for performances of Shaw’s plays). With two typed onlays, one bearing substantive deletions and insertions in Shaw’s hand. Accompanied by an early (contemporary?) typed transcription, 2 1/3 pp., quarto. Some isolated marginal paperclip rust stains affecting each leaf, old mend to verso of 1 1/2" clean tear in final leaf of manuscript, typist’s vertical completion rule in pencil through middle of each leaf of the manuscript, but generally very good. A fine example of Shaw’s characteristic shorthand, and vintage (though somewhat diffuse) political Shaw in terms of content, possibly the basis for the essay, “Election Prospects as I See Them,” published in the Daily Mail, 5 November 1949. In it, Shaw comments on the significance of Soviet Communism in the post-war years: “Mr. Churchill, who, to his great credit, was the first to recognize the eminence of Lenin, might well now warn our politicians of all parties, who seldom speak without naming Stalin, and never without insulting him, that Stalin is neither a would-be Napoleon nor a Hitleresque ‘bloodthirsty guttersnipe,’ but the mainstay of peace in Europe. None of your Statesmen seemed to have observed that ... civilization, from its beginning ... is founded on a broad basis of Communism ... They have not even read their Bibles (if they have any) far enough to know that Christianity began with a communism so stark that Saint Peter struck a man and his wife for holding back a few coins from the common stock for themselves ....” He expounds on the “slavery of Necessity,” and the importance of leisure: “...the distribution of leisure is as important and as primary in the duty of the state as the distribution of income ...,” and suggests the “final ruin of the Commonwealth” might be the consequence of the confrontation of the “small and miserably idle rich” with the “large and miserable overworked poor ....” LAURENCE C3879. $4750. 412. Shaw, George Bernard: Corrected Page Proof from WHAT I REALLY WROTE ABOUT THE WAR. [London]. [ca. 1932]. One leaf, octavo, printed on recto only. Rust stain in lower margin, a bit frayed at edges, very good. A single page proof from the trade edition in book form of the essays constituting What I Really Wrote About the War, published in the Constable standard edition in 1932. Shaw has corrected this page proof (corresponding to page 85), altering the reading “...I regard the Tsar as a monarch whose views differ deeply from President Wilson’s ...” to “... I regard the Tsar as a gentleman whose views are not those of President Wilson ....” He has made the revision both in-place in the text, and as a rewritten line in the lower margin. The printer’s initialed pencil acknowledgement of the correction is dated “28/11/32”. $225. 413. Shepard, Sam: FAR NORTH (SCREENPLAY) .... [Np]: Alive Films, . ,85 leaves plus lettered inserts. Quarto. Photographically reproduced typescript, printed on rectos only of white, rose and blue paper. Bradbound in studio wrappers with diecut window. Title lettered on spine, wrappers a bit used along overlap edges, but very good. An unspecified, but revised draft of this original screenplay, with substantial sections of dated revises on colored paper from 18 September and 1 October. Shepard also debuted as a director of the November 1988 release, starring Jessica Lange, Charles Durning, Tess Harper, Patricia Arquette, et al. The final screenplay was published in 1993 in a collective volume with other works by Shepard, but preproduction scripts are uncommon indeed. $450. 414. [Sheridan, Richard Brinsley]: THE SCHOOL FOR SCANDAL. A COMEDY, AS IT IS PERFORMED AT THE THEATRE ROYAL IN DRURY LANE. Dublin: Printed and Sold by the Booksellers, [nd. but ca. 1785]. ,-72pp. 12mo. Extracted from bound pamphlet volume, resewn and laid into somewhat worn marbled paper over limp boards folder. Pencil notes on detached preliminary blank, small marginal cellotape mend to last leaf; a sound copy. Morocco backed folding cloth case with ribbon ties. With the bookplate of A. Edward Newton inside the front wrapper (lot III:267 in his sale). One of the over twenty-five pirated Dublin printings of this play that appeared in the 18th century, beginning with the celebrated printing of 1780 based on the prompt script Sheridan gave to his sister, and following through various corrupt texts, or texts adapted from performances. Sheridan’s final revised text was eventually published in 1821. ESTC assigns the above date to this printing, and locates copies at Princeton, Kansas, Texas, Yale and the State Library of South Australia. Laid in is an earlier bookseller’s description, describing the present outer dress of the pamphlet erroneously as “Original marbled paper boards.” ESTC N21581. NCBEL II:818. $225. 415. [Shilts, Randy]: Schulman, Arnold [screenwriter]: “AND THE BAND PLAY ON” SCREENPLAY BY .... [New York]: HBO Pictures, 12 March 1992. ,139 leaves. Quarto. Photoduplicated typescript, printed on rectos only. Bradbound in studio wrappers. Minor use at wrapper edges, else very good or better. Title and date handlettered on spine, with denotation: “With changes.” Denoted the 11th draft” of this adaptation for cable of Shilts’s 1987 account of the early days of the AIDS epidemic in America. The September 1993 release, directed by Roger Spottiswoode, starred Matthew Modine, Alan Alda, Ian McKellan et al, and was nominated for, and received, a number of technical and acting awards. Several revisions, deletions and queries on the master were reproduced in production of this studio-generated copy. $125. 416. Shipman, Louis Evan: D’ARCY OF THE GUARDS OR THE FORTUNES OF WAR. Chicago & New York: Herbert S. Stone and Co., 1899. Small octavo. Gray cloth, decorated in black and green, t.e.g., others untrimmed. Near fine. First edition of this historical novel of Philadelphia during the Revolution, first conceived as a play, then novelized, then readapted to the stage, consequently enjoying a moderate success. It was the source novel for a 1913 film adaptation by Augustus Thomas’s production company. KRAMER 190. WRIGHT III:4922 $75. 417. Siddons, Sarah (British actress 1755 - 1831): AUTOGRAPH LETTER, SIGNED. [Np., but London]. 30 April 1821. Two and one-third pages, on three panels of a folded quarto lettersheet. Old folds for mailing, small piece detached from blank margin from wax seal having been opened, otherwise very good. To “Robert Cockerell Esq. Old Burlington Street” (almost certainly Charles Robert Cockerell, architect and artist, who assisted in the rebuilding of the Covent Garden Theatre in 1809, and established his offices on Old Burlington Street in 1820). A characteristic social letter from the famed actress: “My dear Roberto / I have just now arranged a little stag party for to-morrow evening, 9 o’clock, consisting of only Dr. Holland and my old friend Mr. Harrap; will you come also, and hear a little reading? and pray let your Drawings accompany you! I long to see them and my two friends are not unworthy of them, or of yourself. Herewith you will find my Bust of Adam, which I desire you to accept, not as a specimen of Art, but as an humble testimony of my true esteem and affection. I have supposed him listening to the angel Raphael’s glorious account of the works of the Creation: ... [8 lines of verse] ... Unworthy as is now, this feeble attempt to be presented to you my dear Robert, yet the time is possibly not far distant, when you will (I flatter myself) not be sorry to be possessed of something Wrought by her own hand, that may remind you of Your very affectionate and faithful friend, Sarah Siddons.” Of her, the DNB asserts that Siddons “was probably the greatest actress this country has known, and it is indeed doubtful whether in any country she has had her superior or even her equal in tragedy.” Her greatest parts were Isabella in Garrick’s version of Southerne’s ‘Fatal Marriage,’ Lady Macbeth, Zara in ‘Mourning Bride,’ Elvira, Constance, Queen Katharine, Belvidera, and Lady Randolph, and she numbered among her partisans Hazlitt, Byron, Lord Erskine, and (after some hesitancy) Horace Walpole. $850. 418. Silko, Leslie Marmon, with Lee Marmon: RAIN. [New York]: Library Fellows of the Whitney Museum of American Art, 1996. Quarto. Open-sewn handmade paper wrappers, lettered in silver. Photographs. Fine in slipcase, with original prospectus laid in. First edition. The fourth title in the “American Journal Series.” One of 130 numbered copies, designed by Leslie Miller and printed at the Grenfell Press in Monotype Centaur set by Michael and Winifred Bixler, and signed by the author and photographer. Silko’s essays are accompanied by laserprints of her own photographs, and a duotone reproduction of a photograph by Lee Marmon serves as a frontispiece. Signed by Silko and Marmon, and with an original print of a photograph by Marmon, signed by him, laid in. $500. 419. Sinclair, Upton: TYPED LETTER SIGNED. Monrovia, CA. March 1953. One half page, with manuscript postscript in ink, on oblong octavo sheet of printed letterhead. Folded for mailing, otherwise very good. To his old friend, author Lewis Mumford: “My dear Lewis: I have sent you an advance copy of my new novel. You will find it timely, and I shall be deeply interested in your opinion of it. Sincerely, Upton. I am so glad you liked the Jesus book. It has been cruelly ignored.” $125. 420. Smith, Clark Ashton: NERO AN EARLY POEM. [Glendale: Roy Squires, 1964]. Large octavo. Printed wrappers. Fine. Folding cloth case. First printing in this format. One of 400 ordinary copies (of 450) handset and printed by Roy Squires on Warren’s Old-Style. With Squires’ gift inscription on the colophon.$50. First U.S. Poetical Miscellany 421. [Smith, Elihu Hubbard (ed)]: AMERICAN POEMS, SELECTED AND ORIGINAL. VOL I. Litchfield, CT. Printed by Collier and Buel, . viii,[2 blank leaves],304pp. plus pp. subscribers list and p errata. Octavo. Original mottled sheep, with gilt red morocco label. Usual tanning and occasional mild discolorations, clean tears from outer margin in 3 leaves (with no loss), tiny paper flaws to three leaves costing a few letters, but overall, for this book an attractive, near very good copy in the original sheep binding. First edition, and the only volume published. The first American poetry miscellany, reprinting verse by Trumbull, Freneau, Dwight, Barlow, C.B. Brown (anonymously), and others. Smith, a Yale educated physician and student of Timothy Dwight, undertook this editorial task at the age of 22; in 1796 he founded the Medical Repository, the first American medical journal, but died in 1798 after contracting Yellow Fever while caring for patients in the epidemic. WEGELIN 489. BAL 5046. ESTC W4444. EVANS 25104. SABIN 1186. $1250. 422. Smollett, Tobias: TRAVELS THROUGH FRANCE AND ITALY. CONTAINING OBSER- VATIONS ON CHARACTER, CUSTOMS, RELIGION, GOVERNMENT, POLICE, COMMERCE, ARTS, AND ANTIQUITIES. WITH A PARTICULAR DESCRIPTION OF THE TOWN, TERRITORY, AND CLIMATE OF NICE .... London: Printed for R. Baldwin, 1766. Two volumes. ,372;,296pp. Contemporary calf, neatly rebacked to style, raised bands, gilt labels. Some marginal darkening early and late, half-title to first volume present, but not the second, two early bookplates, else a good set. First edition. The ill-temper Smollett evidenced in this narrative earned for him the nickname “Smelfungus” from Laurence Sterne. “Smollett was probably the most embittered and cantankerous Englishman that ever traveled abroad. Everything and everybody conspired to excite his irascibility. The food and the inns were bad, the accommodations were damp, dirty, and dark; the postillions, innkeepers, and the whole crew of caterers to travelers combined to irritate him with their sharp practices and outrageous extortions. Nevertheless, being an acute observer, he saw much more than he was given credit for” - Cox. ROTHSCHILD 1921. COX I:137. ESTC T55395. $950. 423. Smyth, H[enry] D[e Wolf]: A GENERAL ACCOUNT OF THE DEVELOPMENT OF METHODS OF USING ATOMIC ENERGY FOR MILITARY PURPOSES UNDER THE AUSPICES OF THE UNITED STATES GOVERNMENT 1940 - 1945 [wrapper title]. Washington: For Sale by the Superintendent of Documents, 1945. ,182pp. Printed stiff wrappers. Some soft creases and a tiny rust spot to wrappers, otherwise about fine. Folding cloth case, lettered in gilt. First printing of the first Government Printing Office edition, published six days after the bombing of Hiroshima. This is “... the remarkably full and candid account of the development work carried out between 1940 and 1945 by the American-directed but internationally recruited team of physicists which culminated in the production of the first atomic bomb” - PMM. Smyth was chairman of the Department of Physics at Princeton, and his account of the Manhattan Project is the first officially published description of the history of atomic research following Hahn and Strassman’s 1939 papers on discovery of nuclear fission. For reasons of security during the war, no papers relating to the project were allowed to be published. Preceded by the formerly uncommon lithoprint edition, and published within days of the Princeton edition. PRINTING AND THE MIND OF MAN 422e. Coleman, “The ‘Smyth Report’: A descriptive checklist,” Princeton University Library Chronicle 37 (1976), pp. 204-218. $350. 424. [Spanish Civil War]: North, Joseph: FOR VALOR IN BATTLE [wrapper title]. [New York: Published by the Veterans of the Abraham Lincoln Brigade for Committee to Defend Lincoln Veterans, April 1952]. 24mo. Pictorial self-wrappers (10.5 x 7.7 cm). Trace of dust at lower edge of upper wrapper, otherwise very good or better. First edition of this argument on behalf of the Veterans in the face of prosecution under the Smith Act. $75. 425. Sparrow, John: ASSOCIATION COPIES AN ESSAY WITH EXAMPLES DRAWN FROM THE AUTHOR’S OWN COLLECTION. Los Angeles: Jonathan A. Hill, 1978. Marbled wrappers, paper label. Fine. Later folding cloth case. First edition. One of two hundred numbered copies printed at the Bird & Bull Press on handmade paper, signed by the author. Among other notable items in his collection, Sparrow here writes affectionately of his copy of Yeats’ Responsibilities (Cuala Press 1914) inscribed to Maud Gonne; he does not mention the copy of Discoveries (Cuala Press 1907) inscribed to her he also (instead?) owned. $200. 426. Steadman, Ralph: SIGMUND FREUD. [Np]: White Ink Limited, 1979. [title-page and colophon], plus seven original screenprints. Oblong folio. Enclosed in cloth folding portfolio, with pictorial label. A few marginal offset smudges to title leaf margins from folder, otherwise fine. From the publisher’s blurb: “A favorite of collectors, this portfolio of 7 hand silkscreened prints plus title and colophon pages was published in an edition of only 98 sets, and presented within a black cloth portfolio. Each print is numbered and signed by Ralph Steadman ... [it was printed on] Somerset Waterleaf hand made paper, 300 gsm. measuring 22 x 30 in. The seven images in the edition were selected from illustrated symbolic passages of Steadman’s celebrated book, Sigmund Freud, published by Paddington Press Ltd. in 1979.” $3750. 427. [Steichen, Edward]: Sandburg, Carl: STEICHEN THE PHOTOGRAPHER. New York: Harcourt, Brace and Co., . Small folio. Gilt cloth. Frontis portrait and 49 plates. Bookplate on front pastedown, a few stray marks and rubs to cloth, but very good or better, without slipcase. First edition of the first substantial monograph on Steichen, with Sandburg’s 60+ page prefatory essay on his life and work. One of 925 numbered copies, signed by Steichen and Sandburg. The plates are high quality half-tone reproductions produced via the Knudsen Process, closely approximating photogravures in terms of quality. $3250. 428. Steichen, Edward [ed]: POWER IN THE PACIFIC A PICTORIAL RECORD OF NAVY COMBAT OPERATIONS ON LAND, SEA AND IN THE SKY .... [New York]: U.S. Camera Publishing Corp., . Quarto. Cloth. Photographs. Bookplate, cloth a bit dull, a few smudges to one blank margin, paperclip mark at top edge of endleaves; a good, sound copy in heavily worn pictorial dust jacket with paper backing neatly applied by a previous owner. First U.S. Camera edition, clothbound issue, quite possibly preceded by the Museum of Modern Art printing of the same year. Warmly inscribed and signed by Steichen in 1945 “For long time friends ....” Based on the MOMA exhibition of selections from the work of the combat photographers of the USMC, US Navy and the US Coast Guard in the Pacific theater. $550. “A Piece of America’s Unfinished Business ....” 429. Steichen, Edward: TYPED LETTER, SIGNED. West Redding, CT. 21 November 1963. One page, on quarto sheet of letterhead. Signed in full in coarse pencil. Old folds for mailing, return address duplicated in ink in bottom margin (presumably by the recipient), otherwise very good or better. Half morocco clamshell box. To Dallas Sherman, of the Protestant Council of the City of New York, thanking him for hosting an event: “... I was somewhat dubious about the use of the title of the Family of Man in connection with a single religious organization but when I read the scroll at each guests [sic] place, I understood the scope as well as the importance of the idea ... during the course of the speeches, my understanding became clearer and more positive ... [the President’s speech] made me realize that this could be the beginning of one of the most constructive and important developments of our time ... we are today faced with a piece of America’s unfinished business that calls for an all out effort to eliminate the evil engendered by the deep-rooted prejudices against our negro people. I am at present conducting a research with a view to ascertaining whether there are enough photographs with which to create a large scale exhibition on this subject. I know there is plenty of material on the negative side that emphasizes the record of bigotry but a statement that only presents the negative is meaningless unless the positive dominates as it did in the Family of Man exhibit at the Museum in 1955 ....” He closes indicating that he is sending on to the recipient a copy of the “rare first edition of the Family of Man book.” Steichen had retired in 1962 from his post as Director of the Department of Photography at the MOMA, and the event he refers to in the letter took place on 8 November. President Kennedy addressed the meeting upon his receipt of the Council’s “Family of Man Award.” Ironically, Kennedy was assassinated the day after this letter was written, and a little over two weeks later, on 6 December, President Lyndon Johnson presented Steichen with the Presidential Medal of Freedom. $850. 430. Stein, Gertrude: THE MAKING OF AMERICANS BEING A HISTORY OF A FAMILY’S PROGRESS. [Paris: Contact Editions / Three Mountains Press, 1925]. Thick large octavo. Original printed wrappers. Rebacked at an early date, with much of the original backstrip laid down (somewhat creased and with large chip at toe), and with few smudges and a small spot to upper wrapper; externally, maybe very good, but internally near fine. Enclosed in a handsome cloth slipcase with chemise and morocco label. Bookplate on inner panel of chemise. First edition of the author’s magnum opus. A total of 500 copies were printed (including 5 deluxe copies on Japon vellum), of which one hundred sets of sheets were sent to the U.S. and distributed by Albert & Charles Boni with a cancel title leaf and American binding. Some copies of this Paris issue were sold by advance subscription and some through bookstores. However, a substantial number of copies remained with the publisher as his relations with Stein deteriorated. “What became of the remainder of the edition neither Bird nor McAlmon remembers, but it is certain that a relatively small number of copies actually reached the hands of readers” - “The Making of The Making of Americans,” by D. Gallup. Stein’s most recent bibliographer, in fact, suggests that the 100 copies sent to America constituted “the majority of copies.” Whatever the case, this issue is much less common than one would find had 400 copies actually seen the light of day, although its enormous bulk and fragility have certainly contributed to a higher than normal attrition rate. WILSON A6a. Gallup, “The Making of THE MAKING OF AMERICANS,” in THE NEW COLOPHON, pp. 54-74. $2000. 431. Stein, Gertrude: NARRATION FOUR LECTURES ... WITH AN INTRODUCTION BY THORNTON WILDER. Chicago: Univ. of Chicago Press, . Small quarto. Orange cloth, decorated in black. First edition, trade issue (one of 872 copies thus). Large bookplate on front pastedown, pastedowns a bit darkened at edges, cloth slightly dust marked at edges and on lower board, otherwise a very good copy in darkened, slightly edgeworn, price-clipped dust jacket. WILSON A25a. $125. 432. Stein, Gertrude: ...TWO (HITHERTO UNPUBLISHED) POEMS [wrapper title]. [Pawlet, VT: Designed and Printed at the Banyan Press...for the friends of F.M. & C.V.V., Christmas, 1948]. Sewn printed wrappers. About fine. First edition, private issue. One of 205 numbered copies for distribution by Fania Marinoff & Carl Van Vechten, incorporating their holiday greeting into the wrapper title. An additional two hundred copies appeared with the GBM imprint, along with perhaps ten more for the press. WILSON A46b. $250. 433. [Steinbeck, John]: Allen, Fred: TYPED LETTER, SIGNED, TO JOHN STEINBECK. Old Orchard Beach, ME. 27 July, ny, but . Two pages (plus seven lines), closely typed, on two quarto sheets featuring a large header of Hirschfeld’s drawing of Allen. Folded for mailing, but near fine. Half morocco folding case. A warm and chatty letter, typed without capitalization, from Allen to “dear john,” touching on a variety of things, including Steinbeck’s working at the Viking offices because of his difficulty writing with children at home — a reference to Gwyn’s recovery after childbirth accurately dates the letter to the month after the birth of Steinbeck’s second son, John, in 1945. He thanks Steinbeck for sending a copy of Sea of Cortez: “... i hope to wade into the sea no later than tomorrow. with the atomic age around the corner, we may all find ourselves at the bottom of the sea and it will help to know the geograpsus lividus from the clypeaster rotundus ...,” and comments extensively about the humorous goings on at the Maine seaside where he is staying. In response to a query about his own writing, he reflects: “re the book. i have thought about it many times. the trouble i have is that after a season of radio my mind is a mulligan. i cannot sit down and concentrate on anything ... the only way i could hope to start a book would be to abandon radio for a season and see if i could do anything that would be worthwhile. you are conditioned to writing and can attack your problems in stride. after fourteen years of radio my mind jumps around and mentally i can’t sit still for twenty minutes. i expect to quit after this coming season and then perhaps i can organize my mental equipment. ....” Signed in full, in ink, with a typed postscript enclosing something for Gwyn. Ca. 700 words. $450. 434. Steinbeck, John: A LETTER FROM JOHN STEINBECK. [San Francisco]: Roxburghe & Zamorano Clubs, 1964. Quarto. Sewn printed wrappers. Wrappers slightly darkened and slightly bumped at forecorners, very good. First edition. Prefatory note by Katharine Carruth Grover. One of 150 copies printed at the Grace Hoper Press. The letter was written while Steinbeck was a student at Stanford. GOLDSTONE & PAYNE A42. $300. 435. [Steinbeck, John]: Hart, James D.: JOHN STEINBECK HIS LANGUAGE AN INTRO- DUCTION. Aptos, CA: [Grace Hoper Press], 1970. Quarto. Printed wrappers. Facsimiles. Minor use at overlap edges, two tiny spots inherent in paper stock of final blank, but about fine. First edition. One of 150 copies printed at the Grace Hoper Press for a joint meeting of the Roxburghe and Zamorano Clubs. Includes a facsimile of an a.l.s. by Steinbeck, and of an annotated typescript of his translation of a Ukrainian poem into a completely imaginary language. The present copy is the variant in white wrappers with the last leaf of the Introduction uncancelled. GOLDSTONE & PAYNE A45a. $350. 436. Steinbeck, John: LETTERS TO ELIZABETH A SELECTION OF LETTERS FROM JOHN STEINBECK TO ELIZABETH OTIS. San Francisco: Book Club of California, 1978. Cloth and boards, paper spine label. Facsimile. Two bookplates on pastedown, otherwise fine in plain wrapper. Prospectus laid in. First edition. Introduction by Carlton Sheffield. Edited by Florian Shasky and Susan Riggs. One of five hundred copies printed at the Plantin Press. Selections from Steinbeck’s letters to his agent. $175. 437. Stephens, James: THE DEMI-GODS. London: Macmillan and Co., 1914. Gilt cloth. A near fine, bright copy, in a chipped, but substantially complete example of the uncommon dust jacket. First edition, first printing, with the half-title. One of the author’s copies, with his small orange chopmark initials on the title-page. $225. 438. Stevens, Wallace, and José Rodríguez Feo: SECRETARIES OF THE MOON THE LETTERS OF WALLACE STEVENS & JOSÉ RODRÍGUEZ FEO. Durham, NC: Duke University Press, 1986. Cloth. Near fine in lightly spine-sunned dust jacket. First edition. Edited by Beverly Coyle and Alan Filreis. Pencil ownership inscription of Stevens editor/collector Daniel Woodward. Inscription on half-title page from editor Alan Filreis “For Dan, with thanks for ‘Putting together a world’ here at the Huntington [Library]. Al Filreis 1/18/90". Some additional correspondence between Woodward and Filreis is laid in. $60. 439. Stevenson, Robert Louis: ROBERT LOUIS STEVENSON TO HIS GOOD FRIEND M. DONAT. San Francisco: [Privately Printed for Herbert L. Rothschild], 1925. Large octavo. Parchment and boards, stamped in gilt. Tipped-in facsimiles. Bookplate on front pastedown, otherwise about fine in very good dust jacket (small snag in spine panel), and lightly rubbed slipcase. First edition. One of only fifty copies printed at the Grabhorn Press on unbleached Arnold handmade paper. Printed transcripts and facsimiles of the manuscripts of a letter and a poem, with an appreciation by Robert Keable. GRABHORN 78. BEINECKE 728. $225. 440. Still, William Grant: TYPED LETTER, SIGNED, TO EFREM KURTZ. Los Angeles. 27 October 1947. One page, closely typed, on recto of quarto lettersheet. A bit of haloing of the ink signature, old folds for mailing, very good. Folding cloth slipcase. An important letter from the pioneering African American composer, to Russian-born conductor Efrem Kurtz, then in residence in Kansas City. Still responds with enthusiasm to an enquiry from Kurtz about what he might have available for performance: “... I am so glad that you are interested in my work, and I believe I have expressed ... how much a performance by you means to me ... I do have a work such as you describe. That is ‘Out of the Silence,’ for strings, flute and piano ... [it] is a poetic piece, suggesting sounds coming from another world ... Along other lines, I have written some orchestral works ... One that I like especially is the ‘Poem for Orchestra,’ which speaks of the spiritual re-birth of a war-torn world ....” He passes on to Kurtz the details of an error in the printed score for the former piece, and continues describing other possible works for Kurtz to consider, including “Old California” and “In Memoriam: the Colored Soldiers Who Died for Democracy.” The letter is signed in full. After a decade as conductor of the Ballet Russe de Monte Carlo, Kurtz moved to the U.S. and became a citizen in 1944. At the time of this letter, he was music director of the Kansas City Philharmonic, a post he retained until the following year, when he moved to the Houston Symphony. Still’s Symphony No. 1 “Afro-American” had been performed by the Kansas City Philharmonic in 1938. An excellent letter from an important period in the ascendant decades of Still’s career. $950. 441. [Stone Imprint]: PROCEEDINGS AT THE OPENING OF THE MARK SKINNER LIBRARY MANCHESTER VERMONT JULY SEVENTH, MDCCCXCVII. [Chicago: Printed ... Under the Supervision of Herbert S. Stone & Co., 1898]. Small octavo. Green cloth, paper label. Portrait, photographs and floor-plan. Bookplate, otherwise about fine. First edition. A private printing commission undertaken by Stone and the Lakeside Press that is not recorded in Kramer. $125. 442. [Stone & Kimball]: CONCERNING THE BOOKS OF STONE & KIMBALL CHICAGO MDCCCXCIV-V. Chicago: Stone & Kimball, 1894. 29pp. Sewn printed self-wrappers. Wrappers tanned, with offset from old clipping to two pages, a couple fore-edges roughly opened, else very good. An uncommon and informative catalogue of the imprint’s publications, both published and forthcoming. $100. 443. Stone, Robert: DAMASCUS GATE. Boston & New York: Houghton Mifflin, 1998. Decorated pictorial wrappers. Advance reading copy from uncorrected page proofs. Inscribed by the author on the occasion of an interview at the time of publication. About fine. $175. 444. Strachan, W.J.: THE ARTIST AND THE BOOK IN FRANCE THE 20TH CENTURY LIVRE D’ARTISTE. New York: Wittenborn, . Gilt cloth. Quarto. Illustrations and plates in color and black and white. Fine and bright in very good dust jacket marred by several short creased edge-tears. First edition, American issue, printed in Britain. An authoritative and substantial introduction to English-reading audiences of the history and tradition of the French livres d’artiste. Includes a bibliography on the subject, as well as a catalogue of the representative examples discussed in the text. $150. 445. Strand, Paul: THE MEXICAN PORTFOLIO. [New York]: Da Capo Press, . pp. plus twenty photogravures. Folio (40 x 31.5cm). Folded signatures and loose sheets, laid into stiff wrapper, enclosed in folding cloth covered chemise and board slipcase. Bookplate and thin strip of tape residue on pastedown of chemise, otherwise fine in bit scuffed and corner worn printed slipcase. Second edition. Prefatory note by Leo Hurwitz, new note for this edition by Strand, and a statement of homage by David Alfaro Siqueiros. One of 1000 numbered copies, signed by Strand. A masterful reworking of the 1940 original, prepared under the photographer’s supervision, with the photogravures hand printed from the original plates on BFK Rives by Albert Delong. Strand took the original photographs in 1932-33, as a prelude to his work on the film Los Redes, and the 1940 edition, under the title Photographs of Mexico, was limited to 250 copies. $3000. 446. Tarkington, Booth: AUTOGRAPH LETTER, SIGNED. Indianapolis. 12 March 1935. One page, a bit hastily written in ink, on quarto sheet of letterhead. Folded for mailing, else about fine, accompanied by the original envelope. To Arthur Zinken, of the Meridian Bookshop, Indianapolis, reading in part: “... Charles Dickens was the literary life blood of the youths of my generation whose families were at all bookish. Sermons were likely to refer to Uriah Heap ... or to Sam Weller; everyone in the congregation knew those people. There are signs today of a renewing great interest in that stupendous writer and I think librarians will confirm this. Three books about Dickens have been published within the last year, I believe. More have been printed, in the same time, about Hitler, I suppose, but they aren’t what’s called ‘good reading’ ....” Signed in full. $350. 447. Tennyson, Alfred: AUTOGRAPH LETTER, SIGNED. Aldworth, Blackdown, Haslemere. 24 July 1872. One page, in ink, on small octavo sheet of embossed Aldworth letterhead. Light use and tanning at edges, single spindle hole in blank upper left quadrant, otherwise very good. An emphatic letter, wanting any equivocation: “Sir, I thank you but I have no intention of coming to the United States. I have the honour to be your obedient servant A Tennyson.” Accompanied by an example of the Elliott & Fry carte de visite of Tennyson in left profile. $650. “I never was much of a rake ... “ 448. Thackeray, William M.: AUTOGRAPH LETTER, SIGNED. [Clarendon Hotel, New York]. “Friday, 19 Novr” . Four pages, on four panels of folded quarto lettersheet, in ink. Small adhesion marks on lower panel from once having been mounted, otherwise about fine. Enclosed in an oversize half morocco clamshell case. An excellent letter, written during his first tour of America (November 1852 - April 1853), addressed “Dear Sir,” but possibly to Parke Godwin or a close associate thereof. On the day of his first lecture in a series presented to the Mercantile Library Association of New York, Thackeray writes: “I thank you for the paper, and the critical and biographical sketch w. you have drawn of me. There are some errors in the biographical department w. it is scarce worth while to correct or to particularize; though I must put in my little protest against them, lest I should be supposed to acquiesce with the historian. I never was very much of a rake nor a spendthrift; nor so poor in my reverses but that there was plenty of dinner lawfully paid for ... but as the death of nobody I know is likely to bring me such a treasure I must try my best in my own living person to leave my wife and young ones provided for & trust that a number of lecture and word-loving persons in America will be found to contribute to the success of that harmless scheme. I wrote a note 2 days since and burned it as being too full of personal history - on wh. I must perforce enter however, in acknowledging your article. I need not say that this is private and between me and my friendly critic. I write just before going to the first lecture, and will dress myself with more care than usual (knowing what eyes are on the look out) and will try and lay the proper emphasis upon the words. Very faithfully yours W.M. Thackeray.” He adds a note: “I have not had time to deliver any of my letters of introduction, and among them is the enclosed for Mr. Parke Godwin.” On the last panel, Thackeray adds a belated note: “Thursday 25. I am much obliged for the papers, and reopen the letter written a week since and kept back on account of the egotism ... It will give me great pleasure to call on Mr. Godwin and Mr. Bryant and to make Mr. Godwin’s acquaintance. I wish I could propose an evening but my evenings are all engaged at present for a week: & afterwards I am not my own master.” Wilson, in Thackeray in the United States, reports that W.C. Bryant was in attendance at the lecture in the 19th, but there is no record there of an eventual meeting with Godwin. $2250. 449. Thomas, Dylan: AUTOGRAPH LETTER, SIGNED. Magoda, New Quay, Cardiganshire, Wales. 19 February 1945. One half page, on octavo sheet. Horizontal fold for mailing, marginal tear (with signs of old repair, but no loss) touching one word, otherwise very good. Folding cloth case. To G.F. Hench (?), Esq., addressed as “Dear Sir.” Thomas grants publication permissions for one of his great war poems, as well as a notable poem about the lead up to war: “Yes, you certainly have my permission to use to [sic] my two poems - ‘Among Those Killed in the Dawn Raid’ and ‘The Hand That Signed’ - for your anthology ‘Poems for Europe.’ The first poem was first printed in Life & Letters Today, but will be included in a new book of poems of mine Dent are to publish this year some time: so I don’t know which you give acknowledgement to - Dent or L&L. Yours sincerely, Dylan Thomas.” The forthcoming collection he alludes to would be published as Deaths & Entrances, but it appears that the anthology to which this relates did not come to fruition, at least under the title given. $4500. 450. Thomas, Edward: CLOUD CASTLE AND OTHER PAPERS. London: Duckworth & Co., . Large octavo. Gilt navy blue cloth. Offset to endsheets from jacket flaps, otherwise a fine, bright copy, in somewhat edge darkened dust jacket with shallow loss at crown of spine and a clean, partial split up the upper spine fold. First edition, primary binding. A posthumously published collection, assembled by Thomas just prior to his final return to the Front. With a Foreword by W.H. Hudson, left unfinished because of his own death. Uncommon in dust jacket, ECKERT, pp.250-1. PAYNE B6a. $150. Inspired Bog House Verse 451. “Thrumbo, Hurlo” [pseud]: THE MERRY-THOUGHT: OR, THE GLASS-WINDOW AND BOG-HOUSE MISCELLANY. TAKEN FROM THE ORIGINAL MANUSCRIPTS WRITTEN IN DIAMOND BY PERSONS OF THE FIRST RANK AND FIGURE IN GREAT BRITAIN; RELATING TO LOVE, MATRIMONY, DRUNKENNESS, SOBRIETY, RANTING, SCANDAL, POLITICKS, GAMING, AND MANY OTHER SUBJECTS, SERIOUS AND COMICAL. FAITHFULLY TRANSCRIBED FROM THE DRINKING GLASSES AND WINDOWS IN THE SEVERAL NOTED TAVERNS, INNS, AND OTHER PUBLICK PLACES IN THE NATION. AMONGST WHICH ARE INTERMIXED THE LUCUBRATIONS OF THE POLITE PART OF THE WORLD, WRITTEN UPON WALLS, IN BOG-HOUSES, &C. [bound with:] THE MERRY- THOUGHT ... PART II. London: Printed for J. Roberts in Warwick-Lane ..., [nd. but ca. 1731]. ,24;,28pp. Octavo. 19th century pebbled morocco. Identical engraved frontis to each part, signed “H. Burgh Sculpt.” Binding worn at extremities and joints (but sound), internally quite nice, very good or better. Bookplate. First edition of each part. A fascinating collection, in two independent parts, of jests, graffiti and doggerel, represented as collected from public houses, bog houses and store fronts about Britain and Ireland. Some of the examples are barbs aimed at public or private figures, others are coarse or sexual, many relate to the writers’ state of drunkenness, and yet others are simply the exercises of amateurs with a thought to express (sometimes while occupied otherwise). Third and fourth parts also appeared, conjecturally dated by ESTC the following year, as did subsequent editions or reissues. All are uncommon, and the first edition of the first part is rare. Case records the first editions of the first and second parts only from notices/adverts in the Gentleman’s Magazine (October and November 1731) and Fog’s Weekly Journal, but did locate copies and collates the later parts and editions. ESTC locates three copies of the first part (Advocates Library, BL and the Bodleian - none in North America), and nine copies of the second (Huntington, McMaster, Princeton and Illinois in North America). CASE 369(I)(a) and 369(2)(b) note. ESTC T141567 and T141568. $2750. 452. Tinker, Edward Larocque: LIFE AND LITERATURE OF THE PAMPAS. Gainesville: Univ. of Florida Press, . Printed wrappers. Frontis. First revised edition, with an added bibliography of Gaucho literature. Bookplate, otherwise fine in half morocco folding case. Published as #13 in the Latin American Monograph series edited by A.C. Wilgus. $30. 453. Toklas, Alice B.: AUTOGRAPH LETTER, SIGNED. 5, rue Christine, Paris. 8 January 1952. One and one-half pages, on recto and verso of octavo sheet of airmail flimsy letterhead. Closely written, in ink, in her characteristic minuscule hand. About fine. Folding cloth case. To “Mr. [Bruno] Adriani, thanking him for his recent letter and extending her wishes for the rapid recovery of his wife, Mrs. [Sadie] Adriani: “Please tell her that I think of you both often - that our brief meeting is indeed a very warm memory.” She continues expressing her thanks for “The gift of her portrait of Harriet [likely Stein and Toklas intimate Harriet Lane Levy] touches me deeply. You will both agree I hope with my decision to send it to Yale University Library with other drawings and paintings to become part with her manuscripts letters etcetera of the Gertrude Stein collection. I like it in every way better than the drawing by Matisse....” She continues asking Adriani’s assistance in reestablishing her communications with “Dr. Boeringer” after she was unable to see him during his recent impromptu visit, and notes further that “Doctor Rosenthal is going to translate Gertrude’s play that he saw in San Francisco ... The winter has commenced - it is dark and dismal but not yet as cold as it must soon become. The poor poodle suffers dreadfully from arthritis and is no longer gay.” She concludes, noting a recent visit from “Doctor Morley of the San Francisco Museum - the one that received the bequest of Harriet’s pictures. I am trying to interest her in the work of Francis Rose ....” Signed, “Affectionate remembrances always, Alice Toklas.” Harriet Lane Levy (1867 - 1950), the prominent San Francisco writer, feminist and major benefactor of the arts, had been Alice Toklas’s friend from childhood and lived with her in Paris beginning in 1907, until her return to San Francisco in 1910. Sadie Adriani was herself an accomplished painter, and with her husband Bruno, an avid art collector. $550. 454. [Trade Catalogue]: Peck, Stow & Wilcox Co.: ILLUSTRATED CATALOGUE AND PRICE LIST OF TINSMITHS’ TOOLS AND MACHINES AND HARDWARE, MANUFACTURED BY THE PECK, STOW & WILCOX CO., NEW YORK, AND SOUTHINGTON, CONN., U.S.A. .... New York: Peck, Stow & Wilcox Co., 1885. 651,pp. Large, thick quarto. Original cloth, lettered and decorated in gilt. Illustrated throughout. Major portion of front free endsheet neatly clipped away, inner hinges cracking at toes, lower foretips shelfworn, otherwise a very good, bright, clean copy. A good, early example of the substantial and copiously illustrated trade catalogue published by one of the preeminent U.S. manufacturers of tools and hardware for the industry. The Peck, Stow, & Wilcox Company was organized in 1870 by a three-way merger of the Peck, Smith Manufacturing Company, the S. Stow Manufacturing Company, and the Roys & Wilcox Company. In 1880 the company was chartered by an act of the Connecticut legislature. Romain describes their 1880 catalogue as “one of the best tool catalogues located,” and in 1993, their much abbreviated 1900 catalogue (144pp.) was reprinted. OCLC/Worldcat locates one copy of this edition (NYPL), and only two of its 1880 predecessor. ROMAIN, p.190 (1880 edition). $500. 455. [Trade Catalogue]: Becken Co.: 1934 ANNUAL CATALOG ... A.C. BECKEN CO. ESTABLISHED 1887 CONTINUING OTTO YOUNG & CO. ... C.H, KNIGHTS-THEARLE CO.... Chicago: A.C. Becken Co., . 748pp. Thick quarto. Gray cloth, decorated in orange and black. Heavily illustrated, with occasional color work. Edges rubbed, pencil page references on free endsheet, otherwise very good. A lavish trade catalogue for this distributor of watches, jewelry, home furnishings, tableware, etc, ranging from Mickey Mouse watches, through art deco cigarette cases, dinnerware, jewelry boxes, and jeweler’s tools and equipment. $125. 456. [Tragara Press]: Hume, David: [EXTRACT FROM “THE SCEPTIC”]. Edinburgh: The Tragara Press, 1973. Folio broadside (41 x 24cm). Fine. One of an unknown (but small) number of copies printed on Saunders handmade paper by Alan Anderson at the Tragara Press for private distribution. Very faint soft crease else fine. $50. 457. [Treason - British]: AN HISTORICAL ACCOUNT OF ALL THE TRYALS AND ATTAIN- DERS OF HIGH-TREASON, FROM THE BEGINNING OF THE REIGN OF KING CHARLES THE FIRST, CHRONOLOGICALLY DIGESTED. WITH MANY MATERIAL OCCURRENCES, FOR THE BETTER ILLUSTRATING THEREOF. THE ACTS OF ATTAINDER AT LARGE. TO WHICH ARE ADDED, THE DYING SPEECHES, OR PAPERS LEFT BY THE SUFFERING PERSONS. London: Printed by H. Meere, for A. Bettesworth [et al], 1716. Two volumes. ,330;,320pp. 12mo. Contemporary paneled calf and paneled sheep (not uniform). Early ink initials in corner of each title margin, spine extremities worn, with slight cracking to a couple joints, one label wanting; internally slightly tanned but crisp and very good. First and only edition, it would appear, of this compilation for popular reading, as evidenced by the emphasis placed on the accounts of final words and executions (and modes for same) rather than on legal subtleties. The imprint advertises copies in both sheep and calf, available at different prices, and it would appear the early owner opted for the cheaper route for the second volume. ESTC N6760. $500. 458. Van Druten, John: FOUR AUTOGRAPH LETTERS, SIGNED, TO PAUL LANDACRE. New York, Los Angeles & Culver City. 14 November, “Wednesday,” “Sunday,” and “Wednesday,” no year, but [ca. 1930-31]. Five pages, in ink, on quarto and octavo sheets of letterhead. Very good. Enclosed in cloth folding case. Four letters from the Anglo-American dramatist/screenwriter to California woodcut artist, Paul Landacre, about commissioning one or more greeting cards. One of the letters is written from the Hotel Elysée in New York, two on letterhead of the Beverley Wilshire, and one on MGM letterhead. Van Druten writes Landacre in the 14 November letter (addressed incorrectly as ‘Lindacre’) from New York: “You may perhaps remember designing a Christmas card for me last year in Hollywood - and I should like it so much if you could do the same again ...,” and proposes a meeting with him once he returns to work at MGM. The other three letters relate to his receipt of cards, and payment for them, including two different transactions for two different commissions - one of them perhaps the previous card alluded to in the New York letter. Van Druten first came to Hollywood in 1930 to work on the screen adaptation of his play, Young Woodley, and Anthony Lehman, in Paul Landacre A Life and Legacy, records only Van Druten’s 1930 commission in his checklist of Landacre’s Christmas cards. The implication of this correspondence is that another, for 1931, followed. LEHMAN, p. 172. $200. 459. Viva [pseud. of Janet Sue Hoffman]: SUPERSTAR. New York: Putnam, . Narrow quarto. Plastic comb-bound printed wrappers. Uncorrected proofs of the first edition. Residue of filing label across lower edges, otherwise very good or better. Uncommon format for this title. $60. 460. Wadsworth, Edward: SAILING-SHIPS AND BARGES OF THE WESTERN MEDITER- RANEAN AND ADRIATIC SEAS. A SERIES OF COPPER PLATES ENGRAVED IN THE LINE MANNER.... London: Etchells & Macdonald, 1926. Quarto. Cream linen spine and orange cloth over boards, stamped in gilt. Faint dust soiling to spine, trace of normal offsetting to endsheet gutters, otherwise a fine copy in lightly worn slipcase. First edition. Introduction and captions to the illustrations by Bernard Windeler. Illustrated with twenty-three original copper engravings by Wadsworth, printed from the plates, both full-page and vignette, and some delicately handcolored. One of four hundred and fifty copies. Wadsworth was, of course, one of the original signators to the Vorticist manifesto and regrettably that tradition shows through only occasionally and briefly in these draftsman- like renderings. Of particular interest to this cataloguer is the probability that the author of the captions is the same B.C. Windeler whose Elimus, with illustrations by Dorothy Shakespear, was published in Pound’s Inquest series three years earlier. $900. 461. Wakoski, Diane, and Hans Burkhardt [illustrator]: HUSKS OF WHEAT TWO POEMS .... Northridge: Santa Susana Press, 1987. Quarto (29 x 19 cm). Folded sheets, enclosed in stiff paper sleeve. Illustrated with three original linoleum blockprints. Bookplate inside sleeve, sleeve lightly used, otherwise fine in slightly rubbed cloth slipcase with printed label. First edition. One of sixty-five numbered copies printed by Patrick Reagh on Arches Heavyweight, signed by the poet and the illustrator. Each of the three separate prints is also numbered, dated and signed by the artist in the margin. $450. 462. Wall, Bernhardt: FOLLOWING THOMAS JEFFERSON 1734 - 1826. Lime Rock, CT: Etched and Published by Bernhardt Wall, 1932 [ie. 1933]. Thirteen volumes. Small quarto. Original cloth-tape backed boards, with etched imprints on upper boards. Some foxing to edges of boards of second volume, final four numbers in original plain dust wrappers, late bookplate in each volume, very good to fine. First edition of this characteristic work by Wall, consisting entirely of original copper plate etchings of both the text and the illustrative material, printed in colors, and with each part, and many of the constituent etchings, signed by Wall. This is an interesting, though mixed, set. Formally published by subscription in an edition limited to 100 numbered copies of each part, this set includes ten volumes denoted as “Personal” rather than being numbered, and six of those volumes bear unusually warm presentation inscriptions on the occasions of publication from Wall to Theodore Fred Kuper, the dedicatee of the 8th part (which is marked “Personal” but is not inscribed). The first part is enhanced by the inclusion of a variant state (marked “1st state”) of the first plate, as well as the original pencil and ink mock-up for the plate printing Claude G. Bowers’ “Thomas Jefferson A Tribute.” The actual etched plate bears Bowers’ ink inscription to Kuper. According to inserted slips and Wall’s inscriptions, some of the production work on this title took place in Coral Gables, FL, as well as in Wall’s usual haunts. WEBER, pp. 42-3. $2000. Association Copy of His First Book 463. Wallace, Lew: THE FAIR GOD; OR, THE LAST OF THE ‘TZINS. A TALE OF THE CONQUEST OF MEXICO. Boston: James R. Osgood and Company, 1873. xiv,586pp. Contemporary three quarter forest green calf and marbled boards, raised bands, spine gilt extra, by MacDonald & Son, Cambridge. A bit of rubbing to spine extremities and fore- edges of corner pieces, modern bookplate, otherwise a very good copy. First edition, first printing, of the first book by the future Governor of New Mexico and author of Ben-Hur, with the sheets bulking 1" rather than 1 1/4". An interesting association copy, inscribed in pencil on the first binder’s blank by Wallace’s wife, Susan Arnold Elston Wallace: “Tayde Bancroft — ‘for remembrance’ S.E.W.” Accompanied by a fine 3 3/4 page autograph letter, signed with initials, from Susan Wallace, n.p., “November” [but corrected ‘I should have written October’] 30th, 1873, on four panels of a folded octavo lettersheet, to “My dear friend,” just possibly the recipient of the book: “I long have wished for something fit to offer as a keepsake to the ‘Rose of the Alhambra’ and now have found it in my husband’s book. When a dreaming boy, scarcely nineteen years old, he was lieutenant in our army in Mexico, and there when his tent was pitched among the sand hills of the Rio Grande, the wish possessed him to write a romance whose scenes should be laid in that delightful region ....” She details the span of time over which Wallace worked on the manuscript, noting “the last third was written after the rebellion, and plainly shows the difference between theoretical and practical soldiery. Such as it is, I beg you to accept this copy, and since ‘the gift without the giver is bare’, I have marked certain passages that pleased me” [NB: there are no annotations in the text of this copy]. She refers to her own book, possibly enclosed in manuscript form in the parcel with the book in hand: “Had my own little darling found favor in the eyes of those cruel-hearted publishers, I should have sent her to you in red morocco shoes; as it is, she must live (if at all) in a state of nature ... The drawings are with another copy which I hold in reserve for my grandchildren ....” Signed: “I am, faithfully, as ever, Your friend, S.E.W.” Attached at the top of the rear panel is a clipping of a review of The Fair God ..., as a New Publication, identified in ink as from the New York Times. Susan Wallace’s first book, The Storied Sea, was not published until 1883. Copies of The Fair God in presentation bindings of full green pebbled morocco, gilt extra, by MacDonald, are known; this may be an example of a less elaborate, but nonetheless contemporary binding for presentation. BAL 20795. WRIGHT II:2614. RUSSO & SULLIVAN pp. 311-313. Sold 464. Warde, Frederic Barkham (actor, 1851 - 1935): INSCRIBED PHOTOGRAPH IN THE ROLE OF PADRE SERRA, WITH SIGNED MANUSCRIPT QUOTATION. Los Angeles. April 1920. Original silver print photograph, 23 x 18 cm, by Witzel, accompanied by a manuscript quotation, signed, eight lines, in ink, on octavo sheet of Hotel Alvarado stationary. Upper margins of photograph oxidized, light mounting offset on verso of top edge of manuscript, otherwise very good. Folding cloth case. Two mementos associated with the eminent actor’s appearance in a California production of John S. McGroarty’s pageant, The Mission Play, in the role of Junipero Serra. The photograph is a strong character study of Warde as Serra praying at the foot of a Cross, and is inscribed by him and signed in white ink: “The Padre’s Prayer. Frederick Warde 1920.” The quotation is from the play, is signed by Warde and dated April 1920, and reads, in part: “Bring to the foot of thy cross, all these wild gentiles of the plains and hills; Bless the dear land of California, and all its peoples ....” British-born Warde came to the U.S. in the 1870s, and entered into a theatrical touring partnership with Maurice Barrymore. He is best remembered now as a very early pioneer in the production of film versions of stage plays — the recently rediscovered 1912 film version of Richard III, with Warde playing the lead, is considered a candidate for being the earliest surviving American feature film. $300. 465. Warhol, Andy: THE PHILOSOPHY OF ANDY WARHOL (FROM A TO B AND BACK AGAIN). New York & London: Harcourt, . Cloth and boards. Edges a bit dust darkened, but a very good copy in shelfworn dust jacket with creased tear at corner of front panel. First edition. In addition to being signed with initials on the half-title (as is common), this copy bears Warhol’s inscription: “To ... love Andy Warhol” (‘Warhol’ being something of a scrawl). $1250. 466. Washington, Booker T.: EDUCATION OF THE NEGRO. [Albany, New York]: Department of Education for the United States Commission to the Paris Exposition of 1900, [copyright 1899]. 44pp. Large octavo. Original printed wrappers. Toe of spine gnawed away at an angle, affecting text block but nowhere even remotely affecting (or approaching) text, thin strip of erosion to spine covering, lower wrapper has soft crease and light dust-soiling, two small corner chips to wrappers, but otherwise a good, sound copy. First edition of Washington’s fourth book, albeit a monograph, published in the series edited by Nicholas M. Butler, “Monographs on Education in the United States,” intended for distribution at the Paris Exposition which began in April 1900. However, copyright was taken in 1899 by J.B. Lyon and Company, the Albany printers who produced the work, and it was reprinted at least once, again by Lyon and Company in 1904, for distribution at the St. Louis Universal Exposition. This earlier printing for distribution in France tends to be uncommon. $650. 467. Washington, Booker T.: THE FUTURE OF THE AMERICAN NEGRO. Boston: Small, Maynard & Co., 1899. x,-224pp. Octavo. Plum red cloth, lettered in gilt, t.e.g., others untrimmed. Portrait. Bookplate, some discolorations to endsheets and faintly in gutters of prelims and terminal leaves, otherwise a very good, bright copy. First edition of the author’s second substantial clothbound book, preceded by a slim inspirational work, Daily Resolves (1896, pp.), and a collection of selections from his speeches, Black Belt Diamonds (1898). $400. 468. Wells, H.G.: AUTOGRAPH LETTER, SIGNED. Spade House, Sandgate. 5 November 1901. Three pages, in ink, on three panels of a folded small quarto lettersheet. Heavy horizontal fold from mailing, a few light smudges, else very good. Enclosed in an oversize half morocco clamshell box. Addressed to “Dear Sir,” but the recipient is identified at the conclusion as W.H. Wright, Esq., just possibly the Harvard astronomer. In response to an invitation to lecture, Wells writes: “1901 is quite out of the question but in the mid of 1902 I don’t see why I should not go [‘come’ inserted] to America. I want most keenly to get at the American public, and if you will believe me, my motives are not absolutely sordid. At present I feel I haven’t got the American public, though I have got most of what is worth having of the British - & I understand this lecturing in some [indecipherable] way will conduce to that desired end. Will you tell me just how it is done .... & will you promise not to write or inspire one solitary paragraph about my home or my personality & will you consider the whole thing in no sort of way binding me - if I ask you to come down & talk about it? ...” Signed, “Yours faithfully, H.G. Wells.” $850. One of Sixty Signed Copies 469. Wells, H.G.: THE DOOR IN THE WALL AND OTHER STORIES ... ILLUSTRATED WITH PHOTOGRAVURES BY ALVIN LANGDON COBURN. London: Grant Richards, . Small folio. Cloth backed boards, elaborately lettered in gilt, fore and bottom edges untrimmed, printed spine label. Frontis and nine tipped-in photogravure plates. One end of spine label chipped, costing final ‘L’, boards a bit hand smudged, with a few small nicks at edges; usual mild offset from plates to facing pages, tiny surface abrasion to extreme margin (not image) of frontis, small spot of ink offset in margin of title, otherwise fresh and crisp, with the plates in fine state. First edition in this format, the very scarce British issue. From a total edition of six hundred copies printed on French handmade paper by Bertha Goudy at the Village Press, this is one of sixty copies distributed in the U.K. by Grant Richards with their imprint, and with a handwritten limitation statement on the blank verso facing the half-title, signed at the end by Wells and by Coburn. The hand-pulled photogravures were printed under the supervision of Coburn, from plates he prepared himself. Due to a production accident, only three hundred of the six hundred were issued with the full complement of photogravures; in the remaining three hundred, sometimes one and usually many more of the plates were supplied as aquatones. This copy, as we suspect all copies of the limited British issue as originally distributed, includes all of the plates in photogravure. CARY 70. TRUTHFUL LENS 184. $12,500. 470. [West, Nathanael]: Original Studio Publicity Campaign Pressbook for LONELY- HEARTS. [Los Angeles]: United Artists, . 12pp. Folio. Pictorial self-wrappers. Illustrated. Faint creasing and a couple of minor smudges at lower edge of front wrapper, otherwise very good or better. Original campaign pressbook for the U.S. release of Dore Schary’s screen adaptation of West’s novel, directed by Vincent J. Donehue, starring Montgomery Clift (shortly after his car accident and looking a bit wooden), Myrna Loy, Robert Ryan and Maureen Stapleton. Includes promotionals of ranging degrees of inappropriateness (“Win a ‘Lonelyhearts’ World of Romance Trip to Rio”), as well as some discussion of West’s novel and a drawing by Hirschfeld specially executed for the film’s promotion. $125. 471. [West, Nathanael, and Whitney Bolton (screenwriters)]: Original Studio Publicity Campaign Pressbook for THE SPIRIT OF CULVER. [Los Angeles]: Universal Studios, . 12pp. plus  leaves of inserts. Folio (44.5 x 29.5). Highly pictorial self wrappers, printed in red and blue on white. Profusely illustrated. Old horizontal fold across middle, with some wear to upper panel at fold and chip at fore-edge; spine frayed and largely split, other light use; in spite of these flaws, a good, internally very good, complete copy of a very scarce pressbook. An unusually substantial and highly pictorial publicity campaign pressbook for the 1939 release, based on a script cowritten by Nathanael West and Whitney Bolton, directed by Joseph Santley, and starring Jackie Cooper, Freddie Bartholomew, Andy Devine, et al. The array of publicity material, the press and advert copy, and the suggestions for promotion are extensive. The cumbersome format, and the intended use, preclude the likelihood of many copies remaining intact. $350. 472. [Weston, Edward]: Armitage, Merle [editor & designer]: THE ART OF EDWARD WESTON. New York: E. Weyhe, 1932. Folio. Vegetable parchment and glossy boards. Portrait and 39 plates. Bookplate on front pastedown, edges and foretips a bit shelfworn, slight darkening and a few light spots to spine, two tiny tape scars to edges of each pastedown, small snag at top margin of half-title, otherwise a very good copy, without the slipcase. First edition. One of 550 copies, designed by Merle Armitage, and signed by Weston. As often, this copy is not numbered. One of the earliest substantial Weston monographs, including prefatory notes and essays by Lincoln Steffens, Charles Sheeler, Arthur Millier, Jean Charlot, and a statement by Weston. This copy is inscribed and signed by Armitage: “I have not looked at this book in 2 years, and I will risk seeming fatuous - or being a conceited fool - and say that this seems a good and appropriate book ... 1936 Merle Armitage.” $5000. 473. [Weston, Edward]: Weston, Cole: EDWARD WESTON DEDICATED TO SIMPLICITY A REMINISCENCE .... [Toronto]: Lumiere Press, 1986. Octavo. Cloth and boards, paper spine label. Tipped-in photographic portrait frontis and two plates. Bookplate on front pastedown, otherwise about fine. First edition, trade issue, of the first book publication of the press. One of 150 numbered copies, of 176 (plus an unknown number of hors commerce copies). Published in observance of the Edward Weston Centennial. Composed in Linotype Electra with Palatino for display and printed on Mohawk Letterpress Text. Three previously unpublished photographs, portraits of Weston by Brett Weston and Fritz Henle, and a photograph by Weston of Wildcat Hill house, have been printed on gelatin-silver paper and tipped in. Designed and produced by Michael Torosian. $400. 474. Whigham, Peter: LANGUE D’OEIL. Los Angeles: Press of the Pegacycle Lady, 1971. Sewn printed wrappers. First edition. One of sixty numbered copies, signed by the author. Bookplate, otherwise fine in folding cloth slipcase. $65. 475. [Whitman, Walt]: Johnston, John: DIARY NOTES OF A VISIT TO WALT WHITMAN AND SOME OF HIS FRIENDS IN 1890. Manchester & London: The Labour Press / The Clarion Office, 1898. 151pp. Gilt green cloth. Frontis and eleven plates. Very slightly cocked, top edge dust marked, else very good and bright. Second edition. Several of the plates are reproductions of photographs made on the occasion of the author’s visits with Whitman and John Burroughs. A facsimile of a Whitman letter is included here that was not present in the first edition. MYERSON D34. $75. 476. Wilcox, Ella Wheeler: CORRECTED TYPESCRIPT, SIGNED, OF “INTERLUDE,” WITH AUTOGRAPH LETTER. Short Beach, CT. [nd. but approximately Nov. 1909]. One page, quarto, typescript; and one page, octavo, in ink, on printed letterhead. Old folds for mailing, paperclip marks at top edges, otherwise very good. A lightly corrected typescript of one of Wilcox’s most widely reprinted poems, beginning: “The days grow shorter, the nights grow longer; [/] The head-stones thicken, along the way ...,” titled and signed in full by her, in ink, with a one word revision and some corrections. Accompanied by a one page a.l.s., undated, recipient unidentified: “This is the best I can do and I can not think of a better title. If you care for the verses & want to rename them you can do so ... send the poem back here if you do not want it.” Signed in full. When the poem was collected in Wilcox’s Sonnets of Sorrow & Triumph, the date of composition was recorded as November 1909. While known to the wider public for both her popular verse (including such poems as “Solitude” - “Laugh and the World Laughs with You...”) and her association with Theosophy, spiritualism, belief in reincarnation and other such passions of the time, Wilcox is best remembered among wits as having been the inspiration of Richard Murdoch’s “Ballet Egyptien” parody. $450. 477. Wilde, Oscar: INTENTIONS ... THE DECAY OF LYING PEN PENCIL AND POISON THE CRITIC AS ARTIST THE TRUTH OF MASKS. New York: Dodd, Mead, [nd. but ca. 1891?]. Rose cloth over boards, lettered in yellow, top edge stained brown. Spine a trifle darkened, with some hand-smudging to cloth, small nick at crown of spine, but a very good copy. An American issue of the British sheets. Mason/Millard was unable to examine a copy of the American issue of the first edition sheets, but describes a literal date in the title- imprint, in a binding of the same color of cloth as this copy, with the same overall dimensions. However, the American issue of the second London edition does bear a literal date (1894) in the title imprint, and is bound in tan cloth. Hence the copy in hand is most likely not a variant of the American issue of the second edition, and may very well be the American issue of the first edition sheets (600 copies), at variance from Mason/Millard’s speculative description. With the pencil ownership inscription of American publisher Ingalls Kimball, dated Chicago August 1894. MASON/MILLARD 343. $500. 478. Wilder, Thornton: AUTOGRAPH LETTER, SIGNED. Hamden, CT. “Tuesday evening.” [nd. but ca Dec. 1946-8]. Two pages, in ink, on recto and verso of quarto sheet of personal letterhead. Old folds for mailing, otherwise fine. Folding cloth case. Addressed simply: “Gnädigste,” and likely to Lucy Tal, his advisor on German language publication, and wife of Viennese publisher Ernest Peter Tal, who emigrated to the U.S. as a consequence of the war. Wilder writes in regard to a return to publication of his work in Germany, noting: “I’d practically forgotten about the war when that little British reminder crept up on me. As to the publishing, there’s nothing I want out of it except one thing: since you are no longer publishing, I want my freedom, so as to start all over again. Herlitschka as the translator, but publication centered in Berlin. I’ve been told that whatever may be the legal, property status of the rights in Austria I am now free to make a separate German publishing arrangement. I’m not impatient myself, but the large amount of letters I get from Germany show that there are readers there waiting.” In regard to another unspecified matter, he notes “I don’t remember giving any advice ... My mistakes have been as helpful to me as my more judicious actions.” He closes, extending Christmas and New Year wishes, noting “I’m starting off to Mexico on January 15th to work. work. work.” Signed “Cordially Ever Thornton Wilder.” $850. 479. Wilder, Thornton: AUTOGRAPH LETTER, SIGNED. Key West, FL. Evening, Thanksgiving Day, [no year]. 1 1/3 pages, in ink, on recto and verso of octavo sheet of letterhead (of “Gladys Pratt Willing”). Old fold for mailing, faint damp discoloration and wrinkling, good. To “Mr. Hube [?].” “... Many thanks for your invitation to attend Saturday night’s performance. I accept with pleasure - and particularly the invitation to attend the Player’s party afterwards. I would wish to buy my own ticket because I believe in subsidizing good things, but Mrs. Goddard assures me that no tickets remain for sale and that I must depend on your kindness. With all best wishes and, again, many thanks Sincerely yours, Thornton Wilder.” $225. 480. Williams, Emlyn: GROUP OF NINE AUTOGRAPH LETTERS, SIGNED. New York & London. 1962 - 1980. Sixteen pages, quarto and octavo. In ink. Folds from mailing, three aerogrammes a bit ragged at edges, else very good. With transcripts and several envelopes, enclosed in half morocco clamshell box. An interesting sequence of six letters from Welsh dramatist, actor and screenwriter Emlyn Williams to actress Katharine Cornell (1962-4), and three to actress/songwriter Nancy Hamilton (1979-80), the former largely devoted to Williams’s efforts to engage Cornell to appear in a revival of The Corn is Green, the latter to health and personal matters. A tenth letter, to Williams from his agent, pertains to the then current rights to the play. After the opening letter to Cornell, which is characterized by some formality, the correspondence quickly warms to familiarity and witty banter, with accounts of weekends socializing, Williams offering opinions about roles Cornell has been offered, and similar topics. $450. 481. Willingham, Calder [screenwriter]: THE TEN COMMANDMENTS “THOU SHALT NOT COMMIT ADULTERY.” Burbank: Edgar J. Scherick Associates, Inc., 10 January 1978. ,112 leaves. Quarto. Mimeographed typescript, printed on rectos only. Bradbound in printed production company wrappers. Title lettered on spine, mimeo smudge along lower edge, otherwise very good. An unidentified but preproduction draft of this original teleplay by the distinguished novelist and screenwriter. A prefatory note indicates this was to be the first in a series of productions under the general title, and emphasizes the production company’s good fortune in having Willingham as the writer of the first element in the series. However, the November 1978 broadcast co-credited Del Reisman with the final script. The release version starred Louise Fletcher, Wayne Rogers and Bert Convey, under the direction of Delbert Mann. In 1982, a second film appeared in the sequence, entitled Thou Shalt Not Kill, written by Lonne Elder III, but that seems to have been the last realized production of the endeavor. $150. Wilson’s Magnum Opus 482. Wilson, Adrian: PRINTING FOR THEATER. San Francisco: Adrian Wilson, 1957. Folio. Light tan linen, printed in green and orange. Pictorial endsheets. Photographic portrait by Minor White. Woodcuts, linoleum cuts and other illustrations. A few faint fox marks to fore- edge of lower board and cloth sleeve, otherwise fine. Prospectus laid in. First edition. Illustrated chapter headings, decorations and binding blocks by Nuiko Haramaki. One of 250 numbered copies, designed and printed by Wilson on Tovil handmade paper. Illustrated with twenty inserted or tipped-in specimens of announcements, programs and broadsides for productions by the Interplayers, and with an additional sixteen loose specimens inserted in a pocket in the rear. An always fascinating showcase of Wilson’s craft and humor, and one of the leading examples of American fine printing of its generation. WILSON 60. $1250. 483. Wilson, Adrian: THE WORK & PLAY OF ADRIAN WILSON A BIBLIOGRAPHY WITH COMMENTARY. Austin: W. Thomas Taylor, 1983. Folio. Quarter morocco and cloth. Frontispiece portrait after a photograph by Ansel Adams. Illustrations and tipped-in specimen leaves. Bookplate on front pastedown, a few minute flecks of foxing at edges of endsheets, otherwise fine. First edition. Edited by Joyce Lancaster Wilson. One of 325 numbered copies, designed and printed by Wilson and associates at the Press in Tuscany Alley, on Barcham Green handmade paper. Printing and publishing bibliography at its very best. $600. 484. Wolf, Alice: A HOUSE OF CARDS. Chicago: Stone & Kimball, 1896. Small octavo. Blue-black cloth, elaborately decorated in gilt, t.e.g., others untrimmed. Lower fore-tips slightly bumped, otherwise a bright, very good or better copy. First edition. A romantic novel set in San Francisco, published as the second, and last, title in “The Peacock Library.” Binding design by Frank Hazenplug. WRIGHT III:6043. KRAMER 68. BAIRD & GREENWOOD 2668. $55. 485. [Woolrich, Cornell]: Fort, Garrett [screenwriter]: Original Studio Publicity Campaign Pressbook for STREET OF CHANCE. [London]: Paramount Studios, . pp. leaflet. Folio (37.5 x 24.5 cm). Pictorial self-wrappers. Illustrated. Label abrasion on rear panel. affecting a few letters, else near fine. The pressbook for the British release of this adaptation of Woolrich’s novel, The Black Curtain, directed by Jack Hively, and starring Burgess Meredith and Claire Trevor. Includes a synopsis, production notes, bios, etc. $175. 486. [Woolrich, Cornell]: Latimer, Jonathan, and Barré Lyndon [screenwriters]: Original Studio Publicity Campaign Pressbook for NIGHT HAS A THOUSAND EYES. [London]: Paramount Studios, . pp. Folio (36 x 24.5 cm). Pictorial self-wrappers. Illustrated. Very minor dust smudging to white areas and a few minor creases; very good. The pressbook for the British release of this adaptation of Woolrich’s pseudonymously published 1945 novel, based on a script by Latimer and Lyndon, directed by John Farrow, and starring Edward G. Robinson, Gail Russell and John Lund. A showcase of the variant atmospheric British publicity paper for this noir classic. $175. 487. Wordsworth, William: THE PROSE WORKS OF WILLIAM WORDSWORTH. FOR THE FIRST TIME COLLECTED, WITH ADDITIONS FROM UNPUBLISHED MANUSCRIPTS. London: Edward Moxon, Son, and Co., 1876. Three volumes. xxxviii,,360;347;xii,516,pp. Large octavo. Original forest green cloth, stamped in blind, lettered in gilt. Neatly rebacked and resewn, original backstrips laid down, forecorners shelf-worn, contents leaf in first volume bound after Preface, a few marginal nicks, occasional pencil notes (see below), otherwise a good, bright set. First edition, edited by Alexander Grosart. With the bookplate (in the second and third volumes) of A.D. Coleridge (possibly Arthur Duke Coleridge 1830-1913), and the later pencil ownership signatures and shelf marks of Boswell editor F.A. Pottle in all three volumes. Another interim pencil signature appears in the first volume. There are scattered pencil notes in the text, some in Pottle’s hand, others not necessarily so. At the time of publication, a considerable editorial accomplishment, gathering Wordsworth’s Political and Ethical (Vol. I), Aesthetical and Literary (Vol. II), and Critical and Ethical (Vol. III) prose. WISE, p.228. CORNELL WORDSWORTH COLLECTION 222. $400. 488. [World War I Poetry]: Kipling, Rudyard: SEA AND SUSSEX FROM RUDYARD KIPLING’S VERSE ... ILLUSTRATED BY DONALD MAXWELL. Garden City: Doubleday, 1926. Large quarto. Parchment and boards, t.e.g. Color plates. A few patches of very faint foxing to spine, otherwise a fine copy, without slipcase First American edition, limited issue. One of 150 numbered copies, specially printed and bound, and signed by the author. REILLY (WWI), p.190. RICHARDS A366n. STEWART 525n. $1000. 489. Wren, Percival C.: BEAU GESTE ... ILLUSTRATED WITH SCENES FROM THE PHOTO- PLAY.... New York: Grosset & Dunlap, . Cloth. Frontis and plates. A very good copy in lightly used pictorial dust jacket. First printing in this format, issued to capitalize on 1926 Paramount film starring Ronald Colman, Noah Beery, William Powell, et al, directed by Herbert Brenon. $75. To the Director of Beau Geste 490. Wren, Percival Christopher: AUTOGRAPH LETTER, SIGNED, TO HERBERT BRENON. Bournemouth. 19 November 1926. Six pages, on rectos and versos of three quarto sheets of club stationary. Old folds from mailing, a few old, light spots to third leaf (in no fashion affecting text), but otherwise very good. Enclosed in folding cloth case, with typed transcript. A splendid letter, perhaps the best imaginable in its context, from Wren to the director and co-writer of the 1926 film adaptation of his 1924 novel about British soldiers serving in the French Foreign Legion, starring Ronald Colman, Neil Hamilton, Ralph Forbes, Noah Beery and Norman Trevor. Writing three months after the film premiered in New York, Wren apologizes for his silence: “...you have probably decided that I am a myth or a fool or a fish or a most unappreciative & ungrateful hound. In point of fact, I have been a corpse, more or less, & it was not until this week that I have been able to see ‘Beau Geste,’ - & I had determined not to trouble you with a letter until I had seen it. Well - it is the finest film I have ever seen in my life, & you are the greatest, most artistic, cleverest & most indomitable producer the world has yet seen. This sounds crude & fulsome flattery. It is nevertheless my honest opinion, & from some points of view, there is nobody who is better qualified to hold an opinion on the subject ... It was an astounding thing to me, incredible & awe-inspiring, to see those people looking & behaving & speaking almost exactly as they did in life - & in almost identical surroundings.” He continues on, at considerable length, praising the film, the cast, and particularly noting that “No small part of the glory and greatness of this film is the noble way in which American owners, American knowledge, American advantages, American money - have cooperated in making a British story, with British heroes, with British glorification, and a complete submergence of American pride or self-praise & credit.” Wren’s praise for the film continues further, responding to the news that Brenon is considering an adaptation of the sequel, asking if Ronald Colman will be in the cast, and updating Brenon on his progress on the third volume of the trilogy. Toward bringing a conclusion to his letter, Wren observes: “I must not occupy your time further - but would like to add that I am as appreciative & grateful as it is possible to be, & that I realize that it was a very great day in my life when you read ‘Beau Geste’ & decided to film it ....” Ca. 750 words. Signed “P.C. Wren,” and accompanied by a 9.5 x 7 cm cabinet portrait photograph of Wren in uniform, signed by him on the image, and inscribed on the verso: “A snap-shot of Herbert Brenon’s most grateful admirer among all the millions who admire him. P.C. Wren.” It would be difficult to imagine a more desirable letter relating to the transfer of Wren’s novel to the screen, an undertaking for which Brenon won the Photoplay Awards 1926 Medal of Honor. $3500. 491. Wyeth, Andrew, and Betsy James Wyeth: WYETH AT KUERNERS [with:] CHRISTINA’S WORLD. Boston: Houghton Mifflin, 1976 & 1982. Two volumes. Oblong small folio. Half brown publisher’s calf and tan cream linen, boldly lettered in gilt. Profusely illustrated in color throughout. Bookplate in each volume of the James S. Copley collection, otherwise fine, in lightly soiled matching cloth slipcase. First editions, limited issue. One of two hundred numbered sets, specially bound, and signed by Andrew Wyeth and Betsy James Wyeth, who has provided the text and commentary, in each volume. Postage extra. $2250. 492. Wylie, Philip: TYPED MANUSCRIPT, WITH REVISIONS. Miami Beach, FL. [ca. April 1948]. Nine and one-half pages, on rectos only of ten quarto sheets. Typed, but with copious manuscript revisions and corrections. About fine, in postally used envelope, with address and return address and name in Wylie’s hand. The corrected and revised manuscript for an article Wylie wrote for the University of Kansas magazine, The Jayhawker, entitled “Sic Transit Veritas,” in which he deals with the general unpreparedness of students for certain aspects of life after graduation. The student, he asserts, “ is only half educated. When he graduates he hopes he knows enough to earn a living. He hardly imagines that he must also earn a life ... The graduate knows everything but himself, everything, that is, but humanity ....” He ponders their preparedness for potential changes the future may hold, touching on themes which were leitmotifs in his fiction: “Are courses being offered in wilderness survival? Or will Boy Scouts alone inherit such habitable nooks of earth as may one day be left free of radio-activity ... In five generations ... the American people have squandered five inches of topsoil which requires five thousand years for deposit. America is becoming a ‘have not’ nation in many categories. Thus it may be asked if ‘education’ has taught conservation and how to do with less ....” Wylie was, at the time, on the staff of The Miami Herald. Best known now for his novels Gladiator (1930), When Worlds Collide (1933, cowritten with Edwin Balmer, and its sequel), and The Paradise Crater (1945), Wylie enjoyed some wider public celebrity for his 1942 nonfiction collection, Generation of Vipers. While fair copy souvenir typescripts signed by him are as common as they are valueless, working typescripts such as the example in hand are a bit uncommon. $500. Inscribed to Ann Horniman 493. Yeats, William Butler: IN THE SEVEN WOODS: BEING POEMS CHIEFLY OF THE IRISH HEROIC AGE. Dundrum: The Dun Emer Press, 1903. Linen over boards, paper label on upper cover. Cloth a bit foxed, some cloth bubbling on upper board, some tanning and modest soiling, otherwise very good. First edition. One of 325 copies printed. Inscribed in the month of publication: “Miss Horniman from her friend the writer, August 22nd 1903.” Although Wade notes copies were finished in mid-July, formal publication occurred in August, and Yeats later commented to John Quinn that this was “the first book of mine that it is a pleasure to look at - a pleasure whether open or shut.” Horniman, the daughter of a wealthy tea merchant, joined the Order of the Golden Dawn in January 1890, the context in which she first met Yeats. Horniman resigned from the Order in February of 1903, and began to devote her time and energy to the Irish Theatre. She designed and made the costumes for the first production of The King’s Threshold, and Yeats’s presentation on the aims of the Irish National Dramatic Society that accompanied the first performances of the play in early October 1903 solidified her decision to act as a significant financial backer of the Society. She also served, for a time, as Yeats’s amanuensis. For a substantial account of her connection with him, see pp. 709-713 of Letters III. WADE 49. MILLER 1. $17,500. Association Copy 494. Yeats, William Butler: STORIES OF RED HANRAHAN. Dundrum: The Dun Emer Press, 1904. Linen-backed boards, paper spine and cover labels. Spine label chipped, boards somewhat soiled, endsheets darkened, else a good, sound copy, in folding cloth slipcase, morocco label. First edition. One of five hundred copies printed. Inscribed by Lady Gregory to her former lover, Augustus John. In spite of the date on the title-page, official publication did not occur until 16 May 1905. WADE 59. MILLER 4. $1750. 495. Yeats, William Butler: THE WORDS UPON THE WINDOW PANE: A PLAY IN ONE ACT, WITH NOTES UPON THE PLAY AND ITS SUBJECT. Dublin: The Cuala Press, 1934. Linen-backed boards, paper spine label. Title woodcut engraving “Monoceros de Astris” by T. Sturge Moore. Fine. First edition. One of 350 copies. Accompanied by the original Cuala Press invoice to Cecil Harmsworth, accomplished and signed in ink by Elizabeth Yeats, as well as a copy of the single-side broadsheet stocklist beginning with New Stories of Michael Robartes. WADE 174. MILLER 52. $750. 497. Yeats, William Butler, and Margot Ruddock: AH, SWEET DANCER. W. B. YEATS boards. Portrait and photographs. Edges dust marked, but a nice copy in dust jacket. First edition. Edited by Roger McHugh. Poet Cid Corman’s copy, with his 1972 ownership inscription and frequent, and often substantial, annotations. Prints thirty-one letters from Yeats, his poem “Margot,” and various oddments. JOCHUM 118. $75. 498. Yeats, William Butler, et al: TO-MORROW. Dublin. August & September 1924. Whole numbers one and two (all published). Two issues. Folio tabloid, text in triple columns under banner heading. Light foxing at edges, folded across middle, tiny closed marginal edge tear at folds, but a very good set. Collectively “edited.” The contributors include Yeats (the first Irish printing of “Leda and the Swan,” first published in The Dial in June, as well as the manifesto to the first issue, which, although not signed by him, is definitively attributed to him), Lennox Robinson, Liam O’Flaherty, F. Stuart, Joseph Campbell, Arthur Symons, F.R. Higgins, Iseult (Gonne) Stuart, et al. WADE, p.382. HOFFMAN, et al, p. 275. $350. 499. Young, Art: ORIGINAL INK SELF PORTRAIT, SIGNED. New York. January 1937. Ca. 10 x 10 cm, on 25 x 15.2 cm lettersheet. Paper browned from former proximity to old mat, otherwise very good. A characteristic self-portrait by the radical cartoonist and illustrator, showing himself from right profile, busily at work on a drawing. The whole is executed on letterhead of the New Union Square Hotel, and was utilized as the portrait for Young’s section in Willis Birchman’s Faces & Facts (1937). $350. 500. Zanuck, Darryl F.: SERIES OF EIGHT TYPED LETTERS, SIGNED, TO DUDLEY NICHOLS, WITH CARBON COPY OF TYPED LETTER TO WALTER WHITE. Beverly Hills, CA. 28 April 1948 through 31 January 1949. Eighteen pages, plus a fraction, variously on octavo and quarto personal and studio letterhead, and studio copy stock. Very good to fine. Enclosed in a folding cloth case. An informative correspondence, providing significant background on the mechanics of, and controversy surrounding, the film adaptation of Cid R. Summer’s 1946 novel, Quality, based on a screenplay by Dudley Nichols and Philip Dunne. The 1949 release, entitled Pinky, was directed by Elia Kazan (after John Ford became estranged from the project), and starred Jeanne Crain, Ethel Barrymore and Ethel Waters. Zanuck’s letters to Nichols start the day following their first conference about the project, proceed through discussions of titles and locations (including prelims to the controversial decision to shoot on Hollywood set rather than on location), revisions, casting (including mention of Hattie McDaniels as a possibility), an MGM project based on a book by Walter White, and conclude with discussions of Zanuck’s final editing of Dunne’s revision of Nichols’s script (including a final confidential letter including his query: “ ... do you think that Phil is justified sharing screen credit with you?”). Of particular note is the studio carbon of Zanuck’s ten-page letter to novelist and civil rights activist Walter White, in his position as Executive Secretary of the NAACP (copied to four other recipients - Jane White, Poppy Cannon, Arthur Spingarn and Roy Wilkins - and evidently to Nichols as well) in which he responds in great detail and at considerable length to White’s critical letter about the project, and to the memoranda from the other four individuals apparently originally enclosed with White’s letter. In the letter, Zanuck defends both the script (and its dramatic approach and point of view) and his own integrity in regard to issues of race (with reference to his earlier films, Wilson and Gentleman’s Agreement), and argues for his own approach to racial matters in film: “A motion picture which deals with the Negro minority in the United States must be above all things non-propagandist. All it can hope to do, at its boldest, is to make the white majority experience emotionally the injustice and daily hurts suffered by colored people. But this is a tremendous lot, for it is my belief that old customs and traditional attitudes are rooted in the emotions and not in the intellect, and so it is the hearts of the white majority that must be awakened to bring about change and amelioration ... So great a moralist in the theatre as Ibsen, for example, who spent his life fighting social corruption and injustice and intolerance, set down as a maxim for his work that his job was to show evil and not to find a solution for it ... If a motion picture makes the white majority of the United States experience emotionally the humiliation and hurt and evil of segregation and discrimination, I believe they will carry away a sense of shame and that in some degree, small or large according to the capacity of the individual, their feeling and thinking will be changed ....” Further in his letter to White, Zanuck also addresses by point the criticisms voiced by the other four critics, including (as articulated in Roy Wilkins’s memorandum) that the theme of Pinky is “poisonous, not merely because it is contrary to the philosophy of the NAACP, but because it is contrary to right and justice and history.” Writing from the perspective of a film producer, “with many years of experience, as the producer of The Grapes of Wrath, Ox-Bow Incident, The House of Rothschild, How Green Was My Valley and other controversial films, let me give you this advice. A direct propaganda film incorporating the policy of your organization will be doomed before it starts. On the other hand a film that has the courage to reveal the inequalities and plight of the American Negro in the South will prove to be a tremendously useful weapon in the war against intolerance and injustice ... We care going to make this film in the very best manner we can. When our script revisions are completed we are hopeful that the final result will prove beneficial to the cause of the American Negro. We do not expect you not [sic] all Negroes to like all of it ... We are going to do the best we can — but in any event we are going to make it.” Signed in type: “Sincerely yours, s/Darryl Zanuck.” The letter to White totals over three thousand words, and stands as an in-depth unvarnished articulation of Zanuck’s stance on matters of race, both as playing out in Pinky in particular, and as he feels they should be treated in mainstream films in general. $4000. Addenda 501. Caldwell, Erskine: THREE TYPED LETTERS, SIGNED (“SKINNY”). Point of the Woods Rd., Darien, CT. 22 Jan., 26 Feb., and 6 March 1940. Three half pages, on quarto sheets of personal letterhead. Receipt dates stamped in upper corners, otherwise near fine. Half morocco folding case. To “Dear Cap,” possibly Charles A. Pearce, of Caldwell’s publishers, Duell, Sloane and Pearce. Brief, chatty letters, occasionally touching on business matters and meetings, but chiefly in the vein of: “...I’ve just finished writing letters to every body in the office except you and the swell-looking c**t at the switchboard, and I was always one to take pride in doing a well-rounded job ...” or “My wife told me to stay away from Kyle Crichton because he was a book-reading, infinitive-splitting old bastard. If you want to go to the trouble of cleaning him up, I’ll come in a month or so ....” Signed with the form Caldwell occasionally used with intimates: “Skinny.” $300. 502. [Clemens, Samuel L.]: Twain, Mark [pseud], and Bret Harte: “AH SIN” A DRAMATIC WORK. San Francisco: Book Club of California, 1961. Cloth and decorated boards, paper spine label. Frontis, plates and facsimiles. Bookplate on front pastedown, otherwise near fine. Half morocco slipcase and chemise. One of 450 copies printed, and illustrated with woodcuts, by Vivien and Mallette Dean. Preface by Frederick Anderson. The first publication of this collaborative failure, printed from a prompt script in the Barrett Collection. $100. 503. [Clemente, Francesco]: Savinio, Alberto [pseud of Andreas de Chirico]: THE DEPARTURE OF THE ARGONAUT. [New York & London]: Petersburg Press, 1986.  accordion fold pages, unopened at fore-edges, plus loose 4pp. insert of translator’s notes. Folio (65 x 50 cm; 25.5 x 19.5"). Plain wrappers. Translator’s notes creased along top edge, otherwise fine in cloth-covered clamshell box, titled in blind. First edition in this format, illustrated with forty-nine photolithographs by Francesco Clemente, forty-three printed in color(s), six in monochrome. From a total edition of 288 copies printed in Bembo types on cream wove Japanese Okawara paper by Staib and Mayer of Stuttgart, with the lithographs printed by Rolf Neumann, this is one of two hundred numbered copies (of 232) in book format, signed on the colophon by the artist. This first translation from the Italian was prepared by George Scrivani. A painter like his brother, Giorgio di Chirico, Andreas (1891-1952) first published this work, which is in part the travel journal and diary of his experiences while being posted to the Salonia Front, in serial form under his pseudonym in 1917, as “La partenza dell’argonauta.” The final form of the Italian text appeared in 1918 as the concluding, and lengthiest, section of his book, Hermaphrodito. “Clemente’s ‘illustrated’ version of the book is, without doubt, one of the most beautiful books the 20th century has produced. On unbound, luminous, hand-made Japanese ‘kozo’ paper, the lithographs, when displayed in groups, take on an unsurpassed visual lyricism, an effect that is not soon forgotten” - Mark Henshaw, National Gallery of Australia, “Contemporary Artist’s Books from Picasso to Clemente” (online introduction). Castleman, A CENTURY OF ARTIST’S BOOKS (MOMA), p. 217. $6750. 504. Cuevas, Jose Luis: AUTOGRAPH LETTER, SIGNED, EMBELLISHED WITH AN ORIGINAL INK DRAWING. Philadelphia. 14 November 1957. One page, in ink, on large quarto letter sheet. Old folds for mailing, otherwise very good. Folding cloth case. In Spanish, to “Tana.” Cuevas informs the recipient of his new address in Philadelphia, and notes that in the coming week he will start his professional activities and work on “Kaffka (sic).” He mentions receptions and inquires how an exhibition involving the recipient is going. He closes, sending greetings to “Juan.” Signed “Cuevas.” The left half of the letter is filled with a fanciful ink drawing of a human figure in a large coat, enveloped by the arms (tentacles?) of a leering grotesque. Cuevas was working on his famous suite of illustrations for Kafka’s Metamorphosis first published in The Worlds of Kafka and Cuevas in 1959, and then revisited as an illustrative accompaniment to the text in the 1984 Limited Editions Club edition. $850. 505. Dixon, Maynard: RIM-ROCK AND SAGE THE COLLECTED POEMS OF .... San Francisco, etc: California Historical Society, . Large octavo. Cloth and boards, paper spine label. Illustrated with Dixon’s drawings. Bookplate on pastedown, boards sunned along top edges, otherwise very good or better. First edition. Edited by Dixon’s widow, Edith Hamlin. Introduction by Kevin Starr, Preface by J.S. Holliday. One of 1300 copies printed by Andrew Hoyem. To its date of publication, the authoritative texts of Dixon’s poetry, including hitherto uncollected material gathered from manuscript sources, periodical publications, etc. $150. 506. Huxley, Aldous: THE MOST AGREEABLE VICE [wrapper title]. [Los Angeles: Printed by the Ward Ritchie Press for Jake Zeitlin, 15 June 1938]. 7,pp. 12mo. Sewn self-wrapper. Slight tanning, but a very good copy, in morocco-backed folding case. First edition. An original essay on book-buying, printed in an edition of 500 copies for the occasion of the opening of Jake Zeitlin’s bookshop on Carondelet Street. This copy is inscribed on the colophon by Zeitlin: “for Richard Marshall fraternally in libros Jake.” The recipient was partner in the L.A. bookselling firm, Bennett & Marshall, found in 1941. In the pre- internet era, one of the more elusive Huxley firsts of U.S. origin. $250. The Argonaut Edition 507. Norris, Frank: THE ARGONAUT MANUSCRIPT LIMITED EDITION OF FRANK NORRIS’S WORKS. Garden City: Doubleday, Doran, 1928. Ten volumes. Parchment over boards, gilt. Top edges a trace dusty, spines a trace darkened, a couple of minuscule nicks, otherwise a fine set, in lightly worn cream white dust jackets (spines quite tanned, as often). One of 245 numbered sets, with a leaf of the original working autograph manuscript of McTeague in an envelope laid into the first volume. The folio leaf is numbered ‘177’, bears over 300 words, and includes some significant revisions, deletions and insertions. Each major work is preceded by an introduction by a contemporary, including Mencken, Dreiser, Cobb, Irwin, and Charles Norris. An increasingly more uncommon set with the leaf of manuscript present. BAL 15048 & 9. $3250. 508. Norris, Frank: FRANK NORRIS OF “THE WAVE” STORIES & SKETCHES FROM THE SAN FRANCISCO WEEKLY, 1893 TO 1897. San Francisco: Westgate Press, 1931. Large octavo. Cloth and boards, paper spine label. Bookplate on front pastedown, otherwise fine in faintly used dust jacket. First edition. One of 500 copies printed at the Grabhorn Press (this copy not numbered). Foreword by Charles G. Norris. Introduction by Oscar Lewis. BAL 15052. $100. 509. Powell, Lawrence Clark: FROM THE HEARTLAND PROFILES OF PEOPLE AND PLACES OF THE SOUTHWEST AND BEYOND. Flagstaff: Northland Press, . Half calf and cloth, marbled endsheets. Illustrations. Bookplate on front pastedown, otherwise fine in very good slipcase (a few small spots on one panel). First edition, limited issue. One of one hundred numbered copies, signed by the author and by the illustrator, Bettina Steinke. Includes Powell’s essays on Henry Miller, Maynard Dixon, Edward Abbey, Gertrude Stein, Jake Zeitlin and Saul Marks. $150. 510. [Rowlandson, Thomas (illus), and William Combe]: THE TOUR OF DOCTOR SYNTAX, IN SEARCH OF THE PICTURESQUE A POEM [with:] THE SECOND TOUR OF DOCTOR SYNTAX, IN SEARCH OF CONSOLATION; A POEM [with]: THE THIRD TOUR OF DOCTOR SYNTAX, IN SEARCH OF A WIFE. A POEM. London: R. Ackermann’s Repository of Arts, 1812, 1820 & . Three volumes. iii,,275pp. plus engraved title and 30 plates (including frontis); ,279pp. plus 24 engraved plates (including frontis); ,279pp. plus 24 engraved plates (including frontis). Large octavos. Uniformly bound by Riviere in full deep red crushed levant, raised bands, spines gilt extra, gilt inner dentelles, t.e.g. Bookplate on front pastedown in each volume, along with small tape scars from earlier “protective” wrappers, usual mild offsetting from plates to facing pages, occasional minor smudges or light spotting, but a very good set, attractively bound. First edition in book form of one of Rowlandson’s most popular illustrated works, featuring the 78 handcolored full-page engraved plates, and two colored engraved titles - the second volume appeared with a printed title. In this set, the leaves of “Directions to Binder” are bound in; in the first volume the opening leaf of text is headed “Chapter I” and plate 5 is in its first state; in the second volume plate 15 is in Tooley’s second state. The first title appeared in the Poetical Magazine under the title “The Schoolmaster’s Tour,” and Rowlandson added three illustrations and reworked the plates for the book edition. The second and third titles appeared serially, each in eight monthly parts, prior to publication in book form. “The misadventures of this elderly pedant gave Rowlandson ample scope for the comic designs of which he was a master, and the three books which deal with Syntax were his greatest success as an illustrator” - Ray. ABBEY (LIFE) 265-7. TOOLEY 427-9. RAY 34. $2500. 511. Zanuck, Darryl F., and Wendell L. Wilkie: TWO TYPED LETTERS, SIGNED. [Beverly Hills, CA]. 9 December 1943 and 28 Sept. 1943. Each one-half page, on quarto sheet of personal letterhead. Folded for mailing, otherwise fine. To screenwriter Dudley Nichols. In the course of preproduction planning of an unrealized film adaptation of Wendell Wilkie’s One World, Zanuck writes: “I am having Colonel Joy send you the check for your services on One World. I frankly think you are cheating yourself. I have not yet read the script ... but nevertheless I know that it is going to be grand ... I want you to know that in expressing my gratitude, I am also expressing the gratitude of Mr. Wilkie. I don’t see why the hell you don’t write and produce, or write and direct pictures for me ....” Signed, in ink, “Darryl.” Accompanied by another typed letter, signed, 28 September 1943, from Wilkie to Nichols, on Zanuck’s letterhead, thanking him for their conference on the project the previous day, and indicating that “I leave here confident that the preparation of the story is in especially capable hands ....” The letter also suggests that the script was to be a collaboration with “Mr. Trotti” (i.e. screenwriter Lamar Trotti). Signed in full, in ink, with nine word autograph postscript. $450.
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